Actor Point >> Movie Scripts >> Friday the 13th Part VIII: Jason Takes Manhattan Film Script

Friday The 13th Part VIII: Jason Takes Manhattan Movie Script

Writer(s) : Rob Hedden

Genres : Horror

Search IMDb : Friday The 13th Part Viii Jason Takes Manhattan


	FRIDAY THE 13TH PART VIII: JASON TAKES MANHATTAN

	Written by Rob Hedden


	FADE IN:

	EXT. CRYSTAL LAKE - NIGHT

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

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

	INT. HOUSEBOAT - NIGHT

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

				JIM
		Well...how do you feel?

				SUZY
		Ask me in about five minutes.

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

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

	Her hands slip inside his Pendleton shirt. He sighs.

				SUZY
		It feels excellent.

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

				JIM
		Gotta throw the anchor over.

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

	EXT. HOUSEBOAT DECK - NIGHT

	as Jim tosses a small anchor overboard.

	TIGHT ON WATER SURFACE

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

	JIM 

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

	EXT. UNDERWATER - NIGHT (TANK)

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

	INT. HOUSEBOAT - NIGHT

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

				SUZY
		What's wrong?

				JIM
		Nothing.

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

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

	Jim pauses, turning off the mood music.

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

	The boat creaks. She's instantly nervous.

				SUZY
		What murders?

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

				SUZY
		Tell me.

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

	He starts to kiss her again. She stops him.

				SUZY
		What stories?

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

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

	FLASHBACK

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

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

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

				YOUNG JASON
		Mmmmmmommy....

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

	INT. HOUSEBOAT - CONTINUOUS

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

	FLASHBACK MONTAGE (STOCK)

	as our senses are bombarded with QUICK CUTS of assorted

	teenagers just about to die, their screams echoing over 
	each other. We do not see the attacker. As the 
	cacophony reaches a screeching crescendo, CUT BACK TO:

	INT. HOUSEBOAT - NIGHT

	as the silence hits us hard again.

				SUZY
		Jason did it...?

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

	FLASHBACK (STOCK)

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

	INT. HOUSEBOAT - NIGHT

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

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

				SUZY
		So the murders stopped?

	He gives her a long, penetrating look.

				JIM
		No.

	FLASHBACK MONTAGE (STOCK)

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

	INT. HOUSEBOAT - NIGHT

	Suzy flinches as if she were getting the knife.

				

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

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

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

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

				SUZY
		We're the last graduating class, 
		right? 

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

				JIM
		Right.

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

				JIM
		Right.

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

	Jim stops, looking her squarely in the eyes.

				JIM
		Right. Except that Jason isn't real 
		so none of it matters anyway.

	She starts to relax, returning his kisses.

	EXT. UNDERWATER - NIGHT (TANK)

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

	INT. HOUSEBOAT - CONTINUOUS

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

	EXT. UNDERWATER - NIGHT (TANK)

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

	INT. HOUSEBOAT - CONTINUOUS

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

	EXT. UNDERWATER - NIGHT (TANK)

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

	EXT. HOUSEBOAT - ON LAKE SURFACE (EFX)

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

	EXT. CAMP CRYSTAL LAKE - WIDE SHOT FROM WATER

	as the electricity feeding the streetlights is abruptly 
	extinguished, plunging the campsite into darkness.

	INT. HOUSEBOAT - CONTINUOUS

	as Suzy's eyes flash open.

				SUZY
		Did you hear that?

				JIM
		Hear what?

	He pulls her back down.

				SUZY
		C'mon, I'm serious.

	He knows the mood is broken.

				JIM
		All right, I'll check it out.

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

	EXT. UNDERWATER - NIGHT (TANK)

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

	INT. HOUSEBOAT - CONTINUOUS

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

				SUZY
		Jimmy...?

	No answer. Her heart starts to pound.

				SUZY
		Jim...?

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

	SUZY'S POINT OF VIEW

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

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

	...And just as she reaches the door:

	A HOCKEY MASKED MONSTER

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

	SUZY

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

	THE MONSTER

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

				JIM
		Gotcha good, baby cakes.

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

	EXT. HOUSEBOAT - CLOSE ON HOCKEY MASK

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

	INT. HOUSEBOAT - CONTINUOUS

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

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

				SUZY
		And you'll never do it again.

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

				SUZY
		No.

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

	EXT. HOUSEBOAT - NIGHT

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

	INT. HOUSEBOAT - CONTINUOUS

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

	ANGLE - CABIN DOOR

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

	SUZY

	closes her eyes with pleasure...

	ANGLE - CABIN DOOR

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

	SUZY 

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

				SUZY
		JJJJJJJJason...

	He doesn't follow her glance, smiling instead.

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

	But she continues to stare in horror as:

	JASON

	raises the spear, taking aim.

	ANGLE - SUZY AND JIM  

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

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

				JIM
		Ohmygod...

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

	EXT. CRYSTAL LAKE - NIGHT

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

							  FADE OUT/MAIN CREDITS.

	FADE IN:

	EXT. HARBOR - ESTABLISHING - DAY

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

	EXT. DOCKSIDE - DAY

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

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

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

	CLOSER ANGLE PARKING LOT

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

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

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

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

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

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

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

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

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

				SEAN
		Which cabin is Rennie in, Mr. 
		McCulloch?

				MCCULLOCH
		Rennie's not coming.

	He's devastated.

				SEAN
		But I thought...

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

	A booming VOICE from above interrupts them:

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

	ANOTHER ANGLE

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

				SEAN
		Be right up, Dad.

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

	INT. '76 BMW 2002 - DAY

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

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

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

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

				RENNIE
		What about not-so-great writers?

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

	RENNIE'S POINT OF VIEW (SECOND UNIT)

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

	RETURN TO SHOT

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

				MISS VAN DEUSEN
		Everything okay?

				RENNIE
		Just felt a little chill.

	Rennie rubs her arms, faking coldness.

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

				RENNIE
		Really?

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

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

	She parks the car, turning off the ignition.

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

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

				MISS VAN DEUSEN
		Go on, open it.

	Rennie pops off the lid, revealing an antique ink-dip 
	pen.

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

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

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

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

	CLOSER ANGLE - MERCEDES

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

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

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

				MRS. WATANABE
		Hello, Tamara.

				TAMARA
		Hi, Mrs. Watanabe. Just kidding.

				MRS. WATANABE
		Yes, I'm sure.

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

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

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

				MRS. WATANABE
		I love you...

	TRACKING WITH TAMARA AND EVA

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

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

				EVA
		Really?

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

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

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

				EVA
		He bought you that?

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

				

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

	CLOSER ANGLE - HOUSEBOAT

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

	EXT. DOCKSIDE - DAY

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

				MCCULLOCH
		You can stop right there, Miss Mason.

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

				MCCULL40CH
		Only graduating seniors are allowed on 
		this cruise.

				TAMARA
		What are you talking about?

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

				TAMARA
		You can't do that...

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

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

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

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

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

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

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

				TAMARA
		Perfectly.

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

				TAMARA  
		A major prick.

				EVA
		What are you going to do?

				TAMARA
		Improvise, of course.

	EXT. DOCK PILINGS - SAME TIME  

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

	POINT OF VIEW OUT HOUSEBOAT WINDOW

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

	TIGHT ON HOUSEBOAT'S ANCHOR CABLE

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

	EXT. DOCKSIDE - SAME TIME

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

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

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

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

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

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

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

	He stops, following her glance. His face tightens.

	ANOTHER ANGLE

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

				MCCULLOCH
		You have no right...

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

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

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

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

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

	She walks past him.

	EXT. RAMP/SHIP - ON RENNIE

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

	RENNIE'S POINT OF VIEW

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

	RENNIE'S PUPILS

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

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

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

	AN EIGHT YEAR OLD BOY 

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

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

	RENNIE

	leans back in terror, falling into Miss Van Deusen.

				MISS VAN DEUSEN
		What's wrong, Rennie??

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

	MISS VAN DEUSEN'S POINT OF VIEW

	The water is calm. No Young Jason.

	RETURN TO SHOT

	as Rennie gets a hold of herself.

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

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

	RENNIE

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

	INT. BRIDGE - CLOSE ON HARPOON - DAY

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

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

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

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

				SEAN
		Hello, Dad.

				MILES
		Hey, Admiral Robertson. Love your 
		ship.

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

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

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

				

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

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

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

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

				SEAN
		Dad, I don't think...

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

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

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

	He tosses Sean a wrapped box. Sean opens it. Inside is a 
	navigational computer the size of a calculator, sitting 
	next to a rusty old sextant.

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

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

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

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

				ADMIRAL ROBERTSON
		Aren't you forgetting something?

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

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

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

	EXT. DECK - ON SEAN

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

				DECK HAND
		This voyage is doomed.

				SEAN
		Yeah, tell me about it.

	Sean sidesteps him, moving on.

	EXT. HARBOR - DAY (CRANE SHOT)

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

	CLOSER ON HULL

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

	EXT. DECK - DAY

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

				SEAN
		Rennie...

				RENNIE
		Hi, Sean.

				SEAN
		I heard you weren't coming.

				RENNIE
			(glances at Toby)
		We changed our minds.

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

				SEAN
		I got you a present.

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

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

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

				RENNIE
		Sean...it's beautiful.

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

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

				RENNIE
		I'd love to.

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

	McCulloch appears behind them. The mood has been broken.

				SEAN
		I guess I'll see you later.

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

				MCCULLOCH
		There's a storm predicted tonight. 

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

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

				RENNIE
		I'm staying.

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

				RENNIE
		She didn't push me into coming.

				MCCULLOCH
		Why are you doing this to yourself?

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

	He takes a measured pause.

				MCCULLOCH
		Facing your fear doesn't always 
		conquer it.

				RENNIE
		I'm staying.

	He's not going to change her mind.

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

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

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

	INT. J.J.'S STATEROOM - DAY

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

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

	She pops out the guitar cable from her practice amp.

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

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

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

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

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

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

				WAYNE
		She's sexy.

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

				WAYNE
		I'll catch you later.

				

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

	INT. CORRIDOR - TRACKING WITH WAYNE

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

	INT. POWER ROOM - DAY

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

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

	She finds an outlet and plugs in her equipment.

	JASON'S POINT OF VIEW

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

	J.J.

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

	JASON'S POINT OF VIEW

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

	TIGHT ON ELECTRIC GUITAR

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

	JASON'S FACE

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

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

	JASON

	emerging from a cloud of vapor like her worst nightmare.

	EXT. UPPER DECK - SAME TIME

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

	INT. POWER ROOM - SAME TIME

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

	JASON

	swings the guitar downward and buries it in J.J.'s skull.

	EXT. UPPER DECK - SAME TIME

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

	EXT. OCEAN - NIGHT (EFX)

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

	CLOSE UP - INK DIP PEN

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

	INT. RENNIE'S STATEROOM - NIGHT

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

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

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

				RENNIE
		I agree.

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

	EXT. OUTSIDE DECK - SAME TIME

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

	THROUGH JASON'S EYES (FLYING WALL EFX)

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

	REVERSE ANGLE

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

	TIGHT ON PORTHOLE WINDOW (EFX)

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

	RENNIE

	feels her throat catch with terror and an instant later:

	DOG TOBY

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

	RENNIE'S EYES

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

	AN EMPTY WINDOW

	No water, no drowning boy.

	RENNIE

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

				RENNIE
		Okay Toby, calm down...

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

	INT. SHIP CORRIDOR - NIGHT

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

	INT. MENS GYM - DAY

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

	REVERSE ANGLE - LOCKER ROOM WINDOW

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

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

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

				TAMARA
		Is that a muscular bod or what?

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

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

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

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

	Tamara quickly puts up her veneer again, spotting 
	something.

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

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

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

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

				TAMARA
		You're joking, right?

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

	INT. STATEROOM HALLWAY - NIGHT

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

				MCCULLOCH
		Have you seen my niece anywhere?

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

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

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

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

	He brushes past Wayne angrily.

	INT. SERVICE AREA - NIGHT

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

				TAMARA
		The night time is the right time. 

	Tamara hands the straw to Eva.

				EVA
			(nervous)
		No thanks.

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

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

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

				EVA
			(a pause)
		I guess not.

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

	Eva takes the straw.

	STALKING POINT OF VIEW

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

	ANGLE - TAMARA AND EVA

	as Eva takes a nosefull, sneezing badly.

				TAMARA
		Is that unbelievable or what?

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

	RENNIE

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

				TAMARA
		Jesus, you scared the hell out of us.

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

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

				RENNIE
		No thanks.

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

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

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

				TAMARA
		Nobody related to McCulloch can be 
		nice.

	Tamara puts the straw to her nose.

	ANGLE - RENNIE

	as she presses on, the corridor getting darker.

				RENNIE
		Toby?

	No reply. She walks on, turning down the left hallway... 
	but camera turns down the right hallway. Suddenly JASON 
	REVEALS HIMSELF, quietly stepping from the GAME ROOM. 
	He's holding a pool cue, which he proceeds to snap in 
	half, providing a splintery sharp shaft.

	INT. SERVICE AREA - SAME TIME 

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

				TAMARA
		Oh yeah. Ready to party and then some.

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

	STALKING POINT OF VIEW

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

	REVERSE ANGLE

	They are facing McCulloch.

				MCCULLOCH
		What are you doing in here?

				TAMARA
		Nothing.

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

				MCCULLOCH
		Are you girls using drugs?

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

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

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

				TAMARA
		They're out of town.

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

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

				EVA
		What are you going to do?

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

	SPLASH!

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

				MISS VAN DEUSEN
		Poetry in motion, Miles.

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

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

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

				RENNIE
		Have you seen my dog anywhere?

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

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

	INT. SHIP CORRIDOR - TRACKING WITH TOBY - SAME TIME

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

	TOBY'S POINT OF VIEW (STEADICAM)

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

	TOBY

	rears back with teeth bared, but:

	THE BODY

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

	EXT. DECK POOL - ON RENNIE AND MISS VAN DEUSEN

	as they walk along the edge of the pool.

				MISS VAN DEUSEN
		So, are you having fun yet?

				RENNIE
			(lying)
		Yeah...a lot.

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

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

	...But before she can begin the next sentence, Rennie is 
	shoved from behind.

				

	WATER ANGLE

	as she SPLASHES INTO THE POOL'S DEEP END.

	MISS VAN DEUSEN

	spins around, seeing Tamara standing there with Eva.

				TAMARA
		Wow, sorry...

	RENNIE

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

	MISS VAN DEUSEN

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

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

				TAMARA
		It was an accident, I swear...

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

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

	RENNIE'S POINT OF VIEW

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

	SEAN'S POINT OF VIEW

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

	SEAN

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

	TAMARA AND EVA

	quickly move on.

				TAMARA
		That was truly excellent.

				EVA
			(feels like shit)
		Yeah.

				TAMARA
		Time to check out the waiters.

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

				TAMARA
		But...wait a minute!

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

				TAMARA
		Some friend you are.

	EXT. POOL SIDE - SAME TIME

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

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

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

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

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

				MISS VAN DEUSEN
		Care to talk about it?

	After a moment to compose herself...

				RENNIE
		I can't swim.

				MISS VAN DEUSEN
		I gathered that.

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

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

				RENNIE
		It's not that simple.

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

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

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

				MISS VAN DEUSEN
		When did this start?

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

				MISS VAN DEUSEN
		After your parents passed away?

	Rennie nods somberly.

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

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

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

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

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

	ANOTHER ANGLE

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

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

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

				RENNIE
		It wasn't her fault.

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

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

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

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

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

				RENNIE
		Just...leave me alone...

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

	INT. TAMARA'S STATEROOM - NIGHT

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

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

	McCulloch swings it open.

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

	REVERSE ANGLE

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

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

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

				MCCULLOCH
		Where did you get that alcohol?

				TAMARA
		I packed it. Just for us.

	EXT. DECK CORRIDOR - STALKING POINT OF VIEW

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

	INT. TAMARA'S STATEROOM - CONTINUOUS

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

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

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

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

	ANGLE - PORTHOLE WINDOW

	as the SHADOW OUTSIDE quickly blurs past the window.

	RETURN TO SCENE

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

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

	EXT. TAMARA'S STATEROOM - STALKING POINT OF VIEW

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

	INT. TAMARA'S STATEROOM - CONTINUOUS

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

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

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

	WAYNE

	who casually lowers his camcorder.

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

	His eyes are unable to leave her nakedness.

				WAYNE
		Oh yeah.

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

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

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

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

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

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

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

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

				WAYNE
		But I thought...

				TAMARA
		Thanks for the camerawork.

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

				WAYNE
		Wayne, you're an asshole.

	He despondently exits.

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

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

	Nothing is there.

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

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

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

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

	INT. TAMARA'S SHOWER - SAME TIME

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

	ANOTHER ANGLE

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

	INT. LADIES RESTROOM - SAME TIME (EFX)

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

	INT. TAMARA'S BATHROOM - SAME TIME

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

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

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

	CLOSE UP - STEAM WHISTLE OF SHIP

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

	EXT. LADIES RESTROOM - NIGHT

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

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

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

	After a moment...

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

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

	INT. BRIDGE - NIGHT

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

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

				CHIEF ENGINEER
		Yes Sir. Activating comfort cruise 
		mode.

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

	TIGHT ON NAVIGATIONAL CHART WALL - SAME TIME

	as a bloodstained HAND silently removes the rusty 
	harpoon hanging above the map.

	ADMIRAL ROBERTSON

	gets a reflective look in his weary eyes.

				ADMIRAL-ROBERTSON
		How olds your boy now, Carlson?

				CHIEF ENGINEER
		Nineteen months.

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

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

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

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

	JASON

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

	CLOSE UP - CHIEF ENGINEER'S BACK

	-- The harpoon's bloody, corroded tip pierces through 
	his once-white uniform.

	ADMIRAL ROBERTSON

	returns to the bridge as LIGHTNING flashes outside.

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

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

	JASON

	hovering over him, now clutching one of the scaling 
	knives.

	INT. BRIDGE CORRIDOR - NIGHT

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

				RENNIE
		Can he really take us home?

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

				RENNIE
		What about you?

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

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

	THEIR POINT OF VIEW

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

	SEAN

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

	INT. BRIDGE

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

				SEAN
		Oh Jesus...Dad??

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

	SEAN'S POINT OF VIEW

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

	SEAN

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

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

	INT. CORRIDOR OUTSIDE RENNIE'S STATEROOM - SAME TIME

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

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

	No answer. She knocks harder...and it creaks open, 
	unlocked.

				MISS VAN DEUSEN
		Rennie...?

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

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

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

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

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

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

	EXT. SWIMMING POOL - SAME TIME

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

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

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

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

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

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

	INT. GYM LOCKERS - SAME TIME

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

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

				JULIUS  
		What the fuck is this?

	The others shrug, concerned.

	EXT. SHUFFLEBOARD COURT - SAME TIME

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

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

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

	INT. BRIDGE - ON SEAN

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

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

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

				RENNIE
		What is happening???

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

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

				RENNIE
		What do you mean???

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

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

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

				RENNIE
		Can't you call for help??

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

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

				RENNIE
		Where are they?

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

	She starts to exit.

				SEAN
		I didn't mean for you to go!

				RENNIE
		Just radio for help, okay???

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

				SEAN
		Mayday, mayday, mayday...

	ANOTHER ANGLE

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

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

	No response. WAYNE and MILES rush in.

				MILES
		Sean, what's going on?

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

				WAYNE
		Jesus Christ...

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

				JULIUS
		Who did this, man?

				WAYNE
		Is the radio even working??

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

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

	EXT. OCEAN - NIGHT (STOCK)

	as a COAST GUARD CUTTER tracks through stormy seas.

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

	INT. BRIDGE - ON SEAN AND OTHERS

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

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

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

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

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

				SEAN
		Yes...

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

	Sean hurries to the LORAN, reading the numbers.

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

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

	INT. BRIDGE - SAME TIME

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

				SEAN
		I've got the numbers.

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

	Suddenly his voice is CUT OFF, followed by STATIC.

				SEAN
		Hello? Are you there??

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

	EXT. DECK - RADIO ANTENNA

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

	EXT. BRIDGE - NIGHT

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

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

				MISS VAN DEUSEN
		Oh dear God...

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

				MCCULLOCH
		Where's the radio?

				SEAN
		It's...dead.

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

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

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

				MCCULLOCH
		What are you talking about?

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

				DECK HAND
		Jason Voorhees.

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

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

				DECK HAND
		He walks this ship, here and now.

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

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

				DECK HAND
		You're the one who's insane!!

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

				MISS VAN DEUSEN
		What are you doing??

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

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

				MCCULLOCH
		Walking corpses are not real!

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

	There's a murmur; it makes sense.

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

	They all look at McCulloch defiantly.

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

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

				MISS VAN DEUSEN
		Please everybody, stay here!!

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

				MCCULLOCH
		Christ...where's Rennie??

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

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

	EXT. DECK - NIGHT

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

	INT. BRIDGE CORRIDOR - NIGHT

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

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

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

				EVA
		Jason...Voorhees?

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

				EVA
		Have you seen Tamara?

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

				EVA
		But she might be in trouble...

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

				EVA
		I don't care about being hip anymore.

	She means it. Wayne nods with understanding.

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

	He hurries on.

	EXT. BOW - NIGHT

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

	POINT OF VIEW THROUGH DECK WINDOW - SAME TIME

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

	REVERSE ANGLE - ON JASON

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

	EXT. BOW - ON RENNIE

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

				RENNIE
		Toby?

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

	JASON'S POINT OF VIEW

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

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

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

	INT. CORRIDOR - TRACKING WITH EVA

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

				EVA
		Tamara?

	JASON'S POINT OF VIEW

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

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

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

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

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

	THE BATHROOM DOOR

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

	EVA

	shrieks, running back out the door...

	INT. STATEROOM HALLWAY

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

	RUNNING WITH EVA (HAND HELD)

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

	JASON'S POINT OF VIEW (STEADICAM)

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

	INT. BOWELS OF SHIP - ON EVA

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

	ANGLE - JASON

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

	INT. CORRIDOR/DISCO (STEADICAM)

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

	TIGHT ON EVA

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

	CROOKED ANGLE - ENTRANCE DOOR

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

	EVA

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

	JASON

	appears on the corridor steps for a brief second. The 
	spotlight goes black, then flashes on again. Now he's 
	gone.

	EVA

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

	JASON

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

	EVA  

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

	EVA'S POINT OF VIEW

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

	EVA

	stops, looking everywhere.

	EVA'S POINT OF VIEW

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

	THE HOCKEY MASK

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

	WIDE SHOT - DISCO

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

	EXT. DECK - NIGHT

	Rennie appears again, scanning her no-visibility 
	surroundings.

				RENNIE
		Toby? Where'd you go?

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

	EXT. BOW - CONTINUOUS

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

	STALKING POINT OF VIEW

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

	RENNIE

	is oblivious as she reads the directions above the 
	controls.

	INSERT - HOIST LEVER (SECOND UNIT)

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

	INSERT - GREEN HOIST BUTTON (SECOND UNIT)

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

	INSERT - ANCHOR CHAIN (SECOND UNIT)

	as the massive black chain links thunder to life.

	STALKING POINT OF VIEW

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

	RENNIE

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

	STALKING POINT OF VIEW

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

	REVERSE ANGLE

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

	THE ANCHOR CHAIN (SECOND UNIT)

	grinds to a halt.

	RETURN TO SHOT

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

				MCCULLOCH
		You had me worried to death!

				RENNIE
		But Sean said...

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

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

	CLOSE UP - EXERCISE MAT

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

	INT. EXERCISE ROOM - NIGHT

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

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

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

				WAYNE
		What are you taking, Julius?

				JULIUS
			(flexes fists)
		Nothin'.

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

	Julius pauses. He's not stupid.

				JULIUS
		Nothin' but this gun.

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

	INT. STATEROOM HALLWAY/RENNIE'S ROOM - NIGHT

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

				RENNIE
		Can't we at least talk about it?

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

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

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

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

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

				MCCULLOCH
		This isn't a request.

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

				RENNIE (O.S.)
		Uncle Charles!

	He ignores her, briskly walking away.

	INT. RENNIE'S STATEROOM - SAME TIME

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

	INT. POWER ROOM - NIGHT

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

				WAYNE
		J.J. -- you down here?

	CLOSER ANGLE

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

	INSERT - WAYNE'S GLASSES (SECOND UNIT)

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

	WAYNE

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

				WAYNE
		We got a major problem, Wayne.

	WAYNE'S BLURRY POINT OF VIEW

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

	POINT OF VIEW THROUGH GRID WORK

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

	WAYNE

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

	WAYNE'S BLURRY POINT OF VIEW

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

	WAYNE

	instantly raises the rifle and FIRES...

	WAYNE'S BLURRY POINT OF VIEW

	...and the body goes down. He's hit him!

	WAYNE

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

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

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

	WAYNE

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

				WAYNE
		No...

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

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

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

	WAYNE

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

	ANGLE - WAYNE'S FEET

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

	TIGHT ON WAYNE

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

				WAYNE
		No no no...

	REVERSE ANGLE

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

	JASON

	hoists him off of J.J.'s body and flings him into:

	THE SHIP CIRCUIT PANEL (EFX)

	which shorts out with a fanfare of ELECTRICAL SPARKS 
	AND FIRE, INSTANTLY FRYING WAYNE.

	INT. BRIDGE - SAME TIME

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

				MISS VAN DEUSEN
		What was that??

				SEAN
			(very worried)
		I don't know.

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

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

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

				MISS VAN DEUSEN
		Did you find Rennie?

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

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

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

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

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

				MCCULLOCH
		Well?

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

	CLOSE UP - WALL OF BUTTONS

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

	JASON'S POINT OF VIEW (EFX)

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

	INT. BRIDGE - SAME TIME

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

	INSERT - AUTO PILOT COMPUTER

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

	RETURN TO SHOT

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

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

	TIGHT ON FIRE ALARM BUTTON

	Jason's fist SMASHES the alarm button...

	INT. BRIDGE - CONTINUOUS

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

				MCCULLOCH
		What's that?

				SEAN
		The fire alarm...

	VARIOUS ANGLES ON BOARD SHIP - NIGHT

	as the shrieking alarm assaults the main deck, hallways 
	and corridors, giving Julius, Miles and Wayne deep 
	pause for thought.

	INT. RENNIE'S STATEROOM - SAME TIME

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

	INT. BRIDGE - NIGHT

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

				MCCULLOCH
		Can you shut that damn thing off??

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

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

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

				MISS VAN DEUSEN
		What about the fire??

				MCCULLOCH
		I doubt very much that one even 
		exists.

				MISS VAN DEUSEN
		What are you talking about?

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

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

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

	Sean heads for the door, shoving it forward.

	EXT. DECK - ON DOOR

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

	JULIUS' POINT OF VIEW

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

	JULIUS

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

	ANOTHER ANGLE

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

				MILES
		I'll take the upper deck.

	Julius nods. They separate. Neither boy notices the 
	smoke which is starting to emerge from a deck vent...

	INT. POWER ROOM - NIGHT (EFX)

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

	EXT. DECK POOL - NIGHT

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

	POINT OF VIEW THROUGH LADDER

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

	EXT. UPPER DECK - CONTINUOUS

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

	ANOTHER ANGLE

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

	...but Jason easily grabs the axe handle before it makes 
	contact, flinging it away.

	EXT. LOWER DECK - ON JULIUS

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

				JULIUS
		Miles??

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

	RUNNING WITH MILES

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

	JASON'S POINT OF VIEW

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

	EXT. DECK STAIRS - SAME TIME

	as Julius zooms up them to aid his comrade.

	EXT. RADAR MAST - NIGHT

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

	MILES' POINT OF VIEW

	Jason is right at his heels.

	MILES

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

	STUNT FREEFALL

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

	CLOSE UP - MILES' FACE  

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

	EXT. DECK - ON JULIUS

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

	MILES (EFX)

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

	JULIUS

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

	EXT. STORMY OCEAN (TANK)

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

	INT. RENNIE'S STATEROOM - NIGHT

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

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

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

	YOUNG JASON (EFX)

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

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

	RENNIE

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

	YOUNG JASON

	grabs her hand, pulling hard, then grinning wide.

	RENNIE

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

	HERSELF!

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

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

	RENNIE

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

	YOUNG RENNIE

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

	NEW ANGLE

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

	CLOSE ON RENNIE'S HAND

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

	TWO SHOT - RENNIE AND JASON

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

	CLOSE ON RENNIE'S HAND

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

	CLOSE ON JASON

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

	RENNIE

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

	THE DOOR

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

				SEAN
		Rennie...??

				RENNIE
			(pointing)
		The window...

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

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

	She breaks down; he holds her.

				SEAN
		It's gonna be okay...

	INT. POWER ROOM - NIGHT (EFX)

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

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

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

	INT. RENNIE'S STATEROOM - SAME TIME

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

				RENNIE
		What is it??

	One second later, the lights begin to flicker.

				SEAN  
		The power room...

	INT. POWER ROOM - SAME TIME (EFX)

	as huge amounts of water rush in from a gaping hole in 
	the hull.

	INT. SHIP KITCHEN - SAME TIME

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

	PONT OF VIEW FROM KITCHEN OVENS

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

	MCCULLOCH

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

	INT. RENNIE'S STATEROOM - SAME TIME

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

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

				RENNIE
		Is the ship going to sink??

	He returns to Rennie, the panic settling back in.

				SEAN
		I don't know.

	Her ultimate fear is staring her straight in the face. 
	Suddenly the dim blue lights flicker on.

				SEAN
		The emergency lights just kicked in...

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

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

				RENNIE
			(terrified)
		I'm not going near any lifeboat!

				SEAN
		But Rennie...

				RENNIE
		I'm not!!

	INT. SHIP RESTAURANT ROOM - SAME TIME

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

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

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

	INT. ENGINE ROOM - SAME TIME (EFX)

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

	INT. SHIP HALLWAY - SAME TIME

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

				MCCULLOCH
		Rennie??

	MCCULLOCH'S POINT OF VIEW

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

	MCCULLOCH

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

				MCCULLOCH
		Come on, answer!!

	INT. BRIDGE - SAME TIME

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

	JASON'S POINT OF VIEW

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

	RETURN TO SHOT

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

	INSERT - CONSOLE

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

	INT. BOWELS OF SHIP - SAME TIME  

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

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

	INSERT - ABANDON SHIP BUTTON

	as Jason presses it with firm deliberation, and:

	INT. BOWELS OF SHIP - CONTINUOUS

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

	ANGLE - CORRIDOR (EFX)

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

	REVERSE ANGLE (EFX)

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

	WAYNE'S CHARRED CORPSE (EFX)

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

	EXT. DECK - NIGHT

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

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

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

	STALKING POINT OF VIEW

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

	REVERSE ANGLE

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

				MCCULLOCH
		What did you do with Rennie??

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

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

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

	EXT. DECK - CLOSE ON MAHOGANY DECKING - SAME TIME

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

	INT. CORRIDOR - NIGHT

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

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

				SEAN
		This is Jason's fault!

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

	EXT. LIFEBOAT STATIONS - NIGHT

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

	ANGLE - LIFEBOAT  

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

	MISS VAN DEUSEN

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

	INSERT - HOIST CABLE (SECOND UNIT)

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

	EXT. SHIP/OCEAN (TANK)

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

	MISS VAN DEUSEN

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

	MISS VAN DEUSEN'S POINT OF VIEW

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

	ANGLE TO INCLUDE ALL

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

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

	Finally the message comes forth:

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

	His face grows taut with anger.

				MCCULLOCH
		Jason Voorhees is dead!!

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

	MCCULLOCH

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

	ANGLE - DECK HAND (EFX)

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

	CLOSE ON HIS BACK (EFX)

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

	RETURN TO MASTER

	McCulloch gazes with utter disbelief.

				MCCULLOCH
		Dear Christ...

				SEAN
		We have to get off this ship!!

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

	EXT. LIFEBOAT STATIONS - NIGHT

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

				SEAN
		Everybody in -- I'll get the hoists

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

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

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

				MCCULLOCH
		Get in the boat, Rennie!

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

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

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

				SEAN
		Stop it!!

				MISS VAN DEUSEN
		Leave her alone, Charles!

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

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

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

	EXT. LIFEBOAT STATIONS - SAME TIME

	as Rennie clings to	 Miss Van Deusen, crying.

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

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

	INT. LIFEBOAT - CONTINUOUS

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

				RENNIE
		Toby...

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

	INSERT - HOIST BUTTON (SECOND UNIT)

	as Sean jabs it and the hoist motor kicks in.

	EXT. SHIP - WIDE SHOT (EFX)

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

	EXT. LIFEBOAT STATIONS - CONTINUOUS

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

	JASON

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

	RETURN TO SHOT

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

				SEAN
		Come on...faster....

	JASON'S POINT OF VIEW

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

	EXT. SHIP/STORMY SEA - NIGHT (TANK)

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

	TRACKING WITH JASON

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

	EXT. SHIP/STORMY SEA (TANK)

	as the ship finally touches water, and:

	INSERT - HOIST CABLE (SECOND UNIT

	Jason's axe blade CHOPS THE CABLE...

	EXT. SHIP/STORMY SEA (TANK)

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

	JASON

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

	SEAN (TANK)

	grabs an oar, turning back to McCulloch.

				SEAN
		Start rowing!!

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

	SEAN'S POINT OF VIEW

	Jason is none.

	EXT. SHIP/STORMY SEA (TANK)

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

				SEAN
		He's gone...

	POINT OF VIEW FROM WATER (TANK)

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

	INT. LIFEBOAT (TANK)

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

	A DARK FIGURE (TANK)

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

				SEAN
		It's Julius!

	Miss Van Deusen moves to help him and we:

								 SLOW DISSOLVE TO:

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

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

	INT. LIFEBOAT - DAY (OCEAN?)

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

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

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

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

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

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

	Sean slowly nods, turning on the calculator.

								  SLOW DISSOLVE TO:

	EXT. OCEAN - NIGHT (TANK)

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

	INT. LIFEBOAT - NIGHT (TANK)

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

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

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

	INT. LIFEBOAT (TANK)

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

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

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

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

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

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

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

	EXT. EMPTY OCEAN - ANOTHER ANGLE (TANK)

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

	EXT. CANNERY HARBOR - NIGHT

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

	CLOSER ANGLE

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

	YOUNG RENNIE

	flailing her arms in the water right next to the 
	lifeboat, drowning.

				YOUNG RENNIE
		Hhhhelp...me....

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

	EXT. BARGE - ON RENNIE

	She gazes in utter shock, screaming:

				RENNIE
		No!!!

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

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

	McCulloch grits his teeth.

				MCCULLOCH
		Come on -- everybody up the ladder.

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

	CLOSE ON LADDER - NIGHT

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

	JASON'S POINT OF VIEW

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

	JASON

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

	WIDE SHOT - BARGE AND DOCK WAREHOUSES - NIGHT

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

	EXT. CANNERY WAREHOUSE DISTRICT - NIGHT  

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

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

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

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

	PREDATOR'S POINT OF VIEW - SAME TIME

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

	RETURN TO SHOT

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

				GANG RANGER #1
		Hands up!!

				GANG BANGER #2  
		Do it!!

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

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

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

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

				GANG BANGER #L
		Now ain't that sweet.

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

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

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

				GANG BANGER #L
		You got a problem, Dad?

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

				RENNIE
		No!

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

	ANGLE - TOBY

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

	RETURN TO SHOT

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

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

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

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

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

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

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

	The others watch helplessly as Rennie is abducted.

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

	Julius starts to move after them. McCulloch grabs him.

				MCCULLOCH
		You heard him! We have to call the 
		police

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

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

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

				MCCULLOCH
		My niece's life hangs in the balance 
		right now!! Every second counts.

	No more rebuttal. They hurry off.

	EXT. GANG BANGER'S LAIR - NIGHT

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

				GANG BANGER #L
		Welcome to the casbah, princess.

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

	ANOTHER ANGLE

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

	CLOSE UP - SYRINGE

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

				RENNIE
		Please don't...

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

	CLOSE ON JASON'S FEET - SAME TIME

	Amongst the slime and cigarette butts is a discarded 
	syringe. Jason picks it up.

	CLOSER ANGLE - COUCH

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

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

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

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

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

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

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

	WIDER ANGLE

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

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

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

	RENNIE

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

	GANG BANGER #2

	comes around the corner.

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

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

				GANG BANGER #2
		Who the fuck are you?

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

				GANG BANGER #2
		You're dead, fuckhead.

	BANG!

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

	RENNIE

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

	EXT. ALLEY #1 - NIGHT (LONG LENS)

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

	PREDATOR'S POINT OF VIEW

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

	JULIUS

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

				JULIUS
		C'mon...

	Finally a click and muffled words from the operator.

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

				

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

	RUNNING WITH JULIUS (HAND HELD)

	with no apparent direction. Literally running for his 
	life.

	TRACKING WITH JASON

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

	JULIUS' POINT OF VIEW (HAND HELD)

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

	ANGLE - FIRE ESCAPE

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

	ANGLE - JASON

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

	EXT. ROOFTOP - CONTINUOUS

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

	REVERSE ANGLE

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

				JULIUS
		Use the combos and keep the feet 
		light...

	THE FIGHT BEGINS, man against monster, each sizing the 
	other up. 
	Jason takes the first swing, Julius deftly dodging him 
	and countering with left-right-left combination. They 
	have absolutely no effect. Julius follows up with a round 
	of kidney punches. Again, nothing. Julius finds himself 
	being forced back against the rings, which in this case 
	is the edge of the roof. He risks a glance backwards and 
	sees:

	JULIUS' POINT OF VIEW

	It's a long, rough way down. It's do or die time.

	RETURN TO SCENE

	as Julius SLAMS PUNCH AFTER PUNCH INTO JASON, forcing him 
	back to the center of the rooftop, spending every last 
	ounce of his energy in doing so. He throws one more 
	feeble punch, knowing it's his last.

				JULIUS
		Take your best shot, motherfucker...

	Jason gladly obliges, winding up and recoiling with a 
	punch none of us expected...

	JULIUS' HEAD (EFX)

	gets literally knocked off his shoulders, cascading off 
	the edge of the rooftop, and:

	ANGLE - SLANTED LOWER ROOF

	--the decapitated head lands on a sloped roof below, 
	rolling down towards street level and falling into a 
	garbage-filled dumpster.

	EXT. ALLEY #2 - NIGHT  

	as Rennie dizzily runs down the alley, the effects of the 
	drugs kicking in.

	RENNIE'S POINT OF VIEW (POST EFX)

	Blurry, disoriented, erratic. Suddenly A FIGURE JUMPS OUT 
	FROM A CORRIDOR IN FRONT OF HER.

	RETURN TO SHOT

	It's SEAN. He rushes to her, sensing her disorientation.

				SEAN
		Rennie...what'd they do to you??

				RENNIE
		Drugs...
			(serious pause)
		Then Jason came. He's here, Sean.

	Oh Jesus. He never expected this.

				SEAN
		We have to find the others.

	Together they run off.

	EXT. ALLEY #3 - NIGHT (OVERHEAD ANGLE)

	as Miss Van Deusen briskly walks below us, far from 
	relaxed in this threatening environment.

	TRACKING SHOT

	She moves forward, the only sound being her shoes against 
	wet asphalt. Four more steps, then a DARK, OUT OF FOCUS 
	FIGURE STEPS OUT BEHIND HER WITH A GUN.

				VOICE
		Freeze.

	RACK FOCUS to find a uniformed IRISH COP standing there, 
	service revolver raised. McCulloch steps out from the 
	alcove as well, recognizing Miss Van Deusen.

				MCCULLOCH
		It's okay -- she's with me.

	She turns around, lowering her hands, utterly relieved.

				IRISH COP
		My apologies, Miss. My unit's right 
		over here.

	They head through an ABANDONED PARKING LOT towards a 
	concrete wall with stairs; about six feet above the wall 
	is an upper street, where his patrol car is parked. They 
	get halfway through the lot when they hear:

				SEAN (O.S.)
		Hey!

	REVERSE ANGLE

	as Sean and Rennie run to join them from the alley. 
	McCulloch rushes to his niece.

				MCCULLOCH
		Rennie, thank God...

	But Rennie goes to Miss Van Deusen instead. It's a bitter 
	pill for McCulloch.

				SEAN
		Jason's here in New York.

				MCCULLOCH
		Don't be ridiculous!

				MISS VAN DEUSEN
		Is it true, Rennie??

	She nods, unable to repress her fear.

				IRISH COP
		Is this the lass in question?

				MCCULLOCH
			(stewing)
		Yes.

				IRISH COP
		Who is...Jason?

				MCCULLOCH
		He's a walking corpse, a phantasm from 
		hell.

	The others stare at McCulloch angrily. Miss Van Deusen 
	turns to the confused policeman.

				MISS VAN DEUSEN
		I'm afraid you'll have some trouble 
		believing us.

				IRISH COP
		So try me.

	EXT. SQUAD CAR - NIGHT

	parked above the abandoned garage, the interior dark. The 
	Cop and our heroes appear in the background, coming 
	towards it.

				IRISH COP
		You're right -- I find it a tall tale 
		indeed. 
		But you seem like honest folks so I'm 
		inclined to believe at least some of 
		it.

				MISS VAN DEUSEN
			(relieved)
		Thank you. The first thing we' have to 
		do is find Julius.

				IRISH COP
		I'm sure he'll pop up soon enough. Why 
		don't you climb in the back while I 
		radio for backup.

	ADJUST INTO A FULL SHOT OF THE BACK DOOR AS HE SWINGS IT 
	OPEN...but even in this darkness, we see that it's 
	empty. They climb in. The Cop opens his drivers door, 
	and...

	INSERT - DOME LIGHT (SECOND UNIT)

	The car dome light blinks on, and...

	ANGLE - BACK SEAT

	Our four survivors' faces are brightly illuminated, 
	INSTANTLY CHANGING TO GASPS AND SCREAMS because:

	THEIR POINT OF VIEW (EFX)

	Julius' severed head is resting on the dash board, 
	staring back at them!!!

	ANGLE - COP

	reacting to their terror, seeing Julius' head, quickly 
	grabbing the radio mike. But he has no time for a message 
	because JASON REACHES UP FROM THE PARKING LOT PIT BELOW, 
	GRABBING THE COP'S ANKLE, DRAGGING HIM DOWN. The radio is 
	still in his grasp.

	INSERT - DISPATCH RADIO (SECOND UNIT)

	as the radio cord grows taut, finally snapping. The 
	Irish cop's awful yell echoes over it, silencing after a 
	sick THUD.

	INT. SQUAD CAR - CONTINUOUS

	The foursome instantly try to flee the car, but police 
	cars have no door handles in the back.

				SEAN
		There aren't any handles!!

	Cocaine flowing through her veins, Rennie acts 
	hyperkinetically, scratching her way over the seats just 
	as:

	JASON

	appears at the parking lot stairs, STALKING STRAIGHT 
	TOWARDS THE CAR.

	INT. SQUAD CAR - CONTINUOUS

	There is no time for escape. Rennie finds the ignition 
	and fires it up, jamming it into drive and STOMPING ON 
	THE ACCELERATOR. Julius' head rolls off the dash, onto 
	the floorboards.

	RENNIE'S POINT OF VIEW (POST EFX)

	Her vision is still a stoned one but clear enough to set 
	her target. We come straight at the abominable creature 
	and:

	WHAM! (EFX)

	Jason is mowed down.

	RENNIE

	slams on the brakes, jerks it into reverse and FLOORS IT 
	AGAIN.

	CLOSE ON JASON (EFX)

	as the automobile grinds back over him a second time.

	RENNIE

	stomps on the brake pedal and the tires SCREECH TO A 
	HALT. They all take a moment to catch their breath, 
	looking out the front window...

	THEIR POINT OF VIEW

	Jason lies dead on the asphalt. For about two seconds. He 
	SLOWLY STANDS.

	RENNIE

	desperately throws it into forward again, gripping the 
	wheel and RACING FORWARD.

	POINT OF VIEW FROM FRONT BUMPER (STUNT DRIVE)

	Jason's standing there for one second, but the next 
	moment he is LEAPING OUT OF THE WAY...

	EXT. ABANDONED PARKING LOT (STUNT DRIVE)

	...and the squad car SMASHES THROUGH A CHAIN LINK FENCE, 
	FREEFALLING TO THE ABANDONED PARKING LOT BELOW.

	EXT. ALLEY #3 - CONTINUOUS (STUNT DRIVE)

	as the car bottoms out, then swerves into a sharp right 
	turn, racing down the alley.

	POINT OF VIEW FROM FRONT BUMPER (STUNT DRIVE)

	as Jason appears at the end of the alley, blocking their 
	retreat.

	INT. SQUAD CAR - CONTINUOUS

	as Rennie stomps the brake pedal, jerking it into 
	reverse...

	EXT. ALLEY #3 - CONTINUOUS (STUNT DRIVE)

	as she backs up, changes gears and races down an 
	intersecting alley.

	POINT OF VIEW FROM FRONT BUMPER (STUNT DRIVE)

	speeding towards an escape when JASON POPS OUT AGAIN! 
	He's everywhere all at once...

	INT. SQUAD CAR - CONTINUOUS

	slamming on the discs one more time, flooring it into 
	reverse.

	CLOSE ON TIRES - CONTINUOUS (SECOND UNIT)

	as the squad car's rear tires smoke and spin, finally 
	gripping pavement.

	POINT OF VIEW OUT REAR WINDOW (STUNT DRIVE)

	as we fly backwards...and JASON APPEARS BEHIND THEM!!

	TIGHT ON REAR VIEW MIRROR

	--Rennie's terrified face filling it, seeing that Jason 
	is in back of them.

	TIGHT ON REAR TIRES (SECOND UNIT)

	as they screech to a halt one final time, rapidly 
	rotating in the opposite direction and speeding out of 
	frame.

	INT. SQUAD CAR - CONTINUOUS

	Rennie is almost maniacal now, her knuckles white around 
	the vinyl wheel, her foot practically mashed through the 
	floorboard.

				MCCULLOCH
		Rennie, for God's sake slow down!!

	She doesn't hear him, or anything for that matter. Her 
	eyes remain straight ahead, never blinking.

	RENNIE'S POINT OF VIEW (POST EFX)

	There's a FIGURE standing in the distance. But it looks 
	too small to be Jason. We RUSH TOWARDS IT, CHANGING INTO 
	SLOW MOTION JUST BEFORE IMPACT. The figure is a dripping 
	wet boy with a sinister smile. YOUNG JASON.

	EXT. BRICK WALL - A SPLIT SECOND LATER (EFX)

	as the front of the squad car RAMS THE BRICK WALL HEAD-
	ON, THE HOOD BURSTING INTO FLAMES.

	ANOTHER ANGLE

	as the front passenger door is shoved open by Sean, who 
	drags out Rennie. McCulloch follows close behind, helping 
	Sean carry her away from the wreckage, over by a row of 
	old oil drums filled with slime and rainwater. Then it 
	suddenly hits Sean...

				SEAN
		Miss Van Deusen...

	He takes two steps back to the car when:

	BOOM! (EFX)	

	The squad car interior is ENGULFED IN A BALL OF FLAMES.

	RENNIE

	opens her dazed eyes, seeing Miss Van Deusen's body 
	charring inside the wreckage. It's incomprehensible. She 
	numbly gets to her feet, stepping towards it. Something 
	makes her hesitate: she peers down at the asphalt...

	EXT. ASPHALT - RENNIE'S POINT OF VIEW (POST EFX)

	A pool of gasoline has collected, flames dancing across 
	its glassy surface. Suddenly a TINY ROWBOAT DISSOLVES IN, 
	not unlike the lifeboat she was so afraid of. The 
	rowboat glides across the surface of the burning 
	gasoline, TWO PEOPLE RIDING IN IT. The flames and asphalt 
	SLOWLY FADE OUT AND GIVE WAY TO A SERENE LAKE.

	RENNIE'S FLASHBACK - CRYSTAL LAKE - DAY

	Shimmering water, clouds and pine trees reflected in it. 
	The rowboat floats into view. The two occupants are YOUNG 
	RENNIE and MCCULLOCH. She's wearing a bathing suit and an 
	innocent smile. And not an inkling of fear about the 
	water. She stands, letting the sun soak into her.

				YOUNG RENNIE
		What a beautiful day.

				MCCULLOCH
		Perfect for a swim, isn't it?

	She frowns at him, looking away.

				MCCULLOCH
		You've been coming out here every 
		summer for the last three years, young 
		lady, and you still haven't learned 
		how.

				YOUNG RENNIE
		I'll take some lessons this time. I 
		promise.

	She bends over, splashing the water.

				MCCULLOCH
		That's what you said last year. I 
		think the time for your first swimming 
		lesson has just come.

	The splashing stops.

				MCCULLOCH
		You don't want to end up drowning like 
		that Voorhees boy, do you?

	She's instantly tense.

				MCCULLOCH
		He never learned how either and he's 
		still at the bottom of this lake.

				YOUNG RENNIE
		He is not.

				MCCULLOCH
		Oh, he is indeed. And ready to pull 
		down anybody who falls in and can't 
		swim.

				YOUNG RENNIE
		You're telling a lie.

				MCCULLOCH
		Am I? Let's find out.

	...And quicker than she's able to react to it, MCCULLOCH 
	PUSHES HER OVERBOARD.

	SPLASH!

	as Rennie's body violently disrupts the calm surface. 
	She immediately begins to flounder. McCulloch calmly 
	leans over the edge.

				MCCULLOCH
		Better swim before Jason drags you 
		down, Rennie. Come on, you can do 
		it...

	...but Rennie thrashes in the water, struggling to keep 
	from sinking under the surface.

	RENNIE'S POINT OF VIEW

	Her uncle's face blurs and clears as water splashes her 
	eyes.

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

				MCCULLOCH
		You can and you will! Swim, Rennie!

	RENNIE

	is too panicked to obey.

				YOUNG RENNIE
		Hhhhelp...me....

	She coughs on some water then disappears...

	UNDERWATER (TANK)

	The world above her ceases to exist, murky lake water 
	taking over. Rennie looks-down, and to her horror...

	RENNIE'S POINT OF VIEW (TANK)

	Young Jason is grabbing her ankle and dragging her 
	down. The whole image BURSTS INTO FLAMES and we:

								  DISSOLVE BACK TO:

	EXT. ASPHALT - NIGHT

	as the gasoline continues to burn, the rowboat gone. 
	ADJUST to find RENNIE'S FACE, the flames of the car 
	wreckage flickering over her glassy eyes. She looks up at 
	Miss Van Deusen's body one last time before:

	ANGLE - SQUAD CAR (EFX)

	The auto's fuel tank EXPLODES, SHRAPNEL FLYING 
	EVERYWHERE.

	EXT. ALLEY #4 - CONTINUOUS

	She looks up at her uncle with knowing eyes. Eyes that 
	tell him she's remembered everything.

				RENNIE
		You pushed me...

				MCCULLOCH
			(defensively)
		I was only trying to teach you. But I 
		pulled you out, Rennie. I saved your 
		life.

	Rennie just stares, incredulous.

				SEAN
		You son of a bitch...

	She lets it build until she's ready to explode...then:

				RENNIE
		He was down there!!!

	And Rennie runs off. McCulloch starts to follow but Sean 
	grabs him, shoving him down.

				SEAN
		You keep away from her!

	Sean chases after Rennie. Camera methodically PANS BACK 
	TO MCCULLOCH, crumpled on the ground. A very bitter man. 
	He wipes his hands, getting ready to stand when THE 
	SHADOW FALLS OVER HIM. His skin fades to porcelain white.

				MCCULLOCH
		You...are...NOT POSSIBLE.

	But possible, and actual, he is. A PAIR OF ROTTED ARMS 
	EXTEND DOWN, RIPPING HIM OUT OF FRAME.

	TRACKING WITH JASON

	as the walking corpse lifts a screaming McCulloch over 
	his head, carrying him over to one of the scum-filled OIL 
	DRUMS, SHOVING HIM HEAD-FIRST INTO IT. Jason grips 
	McCulloch's thrashing legs as bubbles rise to the surface 
	of the slime, a pathetic gurgling reverberating out the 
	drum. At last McCulloch's appendages go limp. Jason 
	releases him, moving on.

	EXT. ALLEY #5 - NIGHT

	as Sean runs into view, glancing around, spotting Rennie, 
	crouched against a crumbled brick wall. No tears...only 
	hate. Sean sits down next to her. After several 
	moments...

				RENNIE
		I was at school when they told me. 
		'Rennie, we have some very bad news... 
		your parents have been killed in an 
		auto accident.'

	Sean gently takes her hand, sharing her internal agony.

				RENNIE
		It seems like everybody I care about 
		ends up...

	She can't finish. PUSH IN as Sean kisses her on the 
	forehead, then makes her look into his eyes.

				SEAN
		Not this time.

	He caresses her face; it develops into a tender kiss. 
	Finally she holds him back, letting it out. At the same 
	time:

	STALKING POINT OF VIEW

	Somebody is creeping at a low angle towards them.

	SEAN AND RENNIE

	are lost in their shared quiet moment...until the 
	GROWLING SOUND becomes audible. They look up, seeing:

	TOBY

	cautiously approaching them. Rennie stands, absolutely 
	relieved.

				RENNIE
		Toby...

	She starts to move towards him and her dog SNARLS 
	VICIOUSLY, CROUCHING BACK IN FEAR.

				RENNIE
		What's wrong, boy?

	Another protective growl, then:

	CRASH!

	as Jason stampedes through a stack of crates and garbage 
	cans behind them.

	SEAN, RENNIE AND TOBY

	abruptly flee down the alley, Jason in mad pursuit.	

	EXT. ALLEY/SUBWAY ENTRANCE - NIGHT

	as Rennie, Sean and the dog run straight towards us, 
	Jason swiftly catching up. FAST TRACK WITH THEM over to a 
	deserted, rain-slicked SUBWAY ENTRANCE.

	INT. SUBWAY ENTRANCE - CONTINUOUS (EFX)

	as they bang through the glass doors, sailing past us. 
	Three beats later, JASON APPEARS, not bothering to open 
	the door, STAMPEDING RIGHT THROUGH THE GLASS.

	INT. SUBWAY STATION - ESCALATORS (N.Y.)

	Sean, Rennie and Toby sail down the escalators past a few 
	scattered COMMUTERS. Again, Jason appears, looming tall 
	at the top. He starts down the "up" escalator.

	JASON'S POINT OF VIEW (ICY.)

	as an ELDERLY COUPLE rises toward us. Their reactions 
	grow more bleak the closer we get, finally registering 
	terror as we plow right through them.

	ANGLE - SUBWAY TURNSTILES (ICY.)

	Sean and Rennie hop over a metal turnstile, Toby crawling 
	under it. A TICKET TAKER leans out his window, shouting 
	at them.

				TICKET TAKER
		Hey!

	The teenagers are soon forgotten as JASON SMASHES THROUGH 
	THE TURNSTILE LIKE THE TERMINATOR, TEARING THE ALUMINUM 
	WHEEL RIGHT OFF ITS BASE. The Ticket Taker reacts 
	speechlessly, deciding not to press his luck.

	INT. SUBWAY PLATFORM - CONTINUOUS (N.Y.)

	as Sean and Rennie slide up to the edge of the track pit, 
	SEEING THE LIGHTS OF AN APPROACHING TRAIN which is taking 
	too long to get there.

				SEAN
		Come on...

	...but Jason arrives before the train. Toby barks and 
	snarls, trying to protect them. Jason is unfazed. He 
	treads toward them and:

	DOG TOBY

	leaps onto Jason, sinking his teeth into the monster's 
	throat. Jason wrestles the animal into submission just 
	as:

	THE SUBWAY TRAIN

	streaks into the station. A fraction of time later:

	JASON

	heaves the dog in front of the train.

	RENNIE

	shrieks in horror as Toby disappears inside the pit just 
	as the train roars by.

	ANGLE - ONLOOKERS

	They're New Yorkers, but not callous enough to stomach 
	this, quickly scattering. Even a group of severe 
	SKINHEADS decide they can wait for the next train, 
	quickly heading up the escalators after seeing Jason in 
	action.

	SEAN

	makes Rennie look away, dragging her with him along the 
	platform edge in retreat as Jason returns his attention 
	to them. They reach the end of the platform, having no 
	choice but to board the front car.

	INT. SUBWAY TRAIN (N.Y.)

	as the doors whoosh shut...but Jason PRIES THEM OPEN. The 
	TRAIN ENGINEER glances back from his booth, seeing Jason 
	making the improper entry.

				TRAIN ENGINEER
		Hey pal, you can't do that...

	A second later he's gotten a good look at Jason. It's too 
	late for a retraction as JASON SAVAGELY JAMS HIS HEAD 
	INTO THE TRAIN CONSOLE.

	INSERT - TRAIN CONSOLE

	as the Engineer's arm KNOCKS THE THROTTLE FORWARD...

	EXT. SUBWAY STATION - CONTINUOUS (N.Y.)

	...and the train begins to move, racing into the black 
	tunnel.

	INT. SUBWAY TRAIN - NIGHT (N.Y.)

	as Rennie and Sean run for their lives, arriving at the 
	end of a car, jamming the separating doors open and 
	entering the next car. Jason follows right behind.

	INT. SUBWAY STATION - NIGHT (N.Y.)

	as the train thunders through the station without 
	stopping, baffling several waiting COMMUTERS.

	INT. SUBWAY TRAIN - JASON'S POINT OF VIEW (N.Y.)

	--seeing Sean and Rennie disappear through another 
	connecting door. We storm our way through it into the 
	next car right after them. A handful of TRAVELERS cower 
	away from us.

	INT. SUBWAY TUNNEL - NIGHT (N.Y.)

	as the train rapidly speeds past us, showing no signs of 
	slowing down.

	INT. SUBWAY TRAIN - FINAL CAR (N.Y.)

	as Sean and Rennie come through another set of separating 
	doors, rushing through... finding they're in the last 
	car. They look back, seeing Jason enter at the opposite 
	end. The monster stalks forward. Sean's eyes dart 
	around. He spots the EMERGENCY STOP CORD. HE LEAPS FOR 
	IT.

	EXT. SUBWAY TUNNEL - NIGHT (N.Y.)

	...and the train SCREECHES TO A HALT.

	INT. SUBWAY TRAIN - CONTINUOUS (N.Y.)

	The sudden stop throws Jason on his back. Sean throws the 
	rear door open, jumping out with Rennie.

	INT. SUBWAY TUNNEL - NIGHT (N.Y.)

	as Sean and Rennie sprint down the center of the tracks 
	toward the light of the next station, running out of 
	strength.

	INT. TIMES SQUARE STATION - NIGHT (N.Y.)

	as they emerge from the darkness, up to the edge of the 
	pit. Sean boosts Rennie up, starting to climb up himself 
	when:

	JASON

	fires out from the tunnel, grabbing onto Sean's ankle. 
	Rennie screams as Sean is dragged down...but he manages 
	to latch onto a chain securing a garbage receptacle. 
	Jason pulls harder, stretching Sean to his limit as 
	Rennie watches helplessly.

				RENNIE
		NO!!!

	RENNIE

	runs straight towards the track pit like a football 
	punter, RECOILING WITH HER RIGHT LEG, KICKING JASON 
	SQUARELY IN THE FACE.

	JASON (EFX)

	trips backwards and LANDS ON THE THIRD, ELECTRIFIED RAIL, 
	RECEIVING TEN THOUSAND VOLTS. His body smokes and 
	convulses, finally sizzling out. He appears to be 
	terminated!!!

	ANGLE - SEAN AND RENNIE

	as they get to their feet, holding each other tight, 
	looking down on the now-dead undead creature.

	EXT. TIMES SQUARE - NIGHT (N.Y.) (CRANE SHOT)

	as our heroes arise into the neon-filled big city 
	wonderland, relieved to be alive, gazing around at the 
	awesome spectacle known as Times Square. A huge DIGITAL 
	CLOCK tells us it's a quarter to midnight. Sean wraps his 
	arm around her.

				SEAN
		It's over, Rennie. It's finally over.

	Camera RISES ABOVE THEM, RACKING BACK TO THE SUBWAY EXIT. 
	Guess who has just made an encore...with more energy 
	than ever!!!

	SEAN AND RENNIE

	look all around them, having never been to a city as big 
	as this. They finally turn far enough around to spot 
	JASON in a series of three quick cuts, each one closer 
	than the last.

				SEAN
		God...please no...

	But Jason keeps on coming.

				RENNIE
		Somebody help us!! He's going to kill 
		us!!!

	But the heavy Times Square foot traffic ignores her, 
	bustling onward. Rennie and Sean have no choice but to 
	flee again.

	JASON

	shoves his way through the preoccupied pedestrians; 
	they've certainly seen weirder characters than him here. 
	He moves past a group of STREET URCHINS listening to some 
	rap from their ghetto blaster. His foot obliterates 
	their stereo system with one stride. They instantly pull 
	out switchblades and chains.

				STREET URCHIN
		You're dead meat, slime bag.

	Jason stops, turning around, towering over the kids. He 
	has blood and gore caked everywhere, his skin charred 
	from the electrocution. Jason starts to remove his mask, 
	facing them squarely.

	TIGHT ON STREET URCHINS

	as Jason's mask comes off out-of-frame. Their tough faces 
	turn to putty, scared completely shitless.

				STREET URCHIN
		Hey man, it's cool, it's cool...

	They turn tail and race like the wind. Jason steps 
	forward so that we're looking at the back of his head, 
	never seeing his naked face. He slips his hockey mask on 
	again, turns into a CLOSE UP, then exits.

	INT. TIMES SQUARE DINER - NIGHT

	filled with noise, smoke and derelicts. A tough, 
	redheaded WAITRESS with a thick Brooklyn accent stands 
	behind the countertop, a wall of mirrors behind her. The 
	front door bangs open with the entrance of Sean and 
	Rennie, rushing up to the waitress.

				SEAN
			(out of breath)
		You have to call the police...

				RENNIE
		Please, hurry...

	A telephone sits right next to her, but this is New York.

				WAITRESS
		There's a pay phone in back.

	They start to run.

				WAITRESS
		...but it's broken.

				RENNIE
		You don't understand -- there's a 
		maniac trying to kill us!!!

				WAITRESS
			(blase)
		Welcome to New York.

	There's no time for further response as JASON CRASHES 
	THROUGH THE DINER DOOR, MOWING A PATH STRAIGHT TOWARDS 
	THEM. Sean and Rennie run out the back as the Waitress 
	eyes Jason with complete disbelief.

	ANOTHER ANGLE

	as the BURLY CHEF comes out to confront him. Jason FLINGS 
	HIM HEAD FIRST INTO THE JUKEBOX.

	THE WAITRESS

	picks up the telephone, really pissed off.

	A BIKER

	climbs off his counter stool, revealing a HUGE BOWIE 
	KNIFE. Jason plows straight for him and the Biker STABS 
	JASON IN THE HEART. Jason has little reaction, pulling it 
	out, tossing it aside. The Biker's face goes wan, backing 
	away.

	THE WAITRESS

	stops in mid-dial. Fear is starting to register now.

	JASON

	lifts the very large man and EFFORTLESSLY HEAVES HIM INTO 
	THE MIRROR OVER THE COUNTER.

	THE WAITRESS

	feels the phone receiver slipping from her grasp, her 
	mouth trembling. She backs away from the beast as far as 
	she can. Jason has no time to waste on her, trampling out 
	the back after Rennie and Sean as the other patrons 
	shrink from him.

	INT. REAR OF DINER - SAME TIME

	as Sean fumbles to unlock three deadbolts and two chains, 
	finally getting the back door open and springing into:

	EXT. DEAD END ALLEY - NIGHT

	They run about ten yards before realizing the alley is a 
	dead end. Sean and Rennie start to head back the other 
	way when JASON MOWS OUT FROM THE DINER DOOR. Their vision 
	scatters everywhere in search of a retreat...

				RENNIE
		Look!

	She's spotted a MANHOLE COVER, slightly ajar. They 
	haven't the luxury of thinking about it, Sean sliding the 
	cover back as Jason comes forth.

	INT. SEWER - ENTRANCE CHAMBER - NIGHT

	as they descend into hell...a massive chamber consisting 
	of tall columns, slimy catacombs and three feet of 
	stagnant water. Their alternatives are nil; Sean and 
	Rennie join hands, wading through the swill, splashing 
	deeper into the labyrinth.

	ANGLE UP STAIRS

	as the dim streetlight glowing in the above world is 
	eclipsed by JASON, making his way down after them.

	INT. TUNNEL #1 - NIGHT

	An oval tunnel slanted downward into pitch blackness. 
	Dim overhead lights illuminate salt deposits and eery 
	rust formations. Rennie and Sean appear at the far end, 
	wading from the sewage as the tunnel rises toward us.

	TRACKING SHOT

	as they come forward at a brisk but cautious pace, 
	strangers in a very strange land.

	ANGLE - THEIR FEET

	sloshing through the slime. All is silent until Sean's 
	foot TRIPS OVER A BARREL labeled HUGHES CHEMICAL PLANT. 
	A vaporous green substance oozes out the rusty end of 
	the container, sizzling on the around.

	SEAN AND RENNIE

	carefully sidestep it, continuing on. They make it 
	another ten yards when A FIGURE LEAPS OUT FROM AN ALCOVE, 
	GRIPPING A HUGE WRENCH. Rennie's scream echoes through 
	the tunnel.

	REVERSE ANGLE

	...but it's a middle-aged SANITATION ENGINEER who lowers 
	the wrench, as frightened as they are.

				SANITATION ENGINEER
		What the hell are you kids doing down 
		here?

				SEAN
		Can you help us get out??

				SANITATION ENGINEER
		I sure can and we don't have a minute 
		to waste.

	He begins quickly packing up his tools.

				SEAN
		What do you mean?

				SANITATION ENGINEER
		Toxic waste, son. This sewer floods 
		out with the stuff on the 13th of 
		every month, right at midnight.
			(checks watch)
		And that's less than ten minutes from 
		now.

	Rennie looks down the dark tunnels in all directions, 
	swallowing hard.

				SANITATION ENGINEER
		Follow me.

	He clicks on his high powered flashlight and quickly 
	leads them down:

	INT. TUNNEL #2

	...no less threatening than the one they just left. When 
	they pass a lightless intersecting corridor, JASON EJECTS 
	HIMSELF FROM IT, TACKLING THE SANITATION ENGINEER AND 
	SEAN.

	THE FLASHLIGHT

	rolls through the muck, its beam splashing erratically 
	across the polluted walls.

	THE SANITATION ENGINEER

	begins BASHING JASON'S HEAD IN WITH HIS WRENCH but the 
	monster drags the kicking and screaming man into TUNNEL 
	#3.

	RENNIE

	tries to help up Sean but he's been knocked into the 
	opposite wall, barely conscious.

				SEAN
		Run, Rennie...

	She's struck with indecisive shock, looking into Tunnel 
	#3, seeing:

	A GRUESOME SHADOW ON THE WALL

	Jason arches his back with wrench in hand, hammering it 
	over and over into the Sanitation Engineer's skull.

	RENNIE

	backs away but does not run. The time has come to face 
	her fears.

	ANGLE - SHADOW ON TUNNEL #3 WALL

	as Jason takes one more vengeful stroke, finishing him 
	off. He steps from Tunnel #3 with the scarlet-coated 
	tool, his shadow becoming flesh. He moves straight for 
	Sean, who has no hope for escape. Jason cocks the wrench 
	over Sean's skull...and suddenly his hockey mask is 
	SPLASHED WITH A BRIGHT LIGHT. Jason stops, turning 
	directly into it.

	JASON'S POINT OF VIEW

	Rennie is blinding us with the sanitation Engineer's 
	flashlight, giving us only brief glimpses of herself in 
	the reflective wet surroundings.

				RENNIE
		You never got me in the lake, Jason. 
		And you're not going to get me now 
		either.

	Her voice is defiant. She carefully backstops, the 
	irritating light never leaving us.

	JASON

	has been sufficiently taunted. He moves after her.

	JASON'S POINT OF VIEW

	as the bright beam leaves our eyes, Rennie dashing down 
	the intersecting tunnel (#1).

	TIGHT ON JASON'S FEET

	stomping through the sludge, picking up speed. He's 
	wanted to kill Rennie most of all.

	INT. TUNNEL #L

	as Rennie dashes up to the HUGHES CHEMICAL DRUM Sean 
	tripped over, using the back end of the flashlight to 
	crush in the can's rusted lid. The metal is flimsy but 
	still resists her blows. She frantically hammers harder.

	INT. TUNNEL #2 - TRACKING WITH JASON

	He's moving like a freight train now, an addict rolling 
	after his fix.

	INSERT - CHEMICAL DRUM

	as the butt of the flashlight dents the metal, ultimately 
	causing it to cave in.

	INT. TUNNEL INTERSECTION - JASON'S POINT OF VIEW

	--Looking through his unblinking eyes, whipping into 
	Tunnel #1...where we catch a fleeting glimpse of Rennie 
	flinging the contents of the oil drum. A half second 
	later a WAVE OF GRAY/GREEN LIQUID FLIES AT US...

	TIGHT ON JASON (SLOW MOTION)

	and his hockey mask is SPLASHED WITH TOXIC WASTE, 
	SEEPING INTO HIS MASK'S EYE SLITS. He careens back as if 
	her were a rabid dog receiving a load of point-blank 
	buckshot.

	RENNIE

	drops the can, fumbling for the flashlight again.

	CLOSE UP - JASON (EFX)

	as the radiant flashlight beam finds his mask, the 
	plastic beginning to bubble and melt. RUSH INTO A TIGHT 
	CLOSE UP AS JASON TEARS OFF HIS MASK, EXPOSING HIS 
	HIDEOUS FACE: rotted flesh, some of it sizzling from the 
	chemical. Worms slithering out his nostrils. And his 
	eyes...or lack thereof. They're like two raw quail eggs 
	frying in liquid green pollutant...and the yolks just 
	broke, running down his face.

	CLOSE ON FLASHLIGHT

	as the beam begins to waver in her quivering grasp. RISE 
	TO FIND RENNIE'S FACE, reacting to the stomach-turning 
	sight of Jason's visage. She grabs hold of her senses and 
	RUNS.

	ANOTHER ANGLE

	as Rennie skirts past the blinded creature: WHIP PAN WITH 
	HER as she turns down Tunnel #2, heading back toward 
	Sean. CONTINUE TO QUICKLY PAN AROUND until we've come 
	around 360 degrees and are back on JASON, in no way 
	ready to give up. He staggers after Rennie.

	INT. TUNNEL #2

	as Rennie skids up to Sean, still dazed. She grabs him, 
	shaking hard.

				RENNIE
		Get up, Sean!!!

	His eyes blink, only half coherent. Then an inconceivable 
	terror registers in her ears...A LOW, DEEP RUMBLING 
	SOUND, COMING FROM UP AHEAD. Her head jerks in the 
	direction of her planned retreat:

	RENNIE'S POINT OF VIEW

	An ominously empty tunnel, soon to be filled with the 
	unthinkable. The sound of RUSHING LIQUID is growing at 
	leaps and bounds.

	TIGHT ON RENNIE

	as her trembling chin rises, looking at:

	ANGLE - TUNNEL #3 CEILING (EFX)

	The dim overhead lights are beginning to vibrate from 
	the approaching flood.

	RENNIE

	rotates her head and sees:

	JASON

	vision or no vision, he is lurching towards her 
	relentlessly. She is literally sandwiched between hell 
	and high water.

	RENNIE

	drags Sean to his feet with the strength of a possessed 
	woman, pulling him over to a SERVICE LADDER attached to 
	the intersecting alcove wall.

				RENNIE
			(screaming)
		Climb!!!

	She shoves him up it from below, Sean summoning 
	everything he's got to obey her. Rennie shoots a stare 
	back down the tunnel...

	RENNIE'S POINT OF VIEW (EFX)

	The overhead lights are banging around like an earthquake 
	has just hit; the liquid will be arriving any second. Her 
	vision WHIP PANS 180 DEGREES TO FIND JASON APPROACHING 
	FROM THE OPPOSITE END, groping around with his scaly arms 
	like the claws of a roto-tiller.

	ANGLE - LADDER

	as Rennie starts up after Sean, looking down and seeing:

	JASON

	within ten feet of them, shifting directly for the ladder 
	like he's working on some kind of radar.

	RENNIE

	slips on the rusty ladder, regaining her footing. and 
	rushing higher. She takes her final glance into the 
	tunnel, the ultimate horror registering in her corneas as 
	she sees:

	INT. TUNNEL #3 (MODEL EFX)

	A million gallons of green-brown toxic waste splash into 
	the far intersection, FILLING THE TUNNEL, FLOODING 
	STRAIGHT FOR CAMERA.

	JASON

	has just started to climb the ladder when the wind and 
	smell of the rushing toxic waste bombards him. His 
	decomposed head swivels to face:

	INT. TUNNEL #3 (MODEL EFX)

	Tons of lethal sewage, stopping for no one. Arriving in 
	seconds.

	JASON'S FINAL CLOSE UP (EFX/FIBER OPTIC LENS)

	He doesn't need vision to confirm what his other senses 
	already know. Jason's mouth begins to quaver...AND THE 
	FIRST WORDS HE HAS EVER SPOKEN COME OUT, IN THE VOICE OF 
	AN EIGHT YEAR OLD BOY:

				JASON
		Mmmmmmmmmommy...DON'T LET ME DROWN, 
		MOMMY...

	Camera speeds toward his gaping mouth and DOWN HIS THROAT 
	as lightning arcs off his mucous covered insides. We 
	sink deeper into his guts, fire and smoke flaring into 
	our eves, eventually coming to a WELL IN THE PIT OF HIS 
	STOMACH, FILLED WITH BLOOD...and EIGHT YEAR OLD JASON IS 
	DROWNING IN IT.

				YOUNG JASON
		Hhhhelp me....

	A split second later:

	EXT. TUNNEL #3 (EFX) (SLOW MOTION)

	The wall of deadly toxic liquid ENGULFS JASON.

	INT. TUNNEL #3 - ON RENNIE AND SEAN (EFX)

	The powerful flood thrashes the ladder about two inches 
	below Rennie's feet, the force of it fiercely shaking 
	their rusty support. They are clinging to the ladder with 
	their eyes squeezed shut. Praying for survival.

	INT. TUNNEL #3 (MODEL EFX)

	We are drowning in a chunky cloud of sewage, rushing over 
	and under us.

	EXT. TIMES SQUARE - NIGHT (EFX)

	The digital clock we saw earlier abruptly CHIMES 
	MIDNIGHT, HUGE BOLTS OF LIGHTNING CRACKING OVER 
	MANHATTAN.

	ANGLE - SEAN AND RENNIE (EFX)

	as the sewage level begins to drop. Rennie opens her 
	eyes, glancing straight down and seeing.

	RENNIE'S POINT OF VIEW (EFX)

	The ladder beneath them reappears...which gives way to a 
	PAIR OF HANDS GRIPPING THE BOTTOM RUNG. The liquid drops 
	further, unshrouding the now-dead corpse of EIGHT YEAR 
	OLD JASON. He's a relatively normal looking boy, 
	probably the way he looked back in 1957...right when he 
	drowned in Crystal Lake.

	Jason Voorhees has finally been put to rest.

	EXT. TIMES SQUARE - NIGHT (N.Y.)

	Rennie and Sean stagger out from a side street, holding 
	each other up...relief etched in their matured faces.

				SEAN
		I hear there's a statue here that's 22 
		stories tall.

	Rennie would smile if she could. She kisses his cheek. 
	They amble on.

	STALKING POINT OF VIEW

	...coming out from another alley, creeping up behind them 
	through a crowd of pedestrians. About the height of a 
	small child.

	RENNIE AND SEAN

	walk arm in arm, exhausted and oblivious to their 
	pursuer. But something, some innate perception causes 
	Rennie to slow...and stop. Her eyes register a horrid 
	fear and she WHIPS AROUND TO FACE...

	TOBY!

	Limping on all fours, filthy with grease-matted fur. The 
	whimpering dog crawls up to her, Rennie bending down, 
	hugging her animal like she'll never let go.

				RENNIE
		Oh Toby...

	HIGH ANGLE CRANE SHOT (N.Y.)

	as Sean bends down too, ruffling the dog's fur, standing 
	again with Rennie. The three survivors enter the collage 
	of pedestrians, bright lights and skyscrapers. 

	It is finally over.

								FADE OUT.

					THE END