FREDDY VS JASON
					
					A Screenplay by:
					  Peter Briggs

	FADE IN:

	EPIC MUSIC O.S., the MAIN TITLES ROLLING over a series of medieval 	WOODCUTS.  SINISTER IMAGERY - monsters, demons, torture devices - 	DISOLVING into one another, then we...

										    		    	OPEN ON:

	EXT. HILLSIDE PASS - SUNSET (17TH CENTURY)

	Lush green fields and vineyards, very like the Napa Valley.  	SOLEMN BENDICTINE CHANTING on the SOUNDTRACK, and the distant 	RESONANT TOLLING of a church bell, O.S.

	We HEAR TINKLING CHIMES.  With a gentle CLIP-CLOP OF HOOVES, a 	burro crests a dark hill, silhouetted against the blood-red sun.  	Its rider adorned in lavish Catholic vesments.

	Before we can be amused, SIX MAGNIFICENT CHARGERS follow.  Two 	grim-faced 	CIVILIANS in formal Middle-Ages clothing to the fore, 	a vanguard of pennant-wielding SOLDIERS at back.

	CLOSER NOW.  The horses are nervous.  The burro's rider - SIGNOR 	DELUCA - MURMURS something nervously in Italian.

						SIGNOR DELUCA
			"Le colline...hanno occhi!"

	PITT - a wary American Witchfinder - narrows his eyes.  Turns to 	his traveling companion.

						PITT
			What did he say?

	HOPKINS - an aristocratic Englishman with a startling similarity 	to Christopher Lee - avoids his gaze.  Scours the encroaching 	terrain with his 	keen vision.

						HOPKINS
			"The hills...have eyes."

	The horses WHINNY, worried by something nearby.  SHEET-LIGHTNING 	whites-out the sky, drizzle spattering the earth.

						SIGNOR DELUCA
					(heavily-accented English)
			It's begun --

	AN ANGLE ABOVE, LOOKING DOWN.  The company trek purposefully along 	the winding trail.  Something dark prowls past IMMEDIATE 	FOREGROUND. GROWLS inhumanely...

	EXT. CASTLE APPROACH - SUNSET (17TH CENTURY)

	The horses BUCK and REAR as they round the bend.

						SOLDIER #1
			Mother of God --

	THEIR P.O.V.  A PAIR OF GROTESQUE WOODEN-FRAME EFFIGIES dominate 	the trail 	ahead, one to either side.  Human-shaped, 30 feet 	tall.  Both are aflame, packed with BURNING CADAVERS (anyone 	remember the 1973 movie "The Wicker Man"?).

						HOPKINS
					(solemnly)
			I've seen this before.

						PITT
			In England?

						HOPKINS
			In the darkest chasm of my dreams...

	As the troupe continue forward, we CRANE UP BEHIND THEM.  Half a 	mile away, a gothic Italian castle looms ominously dark THUNDER 	CLOUDS roll supernaturally across the sky.  A SUPERIMPOSED CAPTION 	CARD informs us this is:

			ITALY - 1648

	EXT. ENTRANCE - CASTLE - NIGHT (17TH CENTURY)

	The ground has turned to slush.  The horses skid, lose their 	footing.  An ornate wooden box tethered to a saddlebag bursts 	open, releasing --

						PITT
			Pontiff -- !

	SOLDIER #1 dismounts, scrabbles in the mud.  Passes two rather 	plain-looking daggers back to DeLuca.  As he does--

	THEY TRANSFORM.  Morphing into exact duplicates of the Byzantine 	blade which slayed Jason Voorhees in "Jason Goes To Hell."  	Astonishment flashes across the Soldier's face.

						SIGNOR DELUCA
					(admonishes him)
			This matter...will not pass your lips.

	Hopkins and Pitt stare covetously at the weapons.

						PITT
			The Daggers of Horvath...

						SIGNOR DELUCA
			Sacrosanct.  Said...forged...by the 
			alchemists...of dead Atlantis.

						HOPKINS
					(cannily)	
			...And also from the blade which pierced
			the side of Christ?

	DeLuca shrugs, perhaps a little annoyed.

						SIGNOR DELUCA
			The origins are unimportant.  Only their
			powers count this day.
					(to Soldier #2)
			Tether the animals.

	A turret rises above, a portent of doom.  Lightning FLARES.

	INT. ENTRANCE HALL - CASTLE - NIGHT (FOREGROUND MINATURE)

	Boots ECHO on stone as the group enter an expansive circular 	chamber.  Water PLINK-PLONKS from dank archeways all around.  	Inverted crosses on the walls, torches flickering in metal wall-	holders.  A wide staircase spirals into cobwebbed darkness above.

	A pair of giant censers swing back-and-forth...dozens of dangling 	chains with upturned corpses - real Grand Guignol - tangled in 	them.

	The FAINT STRAINS of a NURSERY RHYME - somehow familiar to us - 	intrude.  Incongruously, the LYRICS are Italian --

						DREAM CHILDREN
					(O.S., "Freddy Theme")
			"Uno, Due...Thanos venga per te.  Tre,
			quattro...dovete chiudre le porte."

						HOPKINS
			You hear -- ?

						SIGNOR DELUCA
			Si.  Pitt...?
	
	The American stares up at the hanging wrought-iron chandelier 	frame, scrutinizing the SYMBOL forged into it.  Neither Celtic 	run, nor Egyptian glyph.  Not Sanskrit, or pentangle...but somehow 	all at once.

						PITT
			Salem.  Four years past.  I burnt a coven.
			This same device.
					(a beat)
			Evil is at hand...

						DREAM CHILDREN
					(O.S.)
			"Nove, dieci...non dormirai piu --"

	A VERTICAL ANGLE, HIGH ABOVE.  The RHYME stops.  SILENCE.  We HEAR 	a STEADY THUMP...THUMP.  They draw their swords as --

	Something PUNCHES FORCEFULLY through a COBWEB VEIL, BOUNCES down 	the steps.  Comes to a halt at SOLDIER #3's feet...a dyed-purple 	leather ball.  He bends 	

						PITT
			Wait -- !

	Either the man chooses to ignore, or he doesn't understand.  He 	picks it up.  There's a MIDIEVAL SMILING SUN embroidered in gold 	filigree on one side.  He grins.  Flips it to see --

	BURNS and MELTS, maggots and yellow bile pouring forth into his 	hand.  It multiplies exponentially, spilling up along his arm in a 	second like a cancer.  He turns, SCREAMING to the others --

						HOPKINS
			Back...stay back!

	The Soldier lurches for them, his entire body consumed now.  He 	stumbles, falls to the floor.  EXPLODING into a mass of scarab 	beetles that scurry past their feet for the corners of the room.  	DeLuca crosses himself.

	GIGGLING from above.  The group look up to see a pair of YOUNG 	GIRLS in white dresses duck back over a high balcony.

						SIGNOR DELUCA
			There...

	INT. WINDING STAIRWAY - CASTLE - NIGHT (17TH CENTURY)

	A HUGE SPIDER scuttles across the thick blocking cobwebs.  The 	group cautiously acend the stairway, slicing at the musty veil.  	As Pitt turns his lantern to see a wall HEAVING with bugs --

	A COVEY OF CROWS flush from a cranny, wings fluttering into their 	face, blinding them.  DeLuca staggers back, feet pedaling on the 	edge.  A straight drop, 50 feet...

						HOPKINS
					(alarmed)
			Signor!

	Hopkins hand lashes out and drags him back.

						SIGNOR DELUCA
					(thankful)
			Grazie.

	INT. CORRIDOR - CASTLE - NIGHT (17TH CENTURY)

	At the corridor's end are massive iron doors, 5 feet tall.  A pair 	of drop-dead gorgeous BLACK WOMEN in white robes stand before 	them, staring enigmatically with peculiar eyes.  The smoke 	wreathing them SWIRLS back through the doors like REVERSE TIME-	LAPSE, gliding them with it.

	INT. NECROMANCER'S LAIR - CASTLE - NIGHT (17TH CENTURY)

	Another cylindrical chanber; the "Penticon" symbol Pitt recognized 	hewn large on the ancient stone floor.  Through a glass skylight 	above, turbulent clouds simmer menacingly.

						HOPKINS
			The Necromancer.

	In the chamber's center - above the "Penticon", about 5 feet off 	the ground - floats a MAN. Crunched into a fetal position, he is 	naked.  Tautly muscled, every square inch of his body inscribed 	with occult symbology.  (He also bears more than a passing 	resemblance to Robert Englund).

						SIGNOR DELUCA
			My nephew...

	THE DOORS SLAM CLOSED behind them, the wall-torches extinguishing.   	The chamber becoming wreathed in the darkest shadows imaginable.  	A WOMAN'S LAUGHTER ECHOES ICILY, O.S.

						PITT
			Time is short.

						SIGNOR DELUCA
			Let us hurry.

	The three men approach.  The air shimmers, as if they've just 	passed through an invisible field of some kind.

	The three Soldiers stare around the room nervously.  All around 	are drawings and models, prototypes of fantastic inventions.  	They're so proccupied, they don't notice --

	THIER OWN SHADOWS, peeling away from their bodies and sliding up 	the wall to vanish into the gloom above.

						SIGNOR DELUCA (cont'd)
			Help me.  Reveal his heart.

	DeLuca holds the Dagger steady.  As Hopkins and Pitt reach up to 	grasp the Necromancer's folded arms --

	Behind them, DARK GRASPING CLAWS shoot down from above towards the 	Soldiers.  Hauling a SCREAMING Soldier #1 upward.

	The Necromancer's eyes SNAP OPEN instantly, unleashing a BELLOW OF 	RAGE.  DeLuca slams forward with astonishing strength, driving the 	Dagger into the Necromancer's chest..but only part way.  The 	creature's arms WHIP OUT with superhuman force, knocking the 	demon-slayers away.

	Soldiers #2 and #4 hack furiously away with their swords, trying 	to release their comrade, as --

	Hopkins reaches out. Grasps the Dagger's handle and drives it 	further into the Necromancer's heart, twisting it.  He SHRIEKS 	like a feral animal --

	Then falls to the floor.  That same instant, the disemboweled 	corpse falls. Soldier #1 drops out of the shadows with a THUMP.  	The survivors edge warily forward, until --

	THEIR LANTERNS FLARE LIKE XENON, achingly bright.  The shadows in 	the room seem to alter...flow.  A moving, liquid mass from every 	corner that pours towards the fallen Necromancer, entering the 	corpse's mouth and nostrils.  The chamber brightens, until --

	There are no more shadows in the room.  A BEAT, then --

	THE BODY EXPLODES, atomized to fine red droplets.  An ENORMOUS 	FORM rises up from within, some vast CLOAKED OUTLINE, LAUGHING 	with DEEP MALEVOLENCE.  Pitt steps forward, brandishing a 	crucifix.

						DARK VOICE
			Foolish mortals...do not task me!

						PITT
			Be gone, Apollyon!

	A shadow tentacle lashes out, slithers around Pitt's neck.  Hauls 	him off the floor and squeezes tight.  The crucifix clatters to 	the ground as blood seeps from his lips.

	Hopkins and SOLDIER #4 race forward to help.  Another pair of 	tentacles explode forth.  Hopkins is sent sprawling...the black 	mass PUNCHING straight through the Soldier #4's armor like a 	javelin and impaling him against the wall.  An arrow unleashed 	from Soldier #2's crossbow evaporates in mid-air.

	Pitt's tentacle finishes its work.  His decapitated body drops to 	the ground, the head rolling off into the shadows.

	Another pseudopod hurtles for DeLuca, who cries out --

	But suddenly Hopkins is there, wielding a Dagger of Horvath.  The 	tentacle hits the Holy blade and rives into black ice, showering 	the chamber floor.  The Shape LAUGHS UPROARIOUSLY.

						DARK VOICE
			When Time...reaches its close...and your
			race attains the skies...I will set my 
			creatures to shatter this world.

						SIGNOR DELUCA
			Consign thee to Hell, foul spawn!

	The stone "Penticon" beneath the Necromancer's corpse SHATTERS 	like glass, dropping into a GAPING ESOPHAGAL TUNNEL that plunges 	into the DEPTHS OF HELL.  The Shadow-form disappears in a 	SHOCKWAVE BLAST that EXPLODES the skylight and SPLINTERS 	everything breakable.  The MOCKING LAUGHTER fades as the 	"Penticon" reseals whole.

						HOPKINS
					(dryly)
			Demons.  So overdramatic.

	DeLuca gazes around at the complex inventions, marvelling.  

						SIGNOR DELUCA
			Look at this.  The detail...the genius.

						HOPKINS
			Humankind...might profit immeasurably.

	Soldier #4 approaches Hopkins hesitantly.

						SOLDIER #2
			Sire?  What...should --?

	Hopkins moves something on a nearby drafting board.  Examines the 	soft vellum parchment stretched out there.

	Like a Da Vinci anatomical study, we see an intricately detailed 	orthographic representation of FREDDY KRUEGER'S KNIFE-GLOVE 	and JASON VOORHEES' KILLING MASK.

						HOPKINS
					(absent, but authoritative)
			Burn it all.  Raze it to the ground.

	Flames CRACKLE up INTO FRAME all around as we TRACK SLOWLY into 	the blueprint.  SLAMMING ROCK MUSIC RISES O.S. as we --

						    		    DISSOLVE THROUGH TO:

	EXT. ELM STREET. - BETHLEHEM, VIRGINIA - DAY

	BRIGHT SUNLIGHT, filtering down through the boughs of trees.  We 	CRANE DOWN, past a sign reading "Elm Street."  Hit a van in 	FOREGROUND on a read of anonymous suburban storefronts.

	TWO CAPTIONS FADE-UP.  The FIRST, which READS:
		
			BETHLEHEM, WEST VIRGINIA.

	And then is replaced by the SECOND:

			DECEMBER, 1999.

	An innocuous-looking bookshop sits across the road, the sign above 	the door reading "SAMHAIN BOOKS."  Right out-front, a muscular 	HELL'S ANGEL sits astride a gleaming Harley.  A scantily-clad 	BIKER BABE faces him atop the gas-tank, legs wrapped around his 	waist.  They're sucking some serious face.

						REZNOR
					(O.S.)
			What - are you grafted to him, lady?  Just
			how much foreplay's this gorilla need
			anyhow?!

	A TINY RED DOT flickers like an anxious firefly on the girl's 	throught.  Suddenly --

	SHE MOVES.  Legs still in place, she swings around him to ride 	pillion.  He guns the engine, and they pull out.

						RENZOR
					(O.S.)
			Thank you!  Crowd goes wild --

	The red dot settles on the bookshop window, and --

						SPEAKER VOICE #1
					(O.S., filtered)
			-- This one's young --

	Through the bookshop window, we see TWO MEN in conversation.

										   CUT TO:

	INT. F.B.I. SURVEILLANCE VAN - DAY

	A THUMB, stabbing at a button --

						SPEAKER VOICE #1 (cont'd)
					(O.S., filtered)
			Fresh --

	A SPECTROSCOPE, leaping into high peaks --

						SPEAKER VOICE #1 (cont'd)
					(O.S., filtered)
			Like a peach --

	A LASER-MIKE BEAM, slicing out from the one-way van window --

						SPEAKER VOICE #1 (cont'd)
					(O.S., filtered)
			Camera loves her.

	Nestled hi-tech equipment in the van's  rear is JAMES (JACK) 	REZNOR, F.B.I. Agent extraordinaire.  Grimy, unshaven.  The toll 	of days of stakeout.  Take-out cartons and styrofoam cups littered 	around him.

						REZNOR
			Yeah - I'll bet, ya toxic sack of puke...

	A video camera rolls quietly next to him.  His cellular phone 	WARBLES for attention.  He reaches down, flips it on.

						REZNOR
			Agent Reznor.  Better be good.

										     CUT TO:

	INT. TACTICAL ROOM - F.B.I. H.Q. - WASHINGTON - NIGHT

	An expansive, clean room.  Dozens of manned cubicles, rows of 	computer monitors.  Jim Cameron territory.  Christmas decorations 	break the monotony.

	Reznor's partner JAMES (JACK) COBAIN is in his cubicle on the 	other end, a big F.B.I. logo on the wall behind him.

						COBAIN
			Jack...it's Jack.

										     CUT TO:

	INT. SURVEILLANCE VAN - DAY (INTERCUT)

	To the side of the video-cam is an odd-looking CCD stills camera.  	Reznor thumbs a remote plunger, takes a few shots.

						REZNOR
			Cobain - what's occurring?  Expected your 
			sorry ass hours back...where are you?

	INT. TACTICAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)

	Cobain watches a CNN forest fire disaster on the wall-mounted T.V. 	nearby.

						CNN ANCHOR
					(O.S., on television)
			"-- with close to 400 miles of woodland
			incinerated, Canadian authorities seem
			powerless to halt the blaze --"

						COBAIN
			Washington, still.  They pulled the 
			pattern.  Got me playing errand boy for
			some Vatican bigwig out to the airport.

	INT. SURVEILLANCE VAN - DAY (INTERCUT)

	Reznor jacks a wire from the stills-camera into the phone.

						REZNOR
			Shit.  Well, look...get him to say some 
			"Hail Marys."  Things are shaking here,
			just like we thought.

	INT. TACTIACAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)

	Cobain shifts in his seat, suddenly alert.

						COBAIN
			Snuff movies?

	INT. SURVEILLANCE VAN - DAY (INTERCUT)

	Reznor thumbs an inset button on the camera which illuminates a 	green:  "TRANSMIT."	

						REZNOR
			Yeah.  I'm punching what I got through.
			Speaking of things priestly, Paula says I 
			should tell you - if you work me tomorrow
			night, your tush is excommunicated.

	INT. TACTICAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)

	The printer next to Cobain's V.D.U. WHIRRS, spits-out color stills 	from Reznor's camera.

						COBAIN
			I'll consider myself doomed.

						REZNOR
					(V.0.)
			They process our backup yet?

						COBAIN
			Hold a sec.  Uh --

	He cups the mouthpece as somebody (FBI AGENT #1) passes, TOOTING 	an extendable party whistle.  Rifles a tray of paperwork, finds a 	requisition sheet with a SWAT header.  The co-signature is still 	blank.

						COBAIN (cont'd)
			Tanya...this SWAT request signature?

	A pretty woman looks across from a nearby cubicle.  Shrugs.

						TANYA
			Holidays...cut-backs?  Prob'ly an 
			oversight.  Sorry, Cabain.

						CABAIN
					(back into phone)
			No change.  Nice pictures...you get a bug
			in there?

	INT. SURVEILLANCE VAN - DAY (INTERCUT)

						REZNOR
			Not a hope.  You wouldn't believe the 
			scanners these bozos use.  Running a laser-
			mike onto their window.

	INT. TACTICAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)

						COBAIN
			Alright.  What I'll do is, rush these
			through Photo Intelligence...drive down 
			the second I'm through.

	INT. SURVEILLANCE VAN - DAY (INTERCUT)

						REZNOR
			Deal.  But Jack?  Give SWAT a push.  I got
			a hunch these sickos are about to move.

	INT. TACTICAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)

	Cobain replaces the handset.  Sits back.  Looks at the paperwork.  	Thinks a moment.  Drags out a punch-file marked "S.W.A.T." and 	opens it.  Finds an old requisition.  Glances around to make 	certain nobody's watching, then --

	COPIES THE SIGNATURE.  A perfect forgery.

	The T.V. catches his eye again.  Another CNN disaster.

						CNN ANCHOR
					(O.S.)
			"-- Our top story...a heated skirmish in 
			International Waters, Leaving Korea one
			frigate down.  Japan has already been 
			threatened with reprisals --"

	Somebody (FBI AGENT #2) slows as he passes the T.V.

						FBI AGENT #2
			Great way to end the Century, huh?

						COBAIN
					(grunts affirmatively)
			World's going to Hell in a handbasket.

	He stabs at a remote.  Flips the channel to WHITE STATIC which --

							   MORPH-DISSOLVES THROUGH TO:

	EXT. "PLAIN OF BONES" - HELL - ZERO HOUR

	A DOWNPOUR OF HORIZONTAL RAIN against a dead grey sky.  So subtle, 	we don't get it for a second.  Then --

	The SHOT ROTATES...TILTS.  Swoops dizzyingly 100 feet.  A LONELY 	WIND HOWLS around a figure.  Face upturned, droplets spatter her 	face.  We recogize her:  ALICE JOHNSON, last seen defeating Freddy 	Krueger in "THE DREAM CHILD."  She shivers, her eyes SNAPPING 	OPEN.

						ALICE
					(softly, to herself)
			Where am I?

	She's standing on a PLAIN OF BONES AND SKULLS stretching as far as 	the eye can see, rolling hills on the horizon.  The low sky BOILS, 	a SEETHING BUBBLING REDNESS.  A RUMBLE like an onrushing freight 	train GROWS.  She turns to see --

	A SINGULARITY TORNADO of MULTICOLORED ENERGY THUNDERING towards 	her, just 100 feet away.  Chewing up the landscape...sucking 	"reality" into it.  It's breathtaking, and it sounds like all the 	noises in the world.

	Alice bolts as the worldbehind her CRUMBLES, sucked mightily 	upwards.  Her chest heaves, limbs working.  Then --

	The ground QUAKES and ERUPTS, throwing her off-balance.  She falls 	solidly amongst a flurry of SPLINTERING bones.  Looks up to see --

	THE SINGULARITY, looming large.  Unstoppable.  She SCREAMS --

						ALICE
			Nooooo --!

	A GREAT WHITE EXPLOSION hurls her through the air like a ragdoll.  	Her arms flail, and then she IMPACTS HARD with --

	EXT. CRAGGY VERTICAL RACKFACE - HELL - ZERO HOUR (CONTINUING)

	A ROUGHLY-HEWN DARK GRANITE PILLAR perhaps 30 feet square, 	dropping vertiginously away thousands of feet below.  She snatches 	a handhold...it SNAPS away.  Falls about a foot...grabs another.  	Begins a labored ascent...

	EXT. APEX OF PILLAR - HELL - ZERO HOUR (CONTINUING)

	Alice claws her way over the plateau edge.  Lies there, breathing 	heavily.  A sibilant VOICE makes her jump --
	
						DARK VOICE
					(O.S.)
			Aaaaalicccee --

	She stumbles to her feet, finds herself looking out across the 	plain as the Tornado decimates it.  More bones here, a SINGLE 	ARTHRITIC TREE claws upwards, and standing next to it towers 	--

	SOMEBODY...SOMETHING.  Cloaked.  A vicious bladed scythe clutched 	in one hand, a BOA CONSTRICTOR coiling around the haft.  If we 	didn't know better, we might say it was the GRIM REAPER.

						ALICE
			Hello?  Hello...

	Alice's eyes widen as - with an eerie HISS - the figure turns 	towards her.  But before we see the face --

	A VARIATION ON A FAMILIAR FOUR-BLADED CLAW curls disturbingly 	around her neck from behind...

										SLAM CUT TO:

	INT. ALICE'S CAR - NIGHT

	JACOB JOHNSON - Alice's nervy 8 year old son - YELLS out in panic 	from the passenger seat.

						JACOB
			Brake!

	Alice jerks awake from her daydream at the wheel to see --

						ALICE
			Shit!

	STATIONARY TRAFFIC on the freeway ahead, materializing at 40 MPH.  	She grips the wheel, mashes the brake pedal hard...

	EXT. FREEWAY - BETHLEHEM - NIGHT

	Alice's red Lexus SKIDS through puddles of rain.  SCREECHES to a 	halt inches from the car in front.

	WIDER NOW, PULLING BACK.  Her car a speck at the rear of the worst 	Friday night gridlock you can imagine.

	INT/EXT. ALICE'S CAR - NIGHT

	Alice sits, hyperventilating.  Grey eyes wide.  We get a better 	look at her now.  Smartly-dressed.  Mid-to-late 20s, mid-length 	strawberry-blond hair.  Cute as a button.

	Her son stares accusingly at her from alongside.

						JACOB
			Mom, you said you weren't tired!

						ALICE
			No...I...just must have drifted.

						JACOB
			You weren't...dreaming again?  Like before?

	She gives him a look.  Ducks the loaded question.  Peers out 	through the rain-slicked windshield.

						ALICE
			Look at this rain.  Feels like it tailed 
			us right from New Jersey.

	She reaches down and flips the radio on.  Gets the news.

						RADIO NEWSCASTER
					(O.S., on radio)
			-- "Bizarre mass cult suicide at a Rio de
			Janeiro soccer stadium, 20,000 estimated 
			dead --"
			
						ALICE
			Getting harder to find any uplifting news
			these days.

						JACOB
			That's cause-of it's the "Fin de Sickle."

						ALICE
			The what?

						JACOB
			"Fin de --"

						ALICE
					(pronouncing correctly)
			Ah..."Fin de Siecle"?

						JACOB
			Yea.  Like, when every century ends, 
			everything goes totally nutso.  Only this
			time it's worse, cause it's, like, a new
			Millennium too.

						ALICE
					(smiles)
			Pretty slick.  Where'd that come from?

						JACOB
			French class.  Our tea --

	A RUMBLE starts-up, gaining intensity.  A spring-mounted toy bird 	dangling from the rear-view trembles.  The car VIBRATES on its 	suspension, the engine cutting-out.

						JACOB (cont'd)
			Earthquake!  Wow...cool!

	THEIR P.O.V. People scramble from their cars.  A traffic sign 	ahead shakes, a freeway light swaying like a giraffe's neck.

						ALICE
					(gettign frightened)
			Virginia doesn't get quakes!

	Their gaze SNAPS ACROSS as a roadside fire hydrant BLOWS, gushing 	water into 	the air.  A high-tension wire above SNAPS with a 	TWANG, Jacob YELLING as --

						JACOB
			Mom!!

	THE SPARKING CABLE hits their roof, HISSING as it writhes.  	Searing the paintwork a couple of times before dropping to the 	roadside and becoming inert.

	The tremor abruptly ends.  Alice grabs Jacob --

						ALICE
			Jeez, are you alright--?!
		
						JACOB
			Think so...

						ALICE
			Sure?

						JACOB
			Yea...
				
						ALICE
			God...that was too freaky.

	She flips the ignition.  Nothing.  Tries it again.  This time the 	engine GRINDS UNPLEASANTLY.

						ALICE
			Oh.  Oh, no...

						JACOB
			What's wrong?

						ALICE
			Our angel must be on coffee-break.  Jake,
			honey...something's wrong.  I'm gonna...
			have to pull us off the next ramp.

	Somebody HONKS behind.  The engine catches, sounds unhealthy.

						JACOB
					(knowingly)
			What did I say?

						ALICE
			Yeah.  Tell me about it --

	EXT. ALICE'S CAR - NIGHT

	We PULL BACK on the livid electrical scars seared into the car's 	rooftop.  Oddly, they resemble...Freddy claw gouges.

	A mindful NURSERY RHYME TUNE TINKLES delicately O.S. as the Lexus 	pulls out onto the freeway turn-off...

										     CUT TO:

	EXT. STREET - OUTSIDE FREEMAN HOUSE - BETHLEHEM - NIGHT
	
	Neat identical houses:  Suburban Anywheresville, U.S.A.  A 15ft 	illuminated neighborhood Christmas tree shines like a candystore 	beacon.

	Sheets of rain bead on telephone wires crossign the street.  Drip 	into the tree, FIZZING and FLICKERING the bulbs.

	INT. LIVING ROOM - FREEMAN HOUSE - NIGHT

	An 8 year-old blond girl - STEPHANIE FREEMAN - eats a sandwich 	atop the back of a chaise-longue, face pushed up against the misty 	widow.  Stares wide-eyed as the tree flickers spastically across 	the street.

						STEPHANIE
			Daddy!  The tree isn't working right -- !

	She climbs down, wanders back across the long room.  The 	television plays "The Mask" animated series NOISILY to itself in 	B.G. She glances cursorily at it in passing.

	INT. KITCHEN - FREEMAN HOUSE - NIGHT (CONTINUING)

	Stephanie's parents - STEVEN and JESSICA REEMAN - are in mid-	argument in the cramped kitchen, a disassembled car gear box 	neatly laid-out on the dining table.

	Steven is an odd blend of bookish and jock, his greasy work 	overalls partially unbuttoned.  His wife is exceptionally 	pretty...at least she would be if she gave herself the chance.  	She seems tired, long blond hair tied back in a ponytail.  Both 	are in their late 20s.

						JESSICA
			Steven, you made a promise!

						STEVEN
			Jess --

						JESSICA
			New Year's, 1999...a fresh Century!  We 
			always said we'd celebrate this one
			togeter, regardless --

						STEVEN
			We will...look - it'll be a fast pick-up.
			Burn rubber first thing, get this guy's
			sump.  Back in plenty of time.  You...
			me...Stephy --

						JESSICA
			Ushering-in the "bright new future"?

	She turns away to wash some vegetables at the sink, her tone a 	mixture of cynicism and tired resignation.  Steven stops, frowns.  	Puzzled and somewhat taken-aback.

						STEVEN
			Right.  What?

	Stephanie appears at the doorway, interrupting the flow.

						STEPHANIE
			Daddy...?

						STEVEN
					(to Jessica, persistent)
			Look, I promised the guy.  Am I missing 
			something here -- ?

						JESICA
					(to Stephanie)
			Oh - not now, baby...

						STEPHANIE
					(persistent, to Steven)
			-- Can you fix the tree?

	Stephanie picks the stick-shift up from the table.

						STEVEN
			Which tree?...don't touch that, pumpkin.

	Distracted, Steven takes it from Stephanie, replaces it.  She 	wraps her arms around him.  Pouts petulantly.

						STEPHANIE
			Over the park.  The lights are all sparky,
			look --
		
						JESSICA
			Stephy, Mom and Dad are yammerin --

						STEPHANIE
			Puh-lease?

	She jumps up-and-down.  He ruffles her hair.

						STEVEN
			Weren't you watching T.V.?

						JESSICA
			T.V.'s for squids.

						STEVEN
					(laughs)
			Well...plumb the depths.  I'll get there.

						STEPHANIE
			O-kay...
	
	Stephanie grudgingly leaves.  Steven LAUGHS.
				
						STEVEN
			I swear, that kid's intent on setting the 
			whole world to rights.

						JESSICA
			Great.  Have her start here.

	Steven's had it.  Turns to her, baffled.

						STEVEN
			Alright.  You gonna share into this little
			secret?

						JESSICA
			Which'd be what?

						STEVEN
			You, stomping about like a poster ad for 
			Prozac.

						JESSICA
			Oh - pull a 360, Steven!  Take a wild stab!

	Steven looks wounded.  This seems to be a familiar routine.

						STEVEN
			C'mon, Jess --

						JESSICA
			No!  No, I've had it!  I'm sic of...of 
			clipping coupons...scrimping every cent.
			We've bills up the ying-yang...I want us 
			to actually amount to something!

						STEVEN
			Pushing "delete" on one of "America's Most
			Wanted" wasn't enough for one lifetime -- ?

						JESSICA
			It's been eight years since we fried Jason
			Voorhees!  Eight years!  What do we have 
			to show for it?

						STEVEN
			We got the autoshop --

						JESSICA
			You seen our bank statements?

						STEVEN
			The recession...you know it's temporary.
			We'll pull through --
		
						JESSICA
			Yeah, and it's always around the next
			corner!  Steven, we're sinking into a
			bottomless pit!  I look at other families
			with 'lifestyles'...we don't even manage a
			life!  I spend most of my life under a 
			car, up to my elbows in grease and swill!
			third-rate existence!

						STEVEN
			What do you want me to say?  I'm all outta
			easy answers!

	The message pager on Steven's belt BEEPS annoyingly.  He thumbs it 	off, squints at the display.  Looks abashed at Jessica.

						STEVEN (cont'd)
			It's...uh...a call-out --

	Jessica turns away.  Picks up the knife.  Chops mechanically at 	the vegetables like a Stepford wife.

						JESSICA
			You should go.

						STEVEN
					(conciliatory)
			Jess --

						JESSICA
			No. Do it.  We can use the money.

	Steven leaves the kitchen uncertainly.  We HEAR him call out:

						STEVEN
					(O.S.)
			Up for a ride, sweet thing?

						STEPHANIE
					(O.S., excited)
			You bet!

						JESSICA
					(calling after)
			Don't forget your --

	Jessica closes her eyes as the front door BANGS.  Heaves a SIGH, 	instant regret flooding her features.

						JESSICA (cont'd)
					(finishing, redundant)
			-- Keys.  Goddammit, Jess Voorhees --

										     CUT TO:

	EXT. DULLES INTERNATIONAL AIRPORT - NIGHT

	A big 747 comes in to land on a rain-swept runway.

	INT. ARRIVAL LOUNGE - DULLES INTERNATIONAL - NIGHT

	The terminal is packed with mostly-bored PASSENGERS, not even 	Bruce Willis and some hijackers to liven things up.

	Cobain sits on a passenger rotunda, an F.B.I. file open on his 	lap.  He YAWNS...goes to sip from his styrofoam cup.  A FAT 	BUSINESSMAN to his right turns the pages of his newspaper, catches 	Cobain's elbow.  A great coffee SPLOT stains his paperwork.  	Cobain shoots him an evil look.

						FAT BUSINESSMAN
			Sorry, pal.

	Cobain catches sight of the newspaper headline: "ASTRONOMERS 	BAFFLED OVER DISAPPEARING STARS."  Reaches down, wipes away the 	mess.  We see an attached "Front-and-Right" mugshot of a hatchet-	faced guy (who we recognize from Reznor's surveillance shots) 	registered with an "Interpol, Surete" stamp.  From the corner of 	his eye, Cobain notices the OLD WOMAN to his left reading the 	file.

						COBAIN
					(pointedly)
			Interesting read?

	The woman looks hurriedly away...
			
										     CUT TO:
	
	EXT "SHAMAN BOOKS" - ELM STREET - NIGHT

	An ANGLE low on the rain-speckled sidewalk.  A VAN'S TIRE enters 	FRAME.  The door opens; a boot drops into SHOT.

	INT. SURVEILLANCE VAN - NIGHT

	A dishevelled Reznor drops a cigarette butt in his empty styrofoam 	cup.  Opens his packet of Camels.  Empty.  Glances out the 	window...and does a double-take.  Sits up straight, instantly 	galvanized.  Snaps-off a few more photographs.

						REZNOR
			What?  Little late-night browsing?

	HIS P.O.V., ACROSS THE ROAD.  A newly-arrived van stands outside 	the store as a RAINCOATED MAN fumbles an adjacent yard open.  	Reznor watches as it proceeds inside.

						REZNOR (cont'd)
			Bingo.  Pary-hearty time --

	He unholsters his pistol, thumb-catches the slide --

	EXT. YARD - "SAMHAIN BOOKS" - NIGHT.

	VERTICAL CRANE SHOT, looking down on the van as two FIGURES in 	raincoats manhandle a struggling shape encased in a black bodybag 	up through a fire-exit at the rear of the bookshop.

	EXT. YARD DOOR - "SAMHAIN BOOKS" - ELM STREET - NIGHT

	Rain plastering his hair, Reznor sidles carefully up to the yard 	door, gun-in hand.  Glances nervously around, puts his face to a 	gap in the fence.  Peers through --

						REZNOR
			Aw...shit!
	
	He pulls out his cellphone.  Flips it open --

	EXT TURRET - "SAMHAIN BOOKS" - NIGHT

	Narrow lengthwise rectangular windows glow soft yellow against the 	silhouette of the oddly medieval turret atop the bookstore.  	Lightning BURSTS throw it into sharp relief.  We HEAR the TOLLING 	of a CHURCH BELL on the SOUNDTRACK...

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	A LOW ANGLE, orbiting a strange inverted "lightning rod" suspended 	dead-center in the circular chamber.  Sculptured ceiling "ribs" 	curve outwards, forming cabalistic pillars lining the room.  The 	saffron glow from hundreds of candles highlights diabolic imagery 	on the walls as the storm FLASHES through the windows high above, 	MALEFIC CHANTING O.S.

	A wick is lit by one of several CLOAKED CULTISTS milling around 	the room.  An ANCIENT GRIMOIRE with a sculpted cover (the "EVIL 	DEAD" Necronomicon, seen in the Voorhees house in "JASON GOES TO 	HELL") rests open on a wooden podium.  The LEAD CULTIST traces 	arcane runes as he anoints the tooled silver blade of an AZTEC 	SACRIFICIAL MACHETE with oils.

						LEAD CULTIST
			"Ro-Ta Derp...Suss-Ruv Nayala --"

	We TRACK LEFT as another Cultist totes a set of ominous iron limb-	shackles.  Linger in PASSING the video-assist monitor of a mounted 	camcorder.  It glitches to life, reveals an INVERTED WOODEN 	CROSS...we CONTINUE and END on the real thing: 6ft long and tilted 	at 40 degree slant.

	A HIGH ROTATING ANGLE, away from the Cross to a symbol carved into 	the stone floor.  We recognize it instantly as the "Penticon" rune 	from our ITALIAN PROLOGUE.  We hear a GIRL'S SHRIEKING VOICE from 	somewhere just outside.

						GOTH GIRL
					(O.S.)
			Get your goddamn paws off -- !

	EXT. YARD - "SAMHAIN BOOKS" - NIGHT

	Reznor drops down from the fence top.  The ground on the yard-side 	is slushy - he loses his balance, skids awkwardly.  His cellphone 	falls into the mud.  He picks it up, shakes the dirt from it.  	Crosses to the van, peers quickly inside.

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	FAST CUTS.  Chunky wrist clamps CLUNK into place.  A spirited but 	obviously-terrifed dark-haired GOTH GIRL SCREAMS crazily as two 	CULTISTS attempt to secure her legs to the top of the slanted 	cross, the others stand CHANTING in shadows surrounding the 	room...

						CULTISTS
					(together)
			"Kandar...estrata...montos...eygrets --"

	The Lead Cultist - the same guy from Cobain's Interpol photographs 	- stands behind the Necronomicon podium.

						LEAD CULTIST
			Lord of Gehanna...keeper of the Fallen
			Spirits of Darkness --

	The Girl lashes a long leg at one with the force of a Bruce Lee 	karate kick.  As Cultist #1 SLAMS back against a pillar, the cowl 	slips away to reveal a WOMAN PRIEST with a CLERICAL DOG-COLLAR 	beneath.

						GOTH GIRL
			Crazy freako psycho bastards...let me go!

	Cultist #2 ENTERS SHOT wielding a HI-TECH STUN ROD.  Shoves it 	against her with a SHARP OZONE CRACK.  The Girl slumps back.

						LEAD CULTIST
			By the Abramelin Mage, receive this lowly
			oblation as your own --

	Another restraint CLAMPS around the Girl's throat.  The CHANTING 	RISES in PITCH as her dress is RIPPED SAVAGELY AWAY, revealing the 	bare chest beneath.  The videocam monitor begins to GLITCH 	inexplicably --

	INT. YARD - "SAMHAIN BOOKS" - NIGHT

	Reznor glances up.  The THUNDERCLOUDS above the store are SEETHING 	into 	TURMOIL.  He tries the fire-exit.  Locked.

						REZNOR
			Perfect --

	He pulls a Lockaid gun - a staplegun-like device - from his coat 	pocket.  Squeezes the trigger.  Thin protruding prongs WHIRR and 	vibrate.  He slides them into the keylock --

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	The CHANTING aproaches feer-pitch.  The Lead Cultist runs the 	Aztec Machete's tip lightly between the girl's breasts, drawing a 	bead of blood.  Raises the blade to shoulder height as she stirs 	slightly and MOANS.

						LEAD CULTIST
					(rising to a shout)
			-- Hear these words of power!  Barter this
			flesh and invoke your Holy Guardian...
			"Nosferatus, Emontus...Thanos"--!

	WIDER NOW, ACROSS THE ROOM.  At the precise moment he drives the 	blade down, we CRAB QUICKLY LEFT to --

	THE GIRL'S FACE on the VIDEO MONITOR, HOWLING in EXTREME CLOSE-UP 	as the machee SLAMS home (mercifully OFFSCREEN).  The monitor 	picture starts to ROLL --

										FAST CUT TO:

	INT. YARD - "SAMHAIN BOOKS" - NIGHT

	SNAP!  TIGHT ON Reznor's Lockaid gun as the twin prongs shear-off 	in the lock --

						REZNOR
			Shit!  This never happens on T.V.!

	He stumbles back into the yard, takes a look around as LIGHTNING 	FLARES above --

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	The Girl's head slumps lifelessly back.  Blood swells along 	channels carved into the cross...weeps over the edge.  Trickles 	into --

	THE "PENTICON" BELOW.  Disturbingly, the fluid MOVES OF ITS OWN 	VOLITION...heading in assorted directions along the carved 	gullies.  The Cultists register surprise and trepidation as the 	droplets ACCELERATE and ACCELERATE and --

	TRANSFORM from matter into SEARING POINTS OF ENERGY that race 	about the unholy 	symbol like a circuitboard ELECTRON DANCE.  A 	strange wind GUSTS through the place, GUTTERING the candle 	slightly.  The videocam monitor SNOWS erratically as questing 	tendrils of power SHOOT up from the circle, ARCING through the 	Girl's body and shrivelling her to a desiccated husk --

	EXT. FRONT OF STARE - "SAMHAIN BOOKS" - NIGHT

	Reznor's head SNAPS UPWARDS as --

	EXT. TURRET - "SAMHAIN BOOKS" - NIGHT

	The heavens are RENT ASUNDER by a MIGHTY CRACK, a bolt of 	LIGHTNING SLASHING DOWN to COURSE through the vane atop the 	bookshop, and --

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	CRACKING DOWN from the inverted lightning conductor to the 	"Penticon" which 	ERUPTS, coalescing into a RAGING ENERGY 	MAELSTROM.  All the candles BLOW OUT simultaneously --

	EXT. FRONT OF STORE - "SAMHIN BOOKS" - NIGHT

	KER-BOOM!  The turret windows SHATTER, GOUTING EXHAUST SPUMES of 	ROLLING ORANGE FIRE.

	Reznor dives for cover as debris showers down --

						REZNOR
			Holy fuck!

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	The ENERGY TORNADO is a WHIRLING VORTEX of RED-AND-GREEN LIGHT, 	oscillating slightly (perhaps subliminally giving the idea we 	might see Freddy Krueger).  The Cross has become energized, an 	INCANDESCENT GLOWING MASS...a BLAST WAVE hits it, BLOWING AWAY the 	Goth Girl's ashen remains.

	Cultist #3 on the periphery IGNITES, a human fireball. The Lead 	Cultist is 	snagged by the vortex's power, the trim of his cowl 	catching fire.  Both his skull and right arm GLOW from within, an 	unearthly MOLTEN ORANGE --

	EXT. FRONT OF STORE - "SAMHAIN BOOKS" - NIGHT

	Reznor rainses his pistol squarely at the storefront window.

						REZNOR
			Screw "Reasonable Cause" --

	BLAMBLAMBLAMBLAM!  A half-dozen rounds STAR and IMPLODE the 	glass...

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	A SHAPE forms within the tornado...a HUMANOID framework of veins 	suspended above the floor in a fetal ball, gaining solidity each 	moment --

	Mass panic.  Cultist #4 tries to bolt...an energy ribbon LASHES 	out and BURNS A HOLE THROUGH HIM.

	The jaw of the transfixed Lead Cultist opens a SILENT SCREAM in 	his WHITE-HOT SKULL --

	The Humanoid Shape is solid now, electrcal CRACKLES ZAPPING about 	it.  The vortex suddenly IMPLODES, and --

	A BURST of LIGHT tosses the Lead Cultist ferociously backwards, 	his face sheared away and cauterized.  The Aztec machete spins up 	into the air, as --

	The remainder of the vortex EXPLODES and dissipates, as--

	The videocam monitor ROLLS BACK towards normality, and --

	A FAST CUT as CHUNKY CONSTRUCTION BOOTS with black crome shin-	guards SLAM DOWN onto the reformed "Penticon", as -- 

	The machete pirouttes down, and --

	A HAND sporting fingerless open-backed biker-gloves WHIPS OUT from 	nowhere, ENORMOUS FINGERS curling around the grip then --

	WHOOSH!  The blade immediately CLEAVES through the air towards --

	THE THROAT OF CULTIST #5, who looses a SCREAM --

	Which is interrupted as he's DECAPITATED in a FAST VIDEO MONITOR 	INSERT.  We get a speedy SCAN-LINED glimpse of JASON VOORHEES' 	KILLING MASK POWERING across the FRAME --

	BUT LIKE WE'VE NEVER SEEN BEFORE.  Still a HOCKEY GOALIE, but now 	DARK CHROME with ANGULAR FACETS.  Terrifying - a regular SLASHER 	DARTH VADER.

	INT. WINDOW DISPLAY - "SAMHAIN" BOOKSHOP - NIGHT

	Reznor knocks-in some dangerous glass shards, inadvertently 	toppling a skeleton window display.  He clambers over the frame 	and into the store, his shoe coming down to crush the delicate 	plastic skull --

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	Cultist #6 SHRIEKS in terror as Jason's foot SLAMS down MULCHING 	his head to puree.  Jason's head SNAPS AROUND as --

	Cultist #7 is there with a BATTLE CRY, wielding a sacrifiecial 	dagger --

						CULTIST #7
			Morituri Abominati -- !

	THUNK! The dagger sinks up to the hilt in Jason's torso.  Jason 	glances calmly down...a moment's hesitation...the man 	freezes...then Jason impales him cleanly with his machete.

	Jason pitches back with the dagger protruding as Cultist #1 	catches him unawares, garroting him with the sacrificial restraint 	chains.  Jason relinquishes his grip on the machete, and Cultist 	#7 reels towards a pillar, GURGLING --

	Jason staggers blindly, knocking the videocam tripod over.  Rain 	SPATTERING 	the dark crome mask through the breached roof above, 	he CLAWS ineffectively at the chains as CULTIST #1 uses her 	mass to lever him back, and --

	Cultist #2 CHARGES Jason from the front with the CRACKLING STUN-	ROD.  Cultist #1 SHRIEKS out in pain as the conductive charge ZAPS 	through Jason's body and along the chains.  As Cultist #2 TWISTS 	the tip deeper into Jason's stomach, Jason SLAMS the woman back 	against a stone pillar, CRUSHING her.  He simultaheously SEIZES 	the man's shoulders and --

	YANKS HIM BODILY FORWARD, the Stun-Rod SPEARING Cultist #2's chest 	and passing cleanly through him.  Cultist #2's SCREAMING face is a 	matter of inches from the chrome faceplate as --

	Jason PLANTS a FEROCIOUS HEAD-BUTT on him, then TOSSES him aside 	like a ragdoll. As Cultist #1 sinks down behind him, Jason 	extracts the sacrificial dagger from is ribcage and tosses it to 	the ground.  Turns to Cultist #7 - alive and WHIMPERING against 	another pillar with the machete protruding and stalks murderously 	towards him --

	INT. STAIRWELL - "SAMHAIN BOOKS" - NIGHT

	Reznor takes the landing stairwell two stairs at a time.  Down 	below, we can see the orderly shelves that make up the small-but-	cluttered store.  As he reaches top --

	KER-SMASH!  Reznor flinches, half-ducks as the door leading to the 	turret ahead SPLINTERS WIDE APART, Cultist #7's corpse WHOOSING 	throught he air.  It CRACKS THROUGH the bannisters, PLUMMETS down 	into the store.  BOUNCING OFF a bookshelf adn coming to rest 	below.  Reznor gapes.

						REZNOR
			Jesus!

	A DARK SILHOUETTE steps forward from the shadows.  Reznor raises 	him pistol, Weaver-stance.

						REZNOR
			F.B.I. ...right where you are, twinkletoes!

	Reznor gets a good look as LIGHTNING reflects fromt he chrome 	killing mask through the skylight immediately above.  The jet-	black boiler-suit...the dark liquid trickling along the Aztec 	machete's rune-carved blade.

						REZNOR (cont'd)
			Drop the toothpick, buddy!

	Jason ignores him, strides malevolently forward.  Reznor CLICKS 	his pistol's safety catch --

						REZNOR (cont'd)
			One warning only...do it!

	Jason raises the blade threateningly...and Reznor lets him have 	it, SHOT-AFTER-SHOT.  Jason LURCHES each time the bullets him 	home...Reznor's eyes bug at the lack of effect.  The machete 	SWISHES down, burying itself in the broken bannister-rail.  Reznor 	feints to the right, avoids the swing by millimeters ...loses his 	footing on the ledge--

	AND SLIPS, tumbling down into the store.  Conveniently, the prone 	corpse of Cultist #7 cushions Reznor's fall...but his head BANGS 	against something, KNOCKING him out cold.

	WE FINISH TIGHT ON REZNOR'S HEAD.  Chromed construction boots 	STOMP past on their way out into the night...

	EXT. "SAMHAIN BOOKS" - NIGHT (AERIAL MATTE SHOT)

	TIGHT ON the videocam monitor showing a SKEWED ANGLE of a 	Cultist's face, staring sightlessly.  PULL BACK to reveal --

	A GOD'S EYE ANGLE looking 270 degrees VETICALLY DAWN at the 	bookstore.  The shattered turret is in IMMEDIATE FOREGROUND, 	pockets of GUTTERING FLAME in the rafters here-and-there.  Through 	the rent in the roof, we see part of the "Penticon" and various 	SCATTERED CULTISTS' BODIES.

	Approaching POLICE SIRENS RISE in VOLUME, O.S.  Far below, we note 	TINY FIGURE of Jason Voorhees casting a huge shadow as it stalks 	purposefully away into 	the darkness...
	
										     CUT TO:

	EXT. BLACKTOP ROADSIDE - BETHLEHEM - NIGHT (CRANE SHOT)

	Rain is coming down in sheets, still.  A breakdown truck with 	"Voorhees 24 Hour Motors" markings is pulled at the roadside.  A 	GUY in overalls and an all-weather jacket has his head under the 	open hood of Alice's Lexus, just up-front.

	INT. ALICE'S CAR - NIGHT

	Alice watches as the guy drops the hood, SPLASHES around to the 	driver's side.  She thumbs a control.  The window WHIRRS down, and 	we see Steven Freeman's face.

						ALICE
			So, what do I owe you?

						STEVEN
					(shakes his head)
			I wish it were that simple...

						ALICE
			What is it?

						STEVEN
			Well.  Contacts're fine.  Battery's got a
			charge, so it's not electrical.  Oil's 
			good...something with the gas mix, maybe?
			Might even be in the engine...

						ALICE
			Oh, God --

						STEVEN
			I can put it through the shop overnight.
			You could drop-by tomorrow...

	Alice shoots a worried look at Jacob, asleep in the back seat.

						ALICE
			No.  I'm not...well, we don't live around
			here.  We were driving back, to Ohio --

	Steven scratches his head.  Thinks.

						STEVEN
			Well, then you certainly have a problem.
			I could maybe give you guys a ride?  Some
			reasonable motels, just down off the 
			blacktop --

						ALICE
			This time of the year?  This year?

						STEVEN
			Ah, I know some people.
					(grins)
			Friends in low places.  Y'know?

						ALICE
			Thanks.  Whatever.  Anything I can get
			has to be better than sleepin here, I 
			guess --

										     CUT TO:

	INT. ARRIVAL LOUNGE - DULLES INTERNATIONAL - NIGHT

	CLOSE ON the second hand of Cobain's wristwatch, the TICKING 	incredibly loud.

	WIDER NOW.  Cobain's still sitting on the rotunda.  His eyes are 	heavy, head drooping.  He catches himself.  Repeats this 	once...twice.  The TANNOY ANNOUNCEMENT SLURS and FADES-OUT O.S., 	and --

	HE WAKES BACK TO CONCIOUSNESS, suddenly fully refreshed.  His gaze 	comes up, not really focussing on anything --

	HIS P.O.V., looking around.  Flurries of people hurrying to their 	destination.  Subtly SPEEDING-UP and BLURRING into one. (We HEAR 	the TANNOY O.S. in QUICK GARBLED SPURTS.)  A GAP appears in the 	crowd --

	To reveal a WOMAN in a NUN'S HABIT.  We recognize her as AMANDA 	KRUEGER, Freddy's deceased mother.  She does a quarter-	turn...stares directly at Cobain.

	Cobain frown.  Straightens.  Hears a GREAT ECHOING MECHANICAL 	"CLANK."  Looks up to see --

	-- THE AIRPORT WALL-CLOCK GO BACKWARDS from "12:40" to "12:39".  	He glimpses down at his wristwatch.  The second hand is running 	backwards, too...

	Cobain returns her gaze, finds himself standin inside --

	INT. "CHURCH VOID" (DREAM SEQUENCE)

	AN AREA OF LIGHT, bounded by impenetrable shadow.  The stone floor 	scattered with autumnal leaves, a dais ahead.  Standing on it 	before a VERTICAL STAINED GLASS WINDOW is Amanda, WHITE DOVES 	fluttering about her.  The GIANT CENSERS We saw in the ITALIAN 	PROLOBUE WHOOSH BACK-AND-FORTH between her and Cobain, preventing 	him getting any closer.

	She locks her gaze to him.  He glances nervously left-and-right 	into the shadows before returning it.

						AMANDA KRUEGER
					(resonant echo)
			The time of Darkness falls upon you all...
			you must choose the True Path...ahhhh --!

	She convulses, doubling over.  Hands clutching at her chest.  FOUR 	GREAT BLOODY RIPS stain her robe's white frontispiece:  FREEDDY 	CLAW MARKS.  Cobain makes to move forward --

	AND AMANDA'S HEAD SNAPS UP, hideously transformed into a SKELETAL 	DEATH MASK. Before Cobain can react, Amanda EVAPORATES into a 	SPECTRAL WRAITH and DISSAPEARS.

	A WEIRD EXAGGERATED CLACK-CLACK NOISE O.S. --

	INT. ARRIVAL LOUNGE - DULLES INTERNATIONAL - NIGHT

	Jerks Cobain back to reality.  It was a dream...a weird nightmare.  	A GROUP of 	BLACK YOUTHS are standing of to one side, 	incongruously playing a "NIN" song 	LOUDLY on their boom-box.  	Cobain looks up as the status of all the flights on the arrivals 	board NOISILY changes to "DELAYED" --

										     CUT TO:

	EXT. AIRSPACE - NIGHT

	Lightning ERUPTS around a DC10, battered by storm clouds.

	INT. CLUB CLASS COMPARTMEN - DC10 - NIGHT

	Nervous PASSENGERS are shaken about in the half-full compartment, 	many vomiting into bags.  THe internal lights GLICKER wildly.

	Halfway-back sits PONTIFF MANFREDINI.  50s, plump and 	mustachioed...anxiously clutching a black leather briefcase to his 	chest.  He fumbles awkwardly at the cap of a pill bottle as --

	A GREAT BLAST OF TURBULENCE sends it SPINNING from his grip.  It 	HITS 	deck...BURSTS open, spilling tablets.  Rolls down the aisle.  	A STEWARDESS stops its progress, smiles at Manfredini as she 	swiftly replaces the pills.

						STEWARDESS
			Having a little trouble there, Pontiff?

	Manfredini grimaces apologetically.  Speaks in a broken Italian 	accent.

						PONTIFF MANFREDINI
			I'm...sorry.  I do not...travel well.

						STEWARDESS
			Just like a good wine, huh?

	His attempt at a smile fades with another JOLT of TURBULENCE. 

						PONTIFF MANFREDINI
			The, uh...."Cabinetti"...bathroom?

	She turns, looks back down the aisle.  The illuminated sign 	changes to "OCCUPIED" as an AILING PASSENGER lurches inside.

						STEWARDESS
			Heavy traffic...look, there's another
			cubicle back that way, if you're chewing 
			your knuckles --

						PONTIFF MANFREDINI
					(rising)
			Si...yes.  Thank you --

	INT. PASSAGEWAY - DC10 - NIGHT

	Manfredini is rocked against a wall as the plane is buffeted.

	INT. TOILET - DC10 - NIGHT

	Manfredini enters the cubicle.  Closes the door behind him and 	TURNS --

	To find himself in a CHURCH CONFESSIONAL BOX.  The latch SCHNICKS 	into place 	of its own volition.  Manfredini recoils, sits down 	heavily.  The walls are panelled wood...startles as SICKLY GREEN 	LIGHT BLASTS through the latticework separator.

						DARK VOICE
					(O.S., deep and resonant)
			Father...it's five billi8on years since my
			last confession --

	Manfredini looks around in panic as the walls compress quickly 	inward, and --

	THE FLOOR DROPS AWAY!  He pitches forward, palms pressing aginst 	the walls as MALEVOLENT LAUGHTER echoes.  Flames LICK up from a 	BOTTOMLESS PIT, SEARING at his legs like a flamethrower as --

	The RED-AND-GREEN PEW - his only leverage - TILTS away beneath 	him!  He falls awkwardly, SCREAMING --

	INT. PASSAGEWAY - DC10 - NIGHT

	AND ROCKETS BACK THROUGH THE TOILET DOOR, SLAMMING HARD against 	the passageway wall.  He slumps, staring at the swaying door for a 	moment...listening to the CREAKY HINGES.

	His head JERKS AROUND at a FAINT SOUND further down the 	compartment.  A CHILDREN'S NURSERY RHYME.  HE HEARS an OILY SQUEAK 	some way down the rear of the plane.  Stares 50 feet back to 
	see --	

	A 5 year-old GIRL in a white dress cycles into the aisleway on a 	three-wheeled trike.  Looks directly at Manfredini.  GIGGLES 	mischievously.

						PONTIFF MANFREDINI
			Hey...hey!

						GIRL ON PLANE
					(singsong)
			"One, Two...Freddy's coming for you --"

	She turns the trike's wheel and cycles rapidly off.

						PONTIFF MANFREDINI
			No...wait -- !

	As Manfredini makes to follow, we notice the SHADOW of FOUR GIANT 	CLAWS moving on the wall behind him --

	INT. 2ND PASSENGER COMPARTMENT - DC10 - NIGHT

	Manfredini enters the next compartment...stops in horror.  Crosses 	himself.  The occupied seats contain FRAZZLED SKELETAL PASSENGERS, 	their clothes and bones STEAMING SLIGHTLY.

						PONTIFF MANFREDINI
			God have mercy --

						GIRL ON PLANE
					(O.S., singsong)
			"Three, Four...better lock your door --"

	Manfredini summons up his resolve.  As he hurries towards the 	source of the sound --

	ANOTHER ANGLE, behind Manfredini.  MASSIVE LEGS ENTER OVER CAMERA, 	gunfighter style.  FOUR ENORMOUS BLADES idle into FRAME. 	Intricately etched - but shot-through with rust and corrosive 	pitting - the tarnished chrome catches the light...

	INT. 3RD PASSENGER COMPARTMENT - DC10 - NIGHT

	Manfredini's face registers bewilderment as he enters this 	compartment.  The seats have changed into WOODEN PEWS, each of the 	window portals a small square of stained glass, autumnal leaves 	gusting around.  The trike lies overturned on the floor, a spoked 	rear wheel still spinning.  As the Pontiff crouches to halt it --

	A SPORADIC STROBE-FLASH from the front of the aircraft backlights 	a HULKING FIGURE someway behind him.  An ENORMOUS TORSO, filling 	the passageway and then some...24 INCH SCIMITAR-LIKE CLAWS curving 	down from its right hand.

						PONTIFF MANFREDINI
					(unawares)
			Where are you?

	Manfredini STARTLES as the INFLIGHT MOVIE PROJECTOR starts up. 	(Conveniently, SCENE 67 of "Wes Craven's New Nightmare.")

						WES CRAVEN
					(O.S., on screen)
			" -- It's old, very old.  And it's taken 
			different forms in different ages.  The 
			only thing that stays the same about it, 
			is what it lives for."

						JACOB
					(O.S.)
			You shouldn't be here --! 

	Manfredini looks around.  Sees Jacob standing accross the aisle, 	looking at him with puzzlement.

						HEATHER LANGENKAMP
					(O.S., on screen)
			"What's that?"

						PONTIFF MANFREDINI
			How...where is this place?  The girl...?

	We hear the Dream Girl's GIGGLES from somewhere, O.S.

						GIRL ON PLANE
					(O.S.)
			"Five, Six...grab your crucifix --"

						JACOB
					(ugently)
			Quick!  Get away...you have to wake up!

						PONTIFF MANFREDINI
			Wake...up?

	AN ENORMOUS RIPPING SOUND fills the air as HUGE FREDDY CLAWS GASH 	cross-sectionally through the hull between them --

						WES CRAVEN
					(O.S., on screen)
			"Slaughtering innocence."

	The aircraft hull RENDS APART, SLICED in half --

	EXT. AIRSPACE - NIGHT (OPTICAL - CONTINUING)

	The DC10's tail SHEARS away as Manfredini PLUNGES HUNDREDS OF FEET 	towards CAMERA and certain death, the trike TUMBLING alongside --

						PONTIFF MANFREDINI
			Noooooo -- !

	EXT. APEX OF PILLAR - HELL - ZERO HOUR (CONTINUING)
	
	WHAM!  Manfredini SLAMS RIGHT THROUGH a BARBED STAKE,impaling him 	brutally. (The trike kicks up a DUSTCLOUD as it hits ground in 	F.G.)

	A REVERSE ANGLE as the Pontiff MOANS, grasping feebly at the 	bloody spike.  A GRIM-REAPERESQUE FIGURE with a SCYTHE LOOMING 	over him...beyond, we see the VAST ENERGY TORNADO towering over 	all as it approaches inexorably --

	INT. CLUB CLASS COMPARTMENT - DC10 - NIGHT (BACK TO REALITY)

	An AGITATED PASSENGER tries to hold a BUCKING and STRAINING 	Manfredini.  Blood seeps around the edge of his attache as the 	Stewardess makes to prize it away.  The Pontiff's face is bright 	purple, his eyes bulging.  VARIOUS PASSENGERS crowd around, 	ghoulishly watching.  It's almost as if he were being dragged into 	the air.

						STEWARDESS
			Hold him down...keep him down!

						AGITATED PASSENGER
			I'm trying -- !

	A SECOND STEWARDESS stands behind, grinding tablets against 	Manfredini's clenched teeth.  A SECOND PASSENGER comes into SHOT, 	waving a plastic spoon.

						SECOND PASSENGER
			Get this between his teeth --!

	As the Stewardess YANKS the case away, we hear a CRUNCH --

	AND A BLOSSOM OF BLOOD ERUPTS from Manfredini's chest!

									     	JUMP CUT TO:

	EXT. ROAD - BLACKTOP MOTEL - NIGHT

	The "Voorhees Motors" truck is parked at the roadside, Alice's 	Lexus up on the back ramps.  The garish neon of a nearby motel 	SIZZLES in the sheet rain.

	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT

	The wipers SCHNICK-SCHNICK as Steven stares out through the 	drizzle-speckled 	windshield.  Stephanie is next to him, tearing 	pieces of orange peel and aiming them at Jacob's sleeping face in 	the rear.  He turns, catches her in the act.

						STEVEN
			C'mon - knock it off, Steph.  Kid's beat --

	Stephanie complies...at least until Steven looks away.  She rips 	another piece, FLICKS it at Jacob's cheek --

	AND JACOB BOLTS AWAKE, SCREAMING LIKE A BANSHEE!  Stephanie 	SCREECHES back, caught unawares.  Steven GALVANIZES into action, 	stretching over the seat to Jacob.

						JACOB
			It's him!

						STEVEN
			Whoa, hey...hold the phone --!
		
						JACOB
			He killed the man --!

						STEVEN
			You had a nightmare...
					
						JACOB
			No, I saw him!  With his claws -- !

						STEVEN
			Claws?

	The sudden CLUNK of the passenger side door unlocking makes them 	jump.  Stephanie budges over as Alice leaps in, soaked.

						ALICE
			I don't believe it!  This is beginning to 
			feel like nailing jello to a door.

						STEVEN
			No luck?
	
						ALICE
			"No room at the inn."  Again.

	She pauses.  Recognizes an intense atmosphere in the cab.

						ALICE (cont'd)
			Is everything okay?
	
						JACOB
			Mom, it's the Sandman!

						ALICE
			What?

						JACOB
			It's Freddy.  Freddy Krueger...

	Alice goes still, feels a sudden chill at the name...

										     CUT TO:

	CLOSE ON MANFREDINI'S FACE.  A zipper comes up over it...
			
						AIRPORT COP
					(O.S.)
			It's the damnedest thing...

	WIDER NOW:

	EXT. "APRON" - DULLES INTERNATIONAL - NIGHT

	The rain has stopped.  Blue ambulance strobes light the scene.  	Prominently displaying his F.B.I. clip-tag, Cobain stands with an 	AIRPORT COP watching the gurney containing the Pontiff's bodybag 	being loaded into an ambulance.

						AIRPORT COP (cont'd)
			Paramedics say they've never seen anything
			like it.  Massive internal hemorrhaging, 
			punched right through his ribcage.  No 
			apparent cause.  Vatican's already laying
			on a special flight back for the body.

	Cobain shakes his head.  Glances over at the SOBBING Stewardess 	telling her story to some MORE COPS.

						COBAIN
			How're the cabin staff?

						AIRPORT COP
			If brown trousers and bug-eyes are Airline
			regs, I'd hazard they're peachy.

	He reads the china-pencil writing on a big handled polybag 	containing 	Manfredini's case and a number of loose personal 	effects.  Hands it over to Cobain.

						AIRPORT COP (cont'd)
			"Manfredini."  What'd this goombah do?

						COBAIN
			Pope's Special Envoy.

						AIRPORT COP
					(impressed)
			No shit.  Anyhow...it's all there.  Tagged 
			and bagged.  Expect you boys'll settle the 
			pencil-pushing.

						COBAIN
					(wryly)
			Yea.  Story of my life...

	INT. COBAIN'S CAR - AIRPORT - NIGHT

	The polybag lies on the passenger's side, the attache on top.  	Cobain opens a brown leather pouch in his hands.  Gingerly pulls 	out a plastic exhibition sheath.  Inside is a worn, edge-burnt 	piece of parchment.  The Freddy glove and Jason mask illustration 	from the ITALIAN PROLOGUE.

						COBAIN
			What the...Sam Hill...is this about?

	Cobain's cellphone WARBLES for attention.  He flips it open.

						COBAIN (cont'd)
			Yup...Cobain -- ?

										     CUT TO:

	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT

	Jacob seems troubled, staring out of the window.  The radio plays 	some MUSIC 	at LOW VOLUME.  Steven drives Alice in silence while 	the kids are bonding in the back.

						STEVEN
			Nice car.

						ALICE	
			Thanks. Company.

						STEVEN
			Yea?  Whaddya do?

						ALICE
			I'm, uh, a legal rep.  For a record 
			company.

						STEVEN
			Ever meet any stars?

						ALICE
			No...long hours, you keep your head down.
			Though Alice Cooper once held a lift door
			open for me.

						STEVEN
			Cool.  So what's your husband think of it?

						ALICE
					(touching a nerve)
			No.  Dan...died, before Jake was born.

						STEVEN
			Oh.  Sorry.

	In the rear, Stephanie flips through Jacob's Superhero trading 	cards.

						STEPHANIE
			Wow..."Spawn"!  Who'd you reckon'd win if 
			"Spawn" fought "The Mask"?

						JACOB
			I dunno..."Spawn", I guess.  But it'd be 
			dumb i it was done wrong, 'cause they're
			from different Universes and you gotta 
			have a proper story to make it work --

	Steven hears the conversation.  Grins slightly.  Alice catches his 	eye.  Smiles, then looks away.

						ALICE
			Kids.

						STEVEN
			I know.

	Alice tries hard.  Thinks of some conversation.

						ALICE
			So.  "Voorhees Motors."  This is you?

						STEVEN
			Not exactly.  My wife started up the 
			business with some money we came into a 	
			while back.  We work it together.
			"Voorhees Motors...We'll Slash Your
			Prices."

	Stephanie LAUGHS OUT LOUD in the rear.  Alice looks on in 	bewilderment.

						ALICE
			I'm sorry, I don't -- ?

						STEVEN
			Oh, it's, uh...kind of a family joke.

						ALICE
			Ah.

	Another silence.  Steven breaks it next.

						STEVEN
			Listen.  I don't wanna pry, but...this 
			"Freddy Crew-cut" -- ?

						ALICE
					(interrupting quickly)
			"Krueger."  It's nothing.  Just an...old, 
			bad dream.

						STEVEN
			A dream?

	Jacob catches Alice's quick look in the rear-view.

						ALICE
			It's not something we talk about anymore.

						STEVEN
			Ah.  Okay.

	EXT. DRIVEWAY - FREEMAN HOUSE - NIGHT

	The pickup backs into the driveway, stops.  A sloping ramp leads 	down to the door of the basement autoshop.  Everybody climbs down 	from the cab.

						STEVEN	
			Last stop.  Chateau Freeman.

	Pools of YELLOW LIGHT illuminate the forecourt.

						STEVEN (cont'd)
			Security lights.  Never be too careful.

	Jacob stares delightedly at the big Christmas tree.

						JACOB
			Mom, look.  They've got a real tree!

						ALICE
			Pretty neat.
					(to Steven)
			This is really generous.  I don't wanna be 
			a burden?

						STEVEN
			Ah, don't worry.  Jessica's pretty much
			the understanding type...

	INT. KITCHEN - FREEMAN HOUSE - NIGHT

	Jessica's dressed in awhite oversized man's flannel robe, pinched 	from a hotel somewhere.  She HISSES at Steen, clearly unhappy.

						JESSICA
			Are you nuts?!  What were you thinking!?

						STEVEN
			Jess, the motels were all full --

						JESSICA
			She could be some crazed child molester...
			axe murderer --

	JESSICA'S P.O.V., THE LIVING ROOM.  Jacob looks around as Alice 	hefts a chunky Samsonite case.

						STEVEN
			-- Charlie Manson's secret love-child?
			She's a lawyer, or something.

						JESSICA
			Figures. The worst type.

						STEVEN
			Be reasonable, Jess.  What was I supposed
			to do?  Leave 'em stranded on the 
			Interstate?

						JESSICA
			Yes!

	Steven tries to be placating.  Cups her hips with his hands.

						STEVEN
			Her car needs work.  Think of it as an 
			investment.  Money in the bank.  Just one
			night.

						JESSICA
			One night?

						STEVEN
			One night.  I promise.

	Her arms come up.  Slide around his neck.

						JESSICA
			I swear, my karma sucks.  I get myself 
			married to Crystal Lake's last Boy Scout.

	He grins.  Alice appears at the kitchen door, a little embarrassed 	at interrupting.

						ALICE
			I'm sorry, I --

						JESSICA
					(breaking away)
			Oh --

						ALICE
			Sorry, hi --

						JESSICA
			Hi.

						ALICE
			Alice Johnson.

	Jessica sticks her hand out.  Shakes it.

						JESSICA
			Jessica Freeman.

						ALICE
			I, uh...just wanted to say thanks...you
			know?  There's not a lot of people about
			who'd do something like this for a 
			complete stranger.

						JESSICA
			No, that's...really.  The least we could
			do.

						ALICE
			You might think I was, y'know...an axe
			maniac or something.

	She catches a look from Steven.  Doesn't comment.

						JESSICA
					(blithely)
			No...no.  Never even entered my mind.

						STEVEN
			I'll help you with the bags.  Show you and 
			Jake downstairs.

						ALICE
			Great.

	She smiles at Jessica.  Leaves.  Jessica looks after her.

						JESSICA
			Terrific.

										     CUT TO:

	INT. POLICE HELICOPTER - NIGHT

	TIGHT ON A THERMOGRAPH SCREEN, an AREIAL VIEW of cars and 	buildings reduced to "Hot-And-Cold" colors.  The CHATER of ROTOR-	BLADES O.S.

	WIDER NOW.  A POLICE THERMOGRAPH OPERATOR peers at the monitor 	alongside the PILOT.

						THERMOGRAPH OPERATOR
			3-David-15...two blocks West off Miller,
			we have an unresolved anomaly your
			vicinity...warehouse alleyway.  Over.

										    CUT TO:

	INT. POLICE CRUISER - NIGHT

	A police Cruiser with two cops on patrol, REESE and FOLEY.  Reese 	clicks his 	radio handset.  Swivels the doorlamp towards an 	alleyway ahead.

						REESE
			Aerial...we're on it.  Give us some 
			aircover.

						THERMOGRAPH OPERATOR
					(O.S. on radio)
			Affirmative.

	EXT. ALLEYWAY - NIGHT

	Reese is backlit by the cruiser lamp at the mouth of the alleyway, 	Baretta 9mm drawn.  He ventures forth, passes the overhang of a 	fire exit.  Swings his own flashlight across the trash-strewn 	floor.  The CHOPPER CLATTERS O.S., AN INTENSE CONE OF LIGHT 	stabbing down.  Reese startles.

						REESE
			Aw, crap!

	INSERT, CLOSE ON THE FLOOR.  DOZENS of RATS swaring aound his 	agitated feet.

						REESE (cont'd)
					(thumbs his walkie-talkie)
			Aerial, you might wanna inform Pest
			Control.  Other than that, it's a negative
			on your perp.  OVer.

						THERMOGRAPH OPERATOR
					(O.S., on walkie talkie)
			Roger that, we'll keep on lookin.  Out.

	The chopper spotlight SWEEPS ON OVER, and as it does --

	WE SEE JASON VOORHEES standing in the shadows, SLATS OF LIGHT 	GLIMMERING through the fire-exit onto the chrome mask just inches 	behind Reese!  The Aztec machete raises inexorably to deliver a 	killing blow --

	-- But Reese simply walks back to the Police Cruiser, cheating 	death by seconds.

	DIFFERENT ANGLE, CLOSE ON JASON.  The steel mask turns to TRACK 	the Cop.  A stray shaft of light reveals its edge FIZZING 	slightly.  TINY BLOBS OF MOLTEN CHROME dripping away, as if the 	mask were corroding...

										     CUT TO:

	INT. BASEMENT BEDROOM - FREEMAN HOUSE - NIGHT.

	A stepladder, a bunch of boxes, and numerous odds-and-ends clutter 	up a small 	utility room.  Jacob sits on the edge of the single 	bed, arguing with Alice as she unpacks.

						JACOB
			Mom, I can take the chair --

						ALICE
			Forget it, squirt.  You need your sleep.
					(a beat)
			This isn't about that dream?

						JACOB
			I'm just not tired...

						ALICE
			Jake, he isn't coming after us again.
			Fred Krueger's no threat to anybody, I 
			cancelled his tickt a long time ago...

						JACOB
			I saw him!  On the airplane. He was just
			like the stories the kids tell at 
			school...with the claws, only --

						ALICE
			What?

						JACOB
			He was bigger, Mom.  Real, real bigger...

										     CUT TO:

	EXT. FRONT OF STORE - "SAMHAIN BOOKS" - SUNRISE

	Reznor sits atop a gurney, swatting away the attention of a 	PARAMEDIC.  His arm in a splint, he smokes a cigarette with his 	free hand.  We see TREAD MARKS of FRESH BLOOD on the concrete 	sidewalk left by those leaving the store.

	EMERGENCY VEHICLES are parked haphazardly out front.  Yellow-and-	black OSHA tape sections the area off from the ONLOOKERS who are 	beginning to gather. Cobain ducks under it clutching his F.B.I. 	files, flashes his badge to a DUTY 	COP.  A T.V. CREW on the 	sidelines tries to grab his attention --

						T.V. REPORTER
			C'mon, Officer!  Last chance for Primetime
			this Century...!

	He ducks them.  Heads for Reznor, juggling his cellular with one 	hand while smoking with the other.

						REZNOR
					(into phone)
			Paula, I'm fine.  A noggin' bump, I'll
			survive.

	He has a COUGHING fit as Cobain reaches him.

						COBAIN
			You know, those things'll kill ya...

						REZNOR
					(to Cobain)
			You're hilarious.
					(into phone)
			No...Jack.  He just got here.  Yeah, bye.
					(back to Cobain)
			What took you?

	Reznor lowers the phone.  Dabs at his forehead, eases himself up.  	Cobain stares up at the soldering turret.

						COBAIN
			Long story.  Jeez, what'd you do?  Pull a 
			bazooka?

	Another gurney is carried out from the building, a black dodybag 	atop it.

						PARAMEDIC LEADER
					(loudly to all)
			Anyone I.D.'d these wackos?

	Cobain passes him, tosses the file on top of the bodybag.

						COBAIN
			Here.  Mix'n'match.

	They reach the store's front door.  A black-outfitted SWAT LEADER 	storms over, waving a paper sheet in Cobain's face.

						SWAT LEADER
			Cobain...hey!  You know anything 'bout
			this?

						COBAIN
			Hi, Lee.

						SWAT LEADER
			Some asshole faked my signature on a rec.
			form!  Myguys were dragged out of bed at
			one in the morning!

						COBAIN
			Yeah...you did a great job, by the way.
			Hate to think what'd've happened if you 
			hadn't made it --

	INT. MAIN STORE - "SAMHAIN BOOKS" - SUNRISE (CONTINUING)

	Dawn filters through the shattered window as they pass amoungst 	the bookshelves.

						COBAIN
			Interpol came up aces on the photographs.
			Guy called Karswell from England, Fulci
			from Italy...etcetera, etcetera.  Turned 
			out these guys were some sort of...
			Millenarian, Nihilistic sect.

	Reznor shucks-off the splint, casts it aside.

						REZNOR
			Let's hear it for the forces of irony.

	INT. SACRIFICIAL CHAMBER. - "SAMHAIN BOOKS" - SUNRISE

	WHAM!  A POLICE PHOTOGRAPHERS FLASH GUN goes off.  Victim chalk 	marks are all around..one has an irregular puddle where the head 	should be, another has its heat drawn yards from the body.

						COBAIN
			Holy Frejole...

						REZNOR
			Yeah.  Invite a few pals 'round for a 
			little harmless human sacrifice, look what
			happens.

	Cobain takes a look around, notices the room.  Sees the 	"Penticon".

						REZNOR (cont'd)
			I'm telling you, Jack...whoever he is, 
			this guy's an elemental force of nature.
			Iced eight of 'em, all told.  I pumped a
			half-clip into him.  Zip effect.

	Cobain pauses at the Cross.  Runs his finger through some ashes 	there (the flaky remains of the Goth sacrifice).

						COBAIN
			Kevlar, most likely.  Any leads?

						REZNOR
					(shakes his head)
			Spotters all over.  Running operations
			outta Bethlehem P.D.

						COBAIN
			Good.  Have the locals roll up the red 
			tape, put it in a drawer till this is 
			over --

	Cobain looks around at the shattered roof.  Spots a TECHNICIAN 	placing the Cults' camcorder into an evidence bag.

						COBAIN
			We actually get a recording?

						REZNOR
			Grandstand seats.
					(beat)
			The name "Jason Voorhees" jog any grey
			cells?

						COBAIN
			Sure.  "Required reading' at the Academy.
			Bundy...Dahmer...Myers.  Up there in the 
			Pantheon of "All-Time Sickos."  Our guys 
			DX'd him...what?  Years back.

						REZNOR
			I think we got us a copycat.  Our perp had 
			the same M.O.  Machete...hockey mask...the 
			works.

	Cobain freezes on Reznor's words.

						COBAIN
			"Hockey mask."

						REZNOR
			Yeah.  What?

	Cobain looks carefully around.  Drops his voice.

						COBAIN
			Let's talk somewhere.  There's some very
			disturbing synchronicity shit going down
			here --

									          CUT TO:

	INT. BASEMENT BEDROOM - FREEMAN HOUSE - MORNING

	Morning light filters in.  Alice sits in the chair, a blanket 	across her legs.  Dark rings circle her eyes.  As she watches 	Jacob on the bed, he gives a gentle snore.  She picks up her 	travel clock from the side.  IT reads "7:20".

						ALICE
			Finally.

	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORNING

	Shelves line the walls, filled with auto parts.  An old Pontiac 	raised on a ramp above the grease pit.  An engine block dangles 	from chains nearby.  Jessica has her head under the Lexus hood, 	hands buried deep within the engine bowels.  A boom-box on the 	workbench plays ENERGETIC, THUMPING ROCK.

						JESSICA
			Now...what have we here -- ?

	HANDHELD, moving in towards Jessica's back.  THreatening.  We get 	the feeling she's about to meet an untimely end, as --

	WHAM!  Steven swipes her fanny with an automap.  Jessica jumps, 	YELPS.  Her head BANGING on the hood.

						STEVEN
			Gotcha!

	He swipes the oilrag from her back pocket.  THWAPS it jokily at 	her.

						JESSICA
			Ow...goddamn!  That isn't funny!

	He puts his hands on her hips.  Kisses behind her ear.

						STEVEN
			Y'know - first time I ever saw you, you 
			were bending over a crate of Gatorade at 
			Joey B's.  Know what I thought?

	She twists around to face him.  Drapes her arms around his neck.  	Slow smile.

						JESSICA
			Tell.

						STEVEN
			You'd prob'ly blow it when you turned
			around --

	She THUMPS him.  Playfully affronted.

						JESSICA
			Pinhead.  I hate you.

						STEVEN
			That so?

						JESSICA
			No.
					(they kiss)
			You heading off?

	Steven crosses to the exit.  Takes his coat from a hook.

						STEVEN
			Yeah.  I wanna hit Pittsburg quick, beat
			that Millennial gridlock.

						JESICA
			Well, watch yourself.  Be a lot of rush-
			hour Rambos about.

						STEVEN
					(flip, quickly)
			I'll be sure to pack a machete.
					(catches himself, realizes)
			Sorry.  You gonna do that church thing
			later?

						JESSICA
			I promised Father Shaye already.  If you
			miss me, I'll drop Stephy over with Rachel.

						STEVEN	
			Right.  You know, you really should secure 
			this --

	The greasepit hydraulic controls hang loosely overhead on the end 	of a 	cable.  Steven grabs it, stows it on a wallclip.

						JESSICA
			Steven?

						STEVEN
			Uh-huh?

						JESSICA
			I do love you.  I know it'll work out okay.

	Steven winks at her.  Throws the oilrag back.  Jessica catches it 	deftly.

						STEVEN
			Never doubted it at all.  Hey...be a good
			girl, I'll take you to the firework
			didplay tonight.

						JESSICA
			Oooh.  Promises, promises --

	INT. KITCHEN - FREEMAN HOUSE - MORNING

	A boiling kettle steams up teh window.  Alice stands in a robe, 	stares outside.  An air of loneliness about her.

	HER P.O.V.  Jesica kisses Steven goodbye at the pick-up's open 	door.

	INT. BATHROOM - FREEMAN HOUSE - MORNING

	The bathroom is tiled, cramped.  Old-fashioned.  A Heath-Robinson 	plumbed shower against the wall, a cream-colored plastic curtain 	hangs on the rail.

	In FAST-CUTS, Alice - tastefully - loses her robe.  Steps into the 	shower, turns on the faucet.  (Perhaps teasing our audience by 	emulating the "Psycho" 	showere scene).  We END on a fatigued 	Alice, resting her forehead against a pipe.

	THE EDGE OF THE SHOWER CURTAIN MOVES SUDDENLY, as if caught in a 	breeze.  TIGHT ON  an ANGLEon oe part of the material as it 	UNDULATES...DIMPLES --

	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORING

	Alice's Lexus is up on low portable ramps now.  Jessica lies on a 	mechanic's trolley beneath.  She forces something with a wrench - 	it SLIPS, clattering out from her grip.

	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORNING

	Alice's Lexus is up on low portable ramps now.  Jessica lies on a 	mechanic's 	trolley beneath.  She forces something with a wrech - 	it SLIPS, clattering out from her grip.

						JESSICA
			Ow!  Dammit!

	She leans her head back, closes her eyes briefly...

										     CUT TO:

	INT. BATHROOM - FREEMAN HOUSE - MORNING (RESUME)

	Alice's breathing is shallow.  Head bowed, eyes closed.  Water 	cascades across her naked shoulders.  the material of the shower 	curtain behind her STRETCHES, into one of the --

	"NEW" FREDDY CLAWS...MORPHING to a full length of 18 inches.  A 	SECOND emerges...a THIRD, a FOURTH.  Flexes --

	CLOSE ON ALICE...same position, still oblivious --

	AS A BUMP THE SIZE OF A PUMPKIN BULGES like a vac-form mold, high-	up on the curtain.  A HEAD --

	AN ANGLE CLOSE ON ALICE, a great mass rising behind her --

	A VERTICAL ANGLE, looking straight down.  A HULKING FORM SWELLING 	IMPOSSIBLY OUT OF NOWHERE from the curtain --

	A FAST CIRCULAR DOLLY from one side of the shower to the other as 	MIGHTY-THEWED ARMS STRETCH OUT to encompass Alice --

	TIGHT ON ALICE'S HEAD, the claws enveloping it.  A TINY 	MOVEMENT...preparation to CRUSHING HER SKULL, and --

	WHUMPWHUMPWHUMPWHUMP!  The shower plumbing RATTLES NOISILY, the 	water flow drying-up...JOUNCING Alice back to consciousness.  The 	ERSATZ PLASTIC FORM behind her COLLAPSES back into nothingness --

	And Alice turns to see...A PLAIN PLASTIC SHOWER CURTAIN, billowing 	slightly in an unnerving fashion.  She takes a breath, a little 	unsure.  Tiny water droplets PLINK-PLINK away down into the 	drain...

										     CUT TO:

	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORNING (RESUME)

	TIGHT ON OIL DROPLETS PLOPPING on the floor.  Jessica's still 	under the Lexus, struggling with the protesting nut.

						JESSICA
			Damnation --

	Oil SPECKLES her face as she shifts position to gain better 	purchase.  Jessica brushes her cheek...it comes off, a BLACK 	SMUDGE.  The SPATTERING increases as she pulls harder on the 	wrench.  She swats in annoyance at it --

	-- STREAKING her hand in a LONG RED SMEAR.

						JESSICA (cont'd)
			What the -- ?

	A VIBRATION starts up, the car JUDDERING atop the ramps a sif in 	an earthquake.  Jessica panics --

						JESSICA (cont'd)
			Shit!

	She KICKS the trolley RAPIDLY away as -- 

	-- ONE OF THE RAMPS COLLAPSES, the Lexus part-rolling/part-	collapsing back down onto her thights, pinning her to the floor.  	She SCREAMS IN PAIN, pulling at her trapped leg.  We see BLOOD 	TRICKLE OUT from beneath the vehicle (at this stage, perhaps we 	even think it's Jessica's own).

	VAPOR BILLOWS AROUND the edge of the hood as she tries to tear her 	limb back, the car SHAKING and RATTLING like a possessed beast.  	(NOTE: this will be SHOT IN REVERSE, so the steam will appear to 	flow INTO the hood from nowhere.) Jessica's leg comes free, deep 	gouges TEARING into her coverall.  She pulls herself away, 	WHIMPERING as a SHEET OF BLOOD EMERGES...spreads.  Her jaw 	working in disbelief --

	ANOTHER VERTICAL ANGLE, dark liquid expanding on all sides.  The 	hood ROCKS 	and JUDDERS, THICK SMOKE now.  Jessica steels herself, 	limps forward.  Slips on the slick gore, her hand coming down on 	the hood and --

	-- LOOSES AN AGONIZED CRY.  The flesh of her palm SEARS as if 	touching a griddle, a NOISE like SIZZLING BACON, and --

	THE HOOD SPRINGS UP, YANKING Jessica with it.  A VACUUM ROARS 	below, her free hand flailing as it tries to suck her down into --

	-- FREDDY'S HELLISH FURNACE!  Impossibly positioned ay below where 	the engine should be, feeder pipes BELCHING.  The filthy grating 	doors open, FLAMES ROARING.  Then --

						JESSICA
			Nooooo -- !

	A BLAST of superheated air sends her flying, SPLASHING down onto 	the floor.

	The hood SLAMS BACK DOWN...we see why.  The massive "New" FREDDY 	CLAW embedded in it, a MALFORMED HAND going OUT OF FRAME.

	There's a DEEP GROWL, O.S.  A GREAT SHADOW LOOMS across Jessica.  	She looks up.  GASPS, and --

	INT. BASEMENT AUTOSHOP - MORNING (BACK TO REALITY)

	-- JOLTS AWAKE with a LOW CRY, beneath the car again.  Jessica 	gathers herself, and --

	There's A FLASH OF SILVERED METAL.  Something half-lodged up in 	the chassis swings down at her.  A QUICK IMPRESSION of an edged 	blade --

	And Jesica CRIES OUT as she propels the trolley back out into the 	autoshop --

	And Alice is standing there, coffe mugs in her hands!  Jessica 	YELPS in suprise...Alice YELPS back, drops one of the mugs.  It 	SHATTERS on the floor.

						JESSICA
			Jesus!

						ALICE
			Oh, God...I'm sorry.

						JESSICA
			You scared the lights outta me!

						ALICE
			I, uh...brought coffee.

						JESSICA
			Normally, I take it in the cup.

	They look at each other.  Both LAUGH.  A bonding moment...

										     CUT TO:

	INT. BETHLEHEM POLICE DEPARTMENT - MORNING

	WIDE ON a busy and brightly-lit open-plan Precinct.  Usual Cop 	Stuff going on, the occasional CRIMINAL and HOOKER being dragged 	off to a holding pen.

	We see Cobain and Reznor within the Captain's cubicle.  Smack in 	the middle, a perfect GLASS BUILDING-BLOCK.  HEAR the SACRIFICIAL 	INCANTATION again, O.S.

						LEAD CULTIST
					(O.S., on T.V. speaker)
			"Lord of Gehanna...keeper of the Fallen
			Spirits of Darkness -- "

	INSIDE THE CUBICLE NOW, CLOSE ON A VIDEO MONITOR.  We see the Goth 	Girl thrashing around on the Cross.

						GOTH GIRL
					(O.S., on T.V. speaker)
			"Crazy freako psycho bastards...let me go!

	The contents of Manfredini's pouch are spread across the table, 	the men sifting through it.  Reznor's turns the pages of the 	Necronomicon.  Stares at the indecipherable runes.

						REZNOR
			I can't understand didley-squat.

						COBAIN
			They could...

	Reznor picks up the sheathed Italian parchment in his hand.  	Shakes his head.

						REZNOR
			A hockey mask.  This is one big fucking 
			coincidence...you wanna turn that down?
			It's giving me a headache.

	Cobain's inspecting a somewhat plain dagger sesting in a plush 	wood-and-velvet travel case - in fact, on of the Horvath Daggers 	from the ITALIAN PROLOGUE.  He complies, thumbs the T.V. volume 	lower.  Nods at the drawing.

						COBAIN
			Recognize that claw?

						REZNOR
			Apart from "nope"?

						COBAIN
			"The Springwood Slasher"...Frederick
			Krueger.  Child killer.

						REZNOR
			Yeah, wait.  I remember.  Misfit with a
			Beau Brummel complex?

						COBAIN
			The same.  Carved a swathe through a 
			little Ohio town a bunch of years back.
			Literally.  Vigilante group torched him
			after the Cops gummed up the arrest
			papers.  Our dead ecclesiast's got it all
			here in black-and-white --

	He throws a clip of shets over to Reznor.

						REZNOR
			Yeah.  His mother was a...missionary, nun
			or something.

						COBAIN
					(frowns, thinks)
			Nun?

						REZNOR
			What?

						COBAIN
			Nothing.  Skip it --

	Reznor's forehead knits as he studies the parchment.

						REZNOR
			You're talking about current events.  This
			sucker's suposedly over 300 years old...!

	He waves it in emphasis.  His attention distracts as the Cultist's 	recording WHITES-OUT in a BURST OF STATIC. 

						REZNOR (cont'd)
			Wonder why it glitches there...?

						COBAIN
			Manfredini had the whole run-down on the
			bookstore Cult too.  Lot of other weird
			stuff.  "The Fatima Prophecis"..."The 
			Kali Yuga", a great conflagration meant to
			destroy the known Universe...

						REZNOR
			That case, you're gonna love this --

	He holds up another 8 x 10 for Cobain.  "Before-And-After" 	ASTRONAMICAL SHOTS, stars against velvet blackness.

						REZNOR (cont'd)
			Jet Propulsion Lab...Hubble Space
			Telescope.  NASAA say the outermost stars 
			are dissappearing.  No-one knows why.

	Cobain makes a face.  Continues reading.

						COBAIN
			Creepy...
					(a beat)
			Something about Enochian Myth.  Lucifer in
			an eternal contest for human souls.  Notes 
			too 'bout what the Chippewa Indians call
			"The Great Purification."  Hurricanes, 
			land upheavals.  Earth's magnetic poles 
			switchin' polarity around.  THis look 
			familiar to you...?

	He holds up a glossy 8 x 10.  The "Penticon" shape against a jet-	black background, surrounded by a colorful "Kirlian Aura".  Reznor 	recognizes it.  Double-takes...

						REZNOR
			Hey!  That's --

	Cobain flips the picture 90 percent.  Reads the edge reference.

						COBAIN
			Yea.  Except it's not.  "Tachyon Path of 
			A Charmed Anti-Quark"...Lawrence-
			Livermore, Quantum Particle Research.

						REZNOR
			Sounds like a six-pack conversation to me.

						COBAIN
			Later.  And it's your round.

						REZNOR
			YOur dreams --

	Reznor pulls out a cigarette.  Just as he lights-up, a LADY 	CAPTAIN appears at the cubicle doorway.  Gets his eye.

						LADY CAPTAIN
			Hey..."Club Fed."  Don't you read?

	She nods to the "No Smoking sign dangling from a string.

						REZNOR
			Shouldn't you be out on a ledge somewhere,
			Captain?

	Reznor stubs it out in annoyance.

						LADY CAPTAIN
			Metallurgy got some odd scrapings from the 
			crime scene.  Running it through the lab 
			now.

						COBAIN
			Thanks, Captain.

	She nods.  Leaves.  Cobain continues.

						COBAIN (cont'd)
			So - summary.  We've got "The Man Who Knew
			Too Much" croaking it on a plane --

						REZNOR
			Right.  A store full of toasted creeps and 
			wad of "End-Of-The-World" guff right outta 
			"The Omen" --

						COBAIN
			This Voorhees character on the one hand,
			Krueger on the other --

						REZNOR
			"Freddy versus Jason."

						COBAIN
			Yeah.  Who'd you lay money on...?
					(beat)
			Where's the glue that puts it together?

						REZNOR
			I don't wanna stick my titanium neck out,
			but...this is who he was flyin' over for --

	He passes over a sheet.  Cobain scrutinizes it.  Nods.

						COBAIN
			One's local at least.
					(beat)
			Life was so much easier in the old days.

						REZNOR
			Yeah, but nowhere as interesting.

						COBAIN
			Let's do it.

	CLOSE ON THE SHEET.  One above the other, PHOTOCOPIES OF ALICE 	JOHNSON AND JESSICA FREEMAN'S DRIVER'S LICENCES...

										     CUT TO:

	EXT. DRIVEWAY - FREEMAN HOUSE - MORNING

	Jacob leans against the garbage cans.  Stephanie sits chalking a 	hop-scotch 	grid on the driveway.

						STEPHANIE
			"Four, Five --"

						JACOB
			No, it's "Three, Four --"

						STEPHANIE
			That was the last part...

	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORNING

	Alice leans against the doorframe watching the kids.

						JESSICA
					(O.S.)
			I got it.

	Alice turns.  Jessica slides out from the car with a triumphant 	look, something wrapped within the oily rag in her hand.

						JESSICA (cont'd)
			Found your McGuffin.

	TIGHT ON ALICE. (In B.G. we nothice an ICE-CREAM VAN draw up to 	the roadside, it's TINKLING MUSIC FILTERING-IN O.S.)

						ALICE
			What was it?

						JESSICA
			Real trippy.  Lodged amongst the chassis
			cabling.  Must've bounced up fairly hard
			from the road.

	Alice takes the soiled bundle.  Opens it, and --

	SHRIEKS!  Jerks it away on reflex.  The contents hit the floor 	with a DISCORDANT CLANG.  Straight away we recognize TWO MANGLED 	METAL FINGER BLADES attached to A PIECE OF TATTERED LEATHER.  THE 	REMAINS OF THE "OLD" FREDDY CLAW.

						ALICE
			Oh my God!  No --

						JESSICA
			What's wrong?

	Alice takes a part-step back in absolute disbelief.

						ALICE
			No...it...he's dead...gone --

						JESSICA
			Who is?

	At that second, we realize the ICE CREAM VAN MUSIC has altered (on 	the SOUNDTRACK, for our benefit) to THE FREDDY NURSERY RHYME 	THEME.  Alice WHIRLS --

	-- As Jacob and Stephanie SING ALONG the MATCHING LYRICS, 	playfully argumentative over the wording.

						JACOB
			"One, Two - Freddy's coming for you."

						STEPHANIE
			It's "Jason".

						JACOB
			It's not --

						STEPHANIE
			It is.  "Jason's coming for you"...

	Jessica calls past Alice, annoyed.

						JESSICA
			Stephy, I told you to quit with that dumb
			song.

	Alice turns on Jesica.

						ALICE
			You know that rhyme?!

						JESSICA
					(confused)
			Sure, it's a playground song.  From Lake
			Crystal.  Kids used to sing it, help keep
			away the bogeyman...what is that thing,
			anyhow?

	She nods at the mangled "Fredy fingers", glinting evilly in the 	morning sun.  We END on ALICE, visibily disturbed...

						       		 FAST TIME CUT TO:

	EXT. STREET - OUTSIDE FREEMAN HOUSE - AFTERNOON (LATER)

	LOW ANGLE, TIGHT ON a BEHLEHEM P.D. BLACK-AND-WHITE as it parks 	smartly at the sidewalk.

	INT. LIVING ROOM - FREEMAN HOUSE - AFTERNOON

	Alice is sitting on eht couch, shell-shocked.  She stares numbly 	at the mutilated knife-fingers on the low table befor her, a 	still-full coffee cup gone cold in her hands.  The T.V. plays a 	news report in B.G.

						T.V. REPORTER
					(O.S.)
			"The National Science Foundation at
			Antartica today reported unprecedented 
			fluctuations in the Earth's magnetic
			fields --"

	INT. KITCHEN - FREEMAN HOUSE - AFTERNOON (CONTINUING)

	Jacob and Stephanie observe Alice concernedly.

						STEPHANIE
			Is she alright?

	Jacob shakes his head, worried.

	INT. LIVING ROOM - FREEMAN HOUSE - AFTERNOON (CONTINUING)

	Alice starts as the DOORBELL RINGS, O.S.

	INT. BATHROOM - FREEMAN HOUSE - MORNING

	Jessica's under the faucet, shampoo spilling from her hair.

						JESSICA
					(shouts)
			I'm in the shower!

	EXT/INT. FRONT DOOR - FREEMAN HOUSE - AFTERNOON

	Alice cautiously opens the front door to be confronted by Cobain 	and Reznor.  Two COPS sit in a parked Cruiser behind Cobain's car 	at the sidewalk.  Expecting Jessica, the Feds register Alice and 	DOUBLE-TAKE --

						COBAIN
			Mrs...
					(a beat, confused)
			Alice Johnson?

	Alice is equally flummoxed now.

						ALICE 
					(hesitant)
			Yes?

	Cobain and Reznor exchange a "What The Hell?" look.

						REZNOR
			This...is the residence of Mr and Mrs
			Freeman?

						ALICE
					(nods her head)
			I'm staying temporarily.  Is there some
			kind of problem?

	Cobain flashes his badge.

						COBAIN
			Federal Officers, Miss Johnson.  Might we 
			talk...?

	An ELDERLY WOMAN NEIGHBOR peers through a window across the 	street, while a MAN stares fixedly at Alice from watering his 	lawn.  Alice nods, opens the door further.  We see Jessica emerge 	in B.G., towelling her hair --

										     CUT TO:

	INT. BETHLEHEM POLICE DEPARTMENT - EVENING

	Jacob and Stephanie sit at a desk scribbling colorful drawings.  	Reznor appears with a cut-out tray of drinks.

						REZNOR
			Who gets the Sprite?

						STEPHANIE
			I do!

	Reznor places the drinks down.  Glances at the drawings GARISH 	REPRESENTATIONS of MONSTERS and FIRE.

						REZNOR
			Very colorful.

						JACOB
			We're running out of red.

						REZNOR
			I had that feeling also.

	IN THE CUBICL NOW, TIGHT on the VIDEO MONITOR.  JASON'S KILLING 	MASK on STILL-FRAME-ADVANCE.

						JESSICA
					(O.S.)
			It's similar, but...I dunno --

	WIDER.  Cobain sits opposite Alice and Jessica as Reznor enters, 	puts down the remaining cups.  Alice is perusing the Vatican 	documentation (we clearly see the parchment).

						ALICE
			Ceremonies, daggers...None of this makes
			any sense.

	We see Jessica react to "dagger".

						JESSICA
			Yeah.  Why us?

						REZNOR
			Poser of the hour.  Except, the only
			person can answer no longer qualifies for
			brerathing status.

						COBAIN
			The pouch and its contents were being
			delivered expressly for you.  We're trying
			to contact Rome.  Unfortunately, the lines
			seem to be down.

	Overhead fluorescents SPUTTER, the T.V. monitor and computer 	terminals flicking off.  The VCR clock resets to "0:00".

						REZNOR
			Brownout again.

						REZNOR
					(continuing afresh)
			Eight years ago, opposite ends of Ohio
			State.  two separate spates of multiple
			homicide, bearing all the hallmarks of 
			deceased serial killers to whom you were
			both in some way connected.  Apparently 
			unrelated...until now.

	Alice and Jessica's gaze falls to teh Vatican parchment.  They 	catch each other's eyes.

						ALICE
			As far as I was concerned, Freddy Krueger 
			lies dead and buried.  I've a kid now  I
			don't want him exposed to my demons.

	Reznor SQUEAKS the battered Freddy blade, like you might play with 	a crab claw.

						REZNOR
			When something of this magnitude crops up,
			Miss johnson, I'd look on it as something
			more than coincidence.  Frankly, this 
			story about a loony who comes after you in
			your dreams --

						COBAIN
					(interjects, placatory)
			-- It's a little far-fetched.

	He tosses it down onto the paperwork.

						JESSICA
			For all you know, this might be just one
			more sicko out to get his jollies --

						COBAIN
			-- Like the one four years back?

	Jessica shifts.  Reznor reacts as she pulls out a cigarette, moves 	forward the "No Smoking" desk notice.

						REZNOR
			Sorry...there's, uh, no smoking here.

	She shoots him a look, ignores him.  Lights it.  Reznor fidgets 	uncomfortably with the sign.

						COBAIN
			The Vatican's Been compiling detailed
			files on you both for some time, yet you
			say you've never met before yesterday.
			What do you reckon the odds are on that?

						ALICE
			What do you want from us?

						COBAIN	
			Just coopereation.

						REZNOR
			Mrs Freeman, your husband's not back from
			Pittsburgh untill tonight?

						JESSICA
			That's right.  Are we under arrest?

						COBAIN
			No.

						REZNOR
			We will be stationing units on block 
			perimeter around your house, though.  For
			your protection. 

	EXT. BLUFF - OVERLOOKING BETHLEHEM - LATE AFTERNOON (DARK)

	A LIGHTNING BLAST, JASON'S UPTURNED MASK clearly reflecting the 	turbulent darkness above.  As he drops his gaze, we notice the 	chrome corroded more substantially than before.

	WIDER NOW.  We CRANE UP behind Jason, Bethlehem's houses spread 	out neatly 	below...

										     CUT TO:

	EXT. FREEWAY - EN ROUTE TO BETHLEHEM - NIGHT

	Steven's pick-up speeds along a rain-slicked road.

	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT

	Steven drives along, squinting through the windshield.  Pummeling 	rain renders the wipers impotent.  BURSTS of STATIC cut across the 	radio O.S., tuned to a MUSIC CHANNEL.

						STEVEN
			Come on...come on --

	An INTENSE LIGHTNING FLASH like a H-BOMB BLAST - dwarfing 	everything we've 	seen before - EXPLODES, blinding Steven.

						STEVEN
			Jesus!

	The car swerves, his headlight beams FLICKERING.  The radio going 	NUTS --

	EXT. FREEWAY - EN ROUTE TO BETHLEHEM - NIGHT

	Streetlights EXPLODE in SHOWERS of SPARKS, and --

	A ROAR OF THUNDER like the CRACK OF DOOM ECHOES horizon-to-	horizon.  Intermittent FLASHES within the clouds as a great RIPPLE 	- like an ocean wave - SWEEPS across the sky.

	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT

	The pick-up spins through 180 degrees as Steven jams on the 	brakes.  He looks at the driver's compass mounted on the dash.  	The needle is spinning madly	around.  Peers back up at the sky.

						STEVEN
			What in the hell was that...?

										     CUT TO:

						COBAIN
			This curent guy's killed at least eight
			already.  Genuine or not, he might be
			following an agenda.

						JESSICA
			I have to attend Mass this evening.

						COBAIN
			That's fine, as long as you stick to 
			public places.  Miss Johnson, we'd 
			appreciate it at this time if you didn't
			make plans to leave.

						ALICE
			Alright.

						REZNOR
			I'll drive you back.  Stay with you until
			Mr Freeman returns.

	Reznor rises, prompting everyone to follow suit.

						COBAIN
			We want to assure you of your safety.
			Anything tries to get to you, gotta go
			through us first.

	Alice opens the cubicle door.

						ALICE
			Kids...come on!

	Jessica pauses.  Turns to Cobain.

						JESSICA
			Agent Cobain.  If you're wrong about 
			this...then you have no idea what you're
			really dealing with.

	EXT. PARKING LOT - BETHLEHEM P.D. - LATE AFTERNOON (DARK)

	Alice and the kids pile into the rear of a Black-and-White.  	Reznor pauses at the open passenger-side door.  Looks up as the 	clouds boil oddly.

						REZNOR
			Boy.  It's shaping up a Hell of a day...

	As THUNDER BOOMS, we --

										FAST CUT TO:

	INT. "BLACK-AND-WHITE" - STREET - NIGHT

	Reese and Foley sit on night duty, bored out of their minds.  	Reese is thumbing shells into a riot gun.  Foley's eyes are 	closed.  We HEAR the THUNDERCLAP REVERB O.S.

						REESE
			What was that?

						FOLEY
			Ten more lousy cents on my paycheck.

	We see the SPARKIGN CHRISTMAS TREE across the road reflected in 	the car's side window.  Foley opens her eyes, annoyed.

						FOLEY (cont'd)
			That tree's pissing me off.

						REESE
			Why are you so irritable?

						FOLEY
			You jacking me?  THe entire planet's out
			partying like it's 1999, and I pull short-
			straw with G.I. Joe.  Life's unfair...

						REESE
			Hey - pardonez-moi.
					(a beat)
			Say...isn't that one of the Feds down
			there?

	Foley straightens, squints.

						FOLEY
			Yeah --

	EXT. STREET - OUTSIDE FREEMAN HOUSE - NIGHT

	The black-and-white flashes its lights at Reznor as he stops 	outside the house.  He nods back in return.

	EXT. REAR GARDEN - FREEMAN HOUSE - NIGHT

	Reznor sits on the swing in the overgrown garden.  Looks up to see 	Alice closing the living room drapes.  Drops his cigarette and 	GRINDS it underheel...

	INT. LIVING ROOM - FREEMAN HOUSE - NIGHT

	Alice turns away from the window.  Jacob is messing with the T.V. 	remote, but all the channels are fuzzy.

						JACOB
			Mom, I can't get "Destroy All Monsters" on
			the Movie Marathon!

						ALICE
			C'mon.  Leave it alone, Jake.

	She sees Stephanie sitting quietly off to the side.

						ALICE
			You okay, sweetheart?

						STEPHANIE
			Alice...monsters aren't coming after us
			are they?

						ALICE
			No, sweetheart.  Even if they were I'm
			here, and your mom and dad'll be back soon.

						STEPHANIE
			Jake says if they come in our sleep, you
			can kill them.

	Jacob flashes a look of alarmed betrayal.

						JACOB
			I didn't!

						ALICE
			I don't know about that, but...if you want 
			me to , I can be right there in your dreams 
			with you.

						STEPHANIE
			For real?

						ALICE
			Honest injun...

	The girl looks reassured at this.  Smiles.

										     CUT TO:

	EXT. CHURCH - BETHLEHEM - NIGHT

	Bright interior lighting filters through the stained glass like a 	beacon in the night.

	INT. CHURCH - BETHLEHEM - NIGHT

	The pews are packed, Jessica a few rows from the front.  She 	covers her mouth suppressing a yawn.  An ELDERLY MAN alongside 	glares at her.  Up on the pulpit, FATHER SHAYE is delivering the 	last Mass of the Century.

						FATHER SHAYE
			-- And though tonight is a time of
			celebration across the world, it's also
			one of great uncertainty...many evils
			stalking us into the new Millennium.  I
			ask you all now, to bow your heads --

	At the corner of her vision, Jessica notices a nun staring at her.  	We suddenly realize this is Amanda Krueger.

										     CUT TO:

	INT. CORRIDOR - BETHLEHEM P.D. - NIGHT

	Cobain is on the way out, shucking on his coat.  The Captain 	crosses him, stops.

						LADY CAPTAIN
			Cobain...the lab boys finished those metal 
			tests before they went off.

						COBAIN
			Anything?

						LADY CAPTAIN
			Only that the scrapings evaporated.

						COBAIN
			Say what?

						LADY CAPTAIN
			Yeah, like whatever it was from, was
			disintegrating at an incredible rate.
			That make any sense to you?

						COBAIN
			About as much as anything on this case
			does.  Hey - if Reznor gets here, tell him
			I'm out playin' to the peanut gallery.

						LADY CAPTAIN
			You got it.  Hey, Happy New Year!

										     CUT TO:

	INT. CHURCH - BETHLEHEM - NIGHT (DREAM SEQUENCE)

	Jessica's dog-tired, her chin dropping in fatigue.  She catches 	herself.  Looks up at the STAINED GLASS on a nearby wall.  A 	SHEPHERD leading his flock before a HALOED SAINT.  We hear Father 	Shaye's VOICE DRONING IN-AND-OUT O.S.

						FATHER SHAYE
					(O.S.)
			The Lord...path...triumh.  All...things --

	Jessica's head wilts again, her eyes springing back open --

	But the window has chaned now...a BRAZEN IMAGE of the LAMBS being 	BUTCHERED by the gleaming blades of the "Old" Freddy and 	Jason...actual blood seeping out from the glass wounds.  Jessica 	GASPS.  Turns her head --

	-- And the man next to her is now a GRINNING DESICCATED CORPSE!  	We go WIDER as she SCREAMS, showing her amongst a SEA of 	SKELETONS.  Her face turns to teh pulpit --

	-- Where Father Shaye has changed.  A red/green "dog collar" 	...sickly veined 	complexion, pale eyes.  A nasty grin revealing 	discolored teeth.

						FATHER SHAYE
			No more virtues!  No salvation!  The End
			of it All!

	As he spreads his arms wide, Freddy-claws extending from his bare 	fingers, we --

										SLAM CUT TO:

	INT. CHURCH - BETHLEHEM - NIGHT (BACK TO REALITY)

	-- Jessica JOLTS awake as the real sermon ends.

						EVERYBODY
			Amen.

	She doubles-over, violently RETCHING.

										     CUT TO:

	INT. "BLACK-AND-WHITE" - STREET - NIGHT (DREAM SEQUENCE)

	Foley stares out at the bedecked Christmas tree.  Straightens with 	a frown as the entire tree SHAKES oddly.  Abruptly, half its 	lights extinguish --

						FLOLEY
			Reese?

						REESE
			Uh-uh?

						FOLEY
			Stay here.  I'm taking a look across the 
			road.

	EXT. STREET - OUTSIDE FREEMAN HOUSE - NIGHT

	As Foley crosses the street, the tree's remaining lights SNUFF 	OUT, plunging it into darkness.  She cautiosly unclips her 	holster, and --

	The tree EXPLODES into BRILLIANCE, alternate green/red bands 	strobing along its length.

						FOLEY (cont'd)
			Someone pinch me.

	She nears the tree.  Begins to circle it, looking up.  The 	branches RUSTLE again.

						FOLEY (cont'd)
			Okay, come on out of there...

	She squints at the DEFORMED ANGEL atop.  Then --

	WHAM!  A MASSIVE PINE-NEEDLED BRANCH ARCS OT from teh tree, 	PUNCHES with PILEDRIVER FORCE into the ground immediately to 	Foley's left...a SECOND SLAMMING DOWN to her right.  She WHIPS out 	her gun, and --

	RED TINSEL ERUPTS from the tree, hammering it from her grip.  The 	colorful vines SPROUTING barbs in mid-flight...wrapping around her 	legs and knocking her off her feet.
 
						FOLEY (cont'd)
			No!  Ahhhh -- !

	The branches curl around her, lifting her effortlessly from the 	ground.  The pine needles RIPPLE like one of those pin-sculptures, 	forming a MONSTROUS "NEW" FREDDY FACE.  Foley turns helplessly 	towards the black-and-white, sees Reese sitting calmly inside.

						FOLEY (cont'd)
			Reese!  Help me!

	Reese can't hear.  The tree bends back, the "Freddy Face" PUFFING 	OUT and FIRING A BARRAGE OF THOUSANDS OF NEEDLES which slice into 	her flesh like flechettes --

										SLAM CUT TO:

	INT/EXT. "BLACK-AND-WHITE" - NIGHT (BACK TO REALITY)

	Foley's safety belt is YANKED all the way to maximum strain, her 	WRITHING body levitationg to the ceiling.  Resse's pump-action is 	sent SKITTERING into the rear seat.  He tries to grab at her 	flailing arms.

						REESE
			Foley...Foley!

	Her THRASHING arm catches him, SMASHES him back against the 	window.  Lacerations SLASH right through her blue tunic.

	OUTSIDE NOW.  A GREAT WASH of BLOOD SPLATTERS against the 	windshield... a BEAT, then Foley's heavy boot PUNCHES through, 	splintering the safety glass.

	The driver's door WHAMS open, a shellshocked blood-splattered 	Reese half-	stumbling/half-dropping to the ground.  GULPS air, 	turns --

	-- AND A BIG PAIR OF BOOTS WALLOPS INTO FRAME!  Metal "DROPLETS" 	FIZZ to the ground, and Reese gazes right up into Jason Voorhees' 	killing mask --

						REESE
			Shit!

	He DIVES back into the car, as --

	JASON RIPS the passenger side door off, and --

	Reece's hand falling about an inch from the shotgun next to 	Foley's dead face.  Then --

	-- WHUMP!  He is YANKED back out of the vehicle by some Olympian 	force.  Looks up as the Aztec machete draws back --

						REESE
			Noooooo!

	The last thing Reese sees is the WHOOSH of a silver blade --

										     CUT TO:

	INT. BETHLEHEM POLICE HEADQUARTERS - NIGHT (DREAM SEQUENCE)

	Reznor sits at his desk going through the Vatican paperwork.  We 	see everybody going about thier business outside.  Reznor glances 	up as the Captain comes to the door.

						LADY CAPTAIN
			You still here?

						REZNOR
			Trying to make some sense from all this 
			crap.  You seen Cobain?

	She pauses.  Thinks.  Shakes her head.

						LADY CAPTAIN
			No.

	She goes away.  Reznor returns to his perusal.  Occasional words 	STAND OUT from the page:  "Fatima, Portugal" ... "Megiddo" 	..."Breaking of the Seals."  He turns a page --

	"Qryjcx.  Fpzlw, rx ci hmwp".  Reznor blinks.  Turns the other 	pages, all 	filled with similar gibberish.  Sits back, perplexed.  	Pulls a lit cigarette from the ashtray, pops it in his mouth.  The 	"NO SMOKING" sign catches his eye.  He contemplates it a moment, 	snorts.  Takes a long suck.

	He stops.  The sign has changed.  "CAN'T YOU READ?"  He gives a 	little COUGH, surprised.  And AGAIN, getting BIGGER.  The 	cigarette falls to the floor, sizzles...

	Reznor's SPLUTTERING like a trooper now.  Smoke TRICKLES from his 	closed mouth.  He opens it, and --

	Smoke GOUTS between his lips, enourmous velocity...hazing the air.  	The open glass door SLAMS shut, the red dot on the rotary lock 	rolling to "LOCKED" position.  Reznor lurches at a glass wall, 	BANGING on it to attract somebody's attenion...anybody.  The Cops 	continue to pass-by as if nothing's happening...

	Reznor drops to his knees, SPITTLE hitting the tiles as --

	Part of the thickening smoke in the air gains DENSITY.  Becomes a 	FORM...a SMOKE WRAITH.  A "Freddy Face."  Reznor stares in 	disbelief through watery eyes.

						FREDDY
			Remember...smoking kills!

	The Wraith disperses, a GROTESQUE LAUGH hanging in the air --

	-- And Reznor COUGHS HIS GUTS UP.  Literally.  Purple veined LUNGS 	SPLATTERING UP onto the hard floor.

	OUTSIDE NOW - the Cubicle a smoke-filled glass solid, people 	LAUGHING, wandering past as if this was an everyday occurrence.  A 	BLOODY HAND SLAMS against the glazing, leaving an obscene smear as 	we --

										SLAM CUT TO:

	EXT. REAR GARDEN - FREEMAN HOUSE - NIGHT (BACK TO REALITY)

	Reznor slips from the swing, his chin WHACKING the seat.  A THIN 	TRICKLE OF BLOOD SPILLING from his lips.  He GASPS for breath, 	then suddenly --

	WHOOMPH!  He's JERKED to his geet as the chain wraps around his 	neck...TUGGED UPWARDS until inches away from Jason's chromed mask.  	We see his feet peddling uselessly in mid-air.

						REZNOR
					(strangled rattle)
			Hi...

	He SPITS a dappled SPRAY OF BLOOD into Jason's face.

										     CUT TO:

	INT. LIVING ROOM - FREEMAN HOUSE - NIGHT

	A handful of empty Budweiser bottles are on the low table.  Alice 	sits alone 	on the sofa, watching an INANE T.V. ANCHOR covering 	the New Year's run-up.  The reception is FUZZY, occasionally 	BLANKING OUT in BLASTS of STATIC.

						CNN ANCHOR
					(O.S., on television)
			"As you can see, even with four hours to
			go, this has to be the New Year to end all
			New Years.  Certainly the largest capacity 
			crowd I've seen...surely there isn't a 
			person on the planet tonight who isn't 
			getting on down --"

						ALICE
					(disgruntled)
			And sharks might cry...

	She gathers up the empties, heads for the kitchen --

	INT. KITCHEN - FREEMAN HOUSE - NIGHT

	Alice tosses the bottles into the trash.  Opens the refrigerator.  	Pulls out a quart of milk --

	KERSMASH!  Alice JUMPS, the carton dropping to the linoleum.  The 	MUTED SOUND of SPLINTERING WOOD filters in O.S. from somewhere in 	the house.  MILK GLUGS unattended as she listens, frozen in fear.  	Her eye spots a lug-wrench amongst the dissembled parts on the 	kitchen table.

	INT. HALLWAY - FREEMAN HOUSE - NIGHT

	The stairs leading to the autoshop are shrouded in shadow, a 	portal to dread.  The noises have ceased.  Alice FLICKS the light 	switch several times.  No joy.  She strains at the edge of her 	hearing --

	Then JUMPS as the door right by her shoulder OPNES.  It's 	Stephanie and Jacob.  Alice untnses.

						JACOB
			Mom, there's something --

						ALICE
			Back inside.  Keep the door closed...

	The kids comply.  Alice looks about her.  Spots a chunky 	industrial flashlight atop a pair of coveralls.

	INT. STAIRWELL - FREEMAN HOUSE - NIGHT

	Alice directs the flashlight beam, cautiously descending...

	INT. STEPHANIE'S BEDROOM - FREMAN HOUSE - NIGHT

	Stephanie FLIPS the key in the lock.  jacob shoves a chair up 	under the door handle.

						STEPHANIE
			Get it in, tight...

	INT. BASEMENT AUTOSHOP - FREEMAN HOUSE - NIGHT

	Alice's flashlight picks out dangling chains and old machinery.  	She moves forward...taut, alert.  The back door leading out into 	the garden hangs inward on one broken hinge the lock SHATTERED in 	pieces on the floor.

	She sweeps the beam around the silent room.  Nothing.  Finds the 	switch for 	the overhead fluorescents.  CLICKS IT.  The lightbars 	WHINE, flicker to life --

	Jason is standing there right behind Alice, machete poised.  Half 	the chromed mask is eroded away now, the flesh beneath scabrous 	and decomposing rapidly.  She turns as Jason's Aztec blade PIERCES 	the air...eludes decaitation by a microsecond.  It SEVERS a tuft 	of blond hair, EMBEDS itself into STROBE and FLARE chaotically.
	
	Alice's foot catches an OIL PATCH.  She slips, falls heavily 	against a workbench as ELECTRICAL CHARGES CRAKLE up along Jason's 	arm, momentarily paralyzing him.

	The wrench falls from Alice's grip, CLATTERS just out of reach.  	Jason TUGS 	his machete free, sways a little before locking back 	on target.  Two quick strides towards Alice as she SNATCHES up the 	wrench...brings it up in a clumsy movement which --

	-- BARELY BLOCKS Jason's next strike.  the ancient blade CLEAVES 	OFF the wrench's grip...BASHES Alice's forehead, cutting open a 	ragged scar.  Alice SNAP-ROLLS aside, crawls for cover beneath the 	bench.  She drags her foot in quickly as the machete WHOOSHES 	down, SPARKING on the stone floor.

	Alice crawls away for dear life.  Jason closes like a heat-seeking 	missle, a hand CLAMPING around her ankle with a vice-like grip.  	Alice YELLS...begins to get dragged back.

	Her hand SHOOTS OUT, SNATCHES at the bolted bench leg.  Knuckles 	whiting.  Jason HEAVES MIGHTILY, and --

	-- FALTERS back, Alice's empty boot clutched in his hand.  He 	LUNGES forward, powerfully WRENCHING the workbench aside...TEARING 	the bolted legs up.  Jessica's  boom-box topples, starting up.  	LOUD SLAMMING ROCK MUSIC.  Jason turns over a line of freestanding 	shelves, blocking off the exit to the garden.  Alice scrambles out 	of the way, gets to her feet.  Turns to face him as he circles 	toward her.  Molten droplets fall from his mask, FIZZING on the 	floor.  She takes in his leprous countenance.

						ALICE
			What the hell are you...?

	Jason PUNCES wordlessly for Alice.  She ducks beneath the 	suspended engine block, backs toward the shadows.

	INT. STEPHANIE'S ROOM - FREEMAN HOUSE - NIGHT

	The kids have slid open the sash window, trying to force through 	the narrow gaps in the secuity bars outside.

						JACOB
			Go...squeeze through!

						STEPHANIE
			It's too small -- !

										     CUT TO:

	EXT. STREET - OUTSIDE FREEMAN HOUSE - NIGHT

	Steven's pickup turns the corner, enters the road.

	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT

	A bottle of champagne is on the passenger's seat next to Steven. 	He frowns as he nears the police curiser, sees the empty cab, the 	running-light.  STROBING atop.

						STEVEN
			Hello?

	He draws parallel, passes.  takes a gander in his rear view, 
	and --

						STEVEN
			Christ on a crutch -- !

	EXT. STREET - OUTSIDE FREEMAN HOUSE - NIGHT

	The pickup SQUEALS to a halt, Steven LEAPING out in a rush towards 	the dead cops --

										CUT BACK TO:

	INT. BASEMENT AUTOSHOP - FREEMAN HOUSE - NIGH

	Jason's mask GLITTERS in the spasmodic lighting.  We hear his 	INHUMANELY STEADY BREATHING as it searches side0to-side.  His foot 	catches Alice's discarded flashlight.  It rolls across the floor, 	the beam casting erratic shadows, which --

	-- REVEALS ALICE moving at a crouch around the side of the Lexus.  	She looks up, sees the dangling engine block.  Looks down, sees an 	oil can.  Gets an idea.

	WITH JASON NOW.  He hears a METALLIC CLONG, homes pitilessly 	towards it, and --

	-- SLIPS on the THIN SHEEN of oil clogging the floor...registering 	the dark mass of the ENGINE BLOCK as it IMPACTS his ribs, SLAMMING 	him back into the grease pit.

	Alice punches the big red BUTTON on the hydraulic controls.  Jason 	tries to get his footing again --

						AILICE
			You're jammed, sucker!

	WHOOMP!  The hydraulic ramp POWERS DOWN...the raised Pontiac 	CRUSHING onto Jason.  Alice watches with satisfaction as it 	reaches bottom, the overstressed mechanism RISING in PITCH.  She 	shuts off the control.  Takes a tire-iron from 	the shelf.  Bends 	down, turns off the boom-box --

	EXT. FRONT OF HOUSE - FREEMAN HOUSE - NIGHT

	Steven races up to the barred front door, rifling his pockets.

						STEVEN
			Keys...keys.  Goddamit -- !

	Forgotten them.  He races off around the side of the house --

	EXT. ALLEYWAY - ALONGSIDE FREEMAN HOUSE - NIGHT

	The garden fence RUSHES by Steven in an adrenalive blur.  He hears 	SHRILL VOICES above.  Looks up to see Stephanie and Jacob 	desperately trying for his attention --

						STEPHANIE
			Daddy...daddy -- !

						JACOB
			Help -- !

						STEVEN
			I'm coming...stay there!

	He CRASHES through the back gate --

	EXT. REAR GARDEN - FREEMAN HOUSE - NIGHT

	-- INTO THE GARDEN.  The security lights SNAP ON...and Steven 	fetches up 	short, almost drops the bottle.  Reznor's CORPSE is 	twisted up in the swing's chains ahead, wrapped tight around his 	swollen neck.  Blood spattering his shirt.  Steven motivates 	himself, heads for the house --

	INT. BASEMENT AUTOSHOP - FREEMAN HOUSE - NIGHT

	Silence reigns supreme.  We hear the STEADY DRIP-DRIP of OIL as 	Alice ceases to circle the pit.  Nothing...no movement.  CLOSE ON 	HER, as --

	-- SMASH!!  Alice dives for cover as the Pontiac's hood is sent 	SPINNING up through the air, a SHOWER of piping and wires 	following.

						ALICE
			No -- !

	She watches in horror as Jason's STEAMING FORM HAULS itself up 	through the car's guts.

	EXT. REAR GARDEN - FREEMAN HOUSE - NIGHT

	Steven finds the shattered door leading into the autoshop blocked 	by the fallen shelving.

						STEVEN
			Hey...hey -- !

	INT. BASEMENT AUTOSHOP - FREEMAN HOUSE - NIGHT

	Jason's coming straight for Alice like the Terminator.  Steven's 	MUFFLED VOICE unbalances him an instant as Alice's fingers coil 	around the grip of a HANDHELD ROTARY SAW.  She RAMS the unplugged 	electrical cord into the socket as Jason bears down.  Swings the 	saw as it TRILLS to life.  Razor-sharp teeth BITE through Jason's 	coveralls...CHEW through his flesh, spilling forth MAGGOTS and 	GREEN BILE.

	She SLICES again, once more.  Jason rallies with a vengeance, 	HACKING through 	the electrical wire.  the saw SPUTTERS and DIES, 	and Jason lunges for the kill --

	AS THE AUTOSHOP'S METAL SHUTTERS EXPLODE INWARD in a DELUGE of 	SHREDDED METAL.  Alice miraculously escapes injury as - as 	headlamps BLAZING - STEVEN'S PICKUP ROARS through the 	breech...makes a "Jason Sandwich" between it and the disemboweled 	Pontiac.

	Steven blinks the grogginess from the impact away.  As he pulls 	the release on his safety-belt --

						ALICE
			Look out!

	Jason's fingers gouge like steel into the pickup's buckled hood.  	He drags his undead body up, and --

	PUNCHES his rancid fist through the windshield.  Gravs a handful 	of Steven's shirt.  YANKS his head forward against the steering 	wheel, knocking him unconscious.  Jason's head Snaps around as --

						ALICE
			You sonuvabitch!

	Alice CHARGES him wielding a tire-iron WALLOPS him viciously 	across the side of his head.  Goes for a second blow, but Jason 	catches it with stunning disregard for inertia.  Slings the iron- 	and Alice - halfway across the room.  She SCREAMS as her temple 	catches a GLANCING BLOW against SOMETHING, SOUND and 	VISION 	DISTORTING strangely.  A FLASH FRAME of WHITE --

								DISSOLVES US THROUGH TO:

	INT BEDROOM - VOORHEES' HOUSE - DAY (DREAM SEQUENCE)

	TIGHT ON ALICE'S CLOSED EYES.  We hear an INDISTINCT, BREATHY 	BABBLE as we TRACK IN.  Her eyelids POP OPEN --

	WIDER.  SOFT PASTEL HUES.  Sitting in a wicker-chair, Alice 	surveys the 50's furnished bedroom, embellished with 60's style 	boy's paraphenilia.  The TUNE "Mister Sandman" plays on a radio 	somewhere, O.S.  She looks down.  Sees herself wearing a blue-and-	white "Alice in Wonderland" dress.

						ALICE
			I'm inside someone's dream...

	An ICE HOCKEY STICK mounted above the dresser, GOALIE MASKS to 	eiter side.  A POSTER showing a 1960's "Cincinnati Cyclones" 	linup.

						ALICE (cond'd)
			What is this?

	She hears RAISED VOICES O.S. from somewhere downstairs.  Goes to 
	investigate --

	INT. LANDING - VOORHEES' HOUSE - DAY (DREAM SEQUENCE)

	Alice finds herself with an uninterrupted view of the living room.  	Crouched behind the bannisters at the top of the stairs just ahead 	is a 10 YEAR OLD BOY, a hockey mask pushed up on his head.

						ALICE (cont'd)
			Hey there --

	Alice GASPS as he turns to her.  We see his FEATURES are 	ASYMMETRIC, RETARDED...the name "jason" picked out on the breast 	of his boiler-suit in florid embroidery.  Smiles at Alice with 	great gentility.  Puts a finger to his mouth to indcate silence.

						ALICE (cont'd)
			Oh, God...I'm in your mind.

	(The people below in heated argument below are: ELAINE and KIRK 	PARKER; JED LANE SR; PAMELA and ELIAS VOORHEES; MARGE and her 	Police Lieutenant husband, DONALD THOMPSON.)

						MARGE THOMPSON
			We've got to fix Fred Krueger once and for
			all!

						KIRK PARKER
			This is the 1960s for Chrissake, Marge -
			not the Middle Ages!

						ELAINE PARKER
			You're spineless, Kirk.

	Jed turns angrily on Lieutenant Thompson.

						JED LANE SR
			We wouldn't be beating our gums if your
			bogtrotter partner hadn't screwed the 
			pooch!

						DONALD THOMPSON
			It wasn't Tim's fault...the warrant wasn't 
			signed!

						JED LANE SR
			Krueger juiced my son, cop!  Half the
			other kids in this town!  You wanna think
			about that when he comes for your little
			Nancy?!

						PAMELA VOORHEES
					(pointedly, to Thompson)
			He ought to have checked.

						ELIAS VOORHEES
			If the police can't help, maybe the F.B.I.?

						JED LAVE SR
			Ha!  Dream on, Voorhees.

	UP ON THE LANDING, Alice gazes at the retarded boy with dawning 	comprehension.

						ALICE
					(aloud)
			Jason Voorhees was an Elm Street kid...

	DOWN BELOW AGAIN, Elias arguing vehemently --

						ELIAS VOORHEES
			If we kill that monster, we'll be no 
			better than he.

						PAMELA VOORHEES
			Elias, our Jason's scared.  Retreating 
			into a world of his own, hiding behind
			that damned hockey mask --

						JED LANE SR
			Probably done us a service.

						KIRK PARKER
			Shut up, Lane.

						ELAINE PARKER
			We need to know where you sand, Donald.

						DONALD THOMMPSON
			I can't condone vigilantism, Elaine!

						JED LANE SR
			You're either in or you're out, Thompson.
			There ain't no middle ground.

	Thompson takes a deep breath.  So do the others.

						DONALD THOMPSON
			Alright.  I'm in...

	WE END ON ALICE'S PERPLEXED FACE as we --

									     MATCH CUT TO:

	INT. PAMELA VOORHEES' CAR - NIGHT (DREAM SEQUENCE)

	Alice is JOGGLED in the rear seat of a big 50's automobile as it 	rides across REGULAR EXPANSION JOINTS.  Young Jason sits alongside 	Pamela Voorhees who's driving.  The boy turns and smiles at Alice.

						PAMELA VOORHEES
			You stay in the car.  Mommy's fixing some
			business...

	EXT. INDUSTRIAL COMPLEX - NIGHT (DREAM SEQUENCE)

	Pamela's shiny CHERRY CADILLAC (we recongnize it as Freddy's 	burial plot from the end of "Dream Warriors") heads for the 	functional factory buildings agead.

	ANOTHER ANGLE.  The car pulls to a halt outside a corrugated iron 	warehouse.  Several other vehicles are here already.

	INT. PAMELA VOORHEES' CAR - NIGHT (DREAM SEQUENCE)

	Pamela turns to Jason.

						PAMELA VOORHEES
			If you're a good boy, we'll maybe head out
			to Lake Crystal for a little holiday...
			teach you to swim.  You'd like that, 
			wouldn't you?

	Jason nods solemnly.

						PAMELA VOORHEES (cont'd)
			Alright.  I won't be long.

	Pamela climbs out.  SLAMS the door behind her.  Young Jason 	watches her vanish around the edge of the building.  Gives Alice a 	quick look, then opens the door on his side.

						ALICE
			Wait -- !

	Alice promptly opens her door and follows --

								     MATCH CUT AGAIN TO:

	INT. FREDDY KRUEGER'S BOILER ROOM (DREAM SEQUENCE)

	-- Straight into a RAGING INFERNO.  CRUEL FLAMES lick the bare 	concrete walls.  A window overhead SMASHES, a Molotov cocktail 	BLOSSOMING.  Alice catches a quick glimpse of Jed Lane and Donald 	thompson.

						JED LANE SR
			Burn in Hell, pervert!

	An IMMENSE BOILER lines one whole wall.  A SMOLDERING FIGURE 	crawls from the open safety gate, DROPS painfully to the floor.  	the Iconic striped jumper, familiar chiseled presence.  FREDDY 	KRUEGER:  Aflame from the waist down, his face still mostly 	unblemished.  His hat falls away as he seems to look 	straight up 	at Alice...

						FREDDY
					(pitifully)
			Save me...help me --

						ALICE
					(incredulous)
			Help you!?

						PAMELA VOORHEES
					(O.S.)
			Jason...!

	Alice looks up.  Sees Young Jason slowly DRAGGING off his hockey 	mask, staring down into the SEA OF FIRE.  Pamela appears.  Tries 	to pull the resisting boy away.

						PAMELA VOORHEES
			Come away!

	Marge Thompson appears above, face contorted with hared.

						MARGE THOMPSON
			Die...D I E !

	Another Molotov BURSTS in Freddy's face.  His fingers are a rictus 	curl of despair.

						FREDDY
			Hear me...

	GREEN ENERGY BELCHES beneath him.  HIDEOUS BIOMECHANOID DREAM 	WRAITHS SWIRL up, COILING around Freddy...lifting him from the 	floor.  IRIDESCENT ENERGY BOLTS as they pierce his torso.  His 	body SWELLS UP to Schwarzeneggerian magnitude.

						FREDDY (cont'd)
			Yes...yes!!  I...am...E T E R N A L !

	His body EXPLODES in a GLOWING RED ENERGY STORM that SWEEPS 	through Alice in a WAVE (we see Freddy's bones collapse to the 	floor at CENTER).  The BLAST 	reaches Young Jason, momentarily 	FLARING OUT as he turns and --

									  WE MATCH CUT TO:

	EXT. JETTY - CRYSTAL LAKE - SUNSET (DRAM SEQUENCE)

	Young Jason stands on a wooden jetty protruding out onto a 	picturesque BOATING LAKE, the sky a BEAUTIFUL PURPLE-RED. 

	-- SEE ALICE ON THE SHORELINE, watching.  She SHOUTS...

						ALICE
			Stop!  Wait!

	The boy doesn't hear.  We see him climb down into one of the 	boats, TUG at the mooring ropes.  Alcie SCRAMBLES along the shale 	to follow.  Slows pauses at a sign which reads: "WELCOME TO 	CRYSTAL LAKE - CAMP CRYSTAL"

	Young Jason's boat drifts away from the pier as Alice POUNDS along 	the boardwalk.  With a great RUMBLE --

	-- CLOUDS SPEED ACROSS THE SKY in TIME-LAPSE, GLOWERING THUNDER 	ZEPHYRS forming out of nowhere.  Young Jason gazes up, WHIMPERS.  	While --

	-- the SLATS BENEATH ALICE SPLINTER and DISINTEGRATE.  She treads 	air like Wile e. Coyote, while --

	FROM YOUNG JASON'S P.O.V., the SHORELINE SPEEDS SUPERNATURALLY 	AWAY in all directions at 100 M.P.H.  In seconds, the retarded boy 	finds his tiny boat adrift in the center of a VAST OCEAN.

	ALICE FALLS...SPLASHES into the icy cold water, arms flailing.  	The CAMERA FLIPS THROUGH 180 degrees with her, as she --

	-- LEVITATES UP out of the water like the "Ldy Of the Lake", 	miraculously dry.  She "stands" on the surface as if treading 	PLEXIGLASS, jsut yards from young Jason's boat.

	The boy begins to CRY, pulling the hockey mask up to his face in 	defence.  (Remember the Freddy claws menacing Nancy in the bath in 	"Nightmare"?  Well, that's just what happens now, except --)

	EACH CLAW is 6 ft LONG...towering up, unseen by Young Jason.  The 	boy turns...as the claws SUBMERGE AGAIN and disappear, lickety-	split.

	A MOMENT'S SUSPENSE...and the boat starts to ROCK VIOLENTLY, WATER 	SPILLING inboard.  Allice CRIES OUT --

						ALICE (cont'd)
			Hold on!

	She takes a "step" forward...and sinks into the water up to her 	knee.

						ALICE (cont'd)
			No!  Somebody help!

	She takes another step.  Up to her waist this time.  The boat 	OVERTURNS, Young Jason SHRIEKING with terror.  We see a HIGH 	CHERRYPICKER ANGLE, a HUGE Freddy arm undulating away into the 	depths like a GREEN-AND-RED SQUID.
	
	Alice reaches the upturned boat, submerged up the the neck now.  	She THUMPS on the hull repeatedly.

						ALICE (cont'd)
			Let him go...let him go!

	A SPUME of bubbles effervesces around her.  A WHITE OBJECT 	floating to the 	surface...Jason's mask.  Alice takes it her 	hand.  Looks skyward.  YELLS --

						ALICE (cont'd)
			No!

	ERSATZ CHRRYPICKER ANGLE AGAIN, going WIDER VERY FAST NOW into a 	UNIVERSAL PULL-BACK revealing the BLACK POOL OF OCEAN to be one of 	the EYEHOLES in the BATTERED JASON MASK we know and hate.  	CONTINUING FURTHER BACK as we --

						 	     SOUND SEGUE/MATCH CUT TO:

	INT. FREDDY'S BOILER ROOM (DREAM SEQUENCE - CONTINUING)

	we PULL RIGHT BACK to reveal a BIG, FRIGHTENING VERSION of 	Freddy's boiler room.  A PERSPECTIVE TRICK of CABLING and FEEDER 	PIPES leading to a MONSTROUS FURNACE.  Young Jason is strapped 	spread-eagled to a 'X'-shaped TORTURE CROSS, slash marks across 	his boiler suit.  We HEAR a DEEP MENACING variation of the "Freddy 	Nursery Rhyme", O.S.

	A "HOLE IN SPACE" opens up, Alice falling from it in a DELUGE OF 	WATER.  Hits MUDDY GROUNG embedded with fragments of BROKEN 	CHILDRENS' TOYS, face-first.  Her head SNAPS UP as "Old" Freddy 	triumphantly tears the mask from Jason's face, looks straight at 	Alice.  Places a razor sharp finger blade under Jason's chin.

						FREDDY
			How'd you like my little puppet?  He's
			always done everything I say...

						ALICE
			Don't...!

	Freddy LAUGHS maliciously.  RAKES his claws toward Jason...

									             	JUMP CUT TO:

	INT. AUTOSHOP - FREEMAN HOUSE - NIGHT (END DREAM SEQUENCE)

	Alice JOLTS awake, Jessica crouching over and SLAPPING her cheeks 	vigorously.

						JESSICA
			C'mon...c'mon - wake up, goddamit!  Where 
			are they?!

						ALICE
			Wha -- ?

						JESSICA
			Steven...my kid!  Turnit on, goddamit!

	Alice glances across.  the pickup is gone, a great rent torn in 	the metal shutters.

						ALICE
			Jacob?

						JESSICA
			The place looks like Godzilla trashed 
			it...what happened?!

						ALICE
			It's Jason...Freddy created him --

						JESSICA
			I don't give a fuck...where's my girl?!

	Alice gets with the program, rallies herself awake.

						ALICE
			The...bookstore --

										     CUT TO:

	EXT YARD - "SAMHAIN BOOKS" - NIGHT

	WIDE ON A WALL at the end of the yard.  Like a Kabuki shadowplay, 	we see JASON'S MONSTROUS FORM making short shrift of TWO 	STRUGGLING COPS.  HANDHELD - SAME SHOT - whe STEADICAM back over 	the Cops' bodies, WHIP-PANNING LEFT to see a pair of legs being 	dragged through the slashed OSHA tape remnants covering the fire 	exit.

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	CLUNK.  CLUNK!  Steven is strapped to the inverted cross.  Jason 	looms over him.

	WIDER, ACROSS THE ROOM.  An unconscious Jacob and Stephanie dumped 	in the center of the "Penticon".

										     CUT TO:

	EXT. STREETS - BETHLEHEM - NIGHT

	The damaged Black-and White ZOOMS through the night, thunder 	RUMBLING overhead.

	INT. "BLACK-AND-WHITE" - STREETS - NIGHT

	Jessica's driving madly.  Alice is strapped in, holding on for 	dear life...the door at her side nonexistent --

						JESSICA
			Bastard was after our kids all along!
						ALICE
			I felt something inside Jason's mind.
			Some...thing.  Beyond him and Krueger --

						JESSICA
			Hold on!

	She pulls a hard righ...narrowly avoids an ONCOMING CAR, its horn 	BLARING --

	EXT. "SAMHAIN BOOKS" - ELM STREET - NIGHT

	LIGHTNING arcs across the sky with a TERRIFIC BOOM, a WHIRLPOOL OF 	CLOUDS above.  A massive ENERGY BOLT - amost more PLASMA than 	electricity - STABS down across the street from the bookstore, 	RIVING a tree into SPLINTERS.  PULSING and THROBBING - almost 	ALIVE - it SCORCHES a path across the road toward the store, 	BISECTING a car in twisted junk.

	INT. "BLACK-AND-WHITE" - ELM STREET - NIGHT

	Alice reacts.  Grabs the wheel.

						ALICE
			Stop!

						JESSICA
			Shit!

	EXT. "SAMHAIN BOOKS"  - ELM STREET - NIGHT

	Jessica SLAMS on the brakes.  The Black-and-White SCREECHES to a 	halt, the CRACKLING ENERGY VAPORIZING the front of the vehicle.  A 	lucky escape.  The beam CONTINUES on...VANISHES for an 	instant...then DRIVING down onto the bookstore turret.

	Alice and Jessica leap out of the car, run for the shop.

						JESSICA
			Come on...!

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS"  - NIGHT

	Alice and Jessica BURST through a torn veil of OSHA-tape.  Stop 	dead.

	Just barely alive, Steven JERKS and TWITCHES atop the Cross, his 	skin 	WITHERING and PUTREFYING.  The "Penticaon" is engulfed by 	the SWIRLING ENERGY TYPHOON.  We can about discern JASON'S DARK 	FORM within, the esophagal-tunnel opening beneath him...

						JESSICA
			Noooo -- !

	She lunges forward.  Alice restrains her

						ALICE
			Jess, don't!

	THE OTHER-WORLDLY RIFT IMPLODES...and the chamber is suddenly 	SILENT, empty.  Jessica collapses to her knees.

						JESSICA
			Steven...God - Steven!  No...no --

	Alice runs to the center of the "Penticon", eyes searching madly.  	Fingertips tracing the filmy tracery of blood...

						ALICE
			No...no --

						JESSICA
					(hysteria)
			Great...this is great~  what do we do now,
			sis - huh?  Wanna tell me that?

	Alice thinks hard, frustration edging in.

						ALICE
			We've gotta go after them --

						JESSICA
			How...how?!  They're gone, there's no way!

						ALICE
			Shut up!  There has to be a way --

	Blood DRIPS from teh cross into the "Penticon" channels...

										     CUT TO:

	INT. TORCHY'S BAR - BETHLEHEM - NIGHT

	The place is WALL-TO-WALL with REVELLERS, jukebox CRANKED UP.  	Cobain sits at the packed bar, takes a sip of something - probably 	vodka - as someone jostles into him from behind.  He catches the 	BARMAID's amused glance at his predicament.

						COBAIN
			I think my double's turned to a single.

						BARMAID
			Not the best night for a quiet drink.

						COBAIN
					(looks at his watch)
			No...I'm waiting for someone.

						BARMAID
					(archly)
			Aren't we all?

	Cobain watches the television mounted up on the wall WILDLY 	FLUCTUATING.

						COBAIN
			Brownouts still?

						BARMAID
			You didn't hear?  North Pole flipped 
			around earlier.  Up is down and down is
			up.  Spiffy New Year prank, huh?

						COBAIN
					(quietly, to himself)
			"The Great Purification."

	A VOICE YELLS the length of the bar.  Cobain looks up, sees the 	BAROWNER holding the phone and looking at him.

						BAROWNER
			Hey!  Reservoir Dog!  You the cop?

						COBAIN
			F.B.I.

						BAROWNER
			Same difference.  Phone --

	Cobain pushes his way through the melee.   A DRUNKEN GIRL grabs 	him halfway, kisses him.

						DRUNKEN GIRL
			Happy New Cent'ry!

	Cobain pulls free, reaches the phone.  Picks it up.

						COBAIN
			Agent Cobain...?

										JUMP CUT TO:

	EXT. "SAMHAIN BOOKS" - ELM STREET - NIGHT

	Cobain's car SQUEALS to a standstill.  Jessica appears, yanks his 	door open.  Alice right behind.

						JESSICA
			You bring them?

						COBAIN
					(really pissed)
			My partner's fucking mulched!  I want some
			answers!

	We hear a VERY PECULIAR NOISE from the meteorology above.  We 	might SWEAR that the entire SKY seems to be CONTRACTING...

						ALICE
			No time.  Shag it!

	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT

	Alice puts down a pair of mini "multimedia" speakers.  RIPS open 	an evidence bag, casts aside Vatican documents.  Tosses the WOODEN 	DAGGER CASE to Jessica.  Slides the Cultist's camcorder from 	another bag.  JACKS a lead into the side.

	Cobain stands at the breach in the turret, looking up at the 	weirdly shrinking atmosphere.  Turns back into the room.

						COBAIN
			Someone better start explainin' all this...

						ALICE
			All these clues, you haven't figured it?
			It's Zero Hour, Agent Cobain.  World's 
			going out with a bang.

						COBAIN
			Wait...whoa!  Reality check -- !

						JESSICA
					(abruptly)
			My husband's fucking dead!  My daughter's 
			gone!  You've a belief problem, shove it!

						COBAIN
			It's 100 percent gravity this zip-code,
			lady!  Get off the ceiling!

	Jessica has the case open, brings out the seemingly plain "Dagger 	of Horvath".  The dagger TRANSFORMS INSTANTLY into a BIOMECHANICAL 	MASS.  the blade 	ELONGATES, runes molding into the side.  Alice - 	and especially Cobain- are taken aback.

						JESSICA
			Same as the one I killed Jason last time.

						ALICE
					(pointedly to Cobain)
			Feeling converted yet?

						COBAIN
					(a beat)
			So...you got a Game Plan?

						ALICE
			Replay the Cultists' incantations.  Follow 
			them to...wherever.

						JESICA
			And if it doesn't work?!

	LIGHTNING GLARES overhead.

						ALICE
			We're out of options.

	An L.E.D. GLOWS RED as she activates the camcorder.  Moves to the 	center of the "Penticon" with Jessica.  Cobain stands to one side 	reluctantly.

						ALICE (cont'd)
			No-one's twisting your arm.

      He hesitates.  Enters the "Penticon", feeling a little foolish.

						COBAIN
			Okay.  Beam me down.

	CLOSE ON THE CAMCORDER. The digital frame counter ticking 	upwards...the Cultists' CHANTING issuing forth from the builtin 	SPEAKERS.

						CULTISTS
					(O.S.)
			"Kandar...estrata --"

	Ther settled blood in the stone channels begins to glow an 	unearthly green.  Cobain looks down dumbfounded as the light 	ACCELERATES, delineating the symbol.

						LEAD CULTIST (cont'd)
					(O.S.)
			"By the Abramelin Mage --"

	The ancient rune FLARES. Points of energy CRACKLING the air, 	PROBING between Alice, Jessica, and Cobain.

						LEAD CULTIST (cont'd)
					(O.S.)
			"Invoke your Holy Guardian...'Nosferatus, 
			Emontus'" --

	An IMPOSING RED/GREEN ENERGY CYCLONE materializes about them, a 	BLAST of AIR SCATTERING the Pontiff's documents.

 						LEAD CULTIST (cond'd)
					(O.S.)
			"-- Thanos"!

	A BOLT of LIGHT consumes the FRAME, the ground beneath them 	SHATTERING to reveal --

										     CUT TO:

	INT. "ESOPHAGUS" JOURNEY - ZERO HOUR

	A ROLLERCOASTER RIDE, their P.O.V. RUSHING LIGHT STREAMS, THX 	QUALITY BASS WHOOSHES...what mightbe PLANETS - or ATOMS - RACING 	BY.  FAST 90 degree COURSE-CHANGES along a TUNNEL lined wiht 	THOUSANDS of SCREAMING SOULS, and then a WHITE FLASH --

									  FAST CUTS US TO:

	EXT. APEX OF PILLAR - HELL - ZERO HOUR

	The sole arthritic tree is ROCKED by a RAGING TEMPEST.  Three 	AMOEBA-LIKE POLYPS ERUPT towards us from within the ground, 	strewing bones.  In an instan, the SKULLS formed within SHEATH 	with TENDONS and FLESH until --

	-- THE POLYPS BURST, evaporate.  Cobain and the two women fall to 	the ground.  Weaky recover.

						ALICE
			Everyone okay?

						COBAIN
					(feebly)
			Tubular.  Now what?

						JESSICA
					(yells)
			Look!

	Everyone does.  The LEVIATHAN SINGULARITY TORNADO bearing down, 	almost upon the jutting pillar.  A mobile Black Hole sucking the 	three-dimensional world into it.  Alice spots a "Hell Door" - a 	riveted steel door free-floating in mid-air - behind them.

						ALICE
			I know this place!

						COBAIN
			The door...go!

	They SPRINT for it.  Jessica gets there firs, HEAVES the pull-	ring...nothing.  Cobain pitches in.  Still nada, as --

	THE SINGULARITY HITS the Pillar, DEVOURS it hungrily, as --

	Alice adds her weight to the door...which grinds open!  The GREY 	VACUUM inside SUCKS at them --

						ALICE
			Inside!

	They TUMBLE through the doorway, as --

	THE SINGULARITY TEARS the Pillar apart...

	EXT. "BRIDGE OF MOANS" - HELL - ZERO HOUR (CONTINUING)

	Cobain and the women JETTISON THROUGH another FLOATING DOOR, 	identical to the 	first.  It SLAMS CLOSED as they pick themselves 	shakily up...

						COBAIN
			This is nuts.

	VERY, VERY WIDE.  An impossibly-long VIADUCT-LIKE BRIDGE straddles 	an INFINITIVE SEA OF MOLTEN LAVA, vanishing off at the horizon.  A 	(presumably infinite) number of floating doors line either side of 	the bridge.

						JESSICA
			Now what...flip a coin?

	Conversation stops as the sky above DISTORTS, the SINGULARITY 	VORTEX tears into the bridge.  RUMBLING TOWARDS THEM at an 	incredible rate.

						ALICE
			Run!

	They run, the Vortex hot on their heels...ENGULFING the bridge.  	They skid to a halt -- 

						COBAIN
			This is hopeless!

						JESSICA
			Try another door!

	No time for finesse.  They choose one randomly.  Force it open, 	and --

	A MASSIVE LEG drops down from inside, anchors itself on the 	bridge...MIGHTY HANDS with SCIMITAR BLADES reaching for Alice.  An 	OLYMPIAN HEAD atop a RED-AND-GREEN-DRESSED "Richard Corben" 	Superhero dream of a body.  THE NEW FREDDY, seen in all his 
	glory --

						FREDDY
			It's my comeback Tour!

	Freddy JERKS Alice bodily back inside...but Cobain and Jessica 	GRAB her too in a BIZARRE TUG-OF-WAR.  Alice SCREAMS, and Freddy 	draws her inside with finality.  The door SLAMS shut, and --

						JESSICA
			Cobain!

	The Vortex is almost upon them.  Cobain thinks fast, turns to the 	door opposite.

						COBAIN
			This one!

	They get the door open, disappearing inside as the Vortex EATS 	SPACE...

										     CUT TO:

	INT. MAZE OF PIPES - HELL - ZERO HOUR

	The walls are a complex labyrinth of industrial ducting.  Alice 	plummets from an overhead circular inlet, SPLASHES into fetid 	knee-deep water.  She THRASHES to the surface COUGHING bile.  	Looks up to see --

	Freddy, ROARING down the perpendicular inlet toward her.  She 	scrambles up.  Start to run as he CRASHES down, seven feet tall 	and filling the tunnel like a body-builder.  BELLOWING into 	persuit.

						FREDDY
			Run like the wind, Alice!

	His chest works, sucking like a VACUUM BELLOWS...BLOOWS -- 

	-- LIKE A HURRICANE, tossing Alice end-over-end.  She grimaces.  	Clutches her leg.  Freddy LAUGHS sardonically...

										     CUT TO:

	INT. SPHERICAL SPIKE ROOM - HELL - ZERO HOUR

	Cobain and Jessica falll through the door, land in a heap.  	Recoup, take in their new surroundings.

						JESSICA
			This is twisted.

	They're standing on a LONG RECTANGULAR PLATFORM suspended in 	space, a "Hell Door" defying gravity either end.  The platform 	itself is at CENTER of a SPHERICAL ROOM, rotating about it.  The 	curved walls brim with EVIL, METAL SPIKES...a DECAYED CADAVER 	impalled on each.  (In homage, we might recognize a "Rogus 	Gallery" of MOVIE MONSTERS.  Decayed GILL-MEN, PINHEADS, a HORACE 	PINKER...you get the idea.)

						COBAIN
			This is Hell.  C'mon...

	They head for the opposite door.  ten feet away when...it opens.  	JASON CHARGES THROUGH, his machete a SILVER SLASH IN MOTION.  	Jessica moves quickly...but the tip LACERATES across her chest.  	She falters, hitting the platform and almost going over.  Her arms 	dangles next to a LEATHERFACE CORPSE and chances upon...

	Cobain slides his pistol out.  Walks it towards Jason, ROARING.  	The unead killer reels back as Cobain discharges a full-clip, goes 	dry.  Ejects the spent mag, SLAPS in another.  Jason rallies, 	sends the gun SPINNING.  Grabs Cobain by the neck, lifts him 	GURGLING from the floor --

						JESSICA
					(O.S.)
			Hey, fucker!

	Jessica steps forward, an evil glint in her eye and her hands full 	of TARNISHED CHAINSAW.  Jason tosses Cobain aside.  Examines the 	chainsaw with healthy respect.

						JESSICA (cont'd)
			Let's finish it...

	She TUGS the actuator cord vehemently --

	-- AND THE BLADE DROPS OUT.  Hits the deck with a DULL CLUNK.  	Even Jason STOPS as if not believing her bad luck --

	-- And Jessica SOCKS HIM round the head with the handgrip!  Jason 	goes down, 	pitching over the platform edge and LANCING himself on 	the spikes.  The room ROTATES around as he thrashes like a like 	PINNED BUTTERFLY.  Cobain and Jessica bolt for the door, Jessica 	grabbing the gun in the process.

										     CUT TO:

	INT. SEWER TUNNELS - HELL - ZERO HOUR

	2-FOOT FREDDY CLAWS GRIND along DANK STONE WALLS, SCREECHING and 	SPARKING.  Alice HOBBLES blindly, PANTING INTENSITY edging into 	hysteria.  Walls BLUR past as she SPLASHES through shallow water 	to an intersection.  Chooses a route.  Freddy's IMPOSSIBLY HUGE 	FORM fills the corridor behind.  Legs pumping like STEAM 
	PISTONS --

						FREDDY
			No one to mourn you here, sweetmeat!

	Alice stumbles into...A DEAD-END.  A "Hell Door" floats against 	one wall, ANOTHER off to one side.  She starts back the way she 	came...until Freddy appears and BLOCKS her path.

						FREDDY (cont'd)
			All outta options!

	She turns tail as Freddy GUFFAWS MALEVOLENTLY, GALUMPHS toward 	her.  WRENCHES at the far door, and --

	-- A FAST IMPRESSION of SPEARS...KNIVES...DAGGERS.  SLICING toward 	her, "Tex 	Avery" style.  She THROWS HERSELF FLUSH against the 	side wall, THRUSTS the 	door CLOSED.  DENTS BULGE OUT from the 	smooth metal and --

	-- A BRACE OF WEAPONRY WHOOSHES past...strait for Freddy.  A SPEAR 	PIERCES his side, a SILVER "PHANTASM" BALL BURYING ITSELF in his 	forehead.  As he HOWLS in AGONY, Alice FORCES OPEN the second 	door, enters.  Freddy PLUCKS the Ball away, SHAMBLES in persuit --

										     CUT TO:

	INT. MAZE OF PIPES - HELL - ZERO HOUR

	Alice CAROMS against the walls of pipes either side of her, SHEET 	FLAME scorching beyond.  FLOUNDERS blindly through what looks like 	soiled, RIPPED DRAPES - in actuality, FLAILED HUMAN FLESH - 	hanging overhead.  A HISS as Alice places her hand on a steaming 	conduit, RECOILS.

	SOMETHING catchs at the edge of her hearing.  It sounds like 	JACOB'S VOICE.  Her head SNAPS around...

	INT. BOILER ROOM - HELL - ZERO HOUR

	Alice enters the next room at a RUN...stops.  The CAMERA WHIRLS 	about Alice as she turns to take in the room, the BACKGROUND 	BLURRING with MOTION.

	ANOTHER ANGLE.  Though not large, the room has the feel of an 	unholy cathedral.  Much as Alice saw in Jason's mind-meld.

						ALICE
			Jacob!

	ANOTHER ANGLE.  We HEAR (but not see) a door SLAM behind.  As her 	head whips 	around, in B.G. a GREAT FURNACE ROARS to life.  Alice 	sees it's formed from a FUSED BIOMEHANICAL MASS of HUMAN BODIES.  	She hears an approaching RUMBLE like a FREIGHT TRAIN.  The pipes - 	which exend up into infinity - give a SEISMIC SHUDDER, and --

	-- A LARGE REEDER-PIPE TEARS RAGGEDLY OPEN.  Freddy's demonic form 	FORCES its 	way out.

						FREDDY
			To the moon, Alice...the moon!

						ALICE
			I want my son, you bastard!

						FREDDY
			I've already had him...
	
	He LUNGES, scimitar claws GASHING at Alice...missing as she 	sidesteps.  A BLAST of SUPER-HOT STEAM pours out at Alice.  She 	grabs a protruding pipe - SCREAMS in suffering...then SMITES 	Freddy with strength borne of hate and frustration --

	-- Once...twice.  Off balance, Freddy TOTTERS against the blazing 	furnace.  SCREAMS...first from the fire...again as the FURNACE 	LIMBS GRIP and GOUGE at him.  Freddy BAYS like a MYTHIC 	BEAST...TEARS himself clear.  Fixes on Alice, a SNARL splitting 	his face.  They circle...he CLOSES --

						FREDDY (cont'd)
			Draw your last breath --

	It seems like curtains for Alice, and then --

	-- the WALLS RIP APART as if made of paper, the SINGULARITY VORTEX 	THUNDERING in.  Freddy balks...and Alice seizes the opportunity, 	DIVING HEAD FIRST through the open furnace doors into the blazing 	conflagration beyond --

										     CUT TO:

	INT. "NIGHT GALLERY" - HELL - ZERO HOUR

	A dank "Caligari-esque" chamber with vaulted ceilings and pillars.  	Cobain and Jessica appear from the shadows in a CLATTER of 	FOOTSTEPS.

						JESSICA
			Didn't we come this way?

						COBAIN
					(shakes his head)
			Place is like a maze.  what is this...?

	The chamber kinks angularly at the center.  The walls on both 	sides are "lined" with baroque picture frames, FLOATING just off 	the walls (simialar to the "Hell Doors") in a staggered pattern.  	Each one portrays a cycle of "Quicktime" "Freddy Deaths"  from the 	PREVIOUS MOVIES, DISTORTED slightly by a "WATER-RIPPLE" EFFECT.

						JESSICA
			"Greatest Hits Collection."

	They hear a EERIE GHOSTLY ECHO back the way they came.

						COBAIN
			We'd better go.

	Jessica nods her head.  they start off.  Cobain PAUSES as they 	reach the "kink", Jessica going over the rise.

	A PARTICULAR CHEVAL-SIZED PICTURE holds his attention.  Live a 	window to a normal "Rockwellian" suburb:  WHITE PICKET FENCES, 	LAWNS BEING SPRINKLED.  Bright and very "60's", less "shimmery" 	than the others.  His brow creases as he sees --

	-- A NUN standing at the roadside...turning toward him.  Cobain 	recognizes her from his dream:  Amanda Krueger.  He reaches a 	tentative finger out to the shimmery surface...and the picture 	sucks him in.

	OVER THE RISE, Jessica's suddenly aware of Cobain's absence.

						JESSICA
			Cobain!  Cobain...?

	A DARK PROFILE detaches from a pillar behind her.  Something 	catches her sixth-sense...she pivots --

	-- And by a hair's breadth avoids decapitation by Jason, wielding 	a HALBERD taken from the spike-room.  Jesica's hand comes up 	reflexively, the Dagger of Horvath clutched in it.  Jason's blade 	catches the occult weapon's edge, SHATTERING at the superior 	metallurgy.  Jessica DODGES past him, hotfoots 	away...

	INT. ESCHER HALL - HELL - ZERO HOUR (CONTINUING)

	Jessica emerges from a stone archway.  Stops dead --

						JESSICA
			Whoa...!

	We WHIP-PAN from her to find she's looking out across --

	-- An IMMENSE ESCHER HALL, COLUMNS and STAIRS going every-which-	way and confouning the brain.  Connecting platforms here-and-	there...a PIT OF FIRE high-up at an ANGLE, inverted.

	Jessica hears a NOISE behind.  Turns around, sees a MOVING SHADOW 	on the wall.  Takes a deep breath and starts along a SPIRALLING 	STAIRWAY into the chamber's center.  Halfway down she reaches a 	platform with an INSET METAL GRATING, her head JERKING around 
	as --

	-- A GOUT of FLAME BLOSSOMS from the "Up-Pit".  Alice tumbles out, 	flying "down" through space.

						JESSICA
			Alice!

	Alice WHOOSHES past, arms THRESHING.  Jessica outstretches ... 	catches Alice's grip with her own.  Pulls her to the gravity of 	the platgorm.

						ALICE
			Where's Cobain?

						JESSICA
			Lost him, back there...

						ALICE
			We gotta get out, this place is falling
			apart --

	CRASH!  the grating EXPLODES from the floor, sending the girls 	flying.  Freddy SQUEEZES through, his claws STABBING down for 	Alice's face.  She moves her head slightly, two of the sabre 	blades pinning her either side of the neck.

						FREDDY
			Your Doomsday's here --

	Jessica musters her resolve...VAULTS onto Freddy's muscular back, 	anchoring an arm about his trunk-like neck.  She reaches 	around...DRIVES down with the Dagger of Horvath, PENETRATING his 	shoulder.

	Freddy BELLOWS, shucking Jessica loos.  She falls "up", lands on 	another Escher stairway.  A CRIMSON GLOW permeated his shoulder as 	it PERIFIES to STONE, fracture lines spreading outward.  Alice 	SCURRIES for safety as Freddy withdraws his blade-arm, swats the 	Horvath Dagger loose.  It falls "horizontally", lands precariously 	on the edge of a platform dropping bottomlessly away.

						ALICE
			The Dagger!

	Jessica sees, is closer to it.  Climbs "up" a "down" staircase 	hurriedly for it.  Freddy massages his paralyzed shoulder, his 	blade-arm's range of movement restricted.

						FREDDY
			You'll pay now, bitches!

	Jessica reaches the Dagger, As --

	Freddy SURGES at Alice like a rhino, AND --

	JASON "DROPS" DOWN FROM NOWHERE, Alice CRASHING into him!  She's 	knocked to 	the stone floor, breathless.  MAXIMUM TENSION as she 	eyes the two monsters on either side of her.  Jason hesitates 	as Freddy SNARLS at him.

						FREDDY
			The Master promised them to me...!

	Jason takes a half-step.  Pauses.

						FREDDY (cont'd)
			Don't make me hurt you again...

	We get the impression that SOMETHING SNAPS behind Jason's 	CHROMED/DEFORMED VISAGE.  Alice throws her arms across her face, 	as --

	-- The smaller Jason LAUNCHES across her at Freddy with the 	FEROCITY of a T-REX...DRIVES him VICIOUSLY BACK against a column 	which CRACKS and BUCKLES under the onslaught.  Jason's fractured 	halberd SLICES...SHREARS one of reddy's claws, SNAPS another.  	Freddy grimaces as the two Titans struggle hand-to-hand.

						FREDDY
			I...made...you -- !

	We can tell from the BONE-CRUNCHING HEAD-BUTT Jason gives Freddy 	that this fact really ticks him off.  And at theat moment --

	-- ONE ENTIRE HALF OF THE CAVERNOUS ESCHER HALL SHIVERS AND 	DISINTEGRATES.  Alice reaches Jessica.  they grab a handhold as 	the Vortex POWERS IN to CONSUME REALITY...

						JESSICA
			Boy, you weren't kidding...!

						ALICE
			That way!

	The women head for a nearby spiral staircase as the two creatures 	below CLASH SUPERHUMANLY amidst the GRUMBLING surroundings.

	INT. TURRET/THRONE CHAMBER APPROACH - HELL - ZERO HOUR

	Alice has an arm around Jessica as they emerge from a STONE 	TURRET, beaten up and GASPING for air.  They PAUSE --

						ALICE
			End of the line...

	A buttressed stone walkway stretches ahead, two STAINED GLASS 	frames staggered at intervals along it.  At the end is a circular 	"arena", bounded by demonic sculptures curving in slightly. (If 	we were to see this from a distance, it would resemble a 	rictus-clenched hand.)

	Surrounding all this in place of sky or ground is a SWIRLING MASS 	OF CHAOS.  As if we were inside a GIANT IMPLODING BALOON OF 	KALEIDOSCOPIC ENERGY...and it's shrinking.

	With the BIGGEST BOOM we can muster (that won't blow your LOCAL 	MULTIPLEX'S SPEAKERS), the Singularity Vortex materializes beyond 	the turret...

						JESSICA
			This does not look good.

	They hobble/run towards the structure ahead, past the first 	stained glass window with a METALLIC CLATTER, Cobain's Baretta 	falls to the floor.

						ALICE
			I got it.

	Alice picks it up, and --

	The stained glass window SPLINTERS into a million shards.  Jason 	LEAPS through, lands awkwardly.  Alice raises the gun.  Thumbs the 	safety.  Fires.  	CRACK!  CRACK! CRACK!  The third shot RICOCHETS 	rom Jason's silvered mask, CRACKING it half away.  The misshaped 	child-like face beneath almost sympathetic.

						JESSICA
			Keep going...!

	They continue on, the undead killer limping in pursuit.  Past the 	second stained glass window as --

	-- THE SINGULARITY VORTEX PLOUGHS INTO the turret behind, 	ANNIHILATING it...

	INT. THRONE CHAMBER - HELL - ZERO HOUR (CONTINUING)

	Alice and Jessica enter the structure, shrouded by SHADOWS.  Atop 	a CENTRAL RAISED DAIS is what looks like a SQUARE OF BLACK GLASS, 	rotating in space.  Besides it is a THRONE, disturbingly fashioned 	from skulls and biomechanical fittings.  The by-now familiar 	"PENTICON" is indented into the floor, SWAYING 	CHAINS hand "up" 	from the ground.  FLAMING BRAZIERS are dotted around the 	periphery, CUT-OUTS DROPPING TO INFINITY in the floor spelling 	certain death for the hapless.

	Jessica stops, face registers horrified disbelief.

						JESSICA
			Oh my God...

						ALICE
			We've found them --

	CLOSE ON THE ROTATING GLASS PANE.  Through two-dimensional, Jacob 	and Stephanie can be seen, trapped within.

	JASON LOOMS SUDDENLY AT THEIR SHOULDER --

						JESSICA
			Run!

	Alice and Jessica separate as Jason's halberd SPARKS from one of 	the chains.  Alice edges toward the Penticon, while Jessica makes 	it to the dais.  Jason 	seems torn for a moment...decides who to 	stalk.  Goes for Jessica.  She draws the Horvath Dagger --

						JESSICA (cont'd)
			Okay, handsome.  Let's rumble...

	OVER AT THE DAIS, Alice examines the childrens' GLASS PRISON with 	frustration.  Tries to grab the edge, but it offers no purchase.  	Pulls Cobain's gun --

						ALICE
			Hope I know what I'm doing...

	CRACK!  CRACK!  Not even a scratch...it might as well be titanium.  	As the bullets RICOCHET, PINGING onto the stone --

	-- ALL THE BRAZIERS FLARE MASSIVELY.  No-one notices the SHADOWS 	moving, collecting towards one point...and the chamber becoming 	gradually brighter.

	Jesica feints with the Horvath blade, retreating.  Loses balance 	at one point on the edge of a "cut-away".  Jason follows, WHACKING 	relentlessly with the halberd.  Each time the blades make contact, 	part of Jason's weapon FRAGMENTS.  Eventually, the undead monster 	is left with what amounts to a dagger.  He tosses it ferociously 	at Jessica.  She parries the projectile...it EXPLODES in a 	lightblast.

	BACK TOWARDS THE ENTRANCE, the SINGULARITY VORTEX has chewed apart 	half of the bridge...the EDDYING ENERGY BUBBLE all around 	contracted in even more...

	BACK INSIDE, Jason GRABS one of the six-inch hanging chains, 	WHOOSHES it in an arc at her.  She's SMASHED back into a brazier, 	the Dagger of Horvath SKITTERING out of sight.  Burning herself 
	as --

	-- JASON'S SHOULDER EXPLODES in a SPRAY of GREEN PUTRESCENCE.  He 	WHIRLS.  Alice is standing a short distance behind with the 	pistol.  She taunts him --

						ALICE
			Hey!  Wanna go for Bonus Points?

	Jason hesitates.  Alice PLUGS him again for incentive.  Jessica 	begins to circle around for the dais --

						ALICE
			Hey, stupid...I meant --

	Her face falls as Jason STAMPEDES RIGHT FOR HER, but --

	-- A THIRD STAINED GLASS PANE - offses asymmetrically - BLASTS 	APART.  Freddy SPRINGS through, lands on Jason agile as a cat.  	The two PUMMEL each other FURIOUSLY, an alley-cat fight of the 	Underworld.  Alice is sent SPRAWLING to the ground.  Stumbles to 	join Jessica at the dais...

	The battle is BRUTAL...CLASHING CLAWS and FISTS, HISSES and 	GRUNTS.  Makes W.W.F. look like a KID'S PLAYGROUND FIGHT.  iN 	b.g., we see Alice join Jessica at the dais.

						ALICE
			What are we gonna do?

						JESSICA
			Get the kids free, then get the fuck out
			of Dodge!

						ALICE
					(shakes her head)
			I already tried the gun --

	Jason GRIPS Freddy's throat...shoves his head into a brazier's 	SEARING COALS.  Freddy CRIES OUT, his CLAWS flailing out and 	PUNCTURING Jason's stomach.  They FLOUNDER to the ground, and --

	-- Are RIPPED BODILY APART by some STAGGERING PRESENCE...a GREAT 	DARK SHAPE 	LOOMING BEHIND THEM.  Jessica and Alice freeze.  	Alice's EYES WIDEN, follow as the two behemoths are HOISTED UP and 	UP --

	It's IMPROBABLE...IMPOSSIBLE.  But nonetheless, THERE.  A Titanic, 	regal figure...we recognize him from ALICE AND MANFREDINI'S 	DREAMS.  Freddy and Jason are like Boy Scouts next to him, 	clutched in his evil talon.

						ALICE
			What...the...Hell...is...that?!

	THANOS - Lord of the Underworld...you might even want to call him 	Satan.  TAINTED ARMOR PLATES cover a GARGANTUAN BODY.  The "Grim 	Reaper" cloak BILLOWS back in the maelstrom.  Enormous-yet-elegant 	RAM'S HORNS curl tightly either side of his elongated biomechanoid 	head, a GREAT SCYTH slung across his back.  His voice BOOMS around 	the arena --

						THANOS
			The Father...
					(ANGLE on Freddy)
			Son...
					(ANGLE on Jason)
			Holy Ghost --

	They struggle in Tanos' grip.  Thanos LAUGHS.

						THANOS (cont'd)
			Pathetic cration.

	He CASTS Jason aside with contemptuous ease, his body BOUNCING the 	edge of the platform and toppling over the edge.

						FREDDY
					(strangled choke)
			Master...Thanos --

	Thanos CASTS Freddy casually into the Penticon, the stone 	GRACTURING under the impact.  GREEN ENERGY SPARKS ZAP around the 	Unholy patters as it "glitches."

						THANOS
			Your purpose is served...

	Thanos turns to the women.  GUFFAWS at the sight of Alice 	levelling the pistol at him.  She lowers it.  the women shrink 	back under Thanos' coolly penetrating gaze.

						THANOS
			Intruders to my realm?  No matter You
			are inconsequential...

	thanos gestures a hand.  Two dangling chains ANIMATE, SEIZE them 	like TENTACLES.  Hoist them aloft in a vice-grip.  Thanos turns 	back to Freddy, crawling piifully on the stone floor.  Raises his 	head painfully at the Dark Lord.

						FREDDY
			Our pact...we gave you souls!  Fresh 
			innocents -- !

	Thanos stalks around Freddy...

						THANOS
			Fool...bargains forget by Hell are worth
			naught.  When I kill these righteous, the 
			balance will change.  A Universe born
			afresh IN MY IMAGE.

	Freddy GROWLS deep within...betrayal fuelling him.  The 	Singularity Vortex CHEWS the last of the bridge behind, begins 	CHURNING at the platform.  The whole ground SHAKES like an 	EARTHQUAKE.  Freddy rises, IMPELS HIMSELF at the towering demon.  	Thanos' scythe WHEELS, BATS Freddy away.

						THANOS (cont'd)
			Insect.  It is time to meet your Maker.

	Thanos makes a gesture with the scythe.  An energy wave hits the 	fallen dream killer, transmuting him into the "Old Freddy" from 	"Nightmares 1-6".

						THANOS (cont'd)
			Remember what you were.  Weak...puny.

	Thanos stalks toward "Old" Freddy, his form CHANGING...reducing.  	In four steps, Thanos has himself metamorphosed into the "New 	Freddy"...but with a difference.  Thanos' malevolent eyes are 	still there, but the "Freddy" body is DARK, OILY.  BLACK WHIPLASH 	TENTACLES EXTRUDING then SUCKING BACK. (Think of the "Carnage" 	character in Marvel's "Spiderman".)

	"Old Freddy" crawls away...and "Thanos/Freddy" raises an arm.  It 	elongates into a GREAT OBSIDIAN SPEAR, punching through "Old 	Freddy" and pinning him to the ground.  "Old Freddy"'s finger-	glove SCRAPES hopelessly at it.

						THANOS (cont'd)
			Now...live your own Nightmare.

	the gruesome sculptures overhead SHAKE as the Singularity Vortex 	intrudes upon the arena.  A stone chunk TOPPLES as the Universe 	bubble closes in, FRACTURES the children's rotating glass prison 	and BOUNCES clear.  Thanos RETRACTS his spear arms and turns 	towards it, his scythe swelling into existence --

						THANOS
			Finally.  The convergence of all time...
			all space.  My purgatory ends!

	The women scream as the scythe arcs back to strike --

						JESSICA
			No!

						ALICE
			You bastard -- !

	Thanos/Freddy LAUGHS, cruel and cold...then goes abruptly rigid.  	His eyes stare wide as --

	THE ANIMATE CHAINS holding Jessica and Alice loosen, the women 	dropping to thier freedom --

						JESSICA
			The gun -- !

	A MASSIVE BELLOW escapes Thanos/Freddy's lips.  A BLAST OF POWER 	simultaneously hits "Old Freddy", transforming him BACK to his 	true Underworld 	form. He raises himself from the floor to see --

	-- A BATTERED JASON ATOP THANOS' BACK, the retrieved Horvath 	Dagger butied between the Dark Lord's shoulders.  Thanos REELS 	backward as the blade GLOWS ORANGE...Jason twisting it again with 	a GUTTURAL SNARL and--

	THE ANIMATE CHAINS CRASH limply to the ground, norrowly missing 	the girls.  Alice sneatches up the fallen Baretta --

	Thanos swells, reverting to his towering form.  Crackling energy 	LICKING across his body - TENDRILS LASHING OUT at Jason.  Freddy 	throws himself at the demon...uses his fractured blades as 	climbing pitons, brings himself up to the Dark Lord's face --

						FREDDY
			Time to meet what you made...

	FREDDY drives the broken steel hard up, CLEAVING into Thanos' 	neck, as --

	ALICE places the pistol's muzzle point-blank against the cracked 	prism.  BLAM!  It EXPLODES into a thousand fragments, the children 	falling in a heap to the floor.

						ALICE
			Jake!

						STEPHANIE
			Mommy!

	Thanos turns to see mothers and children embrace, reunited.  	Statues CRUMBLE apart, masonry SHATTERING against the floor.  The 	Demon sways, arms like windmills...fighting against his two 	creatures.

						THANOS
			Noooo...I L I V E!

						FREDDY
			Try again!

	Freddy and Jason TWIST their blades SAVAGELY, and an ECHOING CRY 	OF PAIN fills the COSMOS, as --

	-- The women and kids throw their arms about each other in a group 	huddle, and --

	-- THE VERY FABRIC OF THE UNIVERSE ENDS IN A TOTAL WHIT OUT.

										     CUT TO:

	EXT. HILLTOP - BETHLEHEM - NIGHT (JANUARY 1ST, 2000)

	The fabric of space PUCKERS, BULGES. DISGORGES --

	-- Alice, Jessica, Jacob and Stephanie.  They CRASH in a heap atop 	a grassy hill.  the LIGHTS of a TOWN GLOW BRIGHTLY below...

						STEPHANIE
			Mommy...

	Jessica embraces Stephanie.

						JESSICA
			Oh, baby.

						ALICE
			Are we home?

	A LOW RUMBLE, and then...POINTS OF LIGHT BURSTING WIDE OPEN in the 	sky.

						JACOB
			Fireworks!

						STEPHANIE
			The New Year's display!

	Jessica's head drops, remembers Steven's promise.

						JESSICA
			Oh, God - w made it...we actually did it.

	Alice looks soberly at Jessica.  Nods.

						ALICE
			We tipped the Millennium.  But what
			happened to Cobain...?

										     CUT TO:

	INT. MENS' ROOM - POLICE STATION - AFTERNOON (1960'S)

	The long mirror above a row of wash-basins BULGES, EXTENDS A 	SILVERED POLYP.  It hangs for a second, then BURSTS.  Cobain falls 	heavily to the tiled floor.

						COBAIN
					(pained)
			Ow!  Jesus, Mary, and Joseph --

	He pulls himself together.  Drags himself up.  There's a newspaper 	folded by the basin.  He FLIPS IT OPEN, reads the masthead:  "The 	Springwood Gazzette."  	Very peiod.

						COBAIN (cont'd)
			1960s.  No way...

	INT. CORRIDOR - POLICE STATION AFTERNOON (1960S)

	Cobain walks down a corridor.  A COP passes him.  Through the 	slats of an office window, he spies a PLAINCLOTHED COP slugging 	back a bottle of Wild Turkey.  The man sees Cobain, drops the 	bottle quickly into a desk drawer.  Exits the office, hurries past 	him.

	INT. OFFICE - POLICE STATION - AFTERNOON (1960S)

	Cobain peeks out through the office window.  A 1960s car goes 	past.  He shakes his head.

						COBAIN
			Quantico never prepped me for this one.

	He looks at the cop paraphernalia on the walls...the mess of 	paperwork on the desk.  Sees an UNSIGHNED SEARCH WARRANT in an 	open manilla folder.  He picks it up.  Reads the details.

						COBAIN (cont'd)
			Krueger...?

	Another cop -  blond Irishman whose namebadge says "Blocker" - 	appears in a hurry at the door.

						OFFICER BLOCKER
			Through with that warrant yet?

						COBAIN
			Excuse me?

						OFFICER BLOCKER
			The powerplant?  "Springwod Slasher" 
			case?  Don Thompson and me are going over
			to bust this guy now.  You done?

	Cobain realizes the import of this moment.

						COBAIN (cont'd)
			Just about.

	He puts the warrant down.  Sees another form nearby.  Picks up a 	pen...and copies a perfect signature.  Hands it back.

						COBAIN
			There you go.

						OFFICER BLOCKER
			Thanks.  Man, I tell you.  This is turning
			out a beautiful day.

	Cobain nods slowly...

						COBAIN
			Yeah.

	EXT. STREET - AFTERNOON (1960S)

	Cobain walks down the street, looks around.  It is as he saw it 	through the mirror.  Sunny...sprinklers watering lawns...dogs 	barking.  60s automobiles, white picket fences.  He nods at a pair 	of 60s-dressed women as they pass him.

						COBAIN
			Like a dream...

	He passes a playground.  Sees CHILDREN playing in an idealized 	way.  Hears a song, familiar to us.

	The lyrics are different.

						DREAM CHILDREN
					(O.S.)
			"One, Two...He's not coming for you.
			Three, Four...unlock your door --"

	A VOICE jerks him around.  He sees Amanda Krueger standing off to 	the side of the playground.

						AMANDA KRUEGER
			Alright, children.  We're going now.

	The kids behin towards her.

						DREAM CHILDREN
					(O.S.)
			"Five, Six...pack your crucifix --"

	She frowns.  Cobain sees a kid alone, digging at a sandpit.

						AMANDA KRUEGER
			Jason?  Come along.

	The kid looks up.  We see the smae misshaped face, the embroidered 	boiler suit...it's Jason Voorhees.  He reaches behind him...and 	pulls on a cowboy hat.  Races after the other kids.  As Cobain 	smiles --

						DREAM CHILDREN
					(O.S.)
			"Seven, Eight...gonna stay out late --"

	ANOTHER ANGLE.  The MUSIC SCORE goes DEEP and MENACING O.S. as THE 	SHADOW of a GREAT CLOAKED FIGURE WIELDING A SCYTHE falls across 	Cobain.  He turns --

	-- And SQUINTS up at the sun, shining through a SQUEAKY WEATHER 	VANE of OLD FATHER TIME.

						COBAIN
			Yea.  "A beautiful day."

						DREAM CHILDREN 
					(O.S.)
			"Nine, Ten...you can sleep again..."

	And we SLAM-CUT TO BLACK, as we have reached --

						 THE END