JASON VS. FREDDY
                                    by
                    Brannon Braga and Ronald D. Moore

       FADE IN:

       EXT. CAMP CRYSTAL LAKE - DAY

       A beautiful mountain landscape. Pine trees, snow-capped 
       mountains and a clear blue, lovely lake nestled amidst it 
       all. CAMERA PANS down to reveal an old wooden sign that 
       says “CAMP CRYSTAL LAKE.”

                           VOICE (O.S.)
                 The first thing we’re gonna do is 
                 change that fucking name.

       MOVE TO REVEAL a man and a woman. The man is KEN BILLER -- 
       early forties, slick clothing, a lot of money. The woman, 
       JANET DAVENPORT, is in her twenties and wears a chic 
       business suit. She’s a Realtor and is holding an armful 
       of papers and documents. She looks dubious at Biller’s 
       idea.

                           JANET
                 I don’t think the people who live 
                 around here would like that very 
                 much...

                           BILLER
                 Do you think they like the fact that 
                 tourism has dropped ninety-eight 
                 percent in the last ten years?

                           JANET
                 No, but...

                           BILLER
                 And do you think they like the fact 
                 that half the country thinks Crystal 
                 Lake is filled with corpses?

                           JANET
                 That’s not true...

                           BILLER
                 We’re not talking about truth, we’re 
                 talking about perception. 
                 And the perception is that Crystal 
                 Lake means inbred psychopaths running 
                 around the hills with axes and hockey 
                 masks chopping up teenagers.
                     (beat)
                 That, my dear, is what we call an 
                 _image problem_.

       The woman can’t argue with this -- it’s a familiar story. 
       Biller starts strolling down the dirt road.

                           BILLER
                 You’re lucky I’m up here at all. Most 
                 of my investors think I’m crazy.

       As she moves to catch up to him...

                                                            CUT TO:

       EXT. FOREST - DAY

       Biller and Janet walking through the deep woods. She’s 
       checking the map, trying to keep track of where they are, 
       while Biller strides forth confidently.

                           BILLER
                 Beautiful trees... sturdy trunks... 
                 lots of branches...
                     (beat)
                 We can do some great logging up here.

                           JANET
                 Logging? We’ll need an environmental 
                 impact study for that...

                           BILLER
                 I don’t think you’re getting in the 
                 spirit of things, Janet. We’ll buy 
                 whatever studies we need --

       Suddenly a DEER bolts from the brush and takes off in the 
       forest. It’s a jarring moment and Biller nearly jumps out 
       of his shoes.

                           BILLER
                 Jesus Christ!

                           JANET
                 Just a deer, Mister Biller. Part of 
                 the local wildlife.

                           BILLER
                     (stern)
                 Get rid of them.

       Janet looks dubious -- isn’t sure what to say. Biller 
       glances around.

                           BILLER
                 I’ve seen enough. It’s getting dark... 
                 let’s head back.

       Janet looks at the map with a little anxiety... she’s not 
       quite sure where they are but doesn’t want to admit it.

                           JANET
                 Okay... well... I think it’s this 
                 way...

                           BILLER
                 Great.

       He takes off and she follows...

                                                            CUT TO:

       EXT. ANOTHER PART OF THE FOREST - DUSK

       It’s now nearly DARK. Biller is striding through the 
       forest, Janet trying to consult the map in the fading 
       light.

                           BILLER
                 You people wouldn’t have this image 
                 problem if you didn’t let all those 
                 Hollywood types come up here and film 
                 slasher movies.
                     (beat)
                 Homicidal maniacs may sell movie 
                 tickets, but they don’t sell vacation 
                 getaways.

       Janet finally stops.

                           JANET
                 Mister Biller?

                           BILLER
                 Yeah?

                           JANET
                 I think we’re lost.

                           BILLER
                 You have a map.

                           JANET
                 I know... but we left the main 
                 trail... and I can’t find any 
                 landmarks around here... I’ve been 
                 trying to figure it out but...

       Biller seems unfazed by this.

                           BILLER
                 Why don’t we ask _them_?

       He points to something over Janet’s shoulder. She turns 
       to follow his gaze, and in the distance we can see what 
       looks like an old, run-down HOUSE. It’s covered with 
       vines, bushes, tall grass -- the building is only barely 
       discernable through the forest. Janet frowns at the 
       sight.

                           JANET
                 I didn’t think there were any houses 
                 up here...

                           BILLER
                 You learn something new every day. 
                 Let’s go.

       They head toward the house...

                                                            CUT TO:

       EXT. JASON’S HOUSE - DUSK

       The house was obviously nice at one time, but has been 
       abandoned for many years. 
       The forest has crept in on the grounds and has almost 
       reclaimed the house itself -- trees, shrubs, weeds are 
       everywhere. Biller and Janet walk up to the front porch. 
       Janet looks over the house with some concern.

                           JANET
                 Doesn’t look like anyone’s lived here 
                 for years...

       Biller turns around and glances back at the way they 
       came.

                           BILLER
                 Wow... look at that view.

       ANGLE ON LAKE

       revealing that from this vantage, a vista of Crystal Lake 
       is visible with the setting sun glistening across it.

       RESUME BILLER AND JANET

                           BILLER
                 This is prime real estate. I want it. 
                 Who owns the house?

       Janet is shuffling papers.

                           JANET
                 I don’t know... there’s no listing of 
                 a private residence in this area.

       Biller is inspecting the house with interest.

                           BILLER
                 Structure might be salvageable... 
                 let’s see what the interior looks 
                 like.

                           JANET
                 Mister Biller... now that we can see 
                 the lake, I think we should follow the 
                 shoreline to --

                           BILLER
                 Help me with this.

       Biller is trying to pull off one of the boards that’s 
       nailed across the front door. Janet reluctantly helps 
       him, and the two of them wrench the board off with a 
       great effort. Biller tries the door -- it’s unlocked but 
       the door is swollen with age. He kicks at it to force it 
       open...

       INT. JASON’S HOUSE 

       The front door crashes OPEN, letting in the soft, golden 
       light of dusk. Biller and Janet enter and peer around 
       what was once the living room of the house. The windows 
       are all boarded shut, letting in only a few random 
       streams of light from outside. The only pieces of 
       furniture visible are a single upholstered CHAIR sitting 
       in the middle of the room. Both are covered with grime 
       and dirt.

                           BILLER
                 Whew! What’s that smell?

       Biller walks up to a wall, thumps it soundly.

                           BILLER
                 Walls are in good shape.

       Janet hesitates at the doorway, not wanting to come 
       inside.

                           BILLER
                 There doesn’t seem to be any water 
                 damage. Kind of cozy, actually.

                           JANET
                 I really think we should go back...

                           BILLER
                 I want to look at the rest of the 
                 house.

       Biller moves off into another room. Janet pushes her 
       fears aside and walks slowly into the living room, almost 
       afraid to touch anything. She swipes a finger across the 
       mantle, leaving a trail through a thick layer of dust. 
       She glances down at the chair... there is an IMPRINT of a 
       person in the layer of dust, as though someone was 
       recently sitting there.

       Janet frowns, curious... then walks into a nearby 
       HALLWAY...

       INT. KITCHEN

       Biller is looking around the room. It’s dirty, and 
       obviously hasn’t been used in a long time, but on one 
       countertop we see a large WHITESTONE -- a sharpening 
       stone for knives. He eyes it curiously... reaches up and 
       opens a large cupboard directly above the countertop. 
       Inside is a vast collection of KNIVES, which gleam 
       brightly in the dim light -- everything from bowie knives 
       to steaks knives to machetes.

                           BILLER
                 Wow.

       He carefully takes out a large BUTCHER KNIFE. The blade 
       is pristine and razor sharp. He eyes it and is about to 
       test the sharpness of the edge with his thumb, when 
       suddenly there is a loud CHIRPING SOUND. Biller is 
       startled and slices the ball of his thumb on the edge.

                           BILLER
                 _Shit_!

       Biller quickly realizes it’s just his CELLULAR PHONE 
       ringing. He sucks on his thumb and jams the knife down 
       into a butcher block. Biller then pulls the cell phone 
       out of his jacket pocket.

                           BILLER
                     (into phone)
                 Hello?

                           BRUCE’S VOICE
                 Ken, it’s Bruce. Listen, we’ve got a 
                 nibble on the Pendleton financing.

                           BILLER
                 Really? How much?

       Over this dialogue, Biller continues to look around the 
       kitchen. He opens a walk-in clost -- inside is a 
       collection of MEAT HOOKS, all neatly arranged.

                           BRUCE’S VOICE
                 Fifty.

                           BILLER
                 Fifty? We need seventy-five.

                           BRUCE’S VOICE
                 Ken, we’ve been through this...

       Biller slides out a large cutting board that’s inset into 
       the counter. It’s stained with a deep, dark reddish color 
       -- what might be blood. Biller barely notices, slides it 
       shut.

       INT. BEDROOM

       Janet enters and looks around the eerie room. Everything 
       has been perfectly preserved -- the bed is neatly made, 
       photographs are neatly arranged on tabletops, etc. The 
       DUST all over is thick -- it doesn’t look like anything’s 
       been touched for years.

       She walks up to a night table next to the bed... sees an 
       old black-and-white photograph sitting there. She picks 
       it up...

       CLOSE ON PHOTO

       It shows a YOUNG BOY, about eleven years-old, sitting on 
       the front steps of the house. The boy is staring directly 
       into the camera with a vacant, haunted look.

       JANET

       who for reasons she cannot name is a little disturbed by 
       the photo. She sets it down and turns away...

       She continues to walk around the room... stops at a 
       dresser, which is cluttered with junk and things that 
       look like they’ve been shoved aside. As she cautiously 
       starts to sort through the clutter...

       INT. KITCHEN

       As before, Biller snooping around, on the cell phone.

                           BILLER
                     (into phone)
                 You tell them if they come up to 
                 seventy-five, I’ll cut them in on the 
                 Crystal Lake package.

                           BRUCE’S VOICE
                 Don’t tell me you’re still thinking of 
                 buying Casa de Psycho...

                           BILLER
                 Hey, smart-ass, I’m up here right now 
                 in a... luxury alpine retreat, with a 
                 two million dollar view of the lake.

       As he speaks, he opens the door to a broom closet, 
       glances inside and closes it... then does a double-take 
       and looks inside again.

                           BILLER
                 All we have to do is put in...

       There are FOUR CHAIN SAWS of various sizes hanging in the 
       closet. He reacts.

                           BILLER
                 Chain saws.

                           BRUCE’S VOICE
                 You want to put in chain saws?

                           BILLER
                 No, no... listen, when I get back to 
                 New York we’ll meet with the Board.

       He walks up to the door of a PANTRY... grabs hold of the 
       handle...

                           BILLER
                 Tell Pendleton to wait until we’ve had 
                 the meeting. They’ll give us seventy-
                 five...

       He opens the pantry door and steps inside...

                           BILLER
                 But I’m telling you, this lake is a 
                 gold mine waiting to --

       Hanging on a wall hook is a dirty pair of coveralls... 
       and a _HOCKEY MASK_. He reacts to the sight.

                           BILLER
                 -- happen.

       INT. BEDROOM

       Janet is poking through the junk on the dresser, when she 
       sees a pile of yellowed newspaper clippings lying on the 
       floor. She bends down to examine them...

       HEADLINES: “Boy Drowns at Crystal Lake.” “Mother Blames 
       Counselors for Death of Son.” “Teenaged Counselors 
       Murdered at Crystal Lake.” “Hollywood Plans Movie About 
       Crystal Lake Slayings - City Council Hopes for Economic 
       Boom.”

       Janet shuffles through the clippings for a few moments, 
       then suddenly hears a series of loud THUMPS from 
       somewhere in the house. She drops the clippings, stands 
       up.

                           JANET
                 Mister Biller?

       Silence. Worried, she exits...

       INT. LIVING ROOM - NIGHT

       It’s DARK now. Janet enters and looks around.

                           JANET
                 Mister Biller...?

       We hear a small, faint voice:

                           VOICE
                     (faint)
                 Hello? Can anyone hear me? Hello?

       She heads toward the kitchen...

       INT. KITCHEN

       Janet walks in, finds the source of the voice -- it’s 
       Biller’s cell phone lying on the floor.

                           BRUCE’S VOICE
                 Is anybody there?

       She picks up the phone.

                           JANET
                     (into phone)
                 Hello?

                           BRUCE’S VOICE
                 Who is this? What’s going on?

                           JANET
                 This is Janet Davenport -- I’m the 
                 Realtor.

                           BRUCE’S VOICE
                 Where’s Ken? Is he all right?

       Janet is definitely getting nervous now. She glances 
       around the kitchen.

                           JANET
                 I don’t know...

                           BRUCE’S VOICE
                 What about that other guy?

                           JANET
                     (freezes)
                 Other guy?

                           BRUCE’S VOICE
                 Yeah. Ken said there was another guy 
                 there... _big_ guy... then he dropped 
                 the phone. What’s going on?

       Her breath is coming faster now. She grabs the butcher 
       knife seen earlier out of the butcher block for 
       protection.

                           JANET
                 I don’t know, but I’m outta here.

       She opens what she thinks is the back door, but it’s 
       actually the walk-in closet. She screams at what she sees 
       inside --

       Biller is HANGING FROM A MEAT HOOK -- DEAD.

       Janet bolts for the Living Room...

       INT. LIVING ROOM  

       Janet races to the front door, which is now _closed_. She 
       tries to open it but it’s locked. She pounds, pulls on it 
       with all her strength but it’s no use. She turns around 
       wild-eyed, then freezes at something she sees.

       NEW ANGLE

       Sitting calmly in the chair in the middle of the living 
       room is a large, hulking figure of a man. It’s _JASON 
       VOORHEES_. He’s wearing the hockey mask and seems to be 
       watching her in the dim light. Janet stares at him, 
       frozen in shock.

                           BRUCE’S VOICE
                 Janet, are you okay? Are you there?

                           JANET
                     (barely able to talk)
                 He... he’s here...

                           BRUCE’S VOICE
                 Who’s there?

       Janet lifts the knife as if to ward off Jason.

                           JANET
                 Oh my god... this is his house... 
                 _we’re in his fucking house_...

                           BRUCE’S VOICE
                 Janet, goddamnit, what’s going on?

                           JANET
                 Jas... Jason Voorhees... he’s here...

       Jason calmly watches her. After a few seconds, he slowly 
       and deliberately rises up out of the chair... and as he 
       does, the following happens in the blink of an eye:

       -- Janet hurls the knife at Jason in desperation...

       -- The knife flashes through the air...

       -- Jason’s hands whips up, plucks the knife out of the 
       air and _flings it straight back at Janet in one single 
       motion_.

       -- The knife flashes back across the room, the blade 
       gleaming in the light. It PLUNGES deep into Janet’s 
       forehead and KNOCKS her off her feet.

       THE CELL PHONE

       hits the floor with a spray of blood. The impact closes 
       the flip phone and it comes to a rest against the wall. 
       The display screen says the word “END.”

       But the phone is still active. A small, green light 
       continues to blink on and off. As we PUSH IN on the tiny 
       green light, we hear the sound of a TELEPHONE 
       CONVERSATION, starting with the ringing of a phone. 
       Someone picks up:

                           OPERATOR’S VOICE
                 Nine-One-One Emergency. How can I help 
                 you?

                           BRUCE’S VOICE
                 Uh, yeah... my name’s Bruce Kelly. 
                 Listen, I think two people may have 
                 been killed up at Crystal Lake.

                           OPERATOR’S VOICE
                 What makes you say that, sir?

                                                            CUT TO:

       INT. CRYSTAL LAKE SHERIFF’S STATION - NIGHT

       TIGHT ON a rack of shotguns. As we continue to listen to 
       the VOICEOVERS, we see someone unlocking the weapons 
       locker and DEPUTIES start grabbing shotguns two at a 
       time...

                           SHERIFF’S DISPATCH VOICE
                 This is Nine-One-One dispatch to 
                 Crystal Lake Sheriff’s Department. We 
                 have a Code Red in progress, location 
                 unknown. Recommend tracking cellular 
                 phone which we believe to be still 
                 active. Cell phone number is...

       NEW IMAGE - SHERIFF’S VAN

       Several DEPUTIES loading weapons, duffel bags, and 
       assault equipment into the back of the van.

                           FBI VOICE
                 Hello? FBI Tactical Response Team.

                           HAYES’ VOICE
                 Yeah, this is Sheriff Hayes up at 
                 Crystal Lake. I think you boys better 
                 get up here. We got him this time.

       EXT. JASON’S HOUSE - NIGHT

       All is quiet. No signs of activity. Suddenly, TEN MEN IN 
       DARK CLOTHING carrying assault weapons appear out of the 
       forest like phantoms and creep toward the house. Their 
       moves are efficient, quick -- men trained in military 
       tactics. We FOLLOW ONE AGENT all the way to the front 
       door, where he pauses, listens to his radio earpiece for 
       a moment, then touches his throat-mike.

                           FBI AGENT
                 This is Charlie-One. We’ve reaced 
                 Center-ice.

       He checks his weapon, glances to his teammates, who each 
       give him a nod. HE KICKS OPEN THE DOOR --

                                                       HARD CUT TO:

       INT. BEDROOM - CLOSE ON A TELEPHONE

       A standard phone, ringing loudly. A woman sits up in bed 
       and grabs the phone out of its cradle. Her name is RUBY 
       JARVIS -- mid-twenties, pretty, out on her own for the 
       first time since law school.

                           RUBY
                     (groggy)
                 I’m awake.

       The voice on the phone -- KEITH HARDING -- is excited, 
       borderline hysterical, a torrent of words:

                           HARDING’S VOICE
                 Ruby, it’s Keith Harding from the 
                 D.A.’s office. You have to get down 
                 here. We need a public defender right 
                 away.

       She glances at a clock nearby -- it says 3:07 am.

                           RUBY
                 What... now?

                           HARDING’S VOICE
                 Look, the Sheriff’s department just 
                 brought him in ten minutes ago, and I 
                 want this one to go by the numbers. I 
                 don’t want any Miranda problems on 
                 appeal.

                           RUBY
                 All right... all right. I’ll be there 
                 in twenty minutes.

                           HARDING’S VOICE
                 Make it ten. Bye.

       Ruby stumbles out of bed.

                           RUBY
                 Wait a minute... who’s the defendant? 
                 Who am I defending?

       A beat.

                           HARDING’S VOICE
                 _Jason Voorhees_.

       OFF Ruby’s shocked reaction...

                                                            CUT TO:

       EXT. CRYSTAL LAKE SHERIFF’S STATION - NIGHT

       A small-town Sheriff’s Station that has become the scene 
       of tremendous activity. A dozen squad cars in the parking 
       lot... a van that says “FBI Tactical Response Team” on 
       the side... some sheriff’s deputies milling about in SWAT 
       gear... an ambulance nearby. Some deputies with serious 
       injuries are being attended to by medics. 

       Ruby pulls up in her car just as a news van comes to a 
       screeching halt nearby. A FEMALE REPORTER and a CAMERAMAN 
       jump out -- the reporter also looks like she just got out 
       of bed.

                           REPORTER
                     (to cameraman)
                 Banks says we’re going to CNN live in 
                 less than five minutes. We’ll do a 
                 stand-up here in front of the 
                 station... get the sat-link on- 
                 line...

       Ruby walks through the scene of chaos... at the front 
       door there are TWO OFFICERS in SWAT gear guarding the 
       door. They stop her.

                           SWAT OFFICER #1
                 I’m sorry, Ma’am.

                           RUBY
                 I’m Ruby Jarvis. Counsel for the 
                 Defense.

       The officers exchange an amused look.

                           SWAT OFFICER #1
                 _You_... are going to defend _him_?

       They chuckle.

                           SWAT OFFICER #2
                 I hope you’re good.

       Ruby brushes past them in annoyance and goes inside...

                                                            CUT TO:

       INT. SHERIFF’S OFFICE - NIGHT

       There’s an air of excitement in the small office. Through 
       a window partition, we can see Deputies in the b.g, 
       typing out reports, talking on the phone, moving 
       equipment and coordinating various tasks. In the office 
       itself, SHERIFF HAYES is sitting behind his desk, facing 
       an FBI AGENT and KEITH HARDING, the District Attorney. 
       The mood is tense.

                           HAYES
                     (to FBI Agent)
                 I don’t care if he’s on the FBI’s most 
                 wanted List. I don’t care if he’s been 
                 on “America’s Most Wanted.”

                           HARDING
                     (to Agent)
                 He’s committed dozens of murders in 
                 this County, and we’re going to 
                 prosecute him here first.

                           AGENT PARSONS
                 This is ridiculous. I can have a 
                 Federal writ down here by morning 
                 superseding all --

       There’s a knock at the door. They all turn as Ruby walks 
       in. There is an easy familiarity around the room -- this 
       is a small town and everyone here knows each other and 
       works together often.

                           RUBY
                     (to Hayes)
                 Hey, Bill.

       Hayes stands.

                           HAYES
                 Sorry to pull you out of bed, Ruby. 
                 Let me introduce Agent Parsons of the 
                 FBI... he’ll be handling the Federal 
                 part of the case.

       Ruby shakes	his hand.

                           RUBY
                 Ruby Jarvis -- Public Defender’s 
                 Office. 

       Keith Harding, the D.A. and her adversary in this case, 
       smiles.

                           HARDING
                 She _is_ the office. She’s the only 
                 P.D. within fifty miles.

                           AGENT PARSONS
                 Handled a murder case before?

                           RUBY
                 Two.

                           HARDING
                     (chuckles)
                 I’m not sure I’d call them murder 
                 exactly. More like a couple of bar 
                 fights that got out of hand.

                           RUBY
                 I seem to recall arguing the same 
                 thing in court while you were trying 
                 to file murder-one charges.

                           HARDING
                     (shrugs)
                 That’s my job.

       The FBI Agent turns to Ruby.

                           AGENT PARSONS
                 Counselor, this case is going to be 
                 tried in Federal Court. 
                 I’ll have a writ here in the morning 
                 to that effect, so I wouldn’t lose too 
                 much sleep worrying about your 
                 defense. The Federal court will 
                 appoint a Federal attorney for Mister 
                 Voorhees.

       Ruby smiles, smooth as silk. She’s ready for this... 
       hands him a legal document.

                           RUBY
                 Well, I was looking over your arrest 
                 warrant... and I noticed it was signed 
                 by Judge Gillan.

                           AGENT PARSONS 
                 I guess... I didn’t handle that.

                           RUBY
                 Maybe you should have. You see, Judge 
                 Gillan is the Superior Court 
                 Magistrate. This is a _Federal_ 
                 warrant.

       The FBI agent looks a little disturbed.

                           RUBY
                     (continuing)
                 This arrest warrant is completely 
                 invalid. You’ll have to get a new 
                 warrant signed by a Federal circuit 
                 court Judge.

       As the FBI Agent looks over the document, Harding moves 
       over to Ruby.

                           HARDING
                     (to Ruby)
                 I’d just like to point out that my 
                 arrest warrant is properly signed and 
                 dated... so Voorhees is _not_ walking 
                 free.

       The Agent looks up at Ruby.

                           AGENT PARSONS
                 Fine. Who’s the circuit court judge 
                 for this district?

                           RUBY
                 That would be Judge Hobson. And he 
                 just left on a two week fishing trip.

       Ruby smiles at him pleasantly. The FBI Agent gets red- 
       faced with anger and frustration.

                           AGENT PARSONS
                 Hot shot, huh? If you’re so good, what 
                 are you doing here in Mayberry?

                           HAYES
                     (sarcastic)
                 Same thing the rest of us are doing. 
                 Going down to Floyd’s barber shop for 
                 a trim... fucking farm animals... the 
                 usual.	

       The FBI Agent looks disgusted.

                           AGENT PARSONS
                 You haven’t heard the last of this.

       He exits. Hayes and Harding smile at Ruby.

                           HAYES
                 That was fun to watch.

                           HARDING
                 Were you one of those girls that 
                 always had her homework done two days 
                 before the teacher asked for it?

                           RUBY
                 Three.
                     (beat)
                 Where’s my client?

                           HAYES
                 Your... client is being booked right 
                 now. He’ll be in cell five.

                           RUBY
                 What are the charges?

                           HAYES
                 Shit. We’re still putting the victim 
                 list together. You’ll need a forklift 
                 for the case file. I suggest you hire 
                 some help, and don’t expect to get a 
                 lot of sleep for the next few months.
                 	(beat) 
                 You’re about to defend the most 
                 notorious serial killer in American 
                 history.

                           RUBY
                     (lightly)
                 I thought that was Ted Bundy.

                           HAYES
                     (smiles)
                 Compared to this guy... amateur.

                                                            CUT TO:

       INT. JAIL CELL - CORRIDOR - NIGHT

       A small town jail facility with five cells total. Ruby 
       and Sheriff Hayes are walking toward the end of the tiny 
       cell block. At the very end of the hall there are TWO 
       DEPUTIES armed with shotguns, wearing bullet-proof vests, 
       standing nervously by a cell. Ruby is keeping a neutral, 
       even expression on her face -- but it hides a genuine 
       nervousness.

                           RUBY
                 A house?

                           HAYES
                 That’s right. Wasn’t on any of the 
                 maps... we could barely see it through 
                 the underbrush. Place must’ve been 
                 abandoned for twenty years. 

       They come to the cell at the end of the hall, and Ruby 
       gets her first glimpse of her client.

       ANGLE ON JASON

       who is sitting on a prison bed, wearing jail house 
       clothes. 
       His arms and legs have been shackled and he looks like he 
       couldn’t move even if he wanted to. Jason’s head is bowed 
       and he’s staring at the floor, most of his features 
       obscured by shadow, but we can tell that his head and 
       face are disfigured by numerous scars.

       (NOTE: This is not the hideously deformed mutant seen in 
       the other Jason movies, but a real man. He’s no less 
       frightening, however, and he bears the scars of countless 
       fights and wounds.) 

       RUBY 

       takes in a breath, a little disturbed just by being this 
       close to him. Hayes takes note of her reaction, but keeps 
       his eyes on Jason.

                           HAYES
                 Yeah... everyone feels that way when 
                 they see him... something’s not right 
                 about this guy. 

       Ruby gives him a sharp look.

                           RUBY
                 He’s just a man, Sheriff. A man that 
                 needs to talk to his attorney... 
                 alone.

       The Deputies exchange a look -- is she crazy?

                           HAYES
                 Ruby... this guy almost took out an 
                 entire Tactical Response Team. You 
                 can’t expect me to just leave you --

                           RUBY
                 He doesn’t look like he’s going 
                 anywhere, Bill. And if necessary, I 
                 can get a judicial order reaffirming 
                 the right of my client to speak to his 
                 attorney in private.

       Hayes gives her a disgusted look.

                           HAYES
                 Fine. Have a pleasant conversation... 
                 but I wouldn’t get too close if I were 
                 you. 

       Hayes nods to the Deputies, who open the jail cell door 
       for Ruby. She takes a confident step inside and then they 
       SLAM the door closed behind her.

                           HAYES
                     (dry)
                 Scream if you need anything.

       Hayes and the Deputies go down the hall and exit to the 
       Sheriff’s Station, leaving Ruby alone. Once they are 
       gone, some of the bravado leaves her countenance. She’s 
       standing four feet away from the one and only _Jason_. 
       There’s a tense beat and then she opens her file folder 
       and tries to proceed normally.

                           RUBY
                 Mister Voorhees... my name is Ruby 
                 Jarvis. I’ve been appointed by the 
                 court to act as your defense counsel. 
                 Is that acceptable to you?

       Jason never even stirs. Throughout the scene he remains 
       motionless, staring down at the floor. Ruby is frightened 
       of this man... repelled by his appearance and his 
       chilling demeanor.

       She tries to do her job, but it isn’t easy.

                           RUBY
                 Unless you object, I’m going to take 
                 that as a yes.
                     (beat)
                 All right. Mister Voorhees, you’re 
                 going to be charged with multiple 
                 homicides, which under laws of this 
                 state make you eligible for the death 
                 penalty. Do you understand?

       No response. She takes a beat, then sits across from him 
       on the cot, and takes another tack.

                           RUBY
                 Look... there’s a lot of evidence 
                 against you... and there’s a lot of 
                 people who would like to see you get 
                 the chair. But I’m not one of them. My 
                 job is to help you. That means, right 
                 now, I’m your only friend.
                     (beat)
                 It’s going to be very hard to defend 
                 you if you won’t talk to me.

       Jason just sits there. Ruby takes a nervous breath -- 
       this clearly isn’t getting anywhere.

                           RUBY
                 There will be an arraignment in three 
                 days.

                           RUBY (CONT’D)
                 You’ll have to enter a plea. Guilty or 
                 not guilty.
                     (beat)
                 Unless you object... I’m going to 
                 enter a plea on your behalf. After the 
                 arraignment, we’ll have to plan our -- 

       Jason suddenly MOVES his arm and the chains RATTLE 
       loudly. Ruby bolts up off the bed in terror and leans up 
       against the bars.

                           RUBY
                 Guard!

       An anxious beat... then we see that Jason was only 
       lifting his arm to scratch his other hand. The two 
       Deputies come racing in with shotguns at-the-ready. Ruby 
       stands there for a moment, heart pounding... then she 
       picks up her files as if nothing’s wrong and turns toward 
       the door.

                           RUBY
                     (trying to sound calm)
                 I’m... ready to leave.

       One of the Deputies looks at her, not sure what happened 
       but satisfied that Jason isn’t doing anything at the 
       moment. He unlocks the door. As Ruby exits...

                                                            CUT TO:

       INT. RUBY’S OFFICE - NIGHT

       A small office overflowing with paperwork, files, the 
       general clutter of an overworked civil servant. Ruby is 
       pacing while her assistant, DANNY KWAN, an eager man in 
       his early 20’s, with a ponytail, furiously scribbles 
       notes on a yellow legal pad as Ruby talks.

                           RUBY
                 I want to file a motion for a
                 change of venue, and sequestration of 
                 the jury. And I want to try _habeas 
                 corpus_. I know we don’t have much of 
                 a chance for that, but let’s give it a 
                 shot anyway. 

       Kwan scribbles a few notes.

                           KWAN
                 Are you going to plead insanity?

                           RUBY
                 I think it’s our best bet. They’re 
                 taking apart his house right now... 
                 they found weapons, blood, a mountain 
                 of evidence. We can’t say he was 
                 framed.

       She thinks furiously. It’s obvious that this is an 
       impossible case to defend.

                           KWAH
                 This.is kind of a nightmare case, 
                 isn’t it? If there’s anyone who 
                 deserves to get the chair, it’s Jason.

       She whirls on him, her voice suddenly harsh. Kwan has 
       accidently struck an emotional chord in Ruby.

                           RUBY
                     (hard)
                 Don’t say that around me ever again. 
                 We’re his attorneys. We have a duty to 
                 defend him -- not judge him. Remember 
                 that, Danny, or you won’t be on this 
                 case much longer. 

       Kwan is taken aback... he didn’t expect this kind of 
       reaction.

                           KWAN
                 Sorry.

                           RUBY
                     (softening a little)
                 It’s all right.
                     (beat)
                 Now... we’re going to need a really 
                 good head-doctor for this. Someone who 
                 can get up on the stand and tell the 
                 jury that our client is mentally 
                 insane and has been for years...
                     (beat)
                 We’ll go through a dozen doctors 
                 before we find one who’s willing to 
                 testify for us. 

       She gets a thought.

                           RUBY
                     (continuing)
                 Maybe... we should call Joe Sena.

       Kwan gives her a look.

                           RUBY
                 Yeah, I know... he’s a little wacky, 
                 but he’s the best psycho-neurologist 
                 in the state.
                     (beat)
                 Get him down here by morning. I want 
                 him to interview Jason tomorrow 
                 afternoon.

       Kwan nods, flips the page on his notepad to a clean one. 
       Ruby glances at her watch.

                           RUBY
                 Now... I think the video store’s open 
                 for another couple of hours. Let’s go.

                           KWAN
                 Video store?

       OFF his puzzled look...

                                                            CUT TO:

       EXT. VIDEO STORE - NIGHT

       A local place. Ruby’s car is parked out front.

                                                            CUT TO:

       INT. VIDEO STORE - NIGHT

       Ruby and Kwan enter the store at a brisk pace.

                           RUBY
                 We have to argue every possible 
                 defense in this case. Insanity... 
                 incompetence... and the fact that 
                 Jason can’t get a fair trial anywhere 
                 in the country, much less this state.
                     (beat)
                 Where’s the horror section? 

       Kwan points and they head in that direction...

       NEW ANGLE

       as they round the corner and head into the Horror 
       section.

                           RUBY
                 So... why can’t Jason get a fair 
                 trial?

                           KWAN
                 Because everyone knows he’s guilty...

                           RUBY
                 Wrong. Jason can’t get a fair trial 
                 because of _these_.

       She indicates the wall of videotapes boxes. The covers 
       are all lurid -- lots of images of killers with knives, 
       axes and chain saws chasing scantily-clad women.

                           RUBY
                 For the past fifteen years, Jason 
                 Voorhees has been portrayed as a
                 brutal, remorseless killer.
                 People have a preconceived notion of 
                 his guilt based on these movies.
                     (beat)
                 So I intend to enter these films into 
                 evidence... and argue that media 
                 saturation has prejudiced my client’s 
                 right to a fair trial.

        Kwan gives her a sidelong look.

                           KWAN
                 You think that’s going to work?

                           RUBY
                 I don’t know if anything’s going to 
                 work in this case. Therefore, we have 
                 to try everything. 

       She eyes the countless movies.

                           RUBY
                 I don’t even know where to begin...

       Kwan pipes in, revealing himself to be the quintessential 
       horror film buff.

                           KWAN
                 Well, I’d start with “Friday The 
                 Thirteenth.” 1980. Director: Sean 
                 Cunningham. A breakthrough picture 
                 that set the standard for the movies 
                 to follow. The gore and high body 
                 count made this slasher film an 
                 instant classic.

       Ruby looks at him.

                           RUBY
                 You watch this garbage?

                           KWAN
                 This is a legitimate cinematic genre. 
                 Just like Westerns, Comedies, Film 
                 Noire, Science Fiction...

       She picks out a title at random, reads it:

                           RUBY
                 “Zombie Sluts From Beyond the Grave.”

                           KWAN
                 A seminal film. First ever depiction 
                 of a fully nude triple impalement.

       Ruby sighs, starts grabbing tapes off the shelf...

                                                            CUT TO:

       EXT. RUBY’S HOUSE - NIGHT

       A modest house on a tree-lined suburban street.

       INT. RUBY’S BEDROOM - NIGHT

       CLOSE ON A TELEVISION SCREEN which is showing a horror 
       movie. A young TEENAGE GIRL wearing a transparent 
       negligee is walking down a staircase in a dark, spooky 
       house. She looks frightened.

                           TEENAGE GIRL
                 Johnny... Johnny, is that you? 

       No answer. She walks into the living room...

       INCLUDE RUBY

       who is lying in bed wearing a bathrobe, legal documents 
       scattered on the bed and stacks of videos nearby.

       She’s trying to take notes on a legal pad, but she’s 
       having trouble getting into these movies.

                           RUBY
                     (to TV)
                 No, it’s not Johnny. 
                 It’s Jason, and he’s going to put a 
                 fucking axe in your skull, so turn on 
                 the fucking _lights_.

       On the TV, we see the girl reach the bottom of the 
       stairs... look around the darkened living room... 

                           TEENAGE GIRL
                 Where is everybody? Johnny, this isn’t 
                 funny...

       She hears a NOISE from behind a closet door. She heads 
       toward it. Ruby looks exasperated.

                           RUBY
                 Don’t go in there. Why are you going 
                 in there?

       The girl slowly opens the creaky door... suddenly a CAT 
       jumps out! It startles the girl, who screams. But then 
       she realizes it was only the cat.

                           TEENAGE GIRL
                 Fluffy!

                           RUBY
                     (predicting, bored)
                 He’s behind the door...

       The girl onscreen relaxes, smiles, nothing to worry 
       about. She swings the door closed and behind the door is 
       a huge man in a hockey mask. Jason! He swings a giant axe 
       toward the girl. Ruby grabs the remote control and fast-
       forwards through the action -- Jason chopping up the girl 
       at triple speed.

                           RUBY
                 Yeah, yeah... he chops you up... but 
                 you know what? You deserved it.

       She ejects the movie, tosses it aside and grabs another 
       title. She pops it in the VCR and hits play. On the TV, 
       we see the title of the movie appear -- “Friday the 
       Thirteenth, Part 10 -- Jason’s Greatest Hits and Chops.” 
       Ruby shakes her head, leans back on the bed and begins 
       writing on the pad... We hear a THUMP somewhere in the 
       house.

       Ruby pauses and looks up... did she imagine it? Silence. 
       There’s a second THUMP. This time she sits up -- that was 
       definitely something. She hits pause on the remote, 
       stands up and walks out of the bedroom into...

       INT. RUBY’S LIVING ROOM - NIGHT

       Ruby walks into the shadowy room.

                           RUBY
                 Hello...	is somebody there?

       She walks through the house a moment... play the tension 
       for a few beats... and suddenly the PHONE RINGS. Ruby 
       almost jumps out of her skin. She snaps up the phone.

                           RUBY
                 Hello?

       On the other end, we hear a panicked Sheriff Hayes.

                           HAYES’ VOICE
                 Ruby, he’s gone. He got out.

                           RUBY
                 What... who?

                           HAYES’ VOICE
                 Jason. Jason’s gone. He broke out of 
                 jail about an hour ago. 

       Ruby reacts.

                           RUBY
                 Well... what are you going to do?

                           HAYES’ VOICE
                 I’ve got deputies combing the area. 
                 But he was last seen heading in your 
                 general direction. I want you to --

       The phone clicks off and goes dead.

                           RUBY
                 Hello... Sheriff? Hello?

       She starts punching buttons on the phone -- no effect. 
       Suddenly there’s another THUMP! somewhere in the room. 
       Ruby backs up and drops the phone, breathing faster now. 
       She steels herself, then takes a quiet step towards the 
       closet...

                           RUBY
                 Who’s there?

       A rattle...

                           RUBY
                 Danny, goddamnit, if this is your idea 
                 of a joke...

       She slowly moves towards the closet... opens the door... 

       There’s a loud MEOW. A CAT is sitting on the floor in the 
       closet. Ruby takes a breath of relief, picks up the cat.

                           RUBY
                 Fluffy.

       She hesitates...	then frowns.

                           RUBY
                 Wait a minute... _I don’t have a cat_.

       We hear the TAP, TAP, TAP of a walking stick on 
       cobblestones. Ruby turns --

       NEW ANGLE

       Ruby’s living room is now filled with FOG. Surreal 
       moonlight filters in. In the distance we can hear the 
       deep CHIMING of a clock tower; and an old, gaslamp street 
       light is sitting in the middle of the room. It almost 
       looks like old LONDON. Her furniture is still present, 
       but instead of carpet there are cobblestones on the 
       floor. 

       The cat HISSES at something off camera and runs away. 
       Ruby watches in astonishment as the figure of a MAN 
       wearing a hat and cloak appears out of the mist. He has a 
       walking CANE, which he taps on the stones as he 
       approaches... 
       She watches him as he steps into the street lamp’s glow. 
       His face is ghastly pale, eyes dark and murderous. We 
       should recognize him as JACK THE RIPPER.

                           JACK
                     (British accent)
                 Hello, my dear. How about a tumble 
                 with old Jack?

       He whips off the top of the cane, revealing a razor- 
       sharp stiletto blade hidden inside. He jumps toward her 
       and she recoils. She stumbles backward, goes through the 
       door to the bathroom, slams it behind her --

       INT. BATHROOM/PRISON CELL

       The room is a bizarre cross between a bathroom and a 
       bleak cement PRISON CELL. There’s a BUZZING SOUND. Ruby 
       looks down to see a MAN etching a Swastika onto her shin 
       with an electric tattoo gun. The man looks up at her, and 
       we can see from his long, stringy hair, beard and 
       distinctive Swastika in the middle of his forehead, that 
       this must be CHARLES MANSON. 

       He smiles up at her. She pulls away. He comes at her, 
       laughing that maniacal laugh. She turns, and as she 
       does...

                                                            CUT TO:

       INT. RUBY’S KITCHEN - NIGHT

       She’s standing in front of her own stove. There’s 
       something bubbling in a large pot. She lifts the lid to 
       find HUMAN BODY PARTS boiling in the cauldron -- a hand, 
       an eye, a foot. 

       She drops the lid in horror. A MAN GRABS her from behind. 
       He’s a tall, lanky man with short blonde hair and wire-
       frame glasses. It’s JEFFREY DAHMER. He has a butcher 
       knife in his hand. 

       She pulls away -- runs right into ANOTHER MAN. This one 
       is dressed as a CIRCUS CLOWN. JOHN WAYNE GACEY. He gives 
       her a hideous smile, grabs her by the arms and throws her 
       down onto the kitchen counter. He leans over her... 

       RUBY’S POV 

       Dahmer, the Ripper, Gacey, Manson all closing in on her. 
       Suddenly they stop, turn... look behind them... and part 
       to allow someone else to step forward... 

       JASON VOORHEES steps directly towards Ruby, wearing the 
       hockey mask, carrying a machete.

       RUBY

       watches in terror.

                           RUBY 
                 Jason, no... please... NO! 

       Jason pulls the hockey mask away, revealing the shocking 
       face of _FREDDY KRUEGER_. She freezes at the sight of 
       him, surprised.

                           FREDDY
                 Jason?
                     (sneers)
                 _Amateur_.

       He raises his hand, which now has the familiar finger 
       blades on it... 

       The blades gleam in the moonlight, and as his hand swoops 
       toward her face we...

                                                            CUT TO:

       INT. RUBY’S BEDROOM - NIGHT

       As Ruby _wakes up_ with a scream on her couch. The legal 
       pad is still in her lap... the first movie still playing 
       on the TV. It shows Jason stalking a young victim. 

       She looks startled and frightened by the nightmare. After 
       a beat, she picks up the remote and turns off the TV. As 
       she lays back on the bed, catching her breath...

                                                            CUT TO:

       EXT. CRYSTAL LAKE COURTHOUSE - DAY

       A couple of days later. Crowds have gathered... media 
       vans and satellite dishes in place... sheriff’s deputies 
       trying to keep the crowd contained... people with signs 
       proclaiming, “Jason Must Die!”... others that say, “Free 
       Jason!”... Journalists and camera crews jockeying for 
       position. A few people selling tee-shirts. It’s the Trial 
       of the Century.

       INT. COURTROOM - DAY

       In contrast to the pandemonium outside, the courtroom is 
       relatively subdued. The visitor’s gallery is packed, but 
       everyone is keeping their voices low, speaking in hushed 
       tones.

       Ruby and Kwan are at the Defense table, going over her 
       legal briefs, as Harding enters through a side door. He’s 
       dressed like something out of GQ -- very snappy. He moves 
       to the prosecutor’s table, puts his briefcase down, then 
       moves over to have a few words with Ruby.

                           HARDING
                     (sotto)
                 CNN... all five networks... Court 
                 TV... two Japanese networks... three 
                 from the UK... and one guy who swears 
                 he’s from Zimbabwe.

       Ruby gives an absent nod, concentrates on the file in 
       front of her.

                           RUBY
                 Quite a circus.

                           HARDING 
                 And we’re in the center ring.
                     (beat)
                 You sure you want to wear that blazer?

       She looks up.

                           RUBY
                 What?

                           HARDING
                 You’re about to be a media darling -- 
                 you might want to dress the part.

       She rolls her eyes at him. Harding goes over to his side 
       of the table. A man comes through the crowd and sits 
       himself on the edge of the table in front of Ruby. This 
       is JOE SENA, the psychiatrist/neurologist. Early 30’s, 
       good-looking, smart and he knows it. His complete 
       confidence in himself is sometimes perceived as 
       arrogance. Ruby looks up, and we can tell she knows him -- 
       and is a little wary of him.

                           RUBY
                 Doctor Sena... did you complete your 
                 examination of Jason? 

       Sena nods.

                           RUBY
                 Well?

                           SENA
                     (matter-of-fact)
                 He’s fucking nuts.

                           RUBY
                 Great. Is that what you’re going to 
                 say when I put you on the stand?

                           SENA
                 No. When you put me on the stand, I’ll 
                 say your client is catatonic and 
                 exhibits classic symptoms of a 
                 schizophrenic, sociopathic 
                 personality.
                     (beat)
                 And he doesn’t sleep.

                           RUBY
                 Doesnit sleep?

                           SENA
                 Insomnia. Not unusual for someone in 
                 his situation.
                     (beat)
                 Not to mention he’s a bed-wetter.

                           RUBY
                 He wets the bed?

                           SENA
                 I always throw that in. It makes the 
                 jury feel sorry for the defendant.

       Ruby looks annoyed.

                           KWAN
                 Can we prove any of this?

                           SENA
                 Prove it? Come on, the guy’s an 
                 avocado. He doesn’t say a word, he 
                 doesn’t move, he doesn’t respond to 
                 any external stimuli... You can say 
                 anything you want about him, but you 
                 can’t prove it one way or another.
                     (beat)
                 But the outlook’s not entirely grim.

                           RUBY
                 Oh?

                           SENA
                 One of the deputies is pretty cute. I 
                 think she likes me.

       Ruby ignores this -- she’s familiar with Sena’s 
       escapades. She sits back in the chair, a little 
       frustrated.

                           RUBY
                 This is bad, Joe. The Prosecution is 
                 already putting together a team of 
                 psychiatric specialists. They’ll argue 
                 exactly the opposite. They’ll say he’s 
                 just pretending to be catatonic and 
                 he’s completely sane.

                           SENA
                     (shrugs)
                 Great. Battling head doctors. We’ll 
                 confuse the jury enough to create a 
                 reasonable doubt. Hung jury.

                           RUBY
                 This is Jason Voorhees. They’ll be 
                 looking for an excuse to send him to 
                 the chair.
                     (beat)
                 If we’re going to argue insanity, 
                 we’re going to need something a little 
                 more concrete.

       Sena thinks.

                           SENA
                 Well... we can look for earlier 
                 evidence of psychotic or sociopathic 
                 behavior in his childhood, but I’ll 
                 need access to his medical--

       Suddenly there’s a gasp that goes around the room and 
       everyone stops talking. Ruby looks up to see so being led 
       in by six deputies, heavily armed. Jason is shackled and 
       shuffles across the courtroom, finally being seated at 
       the defense table. In the harsh light of day, Jason’s 
       scarred and twisted features are shocking -- it looks 
       like he’s been through a meat-grinder. Again, Jason seems 
       passive, staring off into middle-distance, completely 
       disconnected from the world around him.

                           BAILIFF
                 All rise. The Superior Court for the 
                 city and county of Crystal Lake is now 
                 in session. Honorable Judge Gillan 
                 presiding.

       Everyone stands as the JUDGE enters.

                           JUDGE
                 Be seated.

       Everyone sits down.

                           BAILIFF
                 Only one case on the docket, Your 
                 Honor. “The People versus Jason 
                 Voorhees.”

                           JUDGE
                 Will the defendant please rise
                 during the reading of the charges. 

       Ruby stands and hesitates, afraid to touch Jason, who 
       isn’t moving a muscle.

                           RUBY
                 Your Honor, my client... prefers to 
                 remain seated.

       The Judge peers at Jason in curiosity, then decides not 
       to press the matter.

                           JUDGE
                 Very well.
                     (to Harding)
                 Are the People ready to proceed?

       Harding stands, holding a thick legal document the size 
       of a phone book.

                           HARDING
                 Yes, Your Honor. The People make the 
                 following charges against the 
                 defendant Jason no-middle-initial 
                 Voorhees...
                     (reads)
                 On Friday, May thirteenth, 1980, the 
                 defendant did with malice and 
                 forethought murder Annie Wolfe with a 
                 bowie knife. The People further charge 
                 on that same date, defendant did 
                 murder Dorothy Dartland with an axe. 
                 On the following morning, the 
                 defendant murdered Jack Hayes with a 
                 bow and arrow... 

       As Harding continues to talk, reading off what seems an 
       endless series of victims, we...

                                                       DISSOLVE TO:

       INT. COURTROOM - DAY

       Later.	Harding still reading from the endless victims 
       list, people shifting a little restlessly in their seats.

                           HARDING
                 Defendant did then murder Robert Smith 
                 with a tent pole on February twelfth, 
                 1984... defendant is further charged 
                 with the murder of Lynn Kaplan with a 
                 pitchfork...

                                                       DISSOLVE TO:

       INT. COURTROOM - DAY

       Much later, Harding finishes up the list.

                           HARDING
                 And finally, most recently Federal 
                 Agent Sam McNulty, a law enforcement 
                 officer for the Federal Bureau of 
                 Investigation, strangled by the 
                 defendant while	resisting arrest.

       Harding closes the massive file. Relief around the 
       courtroom.

                           HARDING
                 That concludes the State’s charges, 
                 Your Honor.

       The Judge takes a long breath... looks to Ruby.

                           JUDGE
                 Is the Defense ready to enter a plea?

                           RUBY
                 We are, Your Honor.
                     (beat)
                 The Defense pleads... _not guilty_.

       Reactions of disbelief around the courtroom, snickers and 
       outright laughter, it sounds so ridiculous. The Judge 
       raps his gavel with disapproval.

                           JUDGE
                 Order... order.

                           RUBY
                 The Defense would like to move for a 
                 change of venue. We feel that it will 
                 be impossible to find an impartial 
                 jury in Crystal Lake County or --

       Suddenly a MAN stands up in the courtroom -- his face 
       contorted with rage and anger.

                           ANGRY MAN
                 You killed my sister, you son of a 
                 bitch! You _fucking monster_!

       He pulls out a handgun and FIRES at Jason. People dive 
       for cover.

       ANGLE ON JASON

       as the BULLETS catch him full in the chest, knocking him 
       out of his chair. The spectators are screaming and 
       crying. The Judge ducks behind his bench. Sheriff’s 
       deputies finally wrestle the man to the ground. Ruby 
       crawls over to Jason, who is lying motionless on the 
       floor, blood pooling nearby. He’s conscious, his eyes- 
       staring around the room with a stunned look.

                           RUBY
                 We need an ambulance, _now_!

                                                            CUT TO:

       INT. EMERGENCY ROOM - DAY

       A swirl of activity as an ER DOCTOR and NURSES wheel the 
       bloody form of Jason into the room. Two nurses rip open 
       Jason’s shirt, revealing five ghastly BULLET WOUNDS to 
       his chest.

                           ER DOCTOR
                 Vitals! Get me four units of O- neg 
                 blood and start IV infusion!

       Nurses start hooking Jason to IV tubes. The doctor 
       examines Jason’s bloody chest.

                           ER DOCTOR
                 We need chest, spine and abdominal X-
                 rays -- now!

                           NURSE
                     (off instruments)
                 Blood pressure -- ninety over sixty 
                 and falling!

                           ER DOCTOR
                 Okay... get an arterial line going... 
                 and set up a dopamine drip -- four 
                 hundred milligrams. This guy’s going 
                 to surgery.

                                                            CUT TO:

       INT. SURGERY - DAY

       A short time later. Jason on the operating table, a 
       SURGEON, an ASSISTANT, an ANESTHESIOLOGIST and various 
       NURSES are working furiously. Jason is still hooked to IV-
       tubes.

                           SURGEON
                     (looking over Jason)
                 I can’t believe this guy’s still 
                 breathing. Multiple gunshot wounds to 
                 the upper thorax... massive tissue 
                 injury...
                     (to anesthesiologist)
                 Let’s put him under. 

       The anesthesiologist takes a syringe full of fluid and 
       INJECTS it into a port in the IV tubing.

                           ANESTHESIOLOGIST
                     (to Jason)
                 It’s okay, Buddy. Just start counting 
                 backwards from a hundred. One 
                 hundred... ninety-nine... ninety-
                 eight...

       The surgeon is strapping on gloves... the assistant and 
       nurse are wheeling in carts of scalpels, clamps, surgical 
       gauze. 
       The surgeon is ready to go -- but Jason’s eyes are still 
       open and he’s wide awake, watching him. It’s a creepy 
       sight.

                           SURGEON
                     (to anesthesiologist)
                 What’s the matter? Get him under!

       The anesthesiologist looks baffled -- injects a _second 
       dose_ of the fluid into Jason’s IV. But Jason doesn’t 
       flinch.

                           ANESTHESIOLOGIST
                 I’m trying, Doctor... but if I give 
                 this guy any more barbiturates, it’s 
                 gonna kill him.

                           SURGEON
                 If we don’t go in now, he’s going to 
                 bleed to death. Do what it takes. 

       The anesthesiologist grabs a nearby GAS MASK and puts it 
       over Jason’s mouth. He spins the wheel on a tank labeled 
       NITROUS OXIDE -- we see the level indicator on the tank 
       rise... rise... all the way to a _hundred percent_.

                           ANESTHESIOLOGIST
                     (to Jason)
                 Come	on, damn you... close your 
                 eyes... _go to sleep_...

       As he says this, we CLOSE IN on Jason’s face... and 
       finally, his eyelids begin to droop... and slowly
       	_close_. At that moment...

                                                   FADE TO BLACK. 

       Over the blackness of the screen, we hear the sound of 
       THUNDER. A FLASH of LIGHTNING jolts across the blackness, 
       and we realize that we’re in --

       JASON’S DREAM

       as a jagged bolt of LIGHTNING crashes’across the angry 
       heavens. CAMERA TILTS DOWN to find a YOUNG BOY, age 
       eleven, running through a DARK FOREST in terror. 

       THIS IS JASON VOORHEES AS A BOY. Something’s chasing him, 
       and he keeps glancing back. The boy is covered with 
       bruises and nasty looking scratches on his face. He 
       stumbles, falls, hits the ground hard.

       FLASHCUTS

       -- JASON’S MOTHER laughing, her face bathed in soft 
       candlelight.

       -- A HAND massaging a woman’s breast.

       THE BOY

       Stumbles to his feet in the forest, continues his flight. 
       Tree branches and bushes slap at his face as he runs 
       through the forest, scratching him, tearing at his 
       clothes.

       FLASHCUTS

       -- A bedroom door slowly opening. 

       -- Jason’s mother’s face looking up in surprise.

       THE BOY

       Leans up against a tree, tries to catch his breath. 
       Suddenly we hear a deep and terrible VOICE calling out 
       across the forest. FREDDY KRUEGER’S VOICE:

                           FREDDY’S VOICE
                 There are you, little man!

       The boy runs harder, loses his footing and falls down an 
       embankment. As he falls through the air...

       FLASHCUTS

       -- The boy standing in a room’as a man’s hand reaches 
       down for him. 

       -- Jason’s mother laughing. 

       -- The boy being slammed against a wall. 

       -- Lightening crashing against the sky. 

       -- Lightening on the _unburned_ face of Freddy Krueger, 
       smiling.

       THE BOY

       HITS the bottom of the embankment hard, knocking the wind 
       out of him. He gets to his hands and knees, tries to draw 
       in a breath, but it’s impossible. Again Freddy’s voice 
       booms out:

                           FREDDY’S VOICE
                 You’ve been a very naughty boy!

       INT. SURGERY

       The operation is under way. Jason’s chest is OPEN and the 
       surgeon is removing a large caliber bullet with a pair of 
       forceps.

                           SURGEON
                     (re: bullet)
                 Looks like a .45 to me.

       He drops the bullet in a pan.

                           SURGEON
                 All right... this one’s lodged near 
                 the spinal column...

       The Surgeon glances up at a FLUOROSCOPIC MONITOR which 
       shows a black and white image of the surgeon’s tools and 
       the interior of Jason’s chest -- it looks like a real-
       time X-ray image.

                           SURGEON
                 I need a clamp... retract the lung...

       On the monitor, we can see the progress as the forceps 
       and clamps get closer to a bullet. The surgeon probes for 
       the bullet...

                           SURGEON
                     (watching monitor)
                 Easy... almost got it... 

       The surgeon’s concentrating... everyone’s being very 
       still... 

       Jason’s HAND flies up and grabs the doctor by the neck! 
       Everyone reacts in shock.

                           SURGEON
                 _Jesus_!

       Jason’s eyes are still closed, but he’s stirring as 
       though having a nightmare and trying to wake up.

                           NURSE
                 His heart rate’s jumped to one-ninety-
                 nine!

                           SURGEON
                     (strangled)
                 Sedative!

       A nurse injects Jason with a hypo. He stops struggling 
       and his hand drops away from the doctor.

       JASON’S DREAM

       CRYSTAL LAKE. The sky is dark with storm clouds. The boy 
       comes tearing out of the forest, scratched, bedraggled, 
       terrified. He stops at the SHORE to the lake, looks 
       around in desperation. He’s trapped.

                           FREDDY’S VOICE
                 I’m coming!

       The boy spots a METAL CANOE a ways down the shoreline. He 
       runs to it, jumps inside, shoves off onto the water and 
       begins paddling like mad to get away from the beach. 

       He glances back at the shore... nothing. It looks like he 
       got away. He stops paddling for a moment, tries to catch 
       his breath. 

       There is the SLITHERING SCRAPE of metal under the boat. 
       The boy freezes and looks around. _Something is under the 
       boat_. The scratching gets LOUDER, as if someone were 
       trying to claw their way through. Suddenly, it stops. 
       Silence. 

       The CANOE CAPSIZES -- the boy is thrown into the cold 
       water. He flails in panic... he can’t swim... 
       tries to clutch onto the overturned boat... finally 
       manages to hang on and keep himself from going under.

       But then, without warning... something PULLS HIM DOWN.

       UNDERWATER 

       The boy is thrashing to get back to the surface, but he 
       just keeps going deeper... deeper into the murk... 

       The boy looks up and reacts to something -- 

       The sudden flash of. FREDDY’S METAL FINGER BLADES flies 
       toward the boy’s face.

       INT. SURGERY

       Jason starts to convulse on the table. The surgeon is in 
       the middle of closing the wounds... Jason jumps a little 
       and the Surgeon accidentally STABS his own hand with the 
       needle.

                           SURGEON
                 Stabilize him, goddamnit!

                           ANESTHESIOLOGIST
                 Blood pressure rising!

                           NURSE
                 He’s going into epileptic convulsions!

       Jason is thrashing on the table, knocking over equipment. 
       He lashes out at a Nurse, connecting with her chest and 
       sending her FLYING across the room. The doctors and 
       nurses struggle to hold him down.

       Suddenly one of the nurses glancing up at the 
       fluoroscopic monitor...

       ANGLE ON MONITOR

       The fluoroscopic scanner still shows the interior of 
       Jason’s chest, but for a moment the silhouette of 
       _FREDDY’S FINGER BLADES_ pass across the screen as if 
       moving through Jason’s chest cavity.

       RESUME NURSE

       who reacts with stunned surprise.

       JASON 

       his eyes fly OPEN and he’s awake. At that moment, he 
       stops struggling and simply lies	calmly on the operating 
       table. A long beat as everyone in the room stands back 
       and watches him, not knowing what to expect next. Off the 
       shocking moment...

                                                            CUT TO:

       INT. HOSPITAL WAITING ROOM - NIGHT

       Ruby, Sena, Kwan, Harding, and Sheriff Hayes are all 
       waiting for word. The surgeon comes into the room with a 
       shell-shocked and bewildered look on his face.

                           SURGEON
                 He’s... going to make a full recovery.

       Surprised looks go around the room.

                           HARDING
                 You’re kidding. The guy took five 
                 shots.

                           SURGEON
                 It was touch and go there for a while. 
                 He suffered convulsions at one 
                 point... and then he went into cardiac 
                 arrest.
                     (beat)
                 Frankly, some things happened in that 
                 operating room that I just don’t know 
                 how to explain.

                           HAYES
                 Like what?

                           SURGEON
                 Well, to start with the man has an 
                 incredible metabolism. His heart rate 
                 is about one-eighty -- and that seems 
                 to be normal for him.
                     (beat)
                 And I don’t even want to talk about 
                 his EEG. It’s so bizarre I’m thinking 
                 of sending it to Johns Hopkins for 
                 analysis.

       Sena points to the clipboard the surgeon’s holding.

                           SENA
                 Is that his file?

                           SURGEON
                 Part of it. When I’ve completed my 
                 post-op report, I’ll add it to the 
                 rest of his file.

                           RUBY
                 What do you mean, the rest of his 
                 file?

                           SURGEON
                 According to our records, we have 
                 medical files on Jason... his 
                 mother... his whole family.
                     (beat)
                 They haven’t been added to the 
                 computer database yet, but they’re 
                 still down in the basement. 

       As Ruby and Sena exchange a look...

                                                            CUT TO:

       INT. MEDICAL RECORDS ROOM - NIGHT

       Ruby and Sena are walking through the rows and rows of 
       shelves of medical records. An attractive NURSE is 
       leading them to a specific shelf.

                           NURSE
                 Voorhees... Voorhees... right here.

       She pulls out three file folders.

                           NURSE
                 Pamela Voorhees... Elias Voorhees... 
                 here we are... _Jason_.
                     (flipping through folder)
                 There’s not much. Birth Certificate... 
                 a few office visits. Nothing after 
                 1967.

                           RUBY
                 Mind if I take a look?

       The nurse hands her the files, hands the other half to 
       Sena.

                           NURSE
                 I’ll be up front if you need me.

       Sena stares after the nurse with an appreciative leer. As 
       they flip through the file folders...

                           SENA
                 Nurses. That’s why I went into 
                 medicine.

                           RUBY
                 This sexual obsession of yours. Have 
                 you considered going into therapy 
                 yourself?

                           SENA
                 No need. I’m self-diagnosed. I have 
                 severe nympholepsy...
                     (beat)
                 And I’m a bed-wetter.

                           RUBY
                 Well, I definitely feel sorry for you.
                     (reading from case file)
                 August fourteenth, 1956... Jason was 
                 brought in by his mother, who said the 
                 boy hadn’t slept for two weeks. Doctor 
                 prescribed Valium...

       She flips to another page.

                           SENA
                     (reading, shocked)
                 I don’t believe it. Jason’s mother 
                 died of ovarian cancer in 1969.

                           RUBY
                 So?

                           SENA
                 I thought she was a killer, too. You 
                 know... that she chopped up a bunch of 
                 teenage camp counselors... before she 
                 was decapitated.

       Ruby is annoyed.

                           RUBY
                 That’s the problem with this case. 
                 Everyone thinks they know Jason’s life 
                 story. But they don’t. What you’re 
                 remembering is a _movie_. Fiction.	In 
                 the movie, Jason’s mother runs around, 
                 killing people after Jason drowns in 
                 Crystal Lake

                           SENA
                 None of that’s true?

                           RUBY
                 Well, Jason _was_ in a canoe accident 
                 in 1967 and presumed drowned. His 
                 mother died a few years later after a 
                 long bout with cancer. Some time in 
                 the early eighties, there were a 
                 string of murders out by Crystal 
                 Lake...
                     (spooky voice)
                 People started saying it was Jason... 
                 back from the dead.

                           SENA
                 So, what are you saying... that he 
                 didn’t kill all those people?

                           RUBY
                 My job is not to determine his guilt 
                 or innocence. That’s up to the jury. 
                 My job is defend him. 

       Sena gives her a look.

                           SENA
                 That’s a nice bit of lawyer-speak. Why 
                 don’t you just say it -- your client’s 
                 a psychotic killer who’s murdered 
                 dozens of people, and you’re trying to 
                 set him free. Right?

       She gives him a dirty look.

                           SENA
                     (continuing, casual)
                 Don’t get me wrong. I don’t care. But 
                 the professional part of me is 
                 interested in how you rationalize what 
                 you do.

                           RUBY
                 I don’t “rationalize” anything. I’m 
                 his lawyer -- he’s my client. That’s 
                 all.

                           SENA
                 That didn’t sound very convincing.

       Ruby looks at him squarely.

                           RUBY 
                 What do you want -- a tidy 
                 psychological profile? You want to 
                 hear that I was falsely accused of a 
                 crime I didn’t commit... and that’s 
                 driven me to defend others? Or maybe 
                 you want to me to get in touch with my 
                 feelings... talk about my childhood...

                           SENA
                 No. You’ve told me all I need to know.

                           RUBY
                 Oh?

                           SENA
                 You’re obviously going through a 
                 critical moral dilemma. And you’re 
                 putting up barriers against anyone who 
                 tries to probe your conscience.
                     (beat)
                 But it is heartening to know that you 
                 do have a conscience. 

       There’s a beat. She looks at him.

                           RUBY
                 Are you charging me your hourly rate 
                 right now?

       He smiles.

                           SENA
                 No. That was a freebie. 

       She looks at the file again.

                           RUBY
                 Not much here. Jason was brought in a 
                 couple more times for insomnia... 
                 that’s about it.

                           SENA
                 Wait a minute. Let me see that. She 
                 hands him the file.

                           SENA
                     (off file)
                 The mother said the boy hadn’t slept 
                 for over three _months_. A physical 
                 examination showed dilated pupils, 
                 temperature of one-oh-two, blood 
                 chemistry highly imbalanced...

                           RUBY
                 That’s pretty weird. Is it possible 
                 for someone to not sleep for months?

                           SENA
                 It’s rare... but there are cases where 
                 people go for years without sleep.
                     (reads)
                 They diagnosed Jason with simple 
                 insomnia... but that’s not what it 
                 looks like to me. He has every 
                 indication of having _insomnolesence_.

                           RUBY
                 Insomnolesence...

                           SENA
                 It’s a neurological disorder affecting 
                 the hypothalamus. The part of the 
                 brain that causes sleepiness is 
                 inactive. They didn’t know about it 
                 back in the sixties. Even now, it’s 
                 not understood very well.

       Ruby considers, intrigued by this new revelation.

                           RUBY
                 So Jason doesn’t sleep... how does 
                 that help us?

                           SENA
                 Insomnolesence has been known to cause 
                 psychotic episodes... delusions...

                           RUBY
                 If we could prove that Jason suffers 
                 from this disorder... and that his 
                 homicidal behavior has been a direct 
                 result of a medical condition...

                           SENA
                 Not guilty by reason of insanity. Case 
                 closed.

                           RUBY
                 How do we prove it?

                           SENA
                 Simple. We sedate him, induce a 
                 somnolesent state, and study his REM 
                 patterns when he’s unconscious.
                     (beat)
                 If he has the disorder, his REMS will 
                 be highly abnormal. Ruby smiles.

                           RUBY
                 Then I’d say it’s bedtime for Jason.

                                                            CUT TO:

       INT. JASON’S HOSPITAL ROOM - NIGHT

       Jason is lying on a bed, strapped down and shackled to 
       the bed frame. Various pieces of medical equipment are 
       nearby. An IV is hooked to Jason’s arm. There are bars on 
       the window and an armed DEPUTY stands by the door. Jason 
       is conscious and staring at the ceiling with his usual 
       stark gaze. 

       Ruby and Kwan look on as Sena attaches sensor pads to 
       Jason’s forehead. The pads have long electrical cords 
       which are connected in turn to a CONSOLE which has been 
       wheeled into the room. The console has monitors and 
       controls on it.

       Sena’s assistant, LAYTON, is running various tests on the 
       equipment. Sena puts the last sensor pad in place.

                           SENA
                 All right... that’ll do it. All of the 
                 contacts are in place.
                     (to Layton)
                 Begin recording.

       Layton taps a few controls on the console, looks at a 
       monitor which displays various GRAPHS and BRAIN PATTERN 
       schematics.

                           LAYTON
                     (off console)
                 Everything looks good. I’m getting 
                 EEG... encephalitic levels... neuro-
                 electrical readings...
                     (beat)
                 Start recording-at twenty-thirty 
                 hours. 

       He taps a control.

                           RUBY
                 How long will he need to be asleep?

                           SENA
                 We’re going to need at least two full 
                 REM cycles to get a clear neurological 
                 profile. Three hours minimum, six 
                 hours ideal.

       Ruby moves to the bed, looks down at Jason. She’s still 
       nervous around him, her feelings mixed about this brutal 
       serial killer. But she does her best to put on a 
       professional face.

                           RUBY
                 Jason... we’re going to put you to 
                 sleep now. We’re going to run some 
                 tests. But it’s going to be all right. 
                 Just trust me.

       No response from Jason. Ruby looks at Sena, nods. Sena 
       takes a syringe from an adjacent table... then hooks it 
       into the IV. Kwan is noting everything on a legal pad.

                           KWAN
                 For the record, what kind of sedative 
                 are you using?

                           SENA
                 Forty-seven CC’s Valium.

       Sena’s assistant looks up in surprise.

                           LAYTON
                 Forty-seven CC’s?

                           SENA
                 Yeah, I know, but believe me -- this 
                 guy doesn’t go under very easily.

       Sena injects the full syringe into the IV. They step 
       back.

                           SENA
                     (to Ruby)
                 Well, that’s it. He’ll be asleep in a 
                 few minutes, but his first REM-cycle 
                 probably won’t kick in for another 
                 hour or so.
                     (beat)
                 Is there a place we can get something 
                 to eat in this town?

                           RUBY
                 There’s a pizza place over on Market.

                           SENA
                 Cute waitresses?

                           RUBY
                 That’s open to debate.

                           SENA
                 I’ll take my chances. Come on, I’m 
                 buying.

       She shakes her head, pulls up a chair.

                           SENA
                 There’s nothing to see here. He 
                 sleeps... we record it. That’s all 
                 that happens.

                           RUBY
                 He’s my client, and this is important. 
                 Enjoy your waitresses. 

       Sena shrugs and then exits.

                           RUBY
                     (to Kwan)
                 Take note of everything that happens, 
                 no matter how insignificant. I want a 
                 complete record of this for the court. 

       Kwan nods, sits, taking his job very seriously. Layton 
       looks over at them and yawns.

                           LAYTON
                 If we’re lucky, maybe he’ll fart in 
                 his sleep.

       Kwan smiles, but then sees Ruby isn’t amused. She keeps 
       her eyes on Jason. OFF the image of Jason’s face -- his 
       eyes are drooping and he’s-starting to fall asleep... 

       EXT. HOSPITAL - NIGHT

       A few cars in the parking lot, and some extra sheriff’s 
       deputies providing security -- but otherwise, all is 
       quiet.

       INT. JASON’S HOSPITAL ROOM - NIGHT

       A while later. Layton is sitting at the console, watching 
       the monitor with a bored look. Kwan is doodling on the 
       legal pad. The Deputy is slouching against the wall. 
       Jason is sleeping. Only Ruby seems still interested in 
       Jason -- she watches him closely. A quiet moment, then 
       Ruby looks up, catching something out of the corner of 
       her eye...

       JASON’S HAND

       His finger twitches slightly.

       JASON’S EYES

       His eyes begin to move back and forth beneath his 
       eyelids...

       RESUME

       Layton reacts as his console sends out a BEEP.

                           LAYTON
                     (off console)
                 There he goes. REM sleep began at 
                 twenty-two fifteen hours.
                     (beat)
                 Sweet dreams, you psycho. 

       On the monitor, we see the distinctive EEG of REM SLEEP -- 
       a single squiggly line. There’s also a hard copy print-
       out being generated off to the side on a long, narrow 
       sheet of paper piling up on the floor.

       JASON’S FACE

       Eyes shifting under closed lids -- Rapid Eye Movement. 
       PUSH IN ON Jason’s eyes... closer, until they fill the 
       frame...

       Suddenly his eyes fly open, and we PULL BACK to reveal 
       that we are actually looking at eyes of the YOUNG JASON 
       seen in the earlier dream sequence. _WE ARE IN JASON’S 
       DREAM_. The boy is lying wide awake on his bed, staring 
       up at the bedroom ceiling, unable to sleep. 

       The boy hears a distant screaming noise... the moans of a 
       woman’s voice. It sounds like she’s in pain. The boy 
       frowns, climbs off his bed and follows the sound into the 
       nearby hallway...

       INT. JASON’S HOUSE - HALLWAY

       Instead of the dilapidated, abandoned house seen earlier, 
       the house is in fine condition, filled with normal 
       furniture and has a lived-in look. We’re in Jason’s house 
       as it appeared over twenty years ago. The young boy, 
       scared, worried, is walking toward the bedroom door at 
       the end of the hall. The moans and screams grow louder. 
       He finally reaches the door and slowly opens it...

       INT. MOTHER’S BEDROOM

       The bedroom seen earlier, but as it appeared over twenty 
       years ago. A woman is tied to the bed with leather straps 
       and she’s screaming in ecstasy. A man is on top of her, 
       fucking her hard enough to make the bed slam against the 
       wall. 

       Young Jason stands in the doorway, wide-eyed, not sure 
       what to think.

                           BOY
                 Mommy?

       The woman looks over, sees him.

                           MOTHER
                     (angry)
                 Jesus Christ, Jason... what are you 
                 doing? Get out of here!

       The man turns his head to the boy in anger -- it’s FREDDY 
       KRUEGER as he appeared when he was mortal -- no burns. 
       He’s naked but the distinctive fedora sits on a nearby 
       chair.

                           FREDDY
                     (to mother)
                 I didn’t know you had a son...	I just 
                 _love_ kids.

       Freddy gets up off the bed... moves toward the door.

                           FREDDY
                 Come here, little man... want to play 
                 with Freddy...?

       But the boy backs off at the sight of Freddy moving 
       toward him and the boy takes off running...

       INT. LIVING ROOM

       The boy heads for the door... opens it but KRUEGER is 
       standing in the doorway, fully clothed now in his 
       distinctive garb and with burns on his face -- this is 
       the familiar nightmare image of Krueger. Freddy grabs the 
       boy by the shirt, hoists him up to eye-level with one 
       hand.

                           FREDDY
                 It’s been a while, little man. I 
                 thought you were dead.

       He runs one of his finger-blades across the boy’s cheek, 
       not hard enough to draw any blood.

                           FREDDY
                 You got away once... but not this 
                 time.

       He spreads the blades wide... lifts his arm to strike... 
       and as his hand flashes toward his face, the blades 
       suddenly hit a _HOCKEY MASK_ which has appeared over 
       young Jason’s face. Freddy stops, confused.

                           FREDDY
                 What...

       He drops the boy, who falls heavily on the floor. And as 
       Freddy watches in shock, the boy stands up... and as he 
       gets to his feet, his body starts to TRANSFORM into ADULT 
       JASON. An ARM, a LEG, TORSO, his HEAD -- FEATURES 
       MORPHING incredibly one by one until the towering figure 
       of JASON stands before him. Freddy’s eyes narrow, forced 
       to suddenly reevaluate the situation.

                           FREDDY
                 So.... all grown up, I see.

       A tense moment as the two circle each other warily. There 
       is clearly a prior relationship between the two men -- 
       and there is a deep hatred between them

       Jason edges towards the fireplace, where there is an AXE 
       leaning against some firewood. He lunges, grabs the axe 
       and swings it toward Freddy. It CONNECTS -- biting deep 
       into Freddy’s chest. Freddy roars in pain. Jason advances 
       on him, chopping and hacking at Freddy, who staggers back 
       at the vicious blows...

       INT. JASON’S HOSPITAL ROOM - NIGHT

       As before. The console starts beeping and Jason’s REM 
       pattern starts jumping erratically.

                           LAYTON
                 What the hell... 

       Ruby moves to him.

                           RUBY
                 What’s going on?

                           LAYTON
                 I don’t know. I’ve never seen anything 
                 like it.

       On the bed, Jason’s hand twitches more violently. His arm 
       jumps slightly.

                           LAYTON
                 He must be having one hell of a dream. 
                 His REMS are all over the place.

       JASON’S DREAM - LIVING ROOM (CONTINUOUS)

       Jason is literally HACKING Freddy to pieces. Blood 
       spraying around the living room. Freddy’s limbs have been 
       severed -- arms and legs chopped clean off. 

       Jason lifts the axe and DECAPITATES Freddy’s head. The 
       head rolls a few feet away. 

       But Freddy isn’t dead. The severed head _smiles_, and 
       looks up at Jason.

                           FREDDY
                 Nice try.

       Without warning, Freddy’s disembodied ARM grabs Jason by 
       the ankle, pulling him off his feet. Jason CRASHES hard 
       onto the floor. One of Freddy’s dismembered LEGS kicks 
       him in the side. Another LEG puts its foot on Jason’s 
       throat, pinning him to the ground. FREDDY’S HEAD rolls 
       like ball onto his bloody torso, reconnects itself. The 
       torso leaps up and in the flash of an eye his entire, 
       body starts to REASSEMBLE itself.

       INT. JASON’S HOSPITAL ROOM

       Jason starts thrashing violently on the bed. Kwan is on 
       his feet now, standing a safe distance away.

                           LAYTON
                 Something’s wrong. I’m bringing him 
                 out.
                     (to Deputy)
                 Give me a hand.

       Layton and the Deputy move to Jason’s bedside. Layton 
       grabs a hypodermic off a medical tray, starts filling it 
       with a solution. Kwan quickly takes notes, trying to 
       capture every detail. The Deputy moves to the opposite 
       side of the bed, tries to hold Jason still while Layton 
       prepares the hypodermic.

       JASON’S DREAM - LIVING ROOM

       Freddy is now whole again, and he is standing with his 
       foot on Jason’s throat, pinning the man to the ground.

                           FREDDY
                 I make the rules around here. And rule 
                 number one is: _Freddy Always Wins_.

       He plunges his FINGER BLADES straight down INTO Jason’s 
       chest.

       INT. JASON’S HOSPITAL ROOM

       The assistant pricks the needle into Jason’s arm... he 
       starts to press the plunger on the hypo...

       _FREDDY’S ENTIRE FOREARM BURSTS STRAIGHT OUT OF JASON’S 
       CHEST_. There is no blood. It’s an otherworldly effect -- 
       as though Freddy is BREACHING INTO OUR REALITY. 

       Everyone freezes in shock at the image. Freddy’s hand 
       moves like lightening and SLASHES the Deputy and Layton 
       in one fluid move. They collapse, BLOOD SQUIRTING from 
       the razor cuts in their necks. 

       The syringe is still deep in Jason’s arm -- but the drug 
       has not yet been injected.

       JASON’S DREAM - LIVING ROOM

       Freddy is digging his arm deeper into Jason’s chest. 
       Jason is writhing in pain, his hockey-clad face inches 
       away from Freddy’s now. Freddy frowns... digs his arm in 
       _deeper_...

                           FREDDY
                 There’s more to you than meets the 
                 eye.

       He plunges his arm yet DEEPER --

       INT. JASON’S HOSPITAL ROOM

       -- where we see Freddy’s entire arm and part of his 
       shoulder BURSTING out of Jason. Freddy’s hand whips 
       around, searching for something to grab onto... blades 
       scraping against the wall... ripping at bedsheets... 

       Ruby opens the door and yells out --

                           RUBY
                 We need help in here! NOW!

       Kwan turns to avoid the thrashing finger blades... but a 
       BLADE SNAGS in Kwan’s ponytail. He yells out... tries to 
       untangle the blade but it’s too late. Freddy knows he has 
       somebody. The hand grabs hold and yanks him up onto. 
       the bed. Kwan struggles, but it’s too late -- Freddy 
       PULLS KWAN DOWN INTO JASON’S CHEST...

       JASON’S DREAM - LIVING ROOM

       Freddy’s pulls Kwan’s head OUT OF JASON’S CHEST, INTO THE 
       DREAM. Kwan blinks and looks around in abject terror. 
       Freddy looks amazed at the sight.

                           FREDDY
                 You’re not from around here, are you?
                     (realizing)
                 You’re from the _other side_.

       INT. JASON’S HOSPITAL ROOM

       Where Ruby has grabbed onto Kwan, trying desperately to 
       pull him out of Jason’s chest. Jason thrashes, BREAKS an 
       arm restraint.

       CLOSE ON JASON’S ARM

       As Ruby and Ewan struggle, Kwan’s body presses up against 
       the plunger on the syringe -- and inadvertently INJECTS 
       Jason with the drug...

       JASON’S DREAM - LIVING ROOM

       Freddy is laughing now. He RIPS at Kwan’s face with the 
       blades, then SHOVES Kwan’s head straight down --

       INT. JASON’S HOSPITAL ROOM

       -- Kwan is catapulted out of Jason’s chest, knocking Ruby 
       down and he SLAMS into the far wall. He slumps to the 
       floor, covered in blood and gore, _dead_. Ruby sits up 
       with a dazed look.

       JASON’S DREAM - LIVING ROOM

       Freddy smiles, leans down as though to enter Jason’s body 
       head-first... when suddenly the SCENE DRAINS OF COLOR. 
       Freddy’s head snaps up, looks around.

                           FREDDY
                 No... not yet!

       The ENTIRE SCENE DISTORTS and FRAGMENTS, Jason’s dream 
       breaking up. Finally DISSOLVING TO:

       INT. JASON’S HOSPITAL ROOM - CLOSE ON HIS FACE

       as his eyes fly open -- he’s _awake_.

       WIDE ON THE ROOM

       A bloody mess. But everything is quiet. Ruby sits on the 
       floor in shock. The doors burst open and a team of 
       doctors and nurses rush in and react to the sight. OFF 
       the moment...

                                                            CUT TO:

       EXT. CRYSTAL LAKE SHERIFF’S STATION - DAY

       Ruby, escorted by two sheriff’s deputies, is pushing her 
       way through a media circus. Reporters thrusting 
       microphones, cameras and tape recorders at her as she 
       tries to make her way to the Sheriff’s Station doors.

                           VARIOUS REPORTERS
                     (overlapping)
                 Is it true Jason killed three more 
                 people? Your own assistant was 
                 murdered, how do you feel about that? 
                 Do you still intend to plead not 
                 guilty? How does this affect your 
                 defense strategy? etc. 

       Ruby looks shell-shocked -- she’s changed and cleaned- 
       up, but she doesn’t answer.

                                                            CUT TO:

       INT. SHERIFF’S STATION - INTERROGATION ROOM - DAY

       Sheriff Hayes is questioning Ruby. There’s a tape 
       recorder on the table in front of them. A two-way mirror 
       dominates the room. The D.A. Harding is there, with a 
       skeptical look on his face.

                           HAYES
                 A hand?

       Ruby runs a hand through her hair, tries to talk calmly.

                           RUBY
                 That’s right... it... it came right 
                 out of his chest...

                           HAYES
                 Who’s chest?

                           RUBY
                 Jason’s. It came out of his
                 chest... a hand with long blades on 
                 the fingers...

       She tries to stay calm...

                           RUBY
                     (continuing)
                 And this hand... it... it slashed 
                 Doctor Layton’s throat... and the 
                 Deputy. Then it grabbed Danny by the 
                 head...
                     (getting emotional)
                 And it pulled his head right down into 
                 his chest... I couldn’t... Hayes lays 
                 a hand his shoulder.

                           HAYES
                 Take it easy, Ruby...	it’s all right.
                     (beat)
                 Now, try to think clearly... don’t you 
                 mean _Jason’s_ hand... don’t you mean 
                 he grabbed a scalpel and slashed 
                 Doctor Layton’s throat?

                           RUBY
                     (a challenge)
                 Did you find a scalpel? Did you find a 
                 murder weapon?

       An awkward beat. Harding reaches over and turns off the 
       tape recorder. He’s trying to help her.

                           HARDING
                 Ruby, come on. You witnessed a brutal 
                 triple murder and you’re having 
                 trouble accepting it.
                     (beat)
                 Think about what you’re saying. You 
                 really expect a jury to believe that 
                 Jason has a mystery killer living in 
                 his tummy?

                           RUBY
                 I know how this sounds, but that’s 
                 what happened.

       Her voice is cracked slightly. It’s clear she’s having 
       trouble dealing with all this. Harding and Hayes exchange 
       a look.

                           HAYES
                 Look... Ruby... maybe you should hand 
                 this case over to someone else. Take a 
                 few weeks off. 

       Ruby stands, adamant.

                           RUBY
                 I don’t need time off. What we need to 
                 do is find out who killed those men. 
                 Where did that hand come from?

       A tense beat.

                           HAYES
                 We’re still checking the crime 
                 scene... but I can almost guarantee 
                 we’ll be filing three more murder 
                 charges against your client within a 
                 day.
                     (beat)
                 And we’re moving him back to his jail 
                 cell...	 where he belongs.

       Harding and Hayes exit, leaving Ruby alone for a moment. 
       She looks at her reflection in the two-way mirror, trying 
       to get a hold of herself...

                                                            CUT TO:

       INT. JAIL CELL - CORRIDOR - NIGHT

       Security is noticeably tighter. Four Deputies stand 
       outside the jail cell, shotguns at-the-ready. 
       Jason has been manacled and shackled with even heavier 
       irons. Ruby is standing outside the cell, watching her 
       client. Jason is again staring off into middle-distance.

                           RUBY
                 What’s going on in that head of yours, 
                 Jason? What are you thinking?
                     (beat)
                 I wish there was some way you could 
                 make me understand what I saw in that 
                 hospital room. 

       A long moment.

                           RUBY
                 Well... at least I know you’re 
                 innocent of something. As she turns to 
                 go...

                                                            CUT TO:

       INT. RUBY’S HOUSE - LIVING ROOM - NIGHT

       Ruby is sitting at a desk in front of her PERSONAL 
       COMPUTER. She has case files all around her. 

       She shuffles through the papers until she finds a POLICE 
       SKETCH showing a drawing of a hand with the glove and 
       blades. On the single sheet there are top, side and 
       bottom views. 

       And on the top we can see print that says “Artists 
       Conception of Murder Weapon Based on Eyewitness 
       Description.” 

       Ruby looks at the sketch for a moment, then reaches over 
       and opens a small OPTICAL IMAGING SCANNER. She places the 
       drawing in the scanner, closes the lid, then taps a few 
       controls of the computer keypad. The scanners starts 
       working... and on the computer screen we see a digitized 
       image of the artist’s drawing as it fills the frame. 

       Ruby works the keypad -- on the screen the computer says 
       “Save as: MURDER WEAPON.” She reaches over turns on a 
       MODEM. We hear the familiar dial tone. Ruby taps in a 
       telephone number on the computer, and we hear the modem 
       start dialing a number. We hear a computer tone answer on 
       the other end. 
       On the screen, a window appears which says “Welcome to 
       FBI Bureau of Criminal Statistics. Enter Request.” 

       Ruby taps in “Homicide File Search.” The computer answers 
       back: “Choose Category: Victim, Suspect, Location, 
       Method, Murder Weapon, Date, Investigators, etc.” Ruby 
       types in “MURDER WEAPON.” 

       The computer answers: “Search Murder Weapon by: Graphic 
       or Text.” Ruby types in “GRAPHIC.” 

       Computer: “Enter Graphic.” Ruby taps another command, and 
       we see the digitized picture of the FINGER BLADES appear 
       again as the computer sends it to the FBI center. A 
       window comes up on the computer that says: “Graphic 
       received. Searching records...” 

       A beat goes by... then the screen says “Match Found.” 
       Ruby types in “DISPLAY RECORD.” The computer goes blank 
       for a moment, then is filled with a police file. There’s 
       a fuzzy photo of Freddy Krueger (without burns) wearing 
       his distinctive fedora hat... and there is a police photo 
       of a glove with blades lying on the ground. The glove is 
       singed and scorched. Ruby leans forward.

                           RUBY
                 There it is...

       The photo is labeled at the bottom: “Crime scene photo 
       147. Date: 1968. Suspect name: KRUEGER, FRED.”

                           RUBY
                     (reads)
                 Fred Krueger...

       She taps a few controls. The screen now fills with a case 
       file -- City of Springwood Police department. Ruby reads 
       the screen with growing excitement...

                           RUBY
                     (reads)
                 Janitor at Springwood Junior High 
                 School. Suspected of multiple child 
                 murders. Was found burned to death in 
                 boiler room...

       Ruby thinks. She sees something on the screen and leans 
       forward. 
       At the very bottom of the page we can see the words: “SEE 
       ALSO: UNSOLVED TEEN MURDERS, SPRINGWOOD, 1984.”

       OFF her curious reaction...

                                                            CUT TO:

       EXT. MOTEL - NIGHT

       A local place -- modest and a little run-down.

       INT. MOTEL ROOM - NIGHT

       Sena is sitting at a cheap plywood desk, with a bottle of 
       scotch and a glass sitting in front of him. He’s been 
       drinking, and we can see on his face that he’s been 
       shocked by the recent events. The REM print-outs are 
       spread in front of him, along with other papers. 

       There’s a knock at the door. Sena gets up, a little 
       unsteady, opens the door. Ruby steps in carrying papers 
       and computer print-outs -- she looks determined.

                           RUBY
                 I think I’m onto something, Joe.

                           SENA
                 Me too. I’m drunk.

                           RUBY
                 Well, I’m onto something more useful.
                     (beat)
                 You ever hear of a man named Fred 
                 Krueger?

       Sena sits down on the bed.

                           SENA
                 Krueger... doesn’t ring a bell.

                           RUBY
                 He was a child killer in the late 
                 sixties... in a town called Springwood 
                 about eight miles from here.
                     (beat)
                 Guess what his murder weapon was?
                 A glove with six-inch blades.

                           SENA
                     (dry)
                 Fascinating.

                           RUBY
                 Now.... according to the file, Krueger 
                 was burned to death in a fire in 1968. 
                 But get this -- beginning in 1984, 
                 there was _another_ series of murders 
                 in Springwood. All teenagers... all 
                 killed in their sleep... all killed 
                 with finger blades just like 
                 Krueger’s.

       Sena takes this in.

                           SENA
                 I thought you said Krueger burned to 
                 death.

                           RUBY
                 That’s right. The murders in the 
                 eighties were never solved.
                     (with import)
                 But... there were teenaged witnesses 
                 who said Krueger had the ability to 
                 appear in your dreams... and that if 
                 he killed you in a dream, it would 
                 kill you in the real world.

                           SENA
                 Uh-huh...

                           RUBY
                 Don’t you see? Jason was _asleep_. And 
                 he was dreaming -- the REM patterns 
                 prove that. And I saw finger blades 
                 just like Krueger’s come out of 
                 Jason’s chest. There has to be a 
                 connection.

                           SENA
                 Yeah... I think I understand...
                     (beat)
                 You’re drunk, too.

       She throws the computer print-outs at him.

                           RUBY
                 It’s all right here, damnit!

       She starts pacing the room, frustrated.

                           SENA
                 Look... I know how upset you are. I’m 
                 upset, too. Tom Layton was my 
                 assistant for five years. We both lost 
                 somebody in there. 

       Ruby calms down a little.

                           RUBY
                 I’m sorry... but I know what I saw...

       She grabs the drawing of Krueger’s finger blades.

                           RUBY
                     (re: drawing)
                 And I saw this hand kill three people. 
                 I’m telling you... there’s a 
                 connection between Jason and Freddy.

       Sena takes a deep breath, tries to clear his mind.

                           SENA
                 Okay... set that aside for a moment... 
                 because I have something, too, and I’m 
                 not quite sure what to make of it...

       He stands and moves to the desk, indicates the REM print-
       outs. We can see the long computer strip has a squiggly 
       line running down the center of it... but at one point a 
       SECOND REM LINE appears above it and the two lines run 
       parallel for most of the tape. Sena points to the print-
       out’s second line.

                           SENA
                 See this?

                           RUBY
                 Yeah, what is it?

                           SENA
                 _It’s a second REM pattern_.

       He points to the first squiggly line.

                           SENA
                 I know what this is... this is Jason’s 
                 REM pattern. It runs through the 
                 entire record of the session.
                     (re: second pattern)
                 But this _second pattern_ appears	 out 
                 of nowhere and runs concurrent with 
                 Jason’s for the last five minutes of 
                 his dream.

       Ruby studies the tape.

                           SENA
                 It’s as though there were two people 
                 in that room... both of them asleep... 
                 both of them dreaming.

                           RUBY
                 That doesn’t make sense.

                           SENA
                 Add it to the list.

                           RUBY
                 So what do we do? 

       Sena considers.

                           SENA
                 I don’t suppose I can go back to the 
                 University and chase young coeds 
                 again... pretend this whole thing 
                 never happened...

                           RUBY
                 Not yet.

                           SENA
                 Then I’d say we should put Jason under 
                 again... run another tape on him and 
                 see what happens. We’ll get extra data 
                 this time. Video... infrared... the 
                 works.

                           RUBY
                 Great.	When can you do it?

                           SENA
                 Tomorrow. If you can clear it with the 
                 Sheriff’s department.

                           RUBY
                 I’ll have to lean on them pretty hard 
                 after what happened last night... but 
                 I think I can do it.
                     (beat)
                 Let me know what happens.

                           SENA
                 You’re not going to be there?

                           RUBY
                 I was there once... that was enough. 
                 Besides... I have to go out to Jason’s 
                 house tomorrow. 
                     (grim)
                 They’re... digging up some new 
                 evidence.

                                                            CUT TO:

       CLOSE ON THE GROUND

       as a shovel digs out a spade-full of dirt, then bites 
       back into the ground, but this time instead of sinking 
       into the dirt, the blade clanks against something solid. 
       A hand reaches down, brushes aside some of the dirt to 
       reveal the top of a HUMAN SKULL. WIDEN to include --

       EXT. JASON’S HOUSE - DAY

       The man digging is a SHERIFF’S DEPUTY. We are on the 
       hillside behind Jason’s house. Scattered along the hill 
       are a dozen or so deputies and forensics experts digging 
       up the hillside, looking for bodies.

                           DEPUTY
                     (calls out)
                 I got another one here!

       A forensics expert moves to him. Ruby, Sheriff Hayes and 
       Harding stand off to one side, watching grimly.

       Hayes makes a note on a clipboard.

                           HAYES
                 Tag that one victim number forty- 
                 seven.

       Another team of deputies and forensics experts carry a 
       body bag past them. The scene is depressing Ruby. Harding 
       has a smirk on his face. 

                           HARDING
                     (to Ruby)
                 I can’t wait to hear your opening 
                 argument.	“Ladies and Gentlemen	of the 
                 Jury... the Defense will prove that 
                 Jason Voorhees did not kill all of 
                 these people. They, in fact, committed 
                 mass suicide and then buried 
                 themselves in his back yard...”

                           RUBY
                 Fuck you.

       She walks off. Hayes looks at Harding, annoyed with the 
       man’s casual attitude.

                           HAYES
                 That’s a legal term. It means “fuck 
                 you.”

       Hayes walks off.

       NEW ANGLE - JASON’S FRONT PORCH - DAY

       Ruby watches the parade of bodies being dug up, carried, 
       tagged and loaded onto a flatbed truck. It’s stacked high 
       with BODY BAGS. It sickens her. She turns away from the 
       scene, decides to go into the house. She ducks under the 
       crime scene tape surrounding the house... walks up the 
       creaky stairs to the front door...

       INT. JASON’S HOUSE - CONTINUOUS - DAY

       Ruby enters, looks around -- this is her first time in 
       the house and she’s curious. In contrast to the last time 
       we saw the house, it is lit by various standing lights 
       that the deputies have brought in. Furniture, possessions 
       and artifacts have all been numbered and tagged as 
       evidence. Otherwise, the house is largely intact. There 
       is plastic matting on the floor.

       The harsh white light gives the house a cold, eerie 
       quality. 

       Ruby walks over to the lone upholstered chair... runs a 
       hand over the top. She pulls her hand away and folds her 
       arms around her chest, suddenly chilled. She walks to a 
       wall and examines it... the wallpaper is old and torn... 
       and there are dark blotches of what might be dried blood. 
       Each blotch has been circled with marker pens and have 
       identifying numbers next to them. 

       Ruby glances at the nearby hallway, heads for it...

       INT. HALLWAY 

       Ruby walking toward Jason’s mother’s bedroom. She 
       enters...

       INT. MOTHER’S BEDROOM

       The room appears as it did at the top of the film -- 
       everything in its place, covered with a layer of dust. 
       Tags on everything. Ruby walks over to the night table 
       seen earlier, where she examines the photograph of Jason 
       as a boy. He stares back at her with that haunted look.

       She turns away from the photo, lets her eyes roam over 
       the room... notices a closet. She moves to it, carefully 
       opens the door... 

       Inside we find clothes and artifacts that have not been 
       disturbed in decades. Women’s clothes circa 1960 hang 
       neatly on the rack. Some are moth-eaten. Shoes, coats and 
       other clothing are also there -- all women’s. 
       She moves to close the door, but stops when she notices 
       that hanging on the inside of the door on a peg is a 
       man’s brown FEDORA HAT -- identical to the one she saw in 
       the photo of Freddy Krueger. She reacts... takes the hat 
       off of the peg, holds it in her hand... looks inside the 
       hat brim. 

       Embossed in gold inside the brim are the initials 
       “_F.K._“

                           RUBY
                 Krueger...

       OFF her reaction as she realizes she’s found an important 
       connection...

                                                            CUT TO:

       INT. JASON’S CELL - DAY

       Jason is lying on a gurney. TWO DEPUTIES are shackling 
       him securely to the rails by the arms and legs. While 
       they do this another two deputies stand in the cell with 
       shotguns, keeping a close eye on him. But Jason, as 
       always, is not struggling and is eerily still. Sena is 
       outside the cell, making final adjustments to the console 
       seen earlier -- his neural scanning equipment. 

       The Deputies finish securing Jason. There is a thick of 
       atmosphere of paranoia and hostility in the room.

                           DEPUTY #1
                 That	should hold him.

                           DEPUTY #2
                 That’s what they said the last time. 
                 And the son of a bitch got loose.

       The Deputies back out of the cell cautionsly. Sena walks 
       in with a flip, nonchalant attitude making a show of how 
       unconcerned he is as he approaches Jason and attaches 
       electrodes to his forehead.

                           SENA
                 Here	we go, Jason...
                     (beat)
                 Would you like a bedtime story?

       Jason’s eyes flick over to Sena for a moment, and it’s 
       enough to wipe the smile off Sena’s face and send a chill 
       through his body. Sena quickly heads for a tray where a 
       syringe and a bottle of sedative are waiting. As he fills 
       the syringe...

       INT. JASON’S HOUSE - MOTHER’S BEDROOM

       As before. Ruby is now rummaging through the closet, 
       looking for other clues. She finally gives up -- nothing 
       here. She turns and goes to a chest of drawers, starts 
       opening the drawers... reacts in disgust at a drawer 
       swarming with INSECTS and mold... keeps looking...

       INT. JAIL CELL - CORRIDOR - DAY

       As before. The Deputies standing by, Sena sitting at the 
       console, activating the equipment. There are also video 
       cameras and other high-tech monitoring equipment -- 
       whatever happens this time, it’s going to be recorded. 

       Jason is on the bed, his eyes closed.

       After a beat, we can see his eyes begin to move 
       underneath his eyelids as he begins dreaming. On Sena’s 
       monitor, a computer message comes up: “REM SLEEP 
       ESTABLISHED.” Sena notes the time on his clipboard...

       INT. JASON’S HOUSE - MOTHER’S BEDROOM

       As before. Ruby is now on all fours, looking underneath 
       the bed...

       INT. JASON’S CELL - CLOSE ON HIS FACE

       as-his head twitches in his sleep -- he’s obviously in 
       the middle of a nightmare... 

       INT. JASON’S HOUSE - MOTHER’S BEDROOM

       Ruby in part-way under the bed, rummaging through 
       clothing and other debris... when suddenly there is a 
       SQUEAK from the bed above her. She freezes... then it 
       happens again. We see the springs of the bed EASE DOWN 
       toward her, as if someone just sat down on the bed.

                           RUBY
                 Hello?

       No answer. She starts to crawl out from under the bed, 
       when suddenly the bed starts to JUMP VIOLENTLY, as if 
       someone were standing on the bed jumping up and down. 
       Ruby is being pounded by the action of the springs... she 
       struggles to get out... the metal springs scrape and tear 
       at her, cutting her in places. She screams, panicked.

                           RUBY
                 Let me out! Let me out, stop it!

       She finally manages to free herself, stands and looks at 
       the bed. There’s no one there, but on the bed we can see 
       the IMPRINT OF TWO BODIES which have disturbed the dust 
       and are DISTORTING the sheets. It’s as if two INVISIBLE 
       PEOPLE are in the bed fucking violently. The bed jumps up 
       and down under their unseen bodies. Ruby backs up in 
       shock, terrified and confused.

       INT. JAIL CELL - CORRIDOR

       Sena tenses, leans forward. Jason’s REM pattern is 
       getting highly erratic. On the bed, Jason is now 
       thrashing in his sleep against the manacles.

       The Deputies are getting uneasy. One of them chambers a 
       round into the shotgun, finger on the trigger...

       INT. JASON’S HOUSE - MOTHER’S BEDROOM

       The movement on the bed _stops_. Dead quiet. Ruby tries 
       to catch her breath, runs a trembling hand through her 
       hair. There is the creak of a door behind her. She turns, 
       and is surprised to see --

       A YOUNG BOY  

       standing in the doorway (it’s young Jason, the same boy 
       seen in Jason’s dreams). The boy is staring at the bed, 
       not at Ruby. But before she can say anything, the door. 
       slams shut in the boy’s face.

                           RUBY
                 Wait	wait! 

       She rushes to the door, opens it --- there’s no one 
       there.

       INT. JAIL CELL - CORRIDOR

       Sena watching in amazement as the readings on the 
       monitors get more and more erratic. On the bed, Jason is 
       now trembling violently. The Deputies shift nervously 
       from foot to foot. Suddenly a SECOND REM PATTERN emerges 
       on the monitor. Sena leans forward.

                           SENA
                 There it is... the second REM 
                 pattern...

       INT. JASON’S HOUSE - LIVING ROOM

       Ruby looking around for the boy -- who is he?

                           RUBY
                     (calls out)
                 Where are you? It’s all right, I won’t 
                 hurt you... what are you doing here?

       Nothing.	Only silence. She glances out the window, sees 
       the boy running through the forest. He looks afraid. She 
       bolts for the front door...

       INT. JAIL CELL - CORRIDOR  

       Sena is tapping commands, trying to analyze the REM 
       signals.

                           SENA
                 Where is this coming from? It doesn’t 
                 make any sense. It’s like there’s 
                 someone else in there with him...

       Jason jolts violently. The lights FLICKER in the room. An 
       ominous RUMBLING SOUND can be heard -- almost like an 
       approaching freight train. The Deputies are definitely 
       getting nervous at this point, glancing around, wondering 
       what the hell is going on. 

       EXT. FOREST - DAY

       Ruby running through the dense trees, trying to find the 
       boy... but he’s nowhere in sight. She comes up to the 
       LAKESHORE, looks around. No one there. She’s about to 
       give up and go back to the house, when a flash of 
       sunlight on metal can be seen nearby. She looks. There 
       appears to be something metal hidden in the bushes about 
       fifty yards away from her. She heads for it...

       INT. JAIL CELL - CORRIDOR

       Sena working his console and equipment, trying 
       desperately to figure out what’s going on. Suddenly the 
       monitors EXPLODE one by one in bursts of sparks and 
       glass. Sena throws up his arms to protect himself and 
       hits the floor.

       EXT. FOREST/LAKESHORE - DAY

       Ruby is pulling brush away from the metal object... and 
       reveals the METAL CANOE we saw in Jason’s dreams. The 
       canoe is rusted and covered with dirt and grime. She 
       pulls it over on its side and discovers FIVE LONG SLASHES 
       on the metal bottom. OFF her reaction...

       INT. JAIL CELL - CORRIDOR - DAY

       Sena is picking himself up off the floor... the room is 
       quiet now, and the smoke from the crackling consoles is 
       swirling about.

                           SENA
                 Fuck me...

       He approaches the open jail cell door, peers inside. 

       SENA’S POV 

       The smoke eddies through the cell... and we get a 
       fleeting glimpse of Freddy Krueger standing on Jason’s 
       bed -- Krueger is just _pulling his left leg out of 
       Jason’s chest_. The smoke swirls about and quickly 
       obscures the scene.

       SENA

       Reacts in shock. Blinks a couple of times -- did he 
       really see that?

                           SENA
                 Who’s that? Who‘s in there?

       A _figure_ steps forward out of the smoke... it’s FREDDY 
       KRUEGER. He looks exhilarated. Freddy has broken into our 
       reality and it’s a big moment for him. Sena eyes the man 
       with shock.

                           SENA
                 Who are you?

                           FREDDY
                 Everyone’s worst nightmare.

       Freddy steps forward to strike Sena but stops when he 
       hears the sound of weapons being cocked. He turns to 
       see...

       THE FOUR DEPUTIES

       who bring their weapons up, ready to pump Freddy full of 
       shells. Freddy smiles at them. 

       Suddenly their eyes lose focus as if seeing some other 
       scene. Sena frowns, puzzled. The Deputies seem to be 
       experiencing some kind of waking nightmare that only they 
       can see -- some are sweating, trembling, muttering, 
       frightened. Finally, the Deputies all turn their weapons 
       _on themselves_, putting the barrels in their mouths and 
       to their own temples. There’s a quick beat.

                           FREDDY
                 Take a load off your mind, boys.

       The Deputies all pull the triggers and BLOW THEIR HEADS 
       OFF. Blood splatters across the room.

       Sena recoils against the wall in horror. Freddy sniffs 
       the air.

                           FREDDY
                 Ah... the smell of _real_ blood. It’s 
                 been a long time.

       There are shouts from down the hall and the door to the 
       Sheriff’s Station swings open, revealing other deputies 
       racing into the cell area, with their guns out. Freddy 
       smiles at them in anticipation.

       EXT. JASON’S HOUSE - DUSK

       As Ruby comes running up through the darkening forest. 
       The deputies are scrambling to their cars and roaring 
       away, sirens wailing. Ruby runs up to Harding, who is 
       heading for his own car. 

                           RUBY
                     (to Harding)
                 What’s going on?

                           HARDING
                 Some kind of emergency back at the 
                 Sheriff’s Station. Four deputies 
                 shot... some kind of explosion... I 
                 don’t know what’s going on, but 
                 they’re panicking back there.

       Ruby jumps in the car with Harding and they take off to 
       follow the Sheriff’s deputies.

                                                            CUT TO:

       EXT. CRYSTAL LAKE - NIGHT

       Ruby and Harding drive past the “Welcome to Crystal Lake” 
       sign, and slow as they enter the MAIN STREET. The small 
       thoroughfare seems deserted. But there are a dozen or so 
       DEAD BODIES lying on the street. People on the sidewalks, 
       on the street, in their cars, on park benches... it’s as 
       if a neutron bomb went off, killing everyone and leaving 
       the buildings intact. Harding stops the car and they both 
       get out, shocked at the scene of death.

                           HARDING
                 What the hell happened here...?

       Suddenly the sound of GUNFIRE draws their attention. They 
       take off at a run down the street, turn the corner and 
       stop in surprise at what they see...

       ANGLE 

       A little street lined with shops. Sheriff Hayes and a 
       five Deputies are engaged in a fierce FIREFIGHT -- with 
       _nobody_. The Deputies are firing wildly at enemies only 
       they can see. But Ruby and Harding can see no enemy. It’s 
       a bizarre sight as the Deputies fire at and retreat from 
       nothing...

       ANGLE - HAYES

       as he retreats down the street, firing his pistol from 
       the hip -- he’s clearly terrified of something that only 
       he can see advancing on him.

                           HAYES
                     (to Deputies)
                 Fall	back! Fall back! 

       Hayes turns and tries to run, then is knocked to the 
       ground by some unseen force and a SPRAY of BLOOD as his  
       back is riddled and ripped apart by hundreds of INVISIBLE 
       BULLETS. There is no sound of gunfire at all -- giving it 
       an eerie, surreal quality.

       RUBY AND HARDING

       take in the strange sight.

                           HARDING
                 There’s no one there... who are they 
                 fighting?

       Ruby watches in disbelief as the five Deputies are PUMPED 
       FULL OF BULLETS that seem to come from out of thin air.

                           RUBY
                 They’re seeing something that we 
                 don’t...
                     (beat)
                 Let’s get out of here.

       They take off running...

                                                            CUT TO:

       EXT. CRYSTAL LAKE SHERIFF’S STATION - NIGHT

       Minutes later. It’s a scene of death and destruction. The 
       BODIES of reporters, pedestrians and sheriff’s deputies 
       are strewn across the Sheriff’s Station lawn. 

       Ruby and Harding pull up in Harding’s car and get out.

       Harding puts a hand to his mouth, sickened by the sight. 
       Ruby steadies him and they head toward the steps... but 
       even Ruby can’t avoid looking down at the bodies 
       surrounding her. One of them is a female news reporter, 
       and next to her a dead news cameraman. His VIDEO CAMERA 
       is lying a few feet away. Ruby grimaces, is about to turn 
       away when she notices the LIGHT on the camera is still 
       flashing.

                           RUBY
                 It’s still on.

                           HARDING
                 What?

                           RUBY
                 His camera... it’s still recording.

       She bends down to the camera, picks it up and fiddles 
       with the camera controls for a moment... hits “rewind” 
       and starts rewinding the tape. Harding stares down at the 
       cameraman -- he was obviously badly beaten before he 
       died.

                           HARDING
                 Maybe we shouldn’t be here... I mean, 
                 what if the people who did this are 
                 still around? 

       Ruby grabs a small earphone out of the dead cameraman’s 
       ear... wipes the blood of it... puts it in her own ear... 
       hits PLAY on the camera. She brings the VIEWFINDER to her 
       eye watch the action...

       CAMERA IMAGE - RUBY’S POV

       A BLACK AND WHITE VIDEO IMAGE of the female reporter. 
       She’s standing in front of the Sheriff’s Station with her 
       microphone, beginning a routine stand-up piece.

                           REPORTER
                     (to camera)
                 So far the Sheriff’s Department have 
                 refused to give an exact count of the 
                 bodies found at Jason Voorhees’s 
                 house. But inside sources have told 
                 Channel Nine News that the body count 
                 is currently at forty-seven and 
                 climbing.
                     (beat)
                 Judge Gillan will be hearing motions 
                 on --

       She suddenly breaks off and turns around, as if hearing 
       something behind her. During the following sequence, the 
       reporter and cameraman will be reacting to scenes that 
       _only they can see_, while the videotape clearly shows 
       that _nothing is actually there_.

                           REPORTER
                     (shocked)
                 We just heard gunshots coming from 
                 within the Sheriff’s Station. I don’t 
                 know what’s going on but something’s 
                 clearly wrong... 
                     (an aside, to camera)
                 Jerry, keep me in frame, but shoot 
                 over my shoulder. 

       The cameraman focuses on the front of the Sheriff’s 
       Station, keeping the reporter in frame.

                           REPORTER
                 More gunshots... there was a scream... 
                 and what sounds like voices 
                 shouting... 

       But again, as the reporter narrates this action we see 
       and hear _nothing_. The Sheriff’s Station is peaceful. 
       She reacts in shock.

                           REPORTER
                 Oh my God... it looks like a prison 
                 break... I’d say there are least fifty 
                 prisoners bursting out onto the 
                 Sheriff’s Station lawn... 

       The cameraman is moving the camera frantically, as if 
       trying “capture the action” -- but there is no action to 
       capture. The reporter is starting to panic.

                           REPORTER
                 I... I can’t believe this... my God, 
                 they’re attacking people... it’s 
                 turned into a riot!

       The camera image is knocked around and FRITZES as the two 
       run for cover. Suddenly the reporter _screams_.

                           REPORTER
                 No, no! Let me go, please! Don’t hurt 
                 me!

       The cameraman instinctively whirls the camera onto her. 
       She is writhing on the ground, screaming furiously, as if 
       to throw off INVISIBLE ASSAILANTS. Her dress is RIPPED 
       OPEN, her legs spread, her breasts exposed.

       She screams and wrestles, tries to get away -- she’s 
       being _RAPED BY UNSEEN FORCES_. We hear the cameraman 
       breathing heavily, panicking.

                           CAMERAMAN’S VOICE
                 Oh my God... oh my God... no... no, 
                 please, leave me alone! NO!

       A strangled cry of agony and the camera image SMASHES to 
       the ground. We hear the cameraman screaming in pain. And 
       then the screams stop. There’s a quiet beat... 

       and then the camera is picked up off the ground and we 
       see the face of FREDDY KRUEGER leering into the camera 
       lens.

                           FREDDY 
                 This is Freddy Krueger reporting! 

       The image FRITZES TO BLACK.

       RUBY

       drops the camera in shock, as if there was a snake in her 
       hand..

                           HARDING
                 What happened?

                           RUBY
                 _Krueger_...

                           HARDING
                 Who?

                           RUBY
                 Come on.

       Harding hesitates -- he’s scared.

                           HARDING
                 I’ve had enough. You’re on your own, 
                 Ruby. Sorry.

       Harding heads for his car, gets in and drives off. As 
       Ruby pounds up the steps of the Sheriff’s Station...

       INT. JAIL CELL - CORRIDOR - NIGHT

       The hall leading to Jason’s cell is littered with the 
       bloodied and ravaged BODIES of several dead deputies. A 
       smokey haze still hangs in the air.

       Jason’s cell door is standing open as Ruby approaches. 
       She steps into the cell...

       INT. JASON’S CELL

       Ruby enters and looks around. Jason can be seen 
       _sleeping_ on his bed, still in shackles. The four 
       deputies who shot themselves are all lying on the floor. 
       Ruby moves toward Jason to check on him.

                           SENA
                 I wouldn’t do that, if I were you.

       Ruby nearly jumps out of her shoes. She turns to see 
       Sena, who is sitting calmly on the floor in a dark corner 
       of the cell with his back against the wall.	 He looks 
       shell-shocked, his clothes slightly torn and a few 
       scratches on his face.

                           RUBY
                 Joe...

       She rushes to him.

                           RUBY
                 Are. you all right? What happened? 

       He looks up at her dully, takes a moment for his eyes to 
       focus on her.

                           SENA
                 I’m thinking of writing a paper... and 
                 I can’t quite decide on a title...

       He trails off. Ruby shakes him.

                           RUBY
                 _Joe_.

                           SERA
                 How about “Mass Narcosis Induced by 
                 Transdimensional Paranormal 
                 Sociopathic Entity.”
                     (beat)
                 Not very catchy, is it?

                           RUBY
                 Joe, listen to me...

                           SENA
                     (calm, analytical)
                 It’s all right. I’m simply in shock... 
                 this is what happens to people when 
                 they experience events they can’t 
                 understand or comprehend. The mind 
                 shuts down temporarily and tries to 
                 shield itself from the horrific 
                 imagery it’s been exposed to.
                     (beat)
                 I’m going to need a lot of therapy.

                           RUBY
                 It was Krueger, wasn’t it?

       Sena looks up sharply.

                           SENA
                 You saw him?

                           RUBY
                 A cameraman caught him on videotape. 
                 Joe, I saw an entire sheriff’s squad 
                 fighting and losing against an enemy 
                 that wasn’t there...

       Joe nods gravely.

                           SENA
                 Fascinating, isn’t it? Krueger has the 
                 ability to induce some sort of _Mass 
                 Narcosis_. People see things that 
                 aren’t there... waking nightmares... 
                 and these nightmares can kill you. 

       Ruby thinks, putting it all together.

                           RUBY
                 He’s out. Krueger’s crossed from the 
                 dreamworld into ours. And now... 
                 instead of just killing you in your 
                 sleep... he can kill you while you’re 
                 _awake_.
                     (beat)
                 But how did he get here?

       Sena smiles, runs a hand through his hair.

                           SENA
                 He came out of Jason’s dreams.

       He puts his hands to his temples as if trying to hold his 
       brain together as he says these things aloud.

                           SENA
                 Actually, to be more precise, he came 
                 out of Jason’s chest. He just... 
                 stepped right out of his body like 
                 stepping out of a doorway.

       Ruby looks over at the sleeping Jason, who has no damage 
       to his chest. Sena’s breath comes faster, he’s almost 
       hyperventilating.

                           SENA
                 In fact, I think that maybe an apt 
                 description of our friend Mister 
                 Voorhees. I think he’a a doorway 
                 between our world and Krueger’s.
                     (beat)
                 Either that... or I’m completely 
                 insane.

       His voice begins to tremble. Ruby grabs hold of him, 
       shakes him hard.

                           RUBY
                 No... you’re not insane. We’ve got to 
                 hold on to each other, Joe. If we can 
                 do that, maybe we find a way out of 
                 this. 

       Sena slows his breathing... tries to calm himself.. his 
       hands are shaking.

                           SENA
                 Okay... okay...

       Ruby looks at Jason with a mixture of curiosity and fear. 
       Something catches her eye. She looks under the cot... and 
       we see TWO FEET wearing tennis shoes under the cot. 
       _There is someone huddled underneath the bed_.

                           RUBY
                 Holy shit... there’s someone under 
                 here.

       Ruby and Sena get to their feet... and there is a tense 
       moment as they look anxiously toward the cot. Ruby 
       cautiously bends down to look under the cot... and is 
       surprised to see the _young boy_ seen in Jason’s dreams 
       is now here.

       He is hiding under the bed in fear. Off Ruby’s stunned 
       reaction...

                                                            CUT TO:

       EXT. COUNTRY ROAD - NIGHT

       Harding’s car zooming along the road. It passes a sign 
       that says “INTERSTATE 77 - 1/4 mile.”

       INT. HARDING’S CAR - NIGHT

       Harding behind the wheel. He breathes a sigh of relief -- 
       he’s starting to feel better. He turns the radio on, 
       tunes it to a classical station. 

       EXT. HIGHWAY = NIGHT 

       A bustling, busy thoroughfare -- cars whizzing-back and 
       forth. Harding’s car merges into the traffic.

       INT. HARDING’S CAR - NIGHT

       As before. Harding is approaching an overpass directly 
       ahead with a lighted billboard that displays mileage on 
       it: “SPRINGWOOD - 8 MILES” Harding watches the road... 
       then just as he passes underneath the overpass, he 
       glances up again and sees --

       HARDING’S POV

       _Freddy Krueger_ is standing in front of the billboard, 
       the floodlights casting a large shadow on the board 
       behind him. It now reads “_HELL - O MILES_.” But the 
       image is only fleeting, as the car zips under the 
       overpass.

       HARDING

       The image was so quick he isn’t even sure if he really 
       saw it. The classical music STOPS. And Freddy’s VOICE can 
       be heard on the radio:

                           FREDDY’S VOICE
                 We interrupt this program to make an 
                 important announcement.

       INT. ANOTHER CAR

       A woman and her husband driving along the highway, 
       reacting to the same voice.

                           FREDDY’S VOICE
                     (continuing)
                 We regret to inform you that because 
                 of circumstances beyond our control...

       INT. ANOTHER CAR

       A family of four, two children, listening to the same 
       announcement.

                           FREDDY’S VOICE
                 Interstate Seventy-Seven is about to 
                 reach... a _dead-end_.

       INT. HARDING’S CAR

       He’s trying to change the radio channel, but Freddy’s 
       voice is on every station.

                           FREDDY’S VOICE
                 And now... a golden oldie. 

       We suddenly hear the hauntingly familiar nursery rhyme 
       sung by young girls coming over the radio.

                           GIRLS’ VOICES
                     (singing)
                 One, two -- Freddy’s coming for you! 
                 Three, four -- Better lock your door! 
                 Five, six -- Get your Crucifix! 

       Harding doesn’t know what to make of it. Suddenly he sees 
       something on the road ahead of him.

                           HARDING
                 What the hell...

       HARDING’S POV

       directly ahead of him on the freeway, a group of YOUNG 
       GIRLS wearing white dresses are SKIPPING ROPE. It’s a 
       strange and oddly frightening sight here in the middle of 
       the freeway.

       HARDING

       Reacts in surprise, then suddenly SWERVES to avoid 
       hitting the girls.

       INT. ANOTHER CAR

       The woman and her husband, as before. They see the girls, 
       too -- and swerve to miss them.

       INT. ANOTHER CAR

       The family of four reacting to the girls and hitting the 
       BRAKES.

       EXT. HIGHWAY - NIGHT

       Car after car PLOWING into each other -- causing a 
       cascade effect: Dozens of cars SLAMMING together, rolling 
       over, careening off the highway into light stanchions. 

       _The girls skipping rope are nowhere in sight_. 

       Some cars JUMP the barrier, CRASHING into cars driving in 
       the opposite direction. IT’S A NIGHTMARE PILE-UP.

       CLOSE ON FREDDY

       who is standing on the freeway overpass next to the 
       railing looking.down. We MOVE TO REVEAL --

       WIDE ANGLE - HIGHWAY

       All of the cars on the freeway have come to a dead 
       stop... lights on... engines running. BUT NONE OF THE 
       CARS ARE DAMAGED. It’s like the cars have simply rolled 
       to a stop. As far as the eye can see there are nothing 
       but parked cars.

       INT. HARDING’S CAR

       Harding is lying twisted and mangled in the front seat, 
       still strapped neatly behind the wheel. His neck is 
       broken at an impossible angle, arms flung back and face 
       shredded. The radio is on, playing classical music and 
       the engine is running. A peaceful scene, except for the 
       corpse.

       QUICK CUTS:

       -- The family of four dead, bloodied in a car that has 
       been untouched. 

       -- The woman and her husband, both dead. The man’s head 
       lying on the car seat next to his wife. The car is 
       running, the radio playing. 

       -- Inside a few other cars on the highway, all with 
       similar images. Undamaged cars filled with broken bodies.

       ON FREDDY	 

       Looking out over the seemingly peaceful scene.

                           FREDDY
                 Next time remember... “Don’t Dream and 
                 Drive.”

                                                            CUT TO:

       INT. JASON’S CELL - NIGHT

       Ruby and Sena have coaxed the young boy out from under 
       the cot. The boy is sitting with his back to the cell 
       bars, his knees drawn up to his chest and his arms 
       wrapped tightly around him. Sena is working at his 
       damaged console, checking readings. Jason is still in a 
       deep, troubled sleep. Ruby is kneeling next to the boy, 
       trying to get though to him.

                           RUBY
                 I saw you up at the house. What were 
                 you doing there?

       The boy’s voice is small and flat. There is something 
       haunting about this boy.

                           BOY
                 I live there... with my mommy.

                           RUBY
                 Your mommy... where is she?

       The boy shakes his head -- doesn’t know. Sena comes over, 
       crouches down. He’s holding two sensor pads with wire-
       leads in his hand.

                           RUBY
                 What are you doing?

                           SENA
                 Checking out a theory. Just keep 
                 talking to him. 

       Ruby focuses on the boy.

                           RUBY
                 What’s your name?

                           BOY
                 Jason.

       Ruby reacts in surprise.

                           SENA
                 I think he’s telling the truth.

       Ruby looks over in surprise, and Sena motions her over to 
       the console. He’s looking over some neural patterns and 
       technical read-outs on a monitor. There are TWO NEURAL 
       PATTERNS on the monitor side by side, and they’re 
       identical.

                           SENA
                     (off monitor)
                 This is Jason’s REM pattern... and 
                 this is the boy’s REM pattern. They’re 
                 identical.

                           RUBY
                 How’s that possible?

                           SENA
                 Jason’s asleep... maybe he’s dreaming 
                 of himself as a young boy... and that 
                 boy is sitting right here.
                     (beat)
                 I think he’s some kind of projection 
                 from Jason’s subconscious.

       She looks at the boy with renewed intent.

                           RUBY
                 So in essence... that boy _is_ Jason.

       Sena nods. Ruby moves to the boy, kneels down.

                           RUBY
                 Jason... do you know a man named Fred 
                 Krueger?

       The boy suddenly looks terrified, retreats against the 
       cell bars. Ruby speaks gently.

                           RUBY
                 You do... and you’re afraid of him.

       The boy nods.

                           RUBY
                 He tried to hurt you, didn’t he? In 
                 the canoe... on the lake...

       The boy starts to panic at the memory.

                           BOY
                     (yells)
                 Get away from me! Help me! Mommy!	

       The boy cringes and	 cries out as FOUR LONG LACERATIONS 
       appear on his forehead. FOUR MORE CUTS appear on his arms 
       and TEAR at his clothes, then another set on his NECK. 
       The boy is bleeding, crying. It’s a terrifying sight. 
       Jason is tossing and turning on the bed. Ruby isn’t sure 
       what to do next -- follows her instincts.

                           RUBY
                     (to boy)
                 It’s okay, Jason... he can’t hurt 
                 you... I won’t let him hurt you...

       She takes off her coat, tries to use it to staunch the 
       flow of blood, but stops as the lacerations suddenly HEAL 
       before her eyes and turn into nasty SCARS. The blood 
       disappears. A breathless moment as the boy calms down... 
       and a stricken look comes across his face.

                           RUBY
                 He attacked you in the canoe... you 
                 fell in the lake... and then what 
                 happened?

       The boy speaks in a flat voice.

                           BOY
                 I was under the water... the water 
                 came into my mouth...
                     (beat)
                 I couldn’t breathe anymore... 
                 everything got dark.

       The boy’s voice DEEPENS slightly -- older, more adult. 
       It’s an eerie moment.

                           BOY
                 I opened my eyes... and I was lying on 
                 the shore of the lake. And everything 
                 was... different.

                           RUBY
                 Different... how?

                           BOY
                 It was hard to think... pain... I was 
                 mad...

       The boy’s voice DISTORTS and LOWERS into a frightening 
       GROWL.

                           BOY
                     (deep growl)
                 I was _very mad_.

       Suddenly he goes limp and stares blankly as we’ve seen 
       adult Jason do previously. Ruby looks at him for a long 
       moment, then stands and joins Sena.

                           RUBY
                 So Krueger thinks Jason’s dead... 
                 leaves him in the lake... but the boy 
                 actually wakes up on the shore... 
                 crawls off into the woods... where he 
                 lives the rest of his life alone.

                           SENA
                 Alone... but with a murderous fury 
                 inside him... which led him to kill 
                 dozens of people. 

       Ruby thinks.

                           RUBY
                 If I’m right, this happened before the 
                 Krueger murders in Springwood.
                     (beat)
                 That means that Jason might’ve been 
                 Krueger’s first victim.

                           SENA
                 Except this victim got away. I wonder 
                 if --

       Suddenly the boy leaps to his feet with a guttural yell 
       and a murderous rage on his face. He grabs a NIGHTSTICK 
       off the floor and with both hands and SWINGS it at Sena.

       Sena throws up both arms to protect his face and but his 
       arm BREAKS with a sickening crunch. The boy hits him 
       again in the shoulder and Sena crumples to the ground.

       The boy turns to Ruby, moves to attack. Ruby grabs both 
       his arms, but it’s difficult to hold on the wildly 
       flailing boy who is growling and screaming like a crazed 
       animal.

                           RUBY
                 Jason, no! We’re not your enemies! 
                 Listen to me! _Listen_!

       On the bed, Jason struggles in his sleep, and one arm 
       BREAKS a shackle, taking part of the bed railing with it. 
       Ruby manages to pin the boy against the wall. The boy is 
       still struggling, eyes-wide, spittle drooling out of his 
       mouth. It’s a terrifying moment, but Ruby holds firm.

                           RUBY
                 Jason, no! The man who hurt you is 
                 Fred Krueger. He’s the one who did 
                 this to you. 

       The boy stops screaming for a moment... looks at her with 
       a look of disbelief and fear on his face. Ruby realizes 
       she might be getting through to him.

                           RUBY
                 Krueger’s still out there. He’s 
                 killing innocent people... just like 
                 he tried to kill you.
                     (beat)
                 He’s the one you want. Not us. Not 
                 anyone else.

       The boy looks uncertain, scared. Ruby can’t help but feel 
       sorry for this damaged little boy.

                           RUBY
                     (quiet)
                 Come here, Jason. I’ll take care of 
                 you. Everything’s going to be all 
                 right.

       She holds out her arms... and after a long moment, the 
       boy drops the baton, tears well up in his eyes.

                           BOY
                 Mommy...

       He moves into her arms holds on tight. She hugs him, 
       strokes his hair for a moment.

                           RUBY
                 It’s okay, Jason... it’s okay...

       She holds him for a second, and then the boy slowly FADES 
       AWAY until he’s gone... and Ruby is holding nothing.

       JASON ON THE BED

       His eyes open and he sits straight up on the bed in one 
       quick motion. A tense moment as Sena and Ruby wonder what 
       he’s going to do next. Jason BREAKS the remaining 
       shackles one by one... swings his legs off the bed... 
       stands up. 

       He towers over Sena and Ruby, who look at him in fear. 
       Jason’s eyes flicker from Sena, then to Ruby. 

       He stares at her with a neutral expression for a long 
       moment. She returns his gaze, staring up at the horribly 
       scarred face. 

       Finally, Jason turns away from her and walks out of his 
       cell with an even, deliberate gait. Sena and Ruby 
       exchange a look.

       QUICK CUTS:

       -- Jason bursts into the Sheriff’s Office. Deputies 
       bodies all around. 

       -- CLOSE ON a desk with plastic evidence bags strewn 
       across it. Jason’s hand grabs one of the bags -- inside 
       is the familiar _hockey mask_. 

       -- An emergency fire box with a fire extinguisher and a 
       FIRE AXE inside it. Jason’s arm SMASHES the glass and 
       yanks out the axe.

       EXT. CRYSTAL LAKE SHERIFF’S STATION - NIGHT

       The front door is KICKED OPEN. Jason steps out into the 
       night. He’s wearing the hockey mask and he’s got the axe 
       in his hand. _Jason is back_. 

       He stands there a moment, looks around, then runs off -- 
       a hulking shadowy figure disappearing into the night.

       ANGLE - RUBY AND SENA

       step into the doorway.

                           SENA
                 Where’s he going?

                           RUBY
                 I don’t know... but I think he’s 
                 pissed.

                           SENA
                 Great. Now there’s _two_ serial 
                 killers on the loose.

                           RUBY
                 Krueger’s the greater danger right 
                 now. We have to stop him.
                     (beat)
                 _Springwood_. That’s where he’ll go. 
                 That’s where he’s always gone.	But 
                 Springwood’s not like Crystal Lake. 
                 There’s a couple hundred thousand 
                 people there. He could be anywhere.

                           SERA
                 You said Krueger kills teenagers...

                           RUBY
                 That’s right.

                           SENA
                 So, where would you go to find a lot 
                 of teenagers?

                                                            CUT TO:

       EXT. SHOPPING MALL - NIGHT

       A modern, three-story complex with underground parking 
       structure. A sign over the entrance reads, “ELM STREET 
       SHOPPING PLAZA.”

       WIDEN TO REVEAL

       the darkened silhouette of FREDDY KRUEGER standing 
       outside. He clicks his finger blades in anticipation, 
       then begins walking toward the entrance...

                                                            CUT TO:

       INT. CRYSTAL LAKE SHERIFF’S STATION - NIGHT

       Ruby is opening a rack of shotguns, choosing an 
       appropriate weapon for herself. She cocks a shotgun and 
       begins loading shells into it. Sena enters, his broken 
       arm now in a sling. He’s carrying a medical case seen 
       earlier in the jail cell.

                           SENA
                     (re: shotgun)
                 You know how to use one of those?

                           RUBY
                 I used to go hunting with my father 
                 when I was a kid.

                           SENA
                 Think it’ll do any good?

       Ruby stuffed shells into her pocket. 

                           RUBY
                 Krueger’s in the real world... maybe 
                 he’s mortal, like us.

                           SENA
                 And if he’s not?

                           RUBY
                 Then we’re all in a lot of trouble.

       Ruby comes over to Sena, puts a .45 automatic pistol on 
       the table next to him.

                           RUBY
                 Here.

       Sena glances at it, then pulls a vial of a LIQUID DRUG 
       out of the case. He looks at the label.

                           RUBY
                 What’s that?

                           SENA
                 _Neurolar_. It’s a stimulant -- it’s 
                 also a serotonin inhibitor. It 
                 suppresses all electrical activity in 
                 the hippocampus... the part of the 
                 brain that controls dreaming.

                           RUBY
                 So you think it might counteract 
                 Krueger’s ability to make us 
                 hallucinate?

                           SENA
                 Ten CC’s of this shit and you won’t be 
                 dreaming about anything.

                           RUBY
                 How long will the effect last?

                           SENA
                 About ten minutes.

                           RUBY
                     (worried)
                 Ten minutes...

                           SENA
                 If I give you a bigger dose, it’ll 
                 give you a heart attack.

       Ruby takes a deep breath.

                           RUBY
                 Then we’d	better make those ten 
                 minutes count.

       She picks up her shotgun and Sena pockets the vial and 
       two syringes. As they head for the door...

                                                            CUT TO:

       INT. ELM STREET MALL - NIGHT

       A modern suburban shopping center, THREE STORIES TALL 
       with an indoor atrium and courtyard reaching all the way 
       to the ceiling. There’s a GLASS ELEVATOR... a set of 
       ESCALATORS... a KIDDIE PLAYLAND with jungle gym... a 
       large decorative WATER FOUNTAIN with a deep pool at the 
       base... plenty of OPEN STOREFRONTS. 

       There is also a multi-screened CINEPLEX on the Third 
       Level, as well as a FOOD COURT. The mall is bustling with 
       lots of shoppers and TEENAGERS.

       SERIES OF SHOTS

       -- Teenagers of all ages shopping, socializing, trying on 
       clothes, others just hanging out. One couple has found a 
       private corner and is necking. A group of teenaged boys 
       are rough-housing with each other. A group of girls are 
       eyeing the boys, obviously flirting with them.

       -- A couple of nerdy boys are standing in a SWIM WEAR 
       SHOP, trying to look casual as they eye the dressing 
       rooms, where curvaceous young girls are trying on bikini-
       wear. 

       -- A gaggle of pretty, teenaged GIRLS in a bathroom, 
       primping in front of a large mirror -- putting on make- 
       up, teasing their hair, gossiping, etc. 

       -- A group of three GRUNGE-PUNKS are on the Third Level, 
       dropping lit cigarette butts onto the crowd below, 
       snickering to themselves. This is the slightly older, 
       tattooed and pierced body-part crowd. They’re here to 
       have fun at the expense of everyone else.

       ANGLE IN GLASS ELEVATOR

       A couple of ADULT SHOPPERS in the moving elevator. It 
       stops and the doors open... the group of three grunge-
       punks walk in. A GIRL and TWO GUYS. One of the boys has a 
       leather vest with no shirt, exposing arms and chest 
       covered with TATTOOS -- a snake, skulls, dagger, all 
       sorts of grotesque imagery. The other boy has various 
       PIERCINGS -- nose, ears, eyebrow, tongue, etc. The girl 
       is smoking heavily. One of the teens hits “P3” and the 
       elevator starts moving down to the parking level.

                           SHOPPER
                     (annoyed, re: cigarette)
                 Do you mind?

                           PUNK GIRL
                 Oh. Sorry.

       She takes the cigarette out of her mouth and pretends to 
       stub it out in a decorative flower pot in the corner, but 
       as soon as the shopper turns his head away, the girl 
       tosses the burning cigarette into the man’s shopping bag. 
       The other teens chuckle. 

       At that moment, the doors open, revealing FREDDY KRUEGER 
       on a lower parking level. The conversation in the 
       elevator stops, everyone reacting to his bizarre 
       appearance. The Adult Shoppers EXIT, leaving Freddy alone 
       with the youths. 

       Krueger looks at them for a moment, then calmly steps 
       into the elevator, turns and looks at the floor indicator 
       just like any other passenger. The grunge-punks get over 
       their initial shock and start snickering to each other.

                           TATTOO GUY
                 Nice sweater.

       Laughter.	Krueger slowly turns around to face them. The 
       punks quiet down a bit, but wait fearlessly to see what 
       he will do.

                           FREDDY
                 Nice tattoo.

       He looks at the Tattoo Guy’s chest. The Tattoo Guy looks 
       down, and is shocked to see that the SNAKE TATTOO COMES 
       TO LIFE AND SLIPS UNDERNEATH HIS SKIN.

                           TATTOO GUY
                 What the fuck?

       He looks up at Freddy in surprise and pain. We can see 
       the outline of the snake SLITHERING UNDER HIS SKIN

                           TATTOO GUY
                     (in pain) )
                 Ah, Jesus! 

       Suddenly ALL OF THE TATTOOS ON HIS BODY BEGIN TO WRITHE 
       AND MOVE. The tarantula skitters across his shoulder. The 
       skulls bleed from their eye sockets. The dagger seems to 
       SLICE HIS FLESH. The youth screams in agony and drops to 
       his knees. 

       The other two punks look down in surprise. 

       Suddenly the pierced guy’s nose ring, earrings, nipple 
       rings, studs and other piercing ornaments SPROUT BARBED 
       HOOKS AND LARGE JAGGED BLADES WHICH PLUNGE THEMSELVES 
       INTO HIS BODY AND NECK. The girl backs up against the 
       glass. She screams as the two male punks collapse in 
       agony and blood. Freddy smiles.

                           PUNK GIRL
                 Don’t hurt me... please...

       She COUGHS,	SMOKE coming out of her mouth. But she’s not 
       smoking	 -- _the smoke is pouring out of her own lungs_. 
       She gasps for air, but every time she exhales more and 
       more smoke comes out, black and deadly. She collapses. 
       Freddy smiles and taps the button labeled “MALL LEVEL.”

                                                            CUT TO:

       INT. MALL - MAIN ENTRANCE - NIGHT

       A set of LARGE PLATE GLASS WINDOWS that look out onto the 
       street level. A group of shoppers heading for the double 
       doors... but as they approach, a series of LARGE ROLL-UP 
       SECURITY GATES come crashing down, cutting off the exits.

       QUICK CUTS:

       -- As all of the other SECURITY GATES come crashing down 
       in front of the mall exits, trapping the people inside. 

       -- People begin SHAKING the gates and yelling.

                           CROWD
                     (various)
                 Open up... come on, let’s go... what’s 
                 going on... open the gates, etc.

       ANGLE - THIRD LEVEL

       Freddy is now standing at a rail with a view of the 
       ENTIRE MALL. From his vantage, we can see that _there are 
       no security gates in place_. People are grabbing at 
       nothing. Freddy has induced another Mass Nightmare. He 
       savors the moment.

                           FREDDY
                 Time to shop till you drop.

                                                            CUT TO:

       INT. UNDERGROUND PARKING STRUCTURE - NIGHT

       As Ruby and Sena pull into a parking spot. As they get 
       out, Ruby drapes a coat over her shotgun and Sena stuffs 
       his pistol into his waistband. 

       They run to the elevator, press a button. The buttons are 
       dark, inactive.

                           RUBY
                 It’s not working. Let’s take the 
                 stairs.

       They head off...

       INT. MALL - MAIN ENTRANCE - NIGHT

       Security Guards have come to the Main Entrance and are 
       trying to unlock the (supposed) security gates. A large 
       crowd has gathered, people wanting to get out. A GUARD 
       struggling with the gate without success sees something 
       outside the glass doors.

       A PAIR OF HEADLIGHTS is coming closer and closer at high 
       speed. The Guard looks a little worried, then realizes 
       that it’s a SEMI-TRUCK, and it isn’t going to stop.

                           GUARD
                     (yells)
                 Look out! 

       He turns but the crowd is blocking his way.	

                           GUARD
                 Get out of the way! Go, go, go!

       Too late. The SEMI-TRUCK CRASHES THROUGH THE PLATE GLASS 
       WINDOW, SMASHING THROUGH THE CROWD. Bodies go flying, 
       glass showering across the mall. A horrific sight.

       NEW ANGLE - PET SHOP

       TWO GIRLS are standing at the pet shop windows, looking 
       down at some puppies and eating frozen yogurt. They turn 
       at the sound of SCREAMS. From their vantage, they have a 
       perfect view of the main entrance. People are falling to 
       the ground, screaming in agony, some are thrown through 
       the air, others running away. But the doors are intact 
       and _there is no semi-truck_. It’s another Mass 
       Nightmare. 

       The girls are puzzled.

                           GIRL #1
                 What are they doing?

       There’s a low GROWL. They turn to the pet shop window and 
       see that the puppies have been replaced by several 
       snarling, growling ROTTWEILERS. The dogs are poised to 
       strike.

                           GIRL #2
                 Nice... doggie...

       The Rottweilers CRASH through the window on top on the 
       girls and begin TEARING THEM APART. CAMERA MOVES OFF the 
       girls... PANS TO the two NERDY BOYS seen earlier. They 
       are standing outside the beachwear shop.

       Directly behind them, flanking the storefront are two 
       bald female MANIKINS wearing skimpy thong-type bikinis. 
       The boys are reacting to the sight of the girls shrieking 
       in front of the pet store. 

       CAMERA MOVES BACK to reveal what the Boys see -- which is 
       nothing more than the girls twisting on the ground, 
       screaming. There are no dogs and the windows are intact. 
       A pair of puppies is watching through the window, 
       barking. CAMERA PANS back to the boys.

                           BOY
                 Chicks are weird, man.

       The MANIKINS standing behind them have _changed 
       position_. Their arms are outstretched and their fingers 
       inches from the boy’s necks. As the CAMERA	MOVES AWAY, we 
       hear the Boy’s anguished cries of strangulation... 

       CAMERA CONTINUES SWEEPING DOWN THE PROMENADE. People are 
       starting to react in concern. There is a growing sense of 
       panic spreading through the mall. 

       CAMERA MOVES PAST a series of Mass Nightmares in 
       progress: 

       -- A storefront with the name “Happy Tooth Dental 
       Clinic.” Inside, we can hear the sound of DRILLS and 
       people screaming in agony. The noises of ghastly dental 
       mishaps 

       -- “Kiddie Playland.” Parents watch in terror as the 
       JUNGLE GYM BARS TWIST around their children like pythons, 
       crushing them to death. In a pit filled with multi-
       colored plastic balls children are SUCKED BENEATH the 
       surface, vanishing from sight. 

       -- FOLLOW two girls into the BATHROOM, where the girls 
       seen earlier are still putting on make-up and preening. 
       One vain girl is popping a pimple... when suddenly a 
       horde of white WORMS COME SLITHERING OUT OF THE PIMPLE. 
       She screams. Another girl is putting aerosol hair spray 
       on her “mall-do” -- when the can SPITS OUT A JET OF 
       FLAME, CHARRING HER FACE AND HAIR.

       NEW ANGLE - BATHROOM DOOR

       The girl who has been burned comes running out, 
       screaming, frantically clawing at her face and head -- 
       but she looks perfectly fine, no burns at all. 

       CAMERA MOVES to a crowded ESCALATOR, which is going up. 
       FOLLOW the TEEN COUPLE who were necking. 

       They are clutching onto to each other with worried looks, 
       not sure what’s going on around them. 

       They reach the top of the escalator where there is a 
       small sign reading “Watch Your Step.” They look down to 
       see a POOL OF BLOOD where the steps disappear into the 
       floor. 

       They react. They try to step over the pool of blood, but 
       are shocked to find that their _feet are stuck to the 
       metal step_, as if glued there. 

                           BOYFRIEND
                 I can’t move! I can’t move!

       As their step reaches the top, THEIR FEET ARE PULLED 
       DIRECTLY DOWN INTO THE MECHANISM, SHREDDING THEIR ANKLES 
       AND LEGS. As their bodies are MUNCHED into the 
       escalator...

       INT. MALL - FOOD COURT

       A group of shoppers are gathered around the rotisserie 
       chicken restaurant. Chickens on large skewers roasting 
       over a flaming pit. Suddenly the FLAMES BLAST OUT ACROSS 
       THE ENTIRE FOOD COURT -- engulfing tables and diners in a 
       HELLISH BLAZE. People scream as they’re burned alive.

       NEW ANGLE

       Showing people writhing on the ground, burning alive -- 
       but _there are no flames_. One of the burn victims 
       working behind the counter at the chicken place falls 
       over in agony, and as he does so knocks over the 
       rotisserie stand itself -- sending BURNING GREASE AND OIL 
       ACROSS THE FLOOR. _A REAL FIRE NOW BREAKS OUT_.

       ANGLE ON CEILING

       As the automatic sprinkler system kicks in...

       CLOSE ON CIRCUIT BOX

       A large power box which supplies electricity to the 
       entire building. Krueger’s hand comes into frame and his 
       blades slice the conduits, cutting off power to the 
       building in a shower of SPARKS.

       EXT. ELM STREET MALL - STREET LEVEL - NIGHT

       Ruby and Sena come running up to Main Entrance and look 
       through the plate glass windows just as lights and power 
       inside the mall start GOING OUT.

       INT. MALL - NIGHT

       The sprinkler system SHUTS OFF along with.the power. The 
       FIRE continues to spread from the Food Court to other 
       shops. (NOTE: This fire will continue to build through 
       the rest of the mall sequence.)

       EXT. ELM STREET MALL - STREET LEVEL - NIGHT

       Ruby and Sena peering through the Main Entrance. From- 
       their viewpoint, it’s a bizarre sight. People are 
       running, screaming, collapsing in pain. 
       FIRE is spreading through the mall. But none of the 
       nightmare imagery is visible.

                           RUBY
                 Krueger’s here.

       She drops the jacket from her shotgun and chambers a 
       round as Sena pulls out a syringe. He finds a vein in his 
       arm and injects himself. He then takes Ruby’s arm and 
       uses the second syringe to inject her. She winces as the 
       needle sinks into her flesh.

                           SENA
                 Remember -- ten minutes.

       Ruby grabs the door, swings it open and they enter...

       INT. MALL - MAIN ENTRANCE - NIGHT

       As they rush inside the now darkened mall.

                           SENA
                 Everyone out! Get out! The doors are 
                 open, get out!

       People start making a mad dash for the doors, but some 
       are still paralyzed by the nightmare imagery.

       (NOTE: From this point on, the mall will be essentially 
       deserted unless specifically called for in the script.)

                           RUBY
                 Where is he?

       They start walking through the scene of madness. They 
       have to step over bodies... dodge running shoppers in the 
       throes of waking nightmare images. They enter the middle 
       of the courtyard... glance around. 

       Finally, Ruby sees something.

       RUBY’S POV

       Standing on the Third Level surveying his handiwork is 
       FREDDY.

       RESUME RUBY

       She freezes, then quickly shoulders the shotgun and FIRES 
       OFF a round -- 

       The BLAST misses, hitting an espresso stand next to 
       Freddy. Hot coffee SPRAYS all around, catching Freddy 
       full in the face. He yells out as the scalding coffee 
       burns him. He disappears into the shadows. 

       Ruby and Sena run to the escalator and start making their 
       way up it. At the top of the stairs they have to step 
       over SEVERAL DEAD BODIES -- victims of the escalator 
       nightmare.

       NEW ANGLE - THIRD LEVEL

       As Ruby and Sena reach the Third Level. They look through 
       the dim light... smoke is hanging in the air from various 
       fires.

                           SENA
                     (glances at watch)
                 We’re down to seven minutes.

                           RUBY
                 Let’s split up. You take the left 
                 side, I’ll take the right. We’ll meet 
                 in front of the Cineplex. 

       They split off and walk along opposite sides of the mall, 
       the open-air courtyard separating the two of them.

       ON RUBY

       walking carefully past storefronts, searching...

       ON SENA

       doing the same. An eight-old GIRL staggers out of a toy 
       store, scared out her wits. She stumbles, falls to the 
       ground, struggling against an unseen attacker. 

       Sena rushes to her aid, glances up at the toy store. The 
       display window is filled with porcelain DOLLS, the 
       emergency lights giving them an eerie appearance. 
       The girl must think the dolls are attacking her. Sena 
       grabs her by the shoulders.

                           SENA
                 It’s not real! _It’s not real_!

       We see tiny BITE MARKS appear on the girl’s arms and neck 
       -- as though from doll-sized teeth. The girl screams 
       louder. Sena sets his pistol down, pulls out a syringe 
       and fills it with the rest of the dream-inhibitor drug. 
       He grabs the struggling girl and INJECTS her with a small 
       amount of the drug. 

       After a moment, she settles down. She glances at the 
       dolls in the window, confused.

                           SENA
                 It’s all right, honey. They can’t hurt 
                 you now.

       FINGER BLADES SLASH into the scene, ripping into Sena’s 
       shoulder. The girl squeals and runs off as Sena collapses 
       onto the ground. 

       The syringe with the remaining dream-inhibitor falls from 
       his grasp and TUMBLES off the edge and DOWN TWO LEVELS. 
       It falls into the decorative water fountain with a 
       splash. 

       Sena tries to scramble for his pistol, but Freddy is 
       standing on it.

                           FREDDY
                 Nurse -- this man needs attention!

       SENA’S POV

       Happy Tooth Dental Clinic. Out walks a gorgeous, buxom 
       NURSE in a too-tight and too-short uniform. She steps 
       toward Sena, unbuttoning her top. She leans down toward 
       him, opens her shirt to reveal a healthy set of BREASTS.

       Sena is momentarily transfixed by the sight, until he 
       sees that instead of nipples there are LITTLE MOUTHS WITH 
       RAZOR-SHARP TEETH IN THEM. The mouths snap ferociously, 
       like piranhas. She grabs the back of his head and pulls 
       his face toward the flashing teeth. Sena closes his eyes, 
       shakes his head... 
       and when he opens them the nurse FADES AWAY, VANISHING. 
       The inhibitor is working. Freddy frowns in puzzlement.

                           FREDDY
                 I see I’ll have to do this myself.

       He grabs Sena by the hair to expose his throat, raises 
       his finger blades to strike --

       _BLAM_! A shotgun blast CATCHES Freddy in the shoulder, 
       knocks him off his feet.

       NEW ANGLE

       revealing Ruby standing across the open courtyard against 
       the rail, aiming the shotgun. Freddy has fallen out of 
       her view.

       Sena and Freddy are both on the floor. Freddy looks down 
       in shock at his shoulder -- IT HAS A GAPING GUNSHOT 
       WOUND. (NOTE: Freddy’s wound will _not_ heal itself -- he 
       can be hurt now that he’s mortal.)

                           SERA
                     (ragged)
                 Reality sucks, doesn’t it?

       Freddy leaps to his feet. Another SHOTGUN BLAST hits the 
       wall next to him. He runs off down the mall, toward the 
       Cineplex. Sena is badly hurt, leans against the rail.

                           RUBY
                     (calls to Sena)
                 Are you all right?

                           SENA
                 For the moment! You’ve only got about 
                 two minutes left! Hurry! Ruby takes 
                 off towards the Cineplex...

       INT. CINEPLEX - LOBBY - NIGHT

       Ruby enters the darkened lobby, stops. No one in sight. 
       Freddy could be anywhere. She chambers a round into the 
       shotgun... begins to carefully walk around... passes the 
       concession stand, where a teenager for some reason is 
       crammed INSIDE the popcorn machine, his eyes bulging, 
       clearly dead. 

       Ruby looks behind the counter -- no Freddy. She walks 
       past the velvet rope that cordons off the theaters 
       themselves...

       INT. CINEPLEX - HALL OF THEATERS

       Ruby walks into the long hallway. From this spot, we can 
       see SIX DOORS, three on either side.	Each door has a one-
       sheet poster next to it for the movie playing inside. 
       There are a couple of dead ushers lying in the corridor. 
       The red emergency lighting gives the hall a sinister, 
       nightmarish quality.

       Ruby proceeds carefully.. kicks open the door to the 
       first theater, looks inside... 

       INSIDE THE THEATER are a couple of dead moviegoers 
       sitting in their seats, no sign of Freddy. 

       Ruby keeps moving down the hall... kicks open the second 
       door... nothing. She glances down at her watch nervously, 
       time is running out. She looks up and is shocked to see -- 

       _Jason_ is standing not five feet away from her! She 
       freezes, then relaxes. It’s just a life-sized CARDBOARD 
       STANDEE of Jason promoting the latest movie: “_Jason: 
       2010_.” Jason is in a dramatic pose, with a futuristic 
       weapon resembling a steel pipe raised high. This is a 
       strange, robotic, Terminator-like Jason with a steel 
       hockey mask and glowing electronic eyes. It’s Robo-Jason. 

       Ruby takes a breath, moves past the standee to the third 
       door... 

       She looks inside -- empty. She comes back into the hall, 
       starts to cross the hall to the other set of doors... 
       then stops, freezes, turns around and looks at the 
       standee. 

       The picture of Robo-Jason is _gone_, leaving only the 
       background of the image. Ruby stares at this for a 
       moment, then we hear the distant LAUGHTER of Freddy. Ruby 
       tries to steady herself and locate the sound of the 
       laughter...

       ...then at the end of the hall she sees ROBO-JASON 
       dressed exactly as he was on the standee, holding the 
       weapon. 

       Robo-Jason taps a control in the weapon and an array of 
       terrible BLADES and SPIKES jut out of the pipe -- the 
       ultimate chopping machine. 

       He starts walking toward her with that slow, deliberate 
       walk, made more frightening by the whirr and click of his 
       mechanized body.

                           RUBY
                 This isn’t real...

       She closes her eyes, tries to shake off the image... 
       opens her eyes again. The image of Robo-Jason FADES and 
       WAVERS for a moment, as if it’s going to disappear...

       But then the image SOLIDIFIES.

                           RUBY
                 Oh shit... it’s wearing off...

       Robo-Jason is coming closer... she’s cornered... there’s 
       no way out of this hallway. Robo-Jason raises the bladed 
       weapon to strike. Ruby takes aim and FIRES at the 
       nightmare image. 

       The shotgun BLAST seems to pass right through his chest, 
       not fazing him. Ruby continues backing up, terrified.

                           RUBY
                 No...

       Freddy steps out from behind a standee for a movie called 
       “My Favorite Unicorn,” a treacly children’s classic.

                           FREDDY
                     (to Ruby)
                 Counselor... I think your client’s 
                 unhappy with his representation. 

       Ruby turns, tries to level the shotgun at Freddy but it’s 
       too late. Robo-Jason is on top her. 
       He SWINGS the weapon and she is barely able to deflect 
       the blades with the barrel of the shotgun. She loses it 
       in the process and the gun clatters to the floor. 

       Robo-Jason swings at her again, catching her in the KNEE 
       with a blade. She goes down, scrambles away on her back 
       until she hits a wall. Robo-Jason continues to advance on 
       her...

       Freddy watches with a smile on his face. His back is to 
       the entrance to the hall which leads out to the lobby.

                           FREDDY
                 Verdict’s in, bitch. You’re guilty of 
                 fucking with the wrong guy.

       At this moment we see a SHAPE creeping up behind Freddy. 
       He senses it and whirls around to see --

       THE REAL JASON

       has arrived. He’s holding the fire axe, and stops a few 
       feet away. Freddy smiles.

                           FREDDY
                 Well, well... the little man in the 
                 mask is back for more.

       ANGLE ON RUBY

       The nightmare image of Robo-Jason FADES AWAY. She sits 
       up, watching the two men face off.

       JASON AND FREDDY

       Jason watches Freddy for a moment, murderous rage in his 
       eyes behind the hockey mask. His fist clenches around the 
       axe handle.

                           FREDDY
                 What’s wrong? Waiting for Mommy to 
                 tell you what to do?
                     (beat)
                 I’d like you to meet a friend of mine  
                 -- someone you’re very familiar with. 

       The NIGHTMARE IMAGE OF ROBO-JASON suddenly appears next 
       to Freddy. The real Jason hesitates, looks at himself for 
       a moment. Then Robo-Jason ATTACKS. 

       Real Jason swings the axe at the image of himself, and 
       for a bizarre moment the TWO JASONS FIGHT A VICIOUS 
       AXE/FUTURISTIC WEAPON BATTLE in the hall. 

       Clanking weapons, sparks flying -- real Jason collects a 
       couple of wounds along the way.

       Ruby watches. From her point of view, Jason is struggling 
       against nothing. She looks around, sees the shotgun 
       nearby. She crawls over to it. Freddy’s attention is on 
       Jason. She picks up the shotgun, points it at Freddy and 
       pulls the trigger -- 

       Click.	The gun is empty. Freddy turns at the sound. 

       He holds up the finger blades, moves for Ruby. She takes 
       the shotgun, swings it like a club, hits Freddy in the 
       knees, taking him down. As he falls, Robo-Jason seems to 
       falter and stumble in response. 

       The real Jason PLANTS THE AXE directly in Robo-Jason’s 
       head, dropping him to the ground, _dead_. 

       Freddy rolls off the carpet, and speeds out into the 
       lobby and disappears into the mall before Jason can get 
       to him.

       Jason looks over at Ruby. She’s holding her bloodied leg 
       in pain. Their eyes meet for a moment. 

       Jason turns and runs out into the mall...

       INT. MALL - THIRD LEVEL - NIGHT

       Jason steps onto the darkened promenade, looks around. We 
       hear Freddy’s LAUGHTER. He turns., Freddy is standing at 
       the far end of the mall across the open-air courtyard 
       from Jason. He’s also on the Third Level, standing on the-
       opposing rail. At this distance, we can only see his 
       silhouette against firelight. 

       Jason’s eyes harden and he starts striding down the 
       promenade towards Freddy, utterly determined to destroy 
       him. 

       But he stops. Lined along the promenade are literally 
       FIFTY BODY BAGS which are standing up and leaning against 
       the wall. Some are behind Jason too, trapping him in the 
       middle.

                           FREDDY
                 Some old friends of yours would like 
                 to see you.

       The body bags start UNZIPPING by themselves one by one. 
       And the CORPSES OF ALL OF JASON’S VICTIMS step out onto 
       the promenade. It’s a ghastly sight. Some are badly 
       decomposed, others looks freshly mutilated.

       Among them we also see Biller and Janet from the 
       beginning of the movie, both with gaping wounds from when 
       they were killed. 

       The victims turn toward Jason and start converging on him 
       with vengeful expressions.

                           FREDDY
                 It’s a regular family reunion.

       Jason is momentarily frozen to the spot. He’s not sure 
       what to do when confronted with these specters from his 
       past. Biller is the first one to attack Jason -- he leaps 
       at Jason with his bare hands. Jason THROWS him off. Then 
       Janet’s on top of him. He slams her to the ground. Then 
       another victim... and another. Fifty of them swarming 
       over Jason like ants...

       Jason is almost smothered by the crush of bodies. But 
       Jason’s strength is unbelievable -- he keeps pressing 
       forward, HACKING AND FIGHTING his way through the crowd 
       of frenzied victims trying to tear at his body. 

       But the victims are taking their toll. He throws victims 
       through plate-glass windows... hacking others to 
       pieces... but they just keep coming. The fight is 
       destroying the mall in the process -- merchandise 
       crashing to the floor, windows shattering, columns of 
       plaster crumbling. 

       Jason has made it halfway to Freddy at this point, but it 
       doesn’t look like he’ll make it all the way. The crowd is 
       pressing him back against the railing and toward the 
       steep drop below. There’s no way out... it’s a panicky 
       moment... 

       Jason manages to raise his axe and swings it down hard 
       and CONNECTS with the rail itself. The rail is SPLIT IN 
       TWO. The entire RAIL GIVES WAY and Jason and the crowd of 
       victims FALL OVER THE EDGE! 

       Jason’s hand grabs a metal strut and he holds on as the 
       victims PLUMMET to the First Level. BODIES smash and pile 
       up on the ground below. 

       Jason hangs there for a moment... then is forced to drop 
       the axe and grab the edge of the promenade. He’s about to 
       pull himself back up when suddenly FINGER BLADES move 
       into view. 

       He looks up to see Freddy leaning down, finger blades 
       pointed directly at his face. He scrapes the blades along 
       the hockey mask, toying with him. 

       The tip of two blades stop inches Jason’s eyeballs.

       With the tiniest flick of his wrist, Freddy could put the 
       blades into Jason’s eyes.

       ANGLE ON RUBY

       who has dragged herself to the far railing, where she can 
       see Jason and Freddy down the promenade...

       FREDDY AND JASON

       Freddy poised to kill his long-lost victim.	

                           FREDDY
                 I should’ve finished you off a
                 long time ago. But then again... maybe 
                 fate has brought us	 together.

       Freddy leans in close, face-to-face with Jason keeping 
       the finger blades pointed at his eyes.

                           FREDDY
                 You’re my creation, Jason. All that 
                 you are you owe to me. 
                     (beat)
                 We’re stronger together than we are 
                 apart. Join me. And this world will be 
                 ours. 

       Jason’s eyes never leave Freddy’s. A long, tense beat... 
       then Jason’s eyes widen at something he sees: 

       Freddy has become JASON’S MOTHER, still wearing the 
       finger blades aimed at Jason.

                           MOTHER
                     (sweetly)
                 Trust me, Jason. Momma’s going to take 
                 care of you. Everything’s going to be 
                 all right. 

       She smiles gently at him. Jason drops his eyes slightly, 
       as if considering... then in a lightning move he takes a 
       hand off the ledge and GRABS Freddy’s finger blades and 
       STABS THEM INTO his mother’s throat.

       NEW ANGLE

       as Freddy stands up, the blades buried deep in his neck, 
       blood squirting from the deadly wound... he claws 
       desperately at the blades... gurgling... and stumbles off 
       down the promenade...

       JASON

       heaves himself up over the railing and onto the Third 
       Level. Freddy is gone. He glances around, then Jason 
       CRASHES his arm through the window of a sporting goods 
       shop, grabs a BASEBALL BAT out of the hands of a manikin 
       and begins looking for Freddy...

       RUBY

       watches Jason for a beat... thinks.. gets an idea... 
       looks down to the First Level...

       HER POV: The syringe and the medicine bottle can be seen 
       floating in the large water fountain. Ruby heads off...

       JASON

       is walking along the Promenade. Suddenly he hears Ruby’s 
       Voice coming from inside, the Dental Clinic.

                           RUBY’S VOICE
                 Jason, help me! Jason!

       Jason rushes inside the clinic.

       INT. DENTAL CLINIC

       The office is dark as Jason ENTERS. He peers into a 
       treatment room, where Ruby has now been strapped to a 
       dental chair, hoses in her mouth, and a dentist’s drill 
       buzzing inches away from her face. Jason moves to help 
       her. The expression on Ruby’s face changes... she smirks 
       at him in contempt, and when she speaks, it’s in Freddy’s 
       voice.

                           RUBY
                     (Freddy’s voice)
                 You’re getting soft in your old age. 

       Suddenly, Jason’s grabbed from behind! Freddy POUNCES on 
       him, knocking him against a wall. 

       Freddy has a small, portable GAS CYLINDER -- on the side 
       it says NITROUS OXIDE. He aims the tank at Jason’s face, 
       presses a nozzle and a BLAST OF GAS comes out.

                           FREDDY
                 Sweet dreams!

       Jason struggles, but it’s a few seconds before he can get 
       Freddy off of him and knock aside the gas tank. (The 
       image of Ruby in the chair is now _gone_.)

       INT. MALL - THIRD LEVEL - NIGHT

       Jason stumbles out onto the promenade, trying to hold 
       onto consciousness, but it’s a losing battle. He took in 
       too much gas. Freddy, who’s bleeding profusely and is 
       dying, stumbles after him... 

       The FIRE has now consumed most of the ground floor, and 
       is spreading to the Second and Third Levels, threatening.-
       to engulf the entire building. 

       Freddy chases Jason down the promenade. Jason’s steps are 
       getting slower -- the effects of the gas taking its toll. 
       He’s seconds away from losing conscious. Finally, Freddy 
       makes a desperate LUNGE at him, catching him off guard.	 

       The two men TUMBLE OVER THE RAIL -- 

       -- and THROUGH THE AIR DOWN, DOWN INTO THE WATER 
       FOUNTAIN, on the First Level, with a tremendous SPLASH. 

       There’s a beat. The bodies of the two men float in the 
       water for a moment... then Freddy lifts his head and 
       pulls the form of Jason over to him. Jason’s eyes are 
       fluttering... he’s falling asleep.

                           FREDDY
                 Once I’m back in your dreams... I’ll 
                 be whole again. Then you’re mine...

       Jason’s eyes close. He’s _asleep_. Freddy takes a hand 
       and PUSHES IT INTO JASON’S CHEST (the same effect seen 
       before) -- HE’S ESCAPING BACK INTO THE DREAMWORLD. 

       Freddy manages to get his arm... and then his shoulder 
       into Jason’s chest. He smiles -- victory is at hand. 

       Suddenly, a HAND flies into frame from off camera and 
       PLUNGES a needle into Jason’s neck. It’s _Ruby_. She 
       INJECTS Jason with the dream inhibitor.

                           RUBY
                 Time to face reality, Krueger.

       Suddenly, Jason’s eyes fly open. He’s awake and Freddy’s 
       doorway between reality and the dreamworld has been 
       _closed_, TRAPPING HIM IN-BETWEEN THE TWO REALITIES. 

       The effect of this is startling: 

       Freddy’s arm, shoulder and part of his torso are HALF-IN, 
       HALF-OUT OF JASON’S CHEST. THE TWO MEN HAVE BEEN FUSED 
       TOGETHER IN A HORRIFIC IMAGE. Freddy roars in pain and 
       outrage. 

       Ruby recoils at the sight as the creature that is now 
       FREDDY/JASON heaves itself up out of the water with a 
       superhuman effort, carrying them out of the fountain and 
       onto the floor. Jason and Freddy continue to struggle and 
       claw at each other like wild animals. 

       But the FLAMES in the mall are getting higher... support 
       beams and material from the upper floors catching fire 
       and CRASHING down below. Jason, in his agony, looks over 
       at Ruby and for a moment their eyes meet.  Jason speaks, 
       his voice low and hoarse.

                           JASON
                 _Get out_. 

       This surprising statement brings Ruby back to the reality 
       of her situation. 

       She heads off through the thickening smoke and flames, 
       leaving Freddy/Jason struggling in the Hell-like cauldron 
       of the burning mall.

       ON SENA

       who’s collapsed near a stairwell, overcome by the smoke. 
       Ruby, coughing and struggling, picks him up in a 
       fireman’s carry and heads off.

       EXT. ELM STREET MALL - NIGHT

       The mall is engulfed in flames. Fire trucks and police 
       are everywhere, but the blaze is clearly out of control.

       RUBY

       Comes staggering out of the mall with Sena. She drops him 
       to the pavement as two paramedics rush up to help him.

       We see that many of the Shoppers in the Mall seen earlier 
       are being tended to by rescue teams in the park parking 
       lot in the b.g. 

       Ruby tries to catch her breath and looks back up at the 
       burning mall.

       INT. MALL - GROUND FLOOR - WIDE SHOT

       The building is now completely filled with flames. On the 
       ground floor, we see the writhing form of Freddy/Jason.

       CLOSER ON FREDDY/JASON

       Jason tries to strangle the hideous form of Freddy, who 
       is slashing at him in fury.

                           FREDDY
                 Let me go, you freak! 

       Jason staggers a few more feet, falls into the entrance 
       of a store called CAMPING WORLD. He glances off to the 
       side... sees a stack of PROPANE TANKS, meant to fuel 
       outdoor gas stoves. 

       He takes his hand off Freddy’s neck... reaches out for 
       the tanks... 

       Freddy STABS his finger blades again and again into Jason 
       -- desperate to kill him. 

       Jason gets his hand around one of the tanks... brings it 
       close. Freddy’s eyes widen as he realizes what Jason’s 
       about to do.

                           FREDDY
                 _NO_!

       With a quick move, Jason snaps off the safety nozzle. The 
       tank lets out a JET STREAM of PROPANE from the tank --

       THE TANK AND THE ADJACENT TANKS OF PROPANE _EXPLODE_. THE 
       FLAMES RIP THROUGH FREDDY/JASON. THE TWO MEN ARE 
       _SEVERED_ AND BLASTED TO SHREDS.

       EXT. ELM STREET MALL - NIGHT

       The Mall is ROCKED by a TITANIC EXPLOSION. Every window 
       blowing out... people knocked off their feet... others 
       diving for cover...

       RUBY

       covers her head from the blast, then cautiously looks up 
       at the mall. She stares at the awesome sight.

       INCLUDE SENA

       He sits up, regaining conscious, coughing and groggy. A 
       paramedic tries to put a mask on his face, but he pushes 
       it away. He turns to Ruby.

                           SENA
                 What happened? Where’s Jason?

                           RUBY
                 My client... is dead.
                     (beat)
                 But I think he’s a free man.

       Off her face as she stares at the flaming building...

                                                       DISSOLVE TO:

       EXT. JASON’S HOUSE - DAY

       The house is quiet... a crisp spring day at Crystal Lake. 
       A “Condemned” sign hangs on the front door. We hear a 
       MAN’S VOICE from O.S.

                           MAN’S VOICE
                 Okay, we’re ready. Everyone stand 
                 clear.

       WIDER

       Revealing that the Man is part of a wrecking crew that is 
       here to demolish the house. There are numerous 
       construction workers with BULLDOZERS and other heavy 
       equipment nearby. Someone STARTS UP a bulldozer...

                                                       DISSOLVE TO:

       INT. MOTHER’S BEDROOM - DAY

       Exactly as we saw it last -- everything in its place. We 
       can hear the SOUND of the. bulldozer getting closer. 
       CAMERA MOVES to the dresser and PUSHES IN on the black 
       and white photo of young Jason seen earlier. But the 
       picture seems to have changed.

       Instead of the look on the boy’s face being haunted... 
       he’s now _smiling_ with the carefree innocence of youth. 

       The bulldozer blade CRASHES through the wall and as the 
       building collapses, we...

                                                     CUT TO BLACK.

                           _THE END_