FADE IN: EXT - VOORHEES HOUSE - DAY WIDE Once a beautiful piece of Victoriana, the now decrepit Gothic manse sits surrounded by encroaching woods. Bushes and shrubs are overgrown. Ivy vines climb the stonework walls. Playground equipment, denoting a happier era in the estate's history, sits hazardous and forgotten, keeping in tone with the rest of the grounds. The shiny, new PICK-UP TRUCK parked in front of the house looks drastically out of place in comparison. A logo reading "STONE LANDSCAPING" is emblazoned on the pick up's doors. Situated behind it is a large portable DUMPSTER. We CRANE UP to a BIRD'S EYE POV and steadily TRACK OVER the old house to the BACK YARD. A small crew of FOREMEN is hard at work removing an assortment of debris - trash, dead shrubbery, etc. We CLOSE in on TWO MEN loading detritus into a wheelbarrow. One of the men, JERRY, twenties, athletic physique, pauses for a ponderous glance at the house. His hulk of a co-worker, JOE, early twenties, waves a hand in front of his face. JOE This is ground control to Jerry. Jerry, come in? Jerry shoots him a sour look. JERRY I'm awake, jackass. Just wondering what the hell we're doing here. JOE WE'RE cleaning this dump up. I think you're still sleeping last night off. Joe flashes a grin. Jerry smiles thinly. JERRY Asshole. JOE Anytime. JERRY This place has been abandoned since we were kids, Joe, it's hard to believe someone's actually fixing it up. JOE Yeah, considering. I feel dirty just working in the yard. JERRY Ha. Wait until we start inside. Jerry looks down at the wheelbarrow. JERRY I'm gonna run this up front. JOE Sure thing dude. Jerry carts the garbage out of FRAME as Joe squats to yank a mess of weeds out of the ground. We TRACK along with Jerry as he veers the wheelbarrow around the side of the house, staring at its foreboding veneer. TIGHT on the barrow's FRONT WHEEL as it approaches a shallow SINKHOLE in the dirt. The wheel plunges into it, the AXLE CRACKS. ANGLE ON JERRY - As the wheelbarrow begins to tip, he loses his balance. Both he and the wheelbarrow fall over. JERRY Fuck! He sits dumbfounded for a moment before getting up and brushing himself off. JERRY (MUMBLING) Teach me to daydream... I should've joined the Feds. Jerry tilts the wheelbarrow back upright and pulls it away from the sinkhole. He places the broken wheel beside it. He grimaces, as he looks at all the garbage that spilled out. With a sigh, Jerry begins piling it back into the wheelbarrow. As he removes a ragged, old stuffed bear from the sinkhole, something at the bottom of it catches his attention. A string from the teddy's filthy foot is caught on something; as he lifts the plush, the leg tears along its seam and the bear's head slumps tragically to one side. Jerry brushes some dirt away, revealing a smooth piece of PLASTIC embedded in the earth. JERRY (TO HIMSELF) What the hell are you? He begins digging around the object with his hands, deep enough to get a grip on it. After gently tugging, the ground yields its hold. Dust swirls from the object as Jerry lifts it up and his eyes immediately lock wide in shock. Within his hands are the battered remains of a certain serial slasher's HOCKEY MASK. JERRY Holy shit. Hooooooly...shit. An ominous but low RUMBLE builds O.S. The sinkhole widens as soil shifts. Jerry glances around, perplexed. WORM'S POV - Moving rapidly up from the bottom of the sinkhole, on a collision course with the inside of the hockey mask in Jerry's outstretched hands. Through the mask's eyeholes, we can see Jerry looking through them. JERRY What the - -? Within an instant, the POV BREAKS THROUGH the hockey mask! Jerry is...gone. All is silent for a moment. We then hear Joe calling out to Jerry O.S. JOE Hey! Where'd you go dumb ass? Joe enters the FRAME, looking right and left for his friend. He approaches the half-full wheelbarrow and a look of confusion sets in. JOE Jerry? Joe crouches down at the wheelbarrow to pick up the wheel, with his back to the sinkhole. Over his shoulder, we glimpse a FIGURE quietly rising behind him. Brush crackles O.S. Still looking down at the wheel, Joe smiles. JOE You fall asleep at the wheel again? Jerry? Before Joe can turn around, a DIRTY HAND CLAMPS OVER HIS FACE. WIDER - A dirty and savage looking Jerry has Joe seized tightly by the head. Joe struggles in futility as a CRUEL GRIN spreads across Jerry's face. In a swift and brutal motion, Jerry twists Joe's head around a hundred eighty degrees. We hear the sick snap, crackle and pop of vertebrae. As Joe's body drops like a rock, the notorious "Ki, ki, ki..." effect echoes O.S. CUT TO: EXT - VOORHEES HOUSE - DAY In the rear, we see the tail end of the CREW walking into the house, except for one WORKER who rests against an overturned JUNGLE GYM throttled by weeds. He pulls a strategically-placed beer from his tool belt and pops the tab. Something O.S. catches him in mid-gulp. WORKER Jerry. We're heading inside. Jerry stalks across the yard with a familiar gait, his eyes focused on his friend. The worker lowers his beer, frowning. WORKER Jer--- The possessed Jerry grabs the worker with brutal speed and lifts him off his feet - planting him on the rusted, sharp end of the jungle gym's leg. The worker gapes at the pole protruding from his stomach. Jerry turns and heads for the house. In the B.G., the worker rotates comically on the pole, coming to rest upside-down. CRANE UP as Jerry enters, settling on the house's decaying bulk. A surprised shout can be heard O.S... CUT TO: INT. FREEMAN HOME - HALLWAY We TRACK behind the lovely backside of a woman with cascading silvery-blond locks, JESSICA FREEMAN, early 50s. Hefting a LAUNDRY BASKET in her arms, she passes through the DEN - a modest man's room that looks comfortable for either sex - and into the INT. GARAGE Where she sets the basket on a large WORKBENCH. The garage is without a doubt the hardware junkie's domain: pegboards along every wall are stocked with VARIOUS TOOLS, everything from power tools to hatchets and the sort of obscure curiosities that a man might use once in his lifetime. The open garage door looks out on a gravel driveway, leading onto a wooded country road. STEVEN FREEMAN'S legs are visible under a gorgeous red TRUCK. He grunts thoughtfully to himself. Smirking, Jessica quietly approaches his legs and gives one a kick. STEVEN Aaaah! He slides out from under the truck on a squeaky CREEPER CART. Also in his early 50s, his still-youthful face and stocky quarterback build are smeared with grime. Setting a WRENCH on his chest, he carefully puts on his glasses and smiles. STEVEN Thanks Jess, I think these pants were my only unsoiled article of clothing. JESSICA Anytime. How long much longer are you gonna be out here? STEVEN I don't know. I'm about finished with this. If there's nothing else wrong, I can always break something. She gives him another playful kick. JESSICA I miss you in there. Steven's brow knits. He assumes a dramatic tone. STEVEN "A man's garage is his castle." JESSICA Well, I'm doing the laundry rounds, so if you have any old underwear rags lying around in your "castle", fork 'em over. STEVEN Check the table, hon. She looks beside the basket and sees a navy-blue, short sleeved WORK SHIRT lying atop something. Picking up the shirt, she gasps. STEVEN What? WHIP PAN AROUND Jessica's back - Revealing her shocked expression, and the HOCKEY MASK lying on the bench in the F.G. JESSICA What the hell is this? Is this supposed to be one of your cute little jokes? Almost afraid to touch it, Jessica reluctantly picks the mask up off the bench. Caught off guard and stuck for an explanation, Steven tries to brush it off. STEVEN It's nothing, Jess. JESSICA Where did you get it? She turns the dirty mask in her hands as Steven sets his wrench on the floor and rises to a stand. JESSICA'S POV - Looking at Steven through the mask's eyeholes. Steven steps up and gingerly takes the mask from her. STEVEN I was in town getting that new ratchet set, and there it was. JESSICA It's so much like his. (A BEAT) That really bothers me. STEVEN Jess, c'mon, wait. He walks over to a DARTBOARD and hangs the mask over it, grabs a dart from atop a little college-boy fridge and takes aim. Jessica crosses her arms and sighs. Steven launches the dart - It hits DEAD CENTER in one of the eyeholes. STEVEN (PROUDLY) Bullseye. He plucks the mask off the dartboard and tosses it back onto the workbench. JESSICA It bugs me. She tosses the work shirt into the basket and heads for the door. Steven quickly wraps his arms around her before she can walk out. STEVEN Consider it gone, then. Okay? JESSICA No, keep it. If it helps. STEVEN I love you. He starts kissing her neck. Jessica melts a little. JESSICA Damn you and your foul charms. She smiles at him lovingly and leans in for a kiss. EXT. HOUSE - NIGHT STALKER'S POV - Walking up the driveway, heading straight for Steven and Jessica, who have their backs to us. A HAND reaches out and CLOSES OVER STEVEN'S SHOULDER. He leaps back, startled, but his face quickly relaxes. REVERSE POV - Young STEPHANIE FREEMAN, 19, a younger version of her lovely mother and then some, smirks. She tightens the long ponytail behind her head. STEPHANIE Getting a little jumpy in your old age, Dad? STEVEN That's funny. (TO JESSICA) She's funny. Jessica musses his hair with her fingers. JESSICA I hear she gets it from her father. Steven flashes her a sarcastic grin and comes to a realization. STEVEN Hold on, what time is it? STEPHANIE (PUZZLED) Uh, why? STEVEN I thought you were home, where were you? STEPHANIE I was studying late at the library. STEVEN Yeah, likely story Steph. JESSICA It is with this one. Why don't you head inside. STEPHANIE Ethan's waiting out front, we're gonna hang out for a little bit. STEVEN (JOKINGLY) Ethan, huh? Stephanie rolls her eyes. STEPHANIE Dad... STEVEN "Hanging out", huh? If I see any "hanging out" I'm going to have a few words with Mr. Ethan. Stephanie plucks off his glasses. STEPHANIE If you see anything, I'll give you twenty bucks. Steven grabs the glasses back and SEIZES Stephanie about her waist, lifting her off the floor. She squeals like the little girl she once was, kicking her legs until he puts her down. STEVEN Not too late, okay little missy? STEPHANIE Okay, then I'll see you early in the morning. She smirks as Steven's face locks in an expression halfway between pure frustration and utter pride. Her father's daughter indeed, and the bond between the two of them is undeniable. Laughing, Stephanie runs out of the garage. JESSICA (SUGGESTIVELY) I'm going to finish getting the laundry together, then I'm going upstairs. STEVEN Okay. I'll be up in five minutes. That's a Freeman's word. JESSICA Let's not get into THAT. Smiling mischievously, she goes back into the house. Steven works his way under the truck again. CUT TO: EXT. HOUSE - NIGHT WIDE - The house is a modest two-story country home, the home of a man who has made something of himself but doesn't put it on display. A MAN leans against a car parked in front of the house. CLOSER ETHAN, 19, a handsome young man with scruffy hair, clothes and cowboy boots, leans against his (parents') car. A grunge country boy, though he's brighter than he may look. He reaches back through the window and produces a stack of BOOKS as Stephanie comes down the driveway. ETHAN Your books, Miss Freeman. STEPHANIE Oh, I don't need to go inside yet. ETHAN Wow. Really? Any confidence in his behavior is gone in about a half second. He traces the wording on a book's cover, looking downward. ETHAN So, uh... She cuts him off. STEPHANIE Let's go for a walk. Ethan looks up, clearly surprised. ETHAN Okay. CUT TO: EXT. ROAD - MOMENTS LATER Stephanie leans her head back and breathes in the night air. STEPHANIE I haven't gone on a walk in such a long time. My parents never used to let me go out, you know. ETHAN Yeah. Actually, "going out", I wanted to ask you something about that. Ethan swallows hard. STEPHANIE What's that, Ethan? She seems to already know, by her slight smile. He chokes, shoves his hands into his pockets and looks up at the clear vista of stars in the night sky. ETHAN Yeah, uh, well... me and Trevor are going to the lake tomorrow night to have a few beers and hang around. You want to come along? STEPHANIE Oh. She hides her rejection almost as well as she hid her smile. Ethan keeps his eyes fixed on the stars. STEPHANIE (CONT'D) I don't know. I've NEVER been allowed out to the lake. ETHAN You're nineteen! C'mon. Besides, Trevor wants you to come. STEPHANIE Trevor does, huh? ETHAN Yeah! Of course he does. Stephanie grows silent and follows his gaze upward. Ethan grimaces. He blew it, again. CUT TO: INT. GARAGE Steven's arm reaches out from under the truck, fumbling over a series of TOOLS scattered across the floor: PLIERS, the WRENCH, and a new BOLT AND RATCHET SET. Selecting the pliers, he slides back under the chassis. STEVEN (O.S.) Aw, dammit. A thin trail of OIL runs out from under the truck. Steven sighs in resignation. NEW ANGLE - Steven slides back out and sweeps his hand over the tools. STEVEN Wrench? GONE. Steven's countenance transforms. He slowly looks over his shoulder. There is a large BOOTPRINT in the oil puddle. Steven stands up and cautiously surveys the area. He backs into the workbench and feels along its surface. Saw, hammer, hockey mask--- The possessed JERRY rises from behind the truck, raising the wrench. Without warning, HE LUNGES! Steven spins around, his hands fly up before his face, holding the HOCKEY MASK. STEVEN HEY! Aiming for the head, Jerry swings the wrench, but it connects with the mask. The impact from the blow sends Steven SPRAWLING across the room. Jerry discards the wrench, turns to the workbench and momentarily surveys his options before grabbing a HATCHET from the pegboard above. He turns to advance on his prey. STEVEN'S POV - We see the WARPED REFLECTION of JASON VOORHEES in the truck's hood! STEVEN Jesus. Jerry slowly shakes his head "no" and comes at him with the hatchet. Reflexively, Steven throws the mask in front of his face again. The hatchet CRACKS like a gunshot against the mask. The mask drops to the floor, a large CUT in the upper-left corner. CUT TO: INT. HOUSE - UPSTAIRS Jessica turns and frowns at the sound. CUT TO: INT. GARAGE Steven grabs a length of REBAR lying against the wall. He swings with all his might, brutally SMASHING JERRY'S KNEECAP. Jerry BUCKLES, swinging at his intended victim and BURYING THE HATCHET in the concrete floor. Steven runs for the open garage door. Jerry rises with a look of focused malice. Holding the rebar, he swings upward and SHATTERS THE CHAIN holding up the garage door. The door CRASHES DOWN. Steven runs into it at full speed. Trapped! He whirls around to confront the killer, instinctively falling into an offensive stance, as if back on the line of scrimmage at Lakeview High. Jerry HURLS THE REBAR. It IMPALES STEVEN on the fallen door. INT. HALLWAY JESSICA (O.S.) Steven? You okay down there? Jerry's head tilts Jason-like in the direction of the voice. INT. GARAGE STEVEN JESSICA!! GET OUT OF HERE!! Jerry ignores the sickening crunch of his knee as he stalks across the garage. Steven screams in agony and struggles to move. INT. HOUSE - DEN Jessica is walking to the garage when Jerry BLOWS THROUGH THE DOOR. It's left hanging by a single hinge. Jessica's eyes widen. She runs into the - INT. KITCHEN She immediately grabs the PHONE. Jerry's hand closes over hers and SLAMS THE PHONE back into its cradle. Jessica stares into his bloodshot eyes. The terrifying truth has dawned upon her. JESSICA Jason---! He SWIPES AT HER, but Jessica ducks aside and takes a BUTCHER KNIFE from the sink into her hand. She SWINGS it at Jerry. Unfazed, he steps closer. She swings again, this time slashing open his shirt. Jessica stabs at him - This time, he CATCHES the knife and YANKS IT AWAY. Before Jessica can move, Jerry PINS HER TO THE WALL through her shoulder with the butcher knife. JESSICA NOOOOO!!! Jerry stares deep into her eyes. He GRABS her below the chin to force open her mouth. We PULL BACK, out of the kitchen, the door swinging shut as Jerry leans toward her. There is a horrible muffled scream, followed by a wet, unearthly sound. The lights start to flicker, the house begins to quake - A framed photo of the late DIANA KIMBALL falls from the wall, the glass shattering. The tremors abruptly cease. All is silent save for the static hum of the faltering lights. Suddenly, Jessica crashes through the door with an agonizing wail. She looks like she's been through a meat grinder - drenched in blood and vile slime, her flesh deteriorating to sludge, she staggers a few feet before dropping. Groaning, she hits the floor with a sickening SPLAT! We TRACK over her, back into - - INT. KITCHEN - CONTINUOUS A large, slimy hand reaches into the laundry basket and grabs the work shirt and a pair of black pants. CUT TO: INT. DEN ON JESSICA - as she lays dying. A pair of heavy-duty COMBAT BOOTS stomp past her. CUT TO: INT. GARAGE - CONTINUOUS The "Ki, ki, ki..." theme booms OS as a large shadow falls across the hockey mask. CLOSE - on his eyes - one perfect, the other lazy, half hidden under a fold of flesh. He narrows his good eye. JASON'S POV - His hand reaches for the hockey mask. CUT TO: EXT. GARAGE - NIGHT - CONTINUOUS The garage door flies up. It catches at the halfway point, and the unconscious STEVEN is left dangling. LOW ANGLE - A REBORN JASON VOORHEES steps out of the garage! This is no decaying mutant though - being reborn through a living relative has regenerated his entire body! Two hundred plus pounds of PURE MUSCLE tightly packed on a mammoth frame, flesh unmarred, he might look more human, but his disposition tells us that he's more powerful than ever before! The manic FRIDAY THE 13TH THEME accompanies his hero shot. WIDER Jason surveys the surroundings, his chest swelling with the breath of new life. He walks around the side of the house. CUT TO: INT. TENT - NIGHT A very buxom and scantily clad blonde, NANCY, late teens, sits on a rumpled sleeping bag, enthralled in a trashy romance novel in the modest-sized tent. We hear the sound of a ZIPPER OPENING O.S. MALE VOICE (O.S.) Boo! Startled, Nancy looks up from her book. REVERSE ANGLE - Her boyfriend, DREW, also in his teens, enters the tent with a bottle of cheap champagne in hand. NANCY You ass. DREW It's not my fault you're wound so damn tight. Nancy flips him the finger. DREW In a minute, I'm running next door first. NANCY What's next door? DREW (MATTER OF FACTLY) Neighbors. Nancy sucks her teeth and gives him a dirty look. DREW Look, I heard something, I just wanna make sure everything's okay over there. NANCY Aren't you just a boy scout today. DREW Not for long. Drew pecks her on the cheek, copping a subtle feel, and backs out of the tent. CUT TO: EXT. TENT - NIGHT - CONTINUOUS CLOSE Drew zips the tent shut and rises to his feet. WIDER As Drew turns around at the edge of FRAME, he bumps right into Jason! Before he can even react, Jason clamps a hand over Drew's mouth in an amazing display of speed. He grabs Jason's wrist and attempts to struggle, but he can't slacken Jason's iron grip. CUT TO: INT. TENT - CONTINUOUS Nancy sits reading her book when we hear a brief and muffled commotion outside the tent O.S. She sets her book down and slowly moves to zip open the tent's entrance flap. She cautiously begins to peer out and GASPS. NANCY'S POV - Laying in front of the tent is Drew. His lower jaw has been savagely ripped off. Blood bubbles and trickles from his exposed gullet, down his obscenely long tongue. OFF NANCY'S HORRIFIED REACTION - Her scream pierces the night, she quickly backs into the tent. CUT TO: EXT. TENT - NIGHT - CONTINUOUS Jason methodically circles the tent like a panther, relishing the screams of yet another hapless victim. He stops, stares at the tent for a moment, then snaps his gaze somewhere O.C. Looking back to the tent, he grabs it near the bottom. CUT TO: INT. TENT - CONTINUOUS Nancy cowers in the center of the tent as it begins to jostle. NANCY Stop! PLEEEEEEEASE! CUT TO: EXT. TENT - NIGHT - CONTINUOUS Jason begins to lift the tent, bunching it up around Nancy like he's getting ready to do his laundry. Nancy desperately struggles and squirms as Jason picks the tent up like a sack and begins to carry it across the yard. We TRACK along with Jason until he stops at a large, sturdy old OAK TREE. Jason looks up at it - a thick, JAGGED BRANCH juts from the trunk. Holding the tent with both hands, Jason rears back and SLAMS IT HOME, the branch easily piercing Nancy's canvas-wrapped body. Jason relinquishes his hold and momentarily stares at the impaled mass of tent and flesh hanging from the tree. Satiated, he turns and stalks off into the dark woods behind the homes. CUT TO: EXT. FREEMAN HOUSE - NIGHT Ethan and Stephanie have come full circle around the road, and stop by his car. Ethan sees a chance to redeem himself. ETHAN So, um... Stephanie's gaze wanders toward the house. STEPHANIE What... She leaves Ethan in mid-sentence and runs up the driveway. STAY ON ETHAN, who reacts to her horrified scream. CUT TO: Soundlessly INTERCUT between flashing red-and-blue POLICE LIGHTS and gruesome scenes from the Freeman home: JESSICA'S REMAINS, a gooey puddle in the hallway. A few stray ribs have settled in the mess. JERRY'S REMAINS, nothing more than a red silhouette plastered to the kitchen wall. The BROKEN DOOR leading from the den to the garage. The HATCHET in the floor. A FAMILY PHOTO of the Freemans. RED. BLUE. RED. BLUE. Stephanie's red face, swollen with grief. INT. DEN The soundtrack returns, the murmurs of authorities and the squawking of radios. Stephanie is seated on the couch, a blanket wrapped around her. Ethan sits on the fireplace hearth, his face deep with concern, wanting to be beside her. A young, handsome deputy, late twenties, DEPUTY CODY, kneels beside Stephanie. The others walking in and out of the garage seem oblivious to her. CODY (SOFTLY) Hey Steph. They're taking your dad to the hospital. Sheriff Tucker's on his way in. Do you need anything? She stares remotely at the floor. Cody goes over to Ethan, sitting on the hearth. CODY Hey, I'm Deputy Cody. Ethan. I went to Lakeview with your brother, right? ETHAN Yeah. CODY Do you think you could tell me what happened? ETHAN Nothing you couldn't figure out for yourself. CODY You weren't here? ETHAN No. If we HAD been... He shakes his head and looks back at Stephanie. The deputy can see that nothing is going to come of questioning them at this point. INT. FRONT HALL Sheriff Tucker steps in gingerly. A man in his fifties, a bit older than the Freeman parents, with a soft, thoughtful expression in his grizzled countenance, he moves quietly through a pair of deputies, into the INT. HALLWAY - CONTINUOUS Where a CORONER'S ASSISTANT is photographing the stain where Jessica melted away. CORONER'S ASSISTANT Tuck, I'll give you that fifty I owe you if you can tell me what we're looking at. TUCKER Not much of a betting man Harv, you know that. CORONER'S ASSISTANT This was a Missus Jessica Freeman. TUCKER You mean...her body? CORONER'S ASSISTANT If you want to see the rest, go downstairs. It's seeping through the goddamned floor. TUCKER Jesus, Mary and Joseph. Kneeling beside the puddle, he looks through the kitchen doorway, at JERRY'S REMAINS. TUCKER (CONT'D) Where's the daughter? CORONER'S ASSISTANT That's your people, not mine. Tucker glances back at an attentive deputy, who points toward the den. INT. DEN Ethan stands up when Tucker enters. He's about to say something when the Sheriff cuts him off. TUCKER Ethan, think we could have a minute alone? I'll talk to you after. Ethan reluctantly nods. As he passes Stephanie, he makes as if to touch her shoulder, but she still appears catatonic. Tucker musters a polite smile for Ethan. As another deputy comes in through the garage, Tucker motions to him. TUCKER (WHISPERING) Let's redirect the traffic through the front door for a bit, okay? The deputy nods and goes back out. Now alone with Stephanie, Tucker sits down next to her. TUCKER Stephanie, it's the Sheriff. STEPHANIE I know. TUCKER Now hon, I know you don't want to talk, or even think, right now. But I want to get you out of here so you can see your dad. That's what's important to me right now. Okay? She nods slightly. TUCKER (CONT'D) Did you see your mother when you came into the house? STEPHANIE (BREAKING DOWN) No, but...I know. I know what...what's...in the hall. Tears are pouring down her face. Tucker searches his shirt and pants pockets for a tissue, comes up empty. TUCKER Did you see anyone else in the house? STEPHANIE No. Just my dad. She looks at Tucker with bloodshot eyes, pleading for some sort of answer. CLOSE ON STEPHANIE'S EYES. FLASH CUT to an empty space on the PEGBOARD in the garage - a subtle oval shadow where the mask had once hung. BACK ON STEPHANIE'S FACE. It has hardened slightly. Tucker catches it. She regains her composure and sits up. STEPHANIE I need to see my dad now, please. TUCKER I promise you, I will take you to the hospital tonight. (beat) Stephanie? In order to help you, I need to know everything. She looks at him, chooses her words carefully. STEPHANIE You already know. TUCKER I'm right where you are, hon. STEPHANIE No you're not. My mom is dead. Getting up, she walks across the room and stares out the back window. In the WINDOW'S REFLECTION, Tucker rises and exits. CUT TO: EXT. GARAGE - NIGHT Tucker ducks under the half-open door and NEARLY COLLIDES with DEPUTY ALEXANDER. ALEXANDER Sheriff? Tucker proceeds down the driveway at a brisk pace, Alexander at his heels. TUCKER Yes Deputy? ALEXANDER Look, I'm not trying to cause any trouble or anything...but is it true that this family is related to Voorhees? Tucker stops at the foot of the driveway and plants his thumbs in his belt loops. He gives Alexander a "don't go there" look. ALEXANDER (CONT'D) You know, the kid who supposedly drowned up at the lake? Killed all those people. He... Tucker raises his eyebrows. Alexander gets the point. ALEXANDER (CONT'D) I just thought it was plausible that there'd be a connection. TUCKER Alex, son, I know you're not a born denizen of Crystal Lake, so let me give you a piece of good advice. DO NOT say "Voorhees" within these city limits. I know more than a few good men who lost their badges over that bastard name. Last word on the subject. Okay? Alex nods like a teen taking a well-meaning lecture from his dad and hurries up the driveway. Tucker props his elbow on the roof of a POLICE CRUISER and rubs the bridge of his nose, frowning. TUCKER (WHISPERING) Voorhees. CUT TO: INT. HOUSE - DEN Stephanie is still hugging the blanket around herself. Ethan tiptoes in. ETHAN Steph? (pause) I just want to say...I don't know what to say. Steph, I'm so sorry. She turns, and rushes into a tearful, yet comfortable, embrace. She cries into his shoulder. STEPHANIE (MUFFLED) Please get me out of here. ETHAN But--- STEPHANIE Take me anywhere. (looking up at him) Please, Ethan. It doesn't take much to wipe the conflicted look off his face. CUT TO: EXT. HOUSE - NIGHT Tucker is still at the cruiser. MAN (O.S.) Christ, Sheriff! Christ! He turns to see a hysterically-sobbing MAN in a bathrobe running from the neighbor's lawn. MAN My son, Sheriff! Oh my god! TUCKER Slow down, what's going on? MAN In m-my b-backyard! EXT. BACK YARD - NIGHT CLOSE ON the BLOODIED TENT, the bundle still impaled on the tree. NEW ANGLE: Tucker grimaces, the man and two deputies behind him. He reaches out to unzip the bag. CLOSE ON NANCY'S near-unrecognizable FACE as it spills out toward THE CAMERA. TUCKER CHRIST on a--- In the B.G., between Tucker and Nancy's equally-tormented expressions, ETHAN'S CAR pulls away from the curb. TUCKER Dammit! Cody! Deputy Cody runs over. He gawks at the corpse. TUCKER (CONT'D) Grab Deputy Alexander and follow Stephanie. CODY Want me to pick her up? TUCKER No...probably headed to the hospital. Just keep a CLOSE eye on her. Call me in an hour. Cody nods, still fixated on Nancy. The father starts weeping again. CUT TO: EXT. WOODS - NIGHT JASON'S POV - From the cover of the forest, Jason watches as the cops hustle about their business around the Freeman house. REVERSE ANGLE - Slivers of moonlight filter through tree boughs, reflecting off Jason's hockey mask, giving it an eerie glow. He watches intently as the mess he left is cleaned up, his head cocked to one side. He almost seems fascinated. Jason's tranquil state is quickly disrupted though, as we hear BRUSH CRUNCHING, followed by a LOW GROWLING O.S. Immediately, Jason whirls around to see a LARGE, SNARLING WOLF in an attack-ready crouch! Saliva drips from the wolf's BARED FANGS as it sizes up its prey. Jason stares the beast right in the eyes, braced for the inevitable. Propelled by its hind legs, THE WOLF ATTACKS! As it springs forward, Jason defensively throws his thick forearms up in front of his body. The wolf's jaws lock around Jason's wrist. It shakes its head wildly as blood gushes freely from the wound. With lightening speed, Jason wraps his free arm around the wolf's body and begins to SQUEEZE. The beast YELPS in pain, releasing its fangs from Jason's wrist, and he's quick to take advantage of the situation. In a move lifted from "KING KONG", Jason seizes the wolf by its jaws and begins to pry them apart. Violently choking, the wolf struggles, but its no match for Jason's strength. We hear bones crack and sinew tear O.S. Jason unceremoniously drops the wolf's limp corpse and stalks off into the woods. CUT TO: INT. OFFICE CLOSE ANGLE ON A TWO-WAY POLICE BAND RADIO. The speaker CRACKLES STATIC O.S. followed by a voice. SPEAKER VOICE (O.S.) Say again Dieter? Five bodies? SPEAKER VOICE 2 (O.S.) No, five dead, three bodies and bits of the other two. SPEAKER VOICE (O.S.) How the hell's that? We slowly begin to PULL BACK. SPEAKER VOICE 2 (O.S.) Christ, I don't know, it just is. WIDER A very REGAL, ELEGANT GENTLEMAN sits at a grand antique desk, his piercing dark eyes fixated on the squawking radio. He speaks with a British accent. STONE (CALMLY) No, no, no. No good. EVAN STONE, in his 60s, but in excellent physical shape, shifts in his seat and shakes his head. The dimly lit office is decorated with a macabre flair - Egyptian artifacts, Native American totems, and volumes of leather bound books line the shelves while paintings by luminaries such as Bosch and Giger adorn the walls. Stone reaches across the desk and presses a button on an intercom device. We hear a BUZZING O.S. He settles back in his chair and crosses his arms as those creepy eyes focus straight ahead. REVERSE ANGLE - On the hand-carved mahogany door as it opens, revealing CHARLES MORGAN. A sniveling weasel of a man, spectacled and thin, he looks like a cheap personal injury lawyer with a runny nose. By the look on his face, we can tell Stone is wondering why he even bothers with this lout. Fidgeting nervously, Morgan enters the office. MORGAN Yes Mister Stone, sir? Stone lights a cigarette and speaks in a very calm, measured tone. STONE We have a problem Morgan. A severe one. MORGAN What's that sir? STONE Those Yanks you hired to cover up our operation have opened something far more sinister than Pandora's Box. MORGAN What? Stone's eyes narrow. STONE They've unleashed him. Morgan's brow knits in confusion. MORGAN Him? Jason? Stone doesn't care to dignify that with an answer, he instead chooses to stare a hole through the pathetic whelp before him. Morgan's tone suddenly takes on an air of confidence. MORGAN (CONT'D) Sir, with all due respect, you surely don't believe that he could just - - Stone abruptly rises from his chair. He towers over Morgan, who immediately shrinks back. STONE Bollocks. We would not be going through this trouble otherwise, you fool. Morgan just gazes down at his imitation leather shoes. STONE (CONT'D) We must rectify this situation promptly. He has brought ruin to the family name and I promised Elias that I would restore that name to its former prestige. MORGAN So then what do we do, if we can't kill him? Stone stares at him with open contempt. Where the hell is Jason when you really need him? STONE You really are truly useless, Morgan. He must be contained before he can bring about any further distress. Morgan thumbs his chin in thought. MORGAN Didn't you say he still has family here? STONE He does. MORGAN Would they be an asset to us? Stone immediately lights up. STONE He has already begun the hunt, but he missed one. She'd be the ideal lure. MORGAN Shall I try to locate her? STONE Indeed. You know, Morgan, you might not be so worthless after all. Morgan glows at the "compliment", his grin spreading from ear to ear. MORGAN Thank you sir. Stone curls one corner of his mouth up into a slight smile as he exhales a dense cloud of smoke, FOGGING THE FRAME so we can - - DISSOLVE TO: EXT. CRYSTAL LAKE LIBRARY - NIGHT Ethan and Stephanie emerge from Ethan's car, parked directly in front of the stone steps leading up to the enormous library. No doubt a product of numerous city renovations and expansions, the classic architecture of the building is nestled in greenery and the soft glow of lamps along the walkway. Ethan wraps an arm around Stephanie, eyeing her with concern as they ascend the steps. Ethan pulls a LARGE KEYRING from his pocket and unlocks the doors. WIDE - As they go in, CRANE DOWN to reveal the SQUAD CAR parked across the street. Deputies Cody and Alex eye one another. ALEXANDER Should we call Tucker? CODY Nah, those two are part-timers over there. ALEXANDER Really? At the library? Her? CODY Yeah. CUT TO: INT. ENTRYWAY Before entering the lobby, Ethan stops Stephanie and turns her to face him. ETHAN You haven't said anything since we left. STEPHANIE What am I supposed to say? ETHAN Whatever it is that you're not telling me? She looks away and bites her lip. ETHAN (RELUCTANTLY) Okay. He takes her into the INT. LOBBY - CONTINUOUS Where a circular checkout desk is unmanned. Featured works are displayed prominently on shelves along the high walls, a spiral staircase leading up to the second-floor balcony. Long curtains are drawn over the windows, leaving the only light source a lamp on the desk. Ethan hangs his jacket on a coat rack and TOSSES THE KEYS onto the desk. He SLAPS A BANK OF LIGHT SWITCHES like he owns the place, and the rest of the lobby is illuminated. ETHAN I didn't go to the hospital because I figured the cops would catch up with us. STEPHANIE Doesn't matter. They followed us. ETHAN They did? STEPHANIE We're not doing anything wrong. Ethan leans against a CART with books waiting to be reshelved. The wheels squeak loudly, and he jumps back before it rolls away. MAN'S VOICE (O.S.) Who's out there? The voice is a gruff bark. It belongs to MICHAEL WEISMAN, a black man in his early sixties. Time has been good to him. He stands tall and broad, a handsome face that speaks of years of wisdom and gray hair cropped close to the head. Although his walk is a bit stunted, his presence as he enters the lobby more than makes up for it. MIKE What time is it? ETHAN Hey Mike. Gotta be past midnight. MIKE What brings you here so late? ETHAN I was about to ask you the same thing. MIKE Ah, I lost track of time back there in the stacks. (beat) Don't tell me the two of you are back here to "study" again. He looks to Stephanie's face and reads it in an instant, his brow furrowing. CUT TO: INT. OFFICE Ethan, Stephanie and Mike sit around a table in a room clogged with books needing repair, stacks of scrawled notes and tomes that are probably older than the foundations of the library. It is apparent that the bad news has been broken to Mike. He places a hand over Stephanie's. MIKE (SPEAKING SOFTLY) You should go see your father. STEPHANIE No, actually, I'm glad I'm here. I need to talk to you. He's taken aback; what could he possibly provide at this moment? MIKE What about? At that moment, lanky TREVOR, 19, walks in, pulling his long bangs behind his ears and tucking a t-shirt into his jeans. He looks like your typical rowdy small-town kid, but the same maturity exuding from Ethan and Stephanie is present in his face. TREVOR I thought that was your car outside! What's going on? ETHAN Hey Trevor. (to Mike and Stephanie) We'll go out there for a few minutes. Trevor gives him a quizzical look, but walks out behind Ethan. MIKE Stephanie? STEPHANIE My parents never let me go down to Crystal Lake, you know? Didn't matter who, or what, or when. No exceptions. (pause) Everybody's heard of that kid who drowned, Jason Voorhees, and all the people who got killed up there. This town's claim to fame. I used to ask if that was the reason, and they said it just wasn't a safe place. MIKE Well, it never has been, as far as I can tell. One of these days, when I write that book about this place, I've got a feeling I won't be able to gloss over the name of Voorhees. STEPHANIE ...About a year ago, when I turned eighteen, my mom told me why I can't go up there. (long pause) She said that I'm related to Jason Voorhees. He's my great-uncle. Mike react with any degree of shock. He simply nods. STEPHANIE (CONT'D) She said that the lake holds a lot of painful memories for our family. I mean, my great-grandmother was decapitated up there, if the campfire tales are true. MIKE A lot of pain. STEPHANIE A lot of shame...at least that's what I thought. I assumed that she didn't want word to get out that we were related to a family of murderers. That maybe they would think I was crazy, too. (beat) If you listen real careful around this town, and read the right words in the newspaper, you almost get the impression that Jason DID come back from the dead a few times. Mike crosses his arms and raises his eyebrows. MIKE And... STEPHANIE So are the stories true? MIKE Stephanie. No one really knows - - STEPHANIE You do. You knew about my family, too. I can tell. Mike sighs deeply. MIKE I'm going against my better judgement here. You've been through enough tonight. Stephanie's face is hard with resolve. Mike gets up and walks over to a file cabinet, pulling open the top drawer. Producing a FILE FOLDER thick with laminated newspaper clippings, he sets it on the table. MIKE These start in 1957, with Jason's drowning. Every death in Crystal Lake, accidental, unsolved, whatever. Every plague that came upon that campground. Every survivor that wound up in a mental hospital. (beat) Stephanie, you open this file and you're opening up something that you can't EVER close. Stephanie looks at him with a mixture of frustration and affection. She then opens the folder to the first yellowed clipping. CUT TO: INT. CORRIDOR Trevor leans against the wall and shakes his head at Ethan. TREVOR This is unreal, man. What the hell do you think they're talking about in there? ETHAN I don't have a clue. TREVOR Have you tried to talk to her? ETHAN Of course? TREVOR Sorry, just asking. ETHAN You know, I almost told her tonight, too. About, you know, how I feel. But I didn't. It's like I had a fucking premonition. (beat) But I couldn't do anything. TREVOR Of course not. Don't start blaming yourself. They'll find the fucker who did this, I know it. (beat) If Tucker can find a joint stuck in my tape deck, he can find whoever did this. Ethan smiles a bit. ETHAN Maybe if you'd turned the stereo off, the whole car wouldn't have started to smell like weed. TREVOR It's an old fuckin' car, the stereo's broke! He grins and slaps Ethan's arm. Down the hall, Mike steps out of his office and closes the door. TREVOR Is she okay? MIKE I don't know yet. ETHAN Mike, what's up? MIKE You guys ever hear a story about a little boy who drowned up at the lake?... CUT TO: INT. LOBBY - LATER Ethan sits at the checkout desk with folded hands and a troubled stare. Stephanie enters from the dark hallway and stands behind him. STEPHANIE I NEVER wanted you to know about this. ETHAN ...Well, I'm glad that I do. STEPHANIE I feel responsible for tonight - - ETHAN You're not. STEPHANIE - I don't want anything else to happen. Especially to you. Trevor, flipping through a glossy true-crime tome beside the entrance, glances over with interest. STEPHANIE (CONT'D) The police aren't going to find the man who killed my mom. The implication of her statement causes Ethan to turn toward her. Stephanie braces herself for his reply. ETHAN So where are we going to look first? Smiling, Stephanie kneels down beside him, strength returning to her. STEPHANIE There's a house out in the woods, near the lake. ETHAN One of the rentals? MIKE (O.S.) No. He strides into the lobby, his voice booming. MIKE (CONT'D) The Voorhees house. ETHAN What's in it?... CUT TO: EXT. SHERIFF'S STATION - NIGHT WIDE - A modern structure of brick and glass sits surrounded by a modest-sized parking lot, ringed by vast woods. Both United States and Connecticut state flags flap in the light breeze proudly hung out in front. Squad cars sit parked side by side as others pull into the lot. Weary officers trudge up to the building, fearing the inevitable paperwork and filing of reports following this night's events. CUT TO: INT. SHERIFF'S STATION - SQUADROOM In this enormous room - a not-so-modest display of the city's fiscal recovery in recent years - the entire force is bustling with post-Voorhees activity. Uniformed officers bounce from desk to desk, bitching, pondering and wondering what happened and what's to come. Amidst the chaos, an attractive FEMALE SERGEANT massages the bridge of her nose as she stabs at her keyboard. A younger officer, DIXON, props himself on the desk and knocks lightly. FEMALE SERGEANT Help you, Dixon? DIXON You bet, Sarge. Tucker wants you at the Freeman house. FEMALE SERGEANT You're kidding. DIXON Dispatch is calling the off-duty guys. Few dozen boys are going to be combing the woods out there. That's just from our department. (beat) Wanna ride out with me? FEMALE SERGEANT You know, the fridge in the breakroom hasn't been cleaned in months. She smiles at Dixon, who throws his hands in the air. DIXON C'mon! You've gotta let me go out there! A middle-aged officer, FONTANA, wedging himself past the desk glances over his shoulder. FONTANA You don't want to go out there, Dixon. DIXON I've seen worse in this town. FONTANA You were in diapers when Jason Voorhees was alive. (beat) What'll be your excuse this time when you shit yourself? DIXON I appreciate that. CLOSE: A young and rebellious-looking officer, Clogston, bound to a desk, rubs his temples and lights up a cigarette. He closes his eyes as he takes a deep, relaxing drag. Fontana approaches him from behind and taps him on the shoulder. Clogston nearly jumps out of his chair. CLOGSTON What the fuck?! FONTANA Alex, for umpteenth time, you can't smoke in here anymore. CLOGSTON Oh, fuck the Clean Air Act, we're in a crisis. Be happy it's only a cigarette. Fontana doesn't look amused. FONTANA Whatever Marley, take it outside. Clogston exhales a plume of smoke at Fontana as he rises from his desk and bumps his shoulder as he walks past. Fontana watches with an irritated look as Clogston exits the room. FONTANA Okay, now where the hell's Tucker? The disembodied voice of a random officer replies O.S. COP VOICE (O.S.) He's still at the Freeman's with Cody. FONTANA Great. Fucking great. The sergeant fumbles, frustrated, through various forms. FEMALE SERGEANT (SHOUTING) All right, who's heading out to the Freeman's and who's holding down the fort? An indecipherable chorus of replies. COP 1 Already been. I'm going to be filling out my report until three A.M. FEMALE SERGEANT Good, Dixon will have someone to keep him company. DIXON Balls. CUT TO: EXT. SHERIFF'S STATION - NIGHT Clogston leans against a wall at the side of the building, finishing off his smoke. A CAR ALARM SUDDENLY BLARES O.S. Exhaling smoke through his nose, Clogston looks up across the parking lot. CUT TO: INT. SHERIFF'S STATION DIXON If I was out there, and if I came across the perp who killed those kids, I wouldn't hesitate to put one right between his fucking eyes. CLOSE - Fontana sits at his desk with a disgruntled expression as he fills out more in an endless stream of paperwork. Agitated, he slams his pen down on the desk and files away the report. WIDE - He picks up a Styrofoam cup full of steaming coffee and raises it up to his lips when CLOGSTON'S BODY CRASHES THROUGH THE WINDOW. His neck is crushed to a pulp, with part of the spine exposed, spurting droplets of blood across the station. Clogston's HEAD COMES OFF while the body is in mid-flight, lands on Fontana's desk and bounces off into a small garbage pail. Fontana spills the hot coffee in his lap and yells out in pain. Almost instantly, every cop in the room rushes to the shattered window with their guns drawn. COP 1 What the - -? There's no one out there! WIDE Leading with their guns, the cops scan the lot from one side to the other, their confusion evident. All is silent. UNTIL JASON'S MASSIVE FIGURE CRASHES THROUGH A WINDOW ON THE OTHER SIDE OF THE STATION! Startled, the cops spin around and collectively gasp when they see who decided to drop by. With their guns trained on Jason, they all begin shouting orders at him: "Hold it right there!" "Get down on the ground!" "Hands in the air!", etc. Jason holds his ground, his head slowly turning from one side to the other, sizing up the situation. A foolishly brave cop sneaks up behind Jason, ready to slap on a set of HANDCUFFS. He steps on a piece of broken glass, crunching it. Jason whirls around, his hand whips out, and grabs the cop by his shirt. The cop sharply gasps, dropping his handcuffs and nightstick to the ground. We hear cries of "Let him go!" O.S. Jason lifts the cop off the ground with one hand and hurls him out the window with amazing force. We hear the body land with a heavy crash, followed by a RADIO BLARING TO LIFE O.S. COP (O.S.) Open fire! The cops begin to rain gunfire on Jason. LET'S FIIIIGHT! Adema's "Immortal" emanates from the car stereo outside. It's on. Jason lifts a near-by desk and throws it across the room with stunning velocity. It crushes two hapless cops against the opposite wall, blood splatters and Jason begins to advance. Scattered about the station, the cops continue firing on Jason, who calmly picks up the fallen nightstick and wades into the barrage of lead like a kid at the shore. Slowly, he backs one cop into a wall, an empty clip falling out of his gun. Jason raises the nightstick and swings - the impact easily shatters the cop's skull, the blood vessels in his eyes break. Another cop runs up behind Jason pumping bullet after bullet into his back. Quickly pivoting, Jason whirls around and viciously BACKHANDS the cop - his head snaps at an impossible angle. One bold cop attacks with a STUNGUN - Jason looks down as the cop jams the ineffectual weapon into his chest, determined to take the juggernaut down. When the cop notices Jason won't even spasm, his confidence vanishes, he begins to take a step back. Jason seizes his wrist like an iron vice and the stun gun falls to the floor. We hear BONES CRUNCH O.S. The cop howls, Jason grabs him by the hair and swiftly rams him FACE FIRST INTO A COMPUTER MONITOR. Amidst a flash of sparks and smoke, the cop's body twitches like a fish on a hook. WIDER Running out of ammo, the rest of the cops begin clearing out, dashing mad toward a corridor at the far end of the room. Those closest to Jason have resorted to throwing anything they can pick up at him in a desperate panic. Jason ambles toward a well-built DEPUTY near a wall and balls up his hand into a fist. As the deadly punch flies forward, THE DEPUTY DUCKS. JASON'S FIST LODGES DEEP INTO THE WALL! The deputy grabs a steel folding chair and brings it down hard on Jason's elbow, cracking the joint inward, dislocating his forearm. Yanking his fist out of the wall, Jason grabs his own wrist as the deputy's look of satisfaction instantly turns to dread. In one swift fluid motion, JASON SNAPS HIS FOREARM BACK INTO PLACE! A JAGGED SHARD OF BONE PIERCES THROUGH THE FLESH OF HIS ELBOW AS HE RAMS RIGHT INTO THE DEPUTY'S EYE! The deputy's body hits the floor, blood and ocular matter leaking from his ruined eye socket. Jason turns his attention to the doorway at the other end of the room, where the rest of the cops went. Dixon has found himself stumbling and sliding into a now closed door. He jerks frantically on the doorknob. Locked. Cornered. DIXON (BREATHLESS) Open...open the... Jason glares at his victim...then something overhead catches his eye. JASON'S POV - On a plaque, mounted above the door, is a MACHETE...weathered and beaten, the familiar blade calls out with the screams of the dying. On a brass plate below the machete is one word: "REMEMBER". Jason looks from his personal property to the cowering thief still pawing at the door. His eyes narrow with seething hatred. CUT TO: INT. HALLWAY At the end of the long corridor housing the administrative offices, the end of the machete BURSTS THROUGH THE DOOR. A spray of blood flies from the blade's killing edge. The door BLOWS OPEN, Dixon nailed face-first to the opposite side. Jason passes him with little attention, breaking his stride only to slam the door behind himself. A young LIEUTENANT throws open an office to Jason's right and thrusts his pistol forward. LIEUTENANT FREEZE -- Without missing a beat, Jason grabs a handful of the man's chest and TOSSES HIS BODY onto the machete blade! Lieutenant's face meets door with a jarring slam. He falls limp on the skewer. Commotion from O.S.: from behind doors come frantic whispers and barked orders. Another lieutenant, this one a grizzled veteran, emerges several yards ahead of Jason - packing a pump SHOTGUN. He fires without hesitation. Jason takes the hit in his side and continues stalking forward. The lieutenant grits his teeth and squeezes off another round. Jason takes it full-on in the chest, scraps of flesh and clothing flying off his backpedaling frame. He totters back like a redwood, tearing down the wall into the carpeted floor. DOWN. The lieutenant is almost in disbelief. The door at the other end of the corridor, behind him, starts to open. 2ND LIEUTENANT (OVER HIS SHOULDER) Stay back!! The door shuts quickly. Standing over Voorhees, the lieutenant aims the shotgun at his masked face. Jason starts and lifts his head. The lieutenant staggers back a few steps, more stunned than Jason himself, who gets stiffly to his feet. The lieutenant's fingers fumble over the trigger. 2ND LIEUTENANT Jesus goddamn Jesus NO -- Jason GRABS the shotgun, SWINGS the lieutenant into the wall! Bits of plaster rain down. Dispensing of the firearm, he palms the dazed cop and plows his head through one of the windows lining the wall. Jerking the lieutenant back, he FLIPS him around in his arms and sends him face first into another window! EXT. SHERIFF'S STATION - CONTINUOUS TRACK alongside the row of windows as the lieutenant's skull SHATTERS each one, face first, back first! INT. HALLWAY - CONTINUOUS Jason strides down the hall, delivering impact after punishing impact to the unconscious lieutenant, turning his bloody body like a rotisserie as he shoves its head through pane after pane of glass. At the end of the corridor, the corpse thuds onto the carpet. Jason's chest heaves with bloodlust - his rage not satiated, a ravenous appetite only swollen to its extreme. A pained grunt from O.S. LIEUTENANT (O.S.) Hey! Jason turns to see the first lieutenant there, blood smeared across his quivering abdomen, red hands wrapped tightly around a pistol which brushes Jason's chest. The lieutenant FIRES five times in rapid succession, throwing Jason into the door. The lieutenant unwillingly stumbles back under the influence of his mortal wound. Jason shrugs himself off the door and glowers at the cop. Come on. You've got five more bullets. The mortified cop takes shaky aim and empties his gun into Jason's throat and chest. Voorhees stands defiantly in place, his eyes locked with the cop's as each bullet punches through flesh and bone. Defeated, the lieutenant drops his gun. He tugs a knife from his belt in a stubborn display of his will to live. Jason almost gives him an appreciative look before he comes down on him. Almost. CUT TO: INT. BOOKING ROOM In the adjoining room, three officers are lined up behind an overturned desk, rifles at the ready. A tortured cry comes from the hallway. The doorknob rattles. OFFICER 1 (WHISPERING) Shit! OFFICER 2 Wait for it... The door FLIES OPEN. Jason has the dying lieutenant in his grip. OFFICER 3 Alan! OFFICER 2 LET HIM GO!! Jason's head moves subtly from side to side. JASON'S POV - We steadily scan the room, from the Connecticut flagpole mounted on the wall to a fire axe in a box on the other side. OFFICER 2 LET. HIM. GO. OFFICER 1 You've got one chance man! The scene plunges into SLOW-MOTION as Jason moves: THROWING the lieutenant into the overturned desk; Jason has his hands around the FLAGPOLE and is wrenching it from the wall - into the stomach of Officer 1 and cleanly out his back. Officer 2 squeezes off two rounds. They both lance Officer 1. Jason HURLS the body. Officer 2 dives aside - Jason steps past him - smashes the box and claims the AXE. CLOSE ON OFFICER 3 as he backs into a small hallway in the rear. Officer 2 rolls to his knees and shoots Jason in the back. XCU on Jason's face, the officer crouched in the B.G. Jason's glare relaxes. Still in SLOW MOTION, he turns and whips the axe through the air - DECAPITATING Officer 2, whose body splays on the floor. RETURN TO REAL-TIME as the axe buries itself in the doorframe. BAM! Jason walks over to retrieve it. He turns to Officer 3. Officer 3 grabs a fire extinguisher clipped to the wall and heaves it as Jason lunges across the room. Axe and cannister MEET, sparks shearing off into the air -- The extinguisher EXPLODES! "Snow" sprays in every direction and rains down on the room. A lull in the chaos as Officer 3 backs down the narrow hallway. OFFICER 3'S POV - A thick cloud of CO2 obscures our view of the booking room. Then Jason ERUPTS through it, hands thrust forward! He grabs the officer and SMASHES his face into one wall, then the other - WHAM! WHAM! - hurling him facedown on the floor. Jason STOMPS THROUGH OFFICER 3'S BACK into his chest cavity, crushing his heart like a ripe fruit in a brief geyser of blood that washes up Voorhees's leg. He stares into the cop's guts, then his head twists upward to peer intently down the hall. CUT TO: INT. CELL BLOCK Finally, Jason reaches the rear of the station. Walking calmly into the room with axe in hand, he stares into the first cell. Only a greasy DRUNK resting against the bars turns a glum face toward him. Jason peers into the empty cell on the other side. No Stephanie. He slowly turns, frustration evident in his movements, and stalks out. The drunk yawns and rubs his eyes. Jason lurches back INTO FRAME, sinking the axe into his sallow face. The drunk lets out a small cry. Jason jerks him forward and bangs his head against the bars to dislodge the axe, then exits. CUT TO: INT. LIBRARY - FOYER XCU on a couple of tattered old books as they've shoved into a knapsack. Stephanie's slender hand withdraws, and is caught by Mike's. ZOOM OUT as Stephanie and Mike stare across the desk at one another, Mike mustering a stern look. MIKE Are you certain about this? Stephanie's face is hard. Mike sits down wearily. STEPHANIE We'll be back by morning. MIKE What do you mean, back here? Children, the library is closed. STEPHANIE Mike...there's a cop car sitting across the street. They have to think we're still here. I need you to hang around just in case they check up. He massages the bridge of his nose and speaks in a throaty Danny Glover. MIKE I'm gettin' too old for this shit. CUT TO: INT. BASEMENT With encroaching shadows swallowing the dusty contents of surrounding shelves, Ethan carefully creaks open a grime smeared window above their heads. TREVOR So we're breaking into a house? STEPHANIE It's abandoned, Trevor. TREVOR Okay. As long as it isn't a felony, I've had my fill for the week. ETHAN That reminds me... He holds out his hand. Trevor looks at him like a kid caught in the proverbial cookie jar. TREVOR Hmmm? What's that? ETHAN C'mon dude, we can't afford to go to jail tonight. Trevor nods sullenly and pulls a generous baggie of marijuana from his pocket. Ethan stuffs it into the spine of a huge encyclopedia. TREVOR Killjoy. STEPHANIE The fun's just starting, trust me. She shoves the window the rest of the way and grabs the sill. Ethan props his hands under her foot to help her out. CUT TO: EXT. LIBRARY - CONTINUOUS Stephanie pulls herself out into the bushes and waits for the bantering Ethan and Trevor. Apparently Trevor is begging for one last moment with Mary Jane. Finally, they crawl out - Trevor first, then Ethan - and sneak off. WIDE The trio darts from the side of building behind a sagging tree. CRANE DOWN to the POLICE CAR where Deputies Cody and Alexander are fighting off sleep - their backs to the escaping teens. CUT TO: INT. LIBRARY - FOYER Mike sits at the checkout desk with some more volumes on Crystal Lake's muddy history. He taps a weathered old photo of PAMELA VOORHEES - an original, not a copy. MIKE Look what you've brought on this child. A light rapping startles him. TIGHT: Mike opens the front doors slightly, eyeing the deputies. ALEXANDER We'd like to speak with Stephanie Freeman, if possible. MIKE I'm afraid she's asleep in my office. She's had quite a night, fellas. ALEXANDER Please let us in, sir. MIKE I'd rather not. He smiles genially. The deputy grits his teeth. ALEXANDER (OVER SHOULDER) Call dispatch. CODY I already tried, can't raise 'em. Alexander turns back to Mike with a new tactic. ALEXANDER She's wanted for questioning in connection with a triple homicide. I don't suppose you know anything about that, do you? MIKE Let's see your warrant. ALEXANDER fuck He bites his lip a moment too late. Looking and feeling like a jackass, he slips past Cody and down the stairs. CODY Mister Weisman, those kids could be in serious trouble. I suspect it wasn't just anyone who paid a visit to the Freeman home tonight. MIKE You're so - - Mike's skeptical look softens as he recognizes genuine concern in Cody's eyes. CODY They're not here, are they? Mike looks down in resignation. DISSOLVE TO: EXT. WOODED ROAD - DAWN WIDE A narrow dirt road flanked by forest resonates with the chirping of early birds and the croaking of frogs off in the distance O.S. The soft purple and orange glow of the rising sun spills through the boughs of the trees, sharply contrasting with the blazing headlights of the PATROL CAR, which slowly bumps down the road towards CAMERA. CLOSER A very tired looking Cody is at the wheel, almost straining to keep his eyes open as Alexander chugs coffee from a thermos. He offers Cody a swig, who graciously accepts. ALEXANDER Some night. If we don't find this chick, Tucker's gonna be pissed. CODY Unless we find her dead, then he'll really grill our asses. ALEXANDER Man, why the hell would she come out here with this guy on the loose anyway? CODY I don't friggin' know, death wish maybe? Ask her when we find her. ALEXANDER Aw, is someone cranky because he missed his beauty sleep? Cody shoots Alexander a nasty look. ALEXANDER (CONT'D) How about I drive and you nap? Eyeing him skeptically, Cody slowly nods. CODY What's the catch? ALEXANDER So I don't have to put up with your cranky ass. With a grin, Cody brakes the car hard and throws it in park. CODY Fair enough. They both unfasten their seatbelts and open the doors. As the deputies exit the vehicle, we hear the distinct sound of heavy footsteps crunching brush O.S. Cody and Alexander look at each other and then straight head. Both men freeze in their tracks. REVERSE ANGLE Standing in the middle of the road, no more than ten feet from the car, Jason glares at them, machete in hand. ON THE DEPUTIES They look at each other, look over at Jason again, look back at each other and then quickly draw their guns. ALEXANDER Drop the toothpick and don't move! Jason, needless to say, shows no intention to comply. ALEXANDER (CONT'D) Last chance Gretzsky! CODY Shit, get on that radio and call this in, now! ALEXANDER Fuck that, I'm taking this guy down. CODY No, wait - -! Before Cody can even get the words out, Alexander opens fire on Jason. He barely reacts as the bullets strike him in his chest. A dark, vile ooze blossoms around the wounds. Jason glances down at his chest, then up at the two deputies. He takes a deep breath and advances on them. ALEXANDER Holy shit! He raises his gun again as Cody leans back into the car and makes a desperate plea over the radio. CODY This is seven out on Lake Shore Road. We need backup - - now! Alexander pulls the trigger as fast as he can, hitting Jason with every shot, but he's still coming. Cody drops the radio handset and joins Alexander in blasting away at the inhuman force heading towards them. The two of them begin backing away as Jason gets closer until they're both firing from behind the car. Jason leans down and firmly grabs the car under the corner of its front bumper. With little effort, Jason TURNS THE CAR OVER ON ITS SIDE. He throws his machete sideways, almost like a boomerang. It whirls blindingly through the air and LODGES DEEP in Alexander's skull, across his eyes. The impact sends him flying backward; his lifeless body crashes to the ground and skids a few feet in the dirt. As Cody stands transfixed by the horrific spectacle, Jason reaches out for him and has him by the shirt before he even realizes it. In a last desperate move, Cody fires point blank into Jason's head. The bullet snaps his head back and cracks the rugged plastic mask in the forehead. Jason violently slams Cody into the undercarriage of the car and plunges his hand deep into the car's guts. He pulls out a steaming section of muffler pipe and plunges it through Cody's stomach. We can hear the pipe scraping against metal O.S. as it pierces cleanly through Cody's body. Jason lets go of the pipe and steps back. Cody is impaled to the car's undercarriage. Blood streams from the end of the pipe and the deputy's head slumps chin to chest. CUT TO: EXT. VOORHEES HOUSE - DAWN MEDIUM Rays of the rising sun frame the foreboding old house with a golden glow, almost downplaying the house's more ominous nature. We slowly go WIDER and see Stephanie, Trevor and Ethan staring up at the decrepit, Victorian stone face. Trevor whistles in awe. Ethan and Stephanie glare over at him. He notices, a puzzled expression coming over him. TREVOR I had no idea your family was so loaded, Steph. Ethan and Stephanie just cross their arms and crook their hips. TREVOR What? This is prime real estate! STEPHANIE Jesus. So call Century 21 then, ok? Let's just get in there so we can get out already. She flips her hair and stalks off toward the house by herself. Trevor and Ethan exchange glances. TREVOR She's got more balls than you. Trevor pinches a scowling Ethan's cheek and skips off after Stephanie. Ethan resigns with a shake of his head and follows his friends. CUT TO: INT. VOORHEES HOUSE - LIVING ROOM WIDE The den of the Voorhees home has been emptied of furniture. Layers of shadow upon shadow flee as the front door creaks open. As the footfalls of the trio echo through the room, slivers of light eke through the boarded-up window and capture the rising clouds of dust. TREVOR (COUGHING) This is worse than my room, dude. STEPHANIE Shhhh. Ethan reflexively stiffens. ETHAN (WHISPERING) What? Did you hear something? STEPHANIE No... Seemingly transfixed, she takes another bold step into the Voorhees house. STEPHANIE'S POV Dark smudges and cracked plaster stand out in sharp relief on the walls. A tiny dust cloud swirls across the floor, and the lines of sunlight seem to shrink back through the windows. MEDIUM Trevor shoves his hands in his pockets and teeters back on his feet. Ethan whirls and glares at the sound of a groaning floorboard. TREVOR Sorrrr-y. In the F.G., Stephanie lifts a hand to silence them, looking up at the rafters. ZOOM IN on a fresh splotch of blood in the corner of the ceiling. Trevor must have fucking ADD. As soon as Ethan turns back, he fishes a one-hitter from his pocket, scraping out the bowl with his fingernail. It slips and CLATTERS to the floor with all the effect of a shelf of fine china. ETHAN FUCK man! TREVOR Sorry! A cell phone rings shrilly. Ethan rolls his eyes as Trevor pats his jeans. TREVOR Not mine, dude. ETHAN I don't have a phone... As realization dawns on him, he snaps his head toward Stephanie. ETHAN Steph. (no reaction) STEPH! The mystery phone rings again. She turns. TREVOR Oh fuuuck! They race for the front door. CUT TO: INT. FRONT HALL - CONTINUOUS As they sweep around the corner -- A stocky form steps from the dining room to block the hall. STEPHANIE'S POV Early-morning sunlight paints a blinding backdrop around the silhouette filling the exit, who can only be -- STEPHANIE Jason! She lurches back. A thick hand LUNGES out to grab her wrist. ETHAN NO!! He jumps forward to protect her, just as the silhouette steps into clearer view. STONE This is rather unexpected. His cell phone rings again as he displays it to them, before placing it against his leathery cheek. STONE (ON PHONE) Yes?...I'm on the property. A surprisingly thorough clean-up, Morgan... (long pause) I see. I'll have to call you back. Stone hangs up and slips the phone into his coat pocket, coming out with a cigarette. ETHAN Who are you? STONE Stephanie Freeman? He looks at her as one might admire a precious jewel. STONE (CONT'D) Why did you come here? ETHAN I asked you a question, pal. Stone is plainly ignoring him. He approaches the unflinching young woman. STEPHANIE This is my family's house. STONE I own this house. Evan Stone. He walks past them then, into the living room where his voice booms. STONE (CONT'D) I'm sorry for your recent loss. Stephanie quickly follows him. STEPHANIE How do you know about my mom? STONE I know far more about your lineage than you'd ever care to. He lights his cigarette. STEPHANIE This is about Jason? Stone seems almost as pleased as he is surprised. STONE You're extremely resourceful, aren't you? You've got a stubborn streak, too. Ethan has entered behind Stephanie. She looks at him as she answers Stone. STEPHANIE Yeah, it's my biggest weakness. STONE Wrong. (beat) Do you believe that Jason Voorhees is more than a campfire tale? STEPHANIE Yes. STONE Good. Because he is. Jason Voorhees is ALIVE - in a manner of speaking. He killed your mother because of a quality of hers, which you also possess. STEPHANIE W-what? STONE The ability to harm him, Stephanie. Hard as it is to believe, you may actually be a threat. He takes a long drag from the cigarette and languidly blows smoke into the room. STONE (CONT'D) Conversely, you can also give him new life. As Jessica did. Stephanie is wracked with grief at the thought. Stone purses his lips. STONE I didn't intend to be cold. I have a considerable interest in your situation. STEPHANIE My "situation"? Who the FUCK ARE YOU?! STONE Your great-grandfather was a doctor in London. He was a man of great renown, and I respected him deeply as a mentor and friend. ETHAN A doctor of what? STONE I knew about his time in the States. I had seen Jason as a child. I knew about his death. But what I didn't know was what slowly drained the life from Elias, day after day, year after year until he was crippled with mourning...when he could contain it no longer, he told me on his deathbed. Stone sucks down the burning cigarette. STONE (CONT'D) Any other man so broken would not have lasted as long. (pause) One might say that Jason took his life, as well. Now the family name is stained with that boy's legacy. STEPHANIE So you want to kill him? Stone harumphs bitterly. STONE There's nothing I would prefer more, were it possible. TREVOR Okay, can everybody cut the bullshit for a minute? He scratches his head, and points to Stone. TREVOR (CONT'D) Are you saying that this Jason guy can't die? Stone regards him with distaste. STONE Precisely. TREVOR Why not? STONE If I had the answer to that question, I wouldn't be risking my neck traipsing around his bloody hunting grounds. STEPHANIE How noble. ETHAN So what are we supposed to do? STONE He must be contained. You're still the key, Stephanie. STEPHANIE I'm not going to be your bait, asshole. She turns to exit the room. STONE This was your great-grandfather's dying request. STEPHANIE Fuck him! STONE Jason will kill you on your own! Like he killed her! Stephanie stops in the doorway. Ethan motions for her to walk out with him and Trevor. Instead, she speaks over her shoulder. STEPHANIE You think you can stop him? STONE I have a plan. I cannot see it through without your cooperation. Overwhelmed, torn between the door and the shadowy figure with the cigarette, Stephanie clenches her fists. STEPHANIE God, what am I supposed to do? Stone's face almost softens in the dim light. He stubs out the cigarette on the floor. STONE Perhaps you should ask your father. Stephanie looks curiously at him. CUT TO: EXT. VOORHEES HOUSE - MORNING CRANE OVER the foursome exiting the house, Stone eyeing the surrounding woods as he leads them around the corner to the STONE LANDSCAPING truck. TREVOR Nice ride. STONE It's inconspicuous. He clears a few bits of plywood out of the truck's bed and gestures to Trevor. Stephanie grabs the passenger door handle; she gives Ethan's hand a reassuring squeeze before climbing into the cab. Trevor hops into the back and helps Ethan up. Ethan raps on the cab's rear window. STONE Yes? ETHAN What if the cops see us? STONE Their hands are quite tied right now. (starting engine) My assistant informs me that the police department was attacked last night. Ethan and Trevor exchange a grim stare as the truck pulls away FROM CAMERA. CUT TO: INT. VOORHEES HOUSE - FRONT HALL LOW ANGLE: A tattered leg steps heavily INTO FRAME. The blood soaked machete swings down, scraping the floor. INT. HOSPITAL - CORRIDOR At the head of a sterile and quiet hallway, Stone, Stephanie, Ethan and Trevor make a silent entrance. ETHAN We should go back to the library after this. STEPHANIE Good idea. Stone seems to react adversely to the library's mention. A NURSE walking out of a supply room approaches them. NURSE Do you need any help? STEPHANIE We're looking for - - STONE Thank you, we're fine. Stephanie shoots an icy glare at him. STEPHANIE I'M looking for my father. Steven Freeman? NURSE Why don't you come with me. She starts off, after giving Stone her own sour look. STEPHANIE Do you REALLY want my help? STONE My apologies. She starts down the hall. STONE (CONT'D) Just watch out for all the police. Stephanie slows to a stop as she reaches the end of the hall. STEPHANIE'S POV - Just around the corner is a small nurses' station at the junction of three corridors. A haggard deputy is slumped in a plastic chair inches from Stephanie, his arm in a sling. The nurse types into a computer kiosk as Trevor and Ethan form a wall blocking Stephanie from the deputy's view. NURSE He's in intensive care right now...but his condition has been upgraded to stable. Would you like to see him? STEPHANIE I know where ICU is. Thank you. STONE You've been invaluable. Charmed by Stone's warm demeanor, the nurse coughs "ASSHOLE!" into her fist and walks off. CUT TO: INT. ICU Steven Freeman lies in the midst of life-support machines that are plugged into virtually every exposed area of his body. Blood shows faintly through the bandaging on his torso. More striking, the vitality that embodied Steven has been wiped out. At first, he appears unconscious, but a voice arouses his grimy eyelids to flutter open. STEPHANIE (O.S.) Daddy? STEVEN Steph--! Steven starts to sit up, and immediately regrets it. Stephanie swoops into view and puts her arm around him, easing him back down. STEPHANIE Please don't move. I'm okay. STEVEN'S POV Ethan and Trevor glance in on either side of the doorway. STEVEN Did you...come back to the house? STEPHANIE Yes. He reads her face. His hand closed around hers. STEVEN God...Jess? STEPHANIE Oh, Daddy... She presses her forehead against his. CUT TO: INT. CORRIDOR Ethan and Trevor lounge beside the door. Up ahead is the E.R., which is bustling with activity as several shaken and bruised police officers mill about. TREVOR Look at all the five-oh, man. We're fucked if we don't get going. ETHAN We'll stay as long as she needs to. Stone approaches from the rear. STONE Your friend may actually be right. He is staring hard past them. Ethan and Trevor look back toward the E.R. Sheriff Tucker steps through the other officers, mopping sweat from his brow with a handkerchief. TREVOR Shit! STONE (WHISPERING) Inside! He motions to Steven's room, and the pair duck in, leaving him to face the approaching sheriff. Tucker's face shows recognition. He doesn't look happy. TUCKER Stone, isn't it? STONE How kind of you to remember. TUCKER I'd never forget. How's the real estate business? Stone steps toward Tucker, putting himself between the sheriff and the room. STONE You needn't bother with the formalities. TUCKER Good, because I've had enough goddamn bullshit for one night. The horror and rage of the night is reaching a boiling point inside Tucker. He stabs a finger into Stone's chest. TUCKER (CONT'D) You think I don't know who you are? What you want? I've seen your kind before, Stone, but none so bold as to buy the goddamn house that he grew up in. STONE You don't know the first thing about me. OR him. Furious, Tucker stands up to the imposing man. TUCKER All I know is that a lot of my boys are dead today. And I may not be able to prove it, YET, but you know something about it. (beat) So unless you've got something you want to say to me, GET THE HELL OUT OF MY TOWN. Stone's countenance is almost one of regret. Under different circumstances, they might have been allies. STONE Good day, Sheriff. He heads for the E.R. entrance. Tucker follows him for good measure. CUT TO: INT. ICU ROOM Trevor and Ethan stay crouched by the doorway, but are listening intently to Steven and Stephanie. STEPHANIE I'm sorry. God, I'm too tired to even cry. STEVEN It's okay. (pause) She's gone. STEPHANIE Dad... (long pause) It isn't over. Steven's face turns white. STEVEN Steph - - STEPHANIE It won't ever be over. She knew that, Dad. She told me about Jason. It won't end unless I do something. STEVEN She told you? STEPHANIE She only wanted to protect me. STEVEN Don't you see that's what I want, too? STEPHANIE Dad...you can't. STEVEN What we did that night...it didn't work. He's not alive, Stephanie. He's not human. He's... STEPHANIE He's my blood. The look they share reflects the fierce concern that only a father and his daughter have for one another. He plucks his glasses off the side table and puts them on. STEVEN I can't lose another girl today. STEPHANIE You won't. She hugs him gently. STEPHANIE (WHISPERING) I promise. Steven lies back. STEVEN I love you. STEPHANIE I love you too Daddy. She tears herself away. Ethan and Trevor take her arms. ETHAN We need to go. Now. CUT TO: EXT. HOSPITAL - DAY The two boys tug Stephanie away from the E.R. STEPHANIE Where's Stone? TREVOR We're better off without that guy. Let's just get to the library! A hand GRABS Stephanie's shoulder with fierce speed. She cries out and whirls around. Sheriff Tucker crosses his arms. TUCKER What're you getting yourselves into? ETHAN Sheriff, don't take us in. TUCKER I know what you're up to. STEPHANIE Then you know why? Tucker sighs. He pulls out his handcuffs. TUCKER Let's go quietly. Stephanie looks beyond Tucker, into the woods at the rear of the parking lot. STEPHANIE Do you think I'll live long enough to see my children die? TUCKER Miss Freeman. STEPHANIE You don't have children, do you? TUCKER I had a father. A father who was chewed up and spit out by the bureaucrats in this county because he thought what you're thinking. They made a scapegoat of him and replaced him with some ex-Marine who got folded in half. Ethan's balls drop. He moves between Stephanie and Tucker. ETHAN What do you think is gonna happen to you? When half your men are dead and you don't have a fucking logical explanation? HUH?! (beat) This can end TONIGHT! Tucker raises the cuffs slightly, his expression uncertain. Then he nods grimly. TUCKER I'm going to go back to my car and radio in. I'm still waiting on a bodycount at the station. And when I get back, you'd better be here. Do. You. Understand? ETHAN Yeah. The sheriff puts the cuffs away and, tugging up his belt, walks across the parking lot. The trio of teens turns and heads into the woods. CUT TO: EXT. LIBRARY - DAY WIDE Stone regally strides up the walkway to the library's front entrance with his back to CAMERA, his dark trench coat flowing almost cloak-like in the light breeze behind him. He pushes one of the glass doors open with a leather-gloved hand and enters the building. REVERSE ANGLE In the thick patch of woods directly across the street from the library, Jason stands still as a statue, watching as Stone disappears through the doors. His head slowly cocks in curiosity. CUT TO: INT. LIBRARY - LOBBY Mike sits at the circulation desk, eyes fixated on an old, leather-bound book. Stacks of old newspapers, file folders and books are all spread out before him. A LONG SHADOW suddenly falls across the desk. He slowly looks up with a sigh, as if he's been expecting this. MIKE Evan. REVERSE POV Towering above the desk, framed by the glow of fluorescent ceiling lights, Stone glares down at Mike. A slight grin creases his, uh, well, stone features. STONE Michael. Mike rises up from his chair and for a moment, it looks as if he's about to extend his hand for Stone to shake, but he just crosses his arms over his chest. MIKE It's about time. STONE Not surprised in the least to see me, are you? MIKE Tell you the truth, I expected you to drop by sooner. You've been back here what, a week now? Stone's grin broadens. STONE I'm quite impressed Michael, you're still sharp as a stiletto. MIKE Cut the bull Evan, why now? STONE If I have to tell you, well, then I withdraw that last remark. MIKE Your nose is so high in the air that you have no idea what you're walking on. I know why you're here. STONE He needs to be stopped. The stain that he's left on the family name and the lives he's - - Mike cuts him off. MIKE Bullshit, you wouldn't have waited so damned long to do something about it. Cut the classier-than thou shit and tell me what you want. Stone's seemingly impenetrable veneer begins to falter. He lowers his eyes and briefly stutters. STONE I - - I didn't know what to do. I've spent more than two decades trying to find a way to put Jason to rest. (beat) Do you really think I'm not ashamed of that, Michael?! Mike hangs his head, now HE feels ashamed. MIKE I'm sorry Evan, I didn't mean - - STONE (INTERRUPTING) You didn't know, I understand how it looks from an outside perspective. I only wish I could've stopped this sooner, not just for the town or the Voorhees name, but for him as well. Mike motions to a chair behind Stone as he lowers himself back into the one at his desk. Stone pulls the chair up in front of the desk and sits. STONE (CONT'D) Jason's soul is in torment, Michael. Unless it's put to rest, this cycle will never end. Ever. MIKE You're not trying to make me feel bad for him now, are you Evan? STONE No, but didn't it occur to you that Jason hasn't known peace in far too long a time? Mike's brow knits in confusion. STONE (CONT'D) You forget Michael, there's a little boy inside there, still anguished over all the loss that he experienced in his brief human life. MIKE So you're telling me he's basically been throwing a twenty-year tantrum? STONE Well, I suppose you could look at it that way. MIKE And you've found a way to bring his soul this peace that he needs to stop? Stone looks grimly across the desk, right into Mike's eyes, deathly silent for a moment. STONE No. CUT TO: EXT. WOODS - BIKE PATH - EARLY EVENING Stephanie, Ethan, and Trevor run down a narrow, paved bike path cutting through postcard-perfect forest. TREVOR Y'know, I'm really glad we live in such a small town sometimes. ETHAN Why's that? TREVOR Well, how else would we be able to get from point A to point B so quickly? It's not like we can just teleport... ETHAN I really worry about you sometimes. TREVOR Nice to know you care. JASON'S POV - Watching the three kids running down the path from behind a thick patch of brush. We hear his deep breathing filtered through the mask O.S. REVERSE ANGLE ON JASON - He recognizes his niece, we can tell by the way he clenches his fist tighter around the machete's handle. Even so, he remains still. CLOSE ON STEPHANIE - Her eyes show determination. STEPHANIE I really hope Stone doesn't screw us. TREVOR Screw Stone, what about Tucker? He's gonna be pissed that we bailed and he knows where we're going. Stephanie knows that Tucker let them go; she responds to Trevor with a nudge-nudge look. STEPHANIE Shit. Oh well. CUT TO: INT. LIBRARY - LOBBY Mike and Stone are looking through the scrapbooks full of news clippings. Stone turns in his chair as the teens enter. Trevor pats him on the shoulder. TREVOR Thanks for waiting up, dude. He continues down the hall into shadow. MIKE I assume you've already met Evan. STEPHANIE At the house. He wants to help. Mike and Stephanie exchange a glance that communicates his uncertainty and her defiance. Emerging from the hallway, Trevor plants himself on the lobby's spiral staircase, away from the group, and pulls out his recovered stash. Ethan walks over to him and raps on the wrought-iron railing. ETHAN Trev, we're not finished. Trev lights a freshly-rolled joint. TREVOR I know. Why the fuck do you think I need a smoke? Jesus. He pauses, mid-puff, and looks at his shoes. TREVOR I'm fucking scared, man. This shit is serious. ETHAN Stone's gonna help us. TREVOR That guy doesn't give a shit about any of us. He's just pulling us deeper into some fucked-up plan of his. ETHAN You want to leave? Go ahead. I won't stop you. Ethan returns to the checkout desk. Trevor sucks in another mouthful of smoke. Suddenly, something grips his heart in a vise, and he rises abruptly. TREVOR He thought you were there. (turns to others) Jason went to the sheriff's station because he thought YOU were there, Steph. But you weren't. He walks over to the doors and peers outside. TREVOR (CONT'D) Where are those cops who were watching us? MIKE I...I told them where you were going. STEPHANIE What? MIKE It was Jason's house. I was worried, for Christ's sake! STEPHANIE But I told you - - TREVOR So why didn't they show up at the house? WHERE THE FUCK ARE THEY NOW!? A stunned silence envelops the room as each person's face turns white with realization. TREVOR (CONT'D) HE was out there. (beat) He might know where we are. The words hit them all like bullets. The doors rattle behind Trevor. In unison, they turn to face - - WIDE A nebbish-looking BOOKWORM enters, a backpack full of volumes slung over his shoulder. He hesitates at the sight of the fear-stricken group before him. BOOKWORM I...need to return...a book. MIKE We're closed. BOOKWORM Closed? It's only - - Mike is already ushering him out. MIKE We're closed today, son. Don't worry about it. BOOKWORM But it's past due - - MIKE Keep the goddamn book! He pushes the nerd out and closes the doors, locking them from a keyring on his belt. Sighs of relief fill the lobby. STONE (gesturing to Trevor) He's right. We're not safe here. MIKE Those doors are shatterproof, Evan...and this is the only key that opens them. He tugs on the keyring. STONE That's reassuring. MIKE You know what I've been entrusted with. This building is more secure than the bank...It may not be enough to stop him, but it'll buy us some time. (beat) Now, I'll be right back. He heads up the spiral staircase. Stone takes his seat with a plaintive look. CUT TO: INT. LIBRARY - SECOND FLOOR The second floor is one massive area filled floor-to-ceiling with bookshelves. Mike navigates easily through the labyrinth of dusty tomes, into the darkest corner of the stacks. TRACK Mike as he walks down a long aisle, glancing from shelf to shelf. The ever-increasing shadows and silence are closing in. STALKER POV - We're watching Mike from a perpendicular aisle, a few shelves away. He is clearly visible through the books. MIKE Stops and kneels, retrieving a thick book from the bottom shelf. TRACK UP with him as he turns his back to the shelf - JASON is standing on the other side! MEDIUM Jason's arms EXPLODE into the aisle, sweeping books aside left and right and jerking Mike back into the shelf. A forearm cuts off Mike's windpipe as Jason tightens his lethal embrace. Mike's hand claws out, arms straining, eyes bugging from his head as the life is squeezed from him - - His grasping fingers find purchase in a hardcover of Stephen King's "IT". BAM! He brings the book up on Jason's elbow with the brutal desperation of a man in his last moments. Jason loses his grip - a little. Just enough for Mike to slip free. TRACK Mike as he staggers breathlessly down the aisle, books flying from the shelves behind him as the relentless Jason lunges over and over. ON MIKE - without warning, the entire shelf is forced over, PLOWING him into the next one! CUT TO: INT. LIBRARY - LOBBY ANGLE OVER BALCONY An enormous crash draws the attention of the others. STEPHANIE Mike? CLOSE: Stone claps a hand over her mouth. Pulling it away, He walks slowly toward the staircase. Another crash. Heavier. Closer. Stone gives them a no bullshit look. STONE Stay. Here. A falling bookshelf CRASHES into the balcony railing, spilling dozens of books out over the lobby, several directly onto Stone. Stephanie looks to the top of the staircase, just in time to see MIKE'S BODY Fly over the railing, shattered limbs akimbo, an arc of blood trailing his descent to the lobby floor. STEPHANIE NOOOOOOOOOO!!! Ethan throws his arms around her. Grabbing onto the staircase as more books rain upon him, Stone turns to see the mutilated corpse. His grief is quickly replaced by fear. STONE (almost a whisper) Keys... ON THE BALCONY The library keys are under the toe of Jason's workboot. Jason's hand descends into frame to pick them up. IN THE LOBBY Before anyone gets a glimpse of their attacker, the lights GO OUT. They're plunged into near-total blackness. TREVOR Awww fuck. ETHAN Trevor, lighter! CU on the tiny flame blooming from Trevor's Zippo. Across the room, Stone's face is filled with abject horror. Jason is standing BEHIND TREVOR. In one split-second, Stephanie registers the dully-lit image of her great-uncle, the hulking monster who killed her mother - and he is staring right back at her. Trevor is broadsided by Jason's thick arm. He doesn't even know what hit him. The Zippo lands on a CART of unbound manuscripts. Trevor follows, smashing into it and sending the cart flying across the lobby - the ancient volumes going up in flames like a pile of dry leaves. Stephanie stands stock-still as Jason advances. STONE JASON!! Jason's focus on his ultimate target is broken. He snaps his head toward Stone. The moment is lost as the burning cart practically SHATTERS against a bookshelf, casting hungry flames in every direction. ETHAN Jesus, Stephanie! Both Trevor and Ethan grab her & drag her down the hallway along with Stone. Deeper into the library. INT. CORRIDOR - CONTINUOUS The intensifying glow from the lobby fire is now the only source of light they've got. STONE We have to get back to the house- - ETHAN Fuck your trap, Stone! Their eyes are all locked on the lobby. Jason is nowhere to be seen, and Stephanie still hasn't said a word. Trevor breaks right and runs past Mike's office to a small lift used for book carts. Pulling back the gate, he ushers the others onto the platform. TREVOR How do you work this thing? ETHAN I can't see either, Trev! Stone gropes through the shadows and pulls a lever. The platform shudders for one terrible moment...then begins to ascend at an agonizing pace. TREVOR We're okay. We're okay. Then it stops between floors. The gate overhead shrieks back. Jason leans down to snatch a handful of Stephanie's blonde locks. ETHAN Steph!! Ethan hammers at Jason's arm as Stone and Trevor grab Stephanie about the waist. She digs her elbows and feet into them as she struggles in the claustrophobic shaft. Screams and cries of "NO!" fill the darkness. Stephanie is slipping out of the men's grip. Jason rises to his knees and braces himself in the gateway to haul her out. The machete is in his other hand. ETHAN GODDAMN YOU, NO!!! Ethan leaps straight up and grabs Jason's rigid limb, CLIMBING it and throwing his arm around Jason's thick neck! Dangling from the killer, he pounds the hockey mask with every ounce of terrified strength in his body. ETHAN FUCK YOU! FUCKING LET HER GO!! LET HER GO! Each bone-shattering blow sends Jason's head reeling. The machete falls from his grip into the shaft. His fingers splay out, and Stephanie drops a few inches - only to STOP with a pained shriek. He is well-entangled in her hair. Below, Stone brandishes the machete. STONE Hold on! He saws through Stephanie's hair, and she falls into his arms. STEPHANIE Ethan!! Ethan musters one last swing and raps his bloody knuckles upside Jason's head. Voorhees turns to him with a dark glare. STEPHANIE (O.C.) Ethan get down!! STEPHANIE'S POV: Jason buries his fist in Ethan's gut - literally. Ethan's arms drop to his sides. He remains suspended above the others. As his head drops, he manages to look into Stephanie's eyes, just as the light dies in his. In the very instant that Ethan's life expires, Stephanie THRUSTS Jason's machete into his own throat. He shakes Ethan off and attempts to grab the blade, but doesn't quite make it before she tears it free through the side of his neck, sending a gout of black blood showering over them. Jason grabs at the wound in an almost-panicked motion and withdraws. Stephanie stabs and misses, then stabs again and again, even as he's vanished from sight. Stone wrenches her out of harm's way. She sags against Ethan's corpse, breaking into sobs. Stone shakes her violently. STONE No, not now, we have to get out of here! INT. CORRIDOR They exit the elevator and head for the lobby, now crawling with flames. It's their only hope of escape. TREVOR We don't have the keys! STONE We don't have any other choice! INT. LOBBY WHAM!! A dark blur drops down from the balcony - Jason Voorhees, a blackened, bloodied, smoking hulk, hits the lobby floor in a crouch and rises. Blocking their path. STEPHANIE NOOOOOOOOO!!! She hurls the machete in a half-hearted gesture. It bounces off Jason's chest. STONE Up the stairs! They break for the spiral staircase. Jason reclaims his blade and starts after them. INT. SECOND FLOOR The trio reach the top of the stairs and find themselves in a smoke-choked maze of shelves, many of which have been toppled in the wake of Mike's demise. STONE God. He draws a revolver from his coat. STONE (to Trevor) Get her out of here. TREVOR You can't leave us! STONE He's coming!! Trevor tugs Stephanie toward the stacks. Turning, Stone aims his revolver at the staircase, knowing it will do little good for his own sake. Jason's head rises into view as he comes up the steps. Blood still issues from his throat with each excited thud of his black heart. Stone fires. A puff of smoke erupts from Jason's broad chest, followed by a spurt of blood. Still he keeps coming. Stephanie is resisting Trevor, watching her great-uncle. Stone shouts in her face. STONE GO!!! He turns and cracks off two shots in Jason's chest. The behemoth has reached the top of the stairs, and now raises his machete to do away with Stone. Stephanie looks past Trevor, then into his eyes. Stone fires again. A chunk of the hockey mask spins off into the smoke. STONE What...what in God's name have you become? Jason prepares to answer with a stroke of the blade. Stephanie ROARS offscreen- - Stone sees the bookshelf falling at his back and dives aside just before it SMASHES directly into Jason - knocking him into the air, over the staircase and out over the lobby, with corkscrews of smoke trailing from his limbs! The shelf bangs against the balcony with a sound like a gunshot. Jason streaks down and crashes into the floor - THROUGH the floor - plummeting into the library's basement. Stephanie and Trevor plant all their weight behind the shelf and HEAVE! It goes over the balcony, over the stairs... The entire shelf and its flaming contents plow through the lobby floor after Voorhees. He's buried in a shower of flaming debris. Glowing bits of ash filter through the air as Stephanie, Stone and Trevor peer over the balcony into Jason's fiery grave. Flames lick the edges of the hole as the basement's contents are consumed. PUSH DOWN through the smoke and sparks, down on Jason's masked face - ash falling into his eyes as he stares blankly upward. A good portion of the lobby, including the circulation desk, falls in on him. STONE We've got to get out of here. They rush through the stacks to the back wall. Trevor grabs a chair from a reading table and shatters a nearby window. TREVOR Let's go! Taking Stephanie's hand, he helps her out of the building; reaches for Stone, but the older man motions for him to go ahead. The inferno roars at Evan Stone's back. He looks into the blaze, as if waiting for Jason to emerge with machete in hand... He doesn't. FADE TO: EXT. LIBRARY - NIGHT Fire crews swarm the magnificent structure as it's devoured. There's no saving the Crystal Lake Library. Stephanie watches it burn from across the street. STEPHANIE Ethan. TREVOR Steph...I had no idea, when we got into this, how serious it was...I didn't know... STEPHANIE He did. She meets Sheriff Tucker's eyes as he stands on the library lawn, hands on hips. He nods slightly, then returns his attention to the fire. Evan Stone is reloading his pistol. STEPHANIE He's not dead, is he? STONE The fire may do him in. He glances at her and is taken aback by how her face has aged, by the knowledge in her stare. STONE No. He's not dead. Stephanie nods and walks to Stone's truck, getting in. Trevor brushes the soot from his clothing and waves meekly to Stone. TREVOR I'm out man. He jogs toward freedom, leaving Stone with the fire, with the truck, with Stephanie Freeman. INT. TRUCK CAB Stone slides in and rubs his eyes, exhausted. STEPHANIE What were you going to do, Stone? STONE What do you mean? STEPHANIE Back at the Voorhees house. What was your plan? STONE It doesn't matter now. STEPHANIE We might need it. STONE We... She nods. Stone starts the engine. STONE Seat belt. Steph complies, and Stone backs the truck away from the library. Their battle-weary faces are swallowed by darkness. FADE TO BLACK.