Сценарий фильма пятница 13

Об летнем лагере "Хрустальное озеро" давно уже ходят нехорошие слухи. и мальчик там утонул, и людей убивали, и травили что попало. Но, конечно, молодежь в байки не верит, и вот несколько из них решают подработать вожатыми на лето. Впрочем, приехав в лагерь, оказывается что не все легенды -вранье, и Джейсон начинает кровавую серию убийств.

Об летнем лагере «Хрустальное озеро» давно уже ходят нехорошие слухи. и мальчик там утонул, и людей убивали, и травили что попало. Но, конечно, молодежь в байки не верит, и вот несколько из них решают подработать вожатыми на лето. Впрочем, приехав в лагерь, оказывается что не все легенды -вранье, и Джейсон начинает кровавую серию убийств.

Содержание/сюжет

Летний лагерь «Хрустальное озеро» уже давно приобрёл недобрую популярность среди местных жителей. В 1957 году там, из-за недосмотра вожатых, утонул мальчик. Спустя год произошло жестокое убийство вожатых Клодетт и Барри. После всех этих ужасных событий лагерь закрыли и он получил прозвища «Кровавый» и «Проклятый мертвецами». Его не раз пытались открыть, но снова и снова люди сталкивались с другими несчастьями: сначала на нескольких территориях случился пожар, потом кто-то отравил все запасы питьевой воды.

В 1979 году новый хозяин лагеря Стив Кристи, отбросив суеверия и предрассудки, решает отремонтировать и подготовить лагерь для летнего отдыха. В одном из первых эпизодов фильма девушка по имени Энни едет в лагерь, чтобы поработать там поваром. По пути она встречает местного сумасшедшего Ральфа, который говорит ей, что лагерь «Хрустальное озеро» проклят и все они обречены. Девушка не верит ему и продолжает путь. Она останавливает попутную машину и просит подвезти её в лагерь, но за рулем оказывается убийца, который отвозит Энни в лес и убивает, перерезав ей горло. Тем временем ещё одна машина направляется к «Хрустальному озеру». В ней трое будущих вожатых: Джек, Марси и Нед. Они приезжают в лагерь, где их уже ждут Стив Кристи и его помощники: Элис, Билл и Бренда.

Готовясь к приезду детей ребята отлично проводят время в лагере: купаются, загорают, веселятся. Вечером Стив Кристи уезжает в город по делам и вожатые остаются в лагере одни. Нед, прогуливаясь по лагерю, замечает кого-то в одном из домиков. Он заходит туда, но там его уже ждёт убийца. Он убивает юношу,перерезав ему горло. Марси и Джек гуляют по лагерю, но неожиданно начинается дождь. Они укрываются в одном из домиков и занимаются там любовью. Некоторое время спустя Марси выходит из домика, чтобы сходить в туалет и Джек остаётся один. Он курит, лёжа в кровати, но под кроватью находится убийца. Он неожиданно снизу пронзает шею Джека стрелой насквозь. Покончив с ним, убийца отправляется за Марси. Спрятавшись в душевой, он нападает на девушку и убивает её, воткнув ей топор в лоб.

Тем временем Элис,Билл и Бренда сидят в домике, поют песни, играют в «Монополию»,не зная о смерти своих друзей.Бренда вспоминает, что забыла закрыть окно в своём домике. Она отправляется туда и собирается лечь спать, но внезапно слышит детский крик. Девушка отправляется в поиски,но это оказывается ловушкой. Убийца находит Бренду на площадке стрельбы из лука и убивает её, задушив верёвкой. Следующей жертвой становится Стив Кристи. Он сталкивается с убийцей на обратном пути и получает удар ножом в грудь. В лагере неожиданно гаснет свет. Билл идёт проверять генератор и не возвращается. Элис отправляется на поиски и обнаруживает его с перерезанным горлом, пронзённого стрелами на двери гаража. Испуганная до смерти девушка бежит обратно в домик и запирается изнутри, где обнаруживает тело Бренды . Вскоре Элис замечает машину, приехавшую в лагерь. Думая, что это Стив, Элис бежит ему навстречу, но вместо Стива встречает незнакомую женщину средних лет, которая представляется его давней подругой, миссис Вурхис.

Из дальнейшего рассказа миссис Вурхиз становится известно, что она является матерью того самого утонувшего мальчика, Джейсона Вурхиса, что она убила в 1958 году двух вожатых, виня их в смерти сына, она отравила всю питьевую воду и устроила пожар. И это она же убила Кристи и всех остальных, потому что была уверена, что если лагерь вновь откроют, то подобное судьбы Джейсона может случиться и с другими детьми. Миссис Вурхис пытается расправиться с Элис, но та после долгой борьбы выхватывает мачете и отрубает сумасшедшей женщине голову. Наступает утро. Элис просыпается в лодке на середине реки. Она видит приближающуюся полицейскую машину, но в это самое время из воды выныривает тело утонувшего мальчика Джейсона и утаскивает Элис за собой на дно озера.

Девушка просыпается в больнице. Шериф сообщает ей, что никто кроме неё не смог выжить в этой страшной резне. Но Элис говорит, что видела мальчика и понимает-он всё ещё там.

Источник
Friday the 13th
A film poster with the title "Friday the 13th" appearing in red letters just below "From the producers of The Texas Chainsaw Massacre". Above the title stands Derek Mears dressed in full Jason Voorhees make-up and a machete in his right hand. Fog and a moonlit wilderness appear in the background. The production credits appear in small font at the bottom of the poster.

Theatrical release poster
Directed by Marcus Nispel
Screenplay by Damian Shannon
Mark Swift
Story by
  • Damian Shannon
  • Mark Swift
  • Mark Wheaton
Based on Characters
by Victor Miller
Produced by
  • Sean S. Cunningham
  • Michael Bay
  • Andrew Form
  • Brad Fuller
Starring
  • Jared Padalecki
  • Danielle Panabaker
  • Aaron Yoo
  • Amanda Righetti
  • Travis Van Winkle
  • Derek Mears
Cinematography Daniel C. Pearl
Edited by Ken Blackwell
Music by Steve Jablonsky

Production
companies
  • New Line Cinema
  • Paramount Pictures
  • Platinum Dunes
  • Crystal Lake Entertainment
Distributed by
  • Warner Bros. Pictures (North America)[1]
  • Paramount Pictures (International)

Release dates
  • February 9, 2009 (Mann’s Chinese Theater)
  • February 13, 2009 (United States)

Running time

 97 minutes[2]
Country United States
Language English
Budget $19 million[2]
Box office $92.7 million[1][3]

Friday the 13th is a 2009 American slasher film directed by Marcus Nispel, written by Damian Shannon and Mark Swift from a screen story by Shannon, Swift, and Mark Wheaton. It is a reboot of the Friday the 13th franchise, which began in 1980, and is the twelfth installment.[4][5] Nispel also directed the 2003 remake of Tobe Hooper’s The Texas Chain Saw Massacre (1974), while Shannon and Swift wrote the screenplay for the 2003 crossover Freddy vs. Jason. The film was produced by Platinum Dunes and Crystal Lake Entertainment and distributed by New Line Cinema and Paramount Pictures. It stars Jared Padalecki, Danielle Panabaker, Aaron Yoo, Amanda Righetti, Travis Van Winkle, and Derek Mears and follows Clay Miller (Padalecki) as he searches for his missing sister, Whitney (Righetti), who is captured by Jason Voorhees (Mears) while camping in woodland at Crystal Lake.

The film was originally conceived as an origin story, but the project evolved into a re-imagining of the first four Friday the 13th films. The character Jason Voorhees was redesigned as a lean, quick killer with a backstory that allows the viewer to feel sympathy for him, but not enough that he would lose his menace. In keeping with the tone of the film, Jason’s mask was recreated from a mold of the original mask used for Part III; though there were subtle changes. Friday the 13th includes some of Harry Manfredini’s musical score from the previous Friday the 13th films because the producers recognized its iconic status.[6]

Friday the 13th was theatrically released in the United States on February 13, 2009, by New Line Cinema in North American territories and by Paramount Pictures internationally. The film received generally negative reviews from critics, who felt that it did not add anything new to the franchise. The film would go on to gross $92.7 million at the box office on a budget of $19 million, becoming the second-highest-grossing film in the franchise after Freddy vs. Jason.

Plot[edit]

On Friday, June 13, 1980, a young Jason Voorhees watches as his mother Pamela is beheaded by a camp counselor, who was trying to escape Mrs. Voorhees’s murder spree around Camp Crystal Lake. Almost thirty years later, five friends—Wade, Richie, his girlfriend Amanda, Mike, and his girlfriend Whitney—arrive for a camping trip at Crystal Lake, where they hope to find a crop of marijuana growing in the woods. That night, an adult Jason kills everyone except Whitney, whom he captures as she resembles his mother at a young age.

Six weeks later, Trent, his girlfriend Jenna, and friends Chelsea, Bree, Chewie, Nolan, and Lawrence arrive at Trent’s summer cabin on the shore of Crystal Lake. Meanwhile, Whitney’s brother Clay Miller arrives at the lake to search for her, despite his local sheriff’s pleas to look elsewhere. Clay visits Trent’s cabin, and Jenna agrees to help him search for Whitney. Chelsea and Nolan go wakeboarding on the lake where Jason kills Nolan with an arrow, and fatally stabs Chelsea with his machete. Meanwhile, Clay and Jenna search the old Crystal Lake campgrounds, where they see Jason hauling a body into the abandoned camp house.

Jenna and Clay run back to the cabin to warn the others about Jason. Chewie is killed by Jason in a tool shed near the cabin, while Trent and Bree have sex in a bedroom. Jenna and Clay arrive, and Clay calls the police. Jason then disconnects the cabin’s electricity. Lawrence heads outside to search for Chewie, and Jason kills him with an axe. Jason then sneaks inside and kills Bree. A police officer arrives and knocks on the front door, but is killed by Jason before he can enter. Trent, Clay, and Jenna escape the cabin and become separated, and Trent is killed by Jason when he reaches the main road.

Jason chases Clay and Jenna back to the campgrounds, where Clay discovers Jason’s lair and finds his sister underground, chained to a wall. Clay frees Whitney, and all three try to escape as Jason arrives. They find an exit, but Jenna is impaled by Jason’s machete before she can escape. Jason corners Clay and Whitney in a barn, and Whitney confuses Jason by pretending to be Pamela. Clay and Whitney subdue Jason with a chain, and Whitney stabs Jason in the chest with his machete. After sunrise, Clay and Whitney dump Jason’s body into the lake, but before they leave, Jason bursts through the wooden dock and grabs Whitney.

Cast[edit]

  • Jared Padalecki as Clay Miller
  • Danielle Panabaker as Jenna
  • Amanda Righetti as Whitney Miller
  • Travis Van Winkle as Trent
  • Aaron Yoo as Chewie
  • Derek Mears as Jason Voorhees
    • Caleb Guss as Young Jason Voorhees
  • Jonathan Sadowski as Wade
  • Julianna Guill as Bree
  • Ben Feldman as Richie
  • Arlen Escarpeta as Lawrence
  • Ryan Hansen as Nolan
  • Willa Ford as Chelsea
  • Nick Mennell as Mike
  • America Olivo as Amanda
  • Kyle Davis as Donnie
  • Richard Burgi as Sheriff Bracke
  • Nana Visitor as Pamela Voorhees
    • Kathleen Garrett as voice of Pamela Voorhees

Production[edit]

Development[edit]

New Line Cinema’s Toby Emmerich approached Platinum Dunes producers Michael Bay, Brad Fuller and Andrew Form about remaking Friday the 13th in the same way they restarted The Texas Chainsaw Massacre franchise. They agreed and spent over a year obtaining the film rights from Paramount Pictures, New Line and Crystal Lake Entertainment—the latter run by Friday the 13th creator Sean S. Cunningham.[7] Paramount executives gave Platinum Dunes producers a license to use anything from the original films, including the title. Paramount was given the rights to distribute the film internationally and New Line retained U.S. distribution rights.[8] Fuller and Form said they did not want to make Friday the 13th Part 11 or 12, but wanted to rework the mythology. They liked elements from the first four films—such as plot points and ways particular characters are killed—and planned to use these in their remake, which they did with Paramount’s approval.[6] Fuller said, «I think there are moments we want to address, like how does the hockey mask happen. It’ll happen differently in our movie than in the third one. Where is Jason from, why do these killings happen, and what is Crystal Lake?»[6] The producers initially expressed an interest in using Tommy Jarvis, a recurring character who first appeared in Friday the 13th: The Final Chapter, but the idea was scrapped.[9]

Though the producers decided that Friday the 13th would not be an origin story, they said that they wanted to work out a logical origin story for Jason that would provide a sense of history as the film progressed.[9] Form and Fuller explained that the audience gets to see how Jason attains his famous hockey mask, and is given a reason for why he puts it on. Jason would transition from wearing a bag over his head—similar to the one seen in Friday the 13th Part 2—to finding and wearing his hockey mask, whereas in Friday the 13th Part III he obtains the mask off-screen and comes out of a barn already wearing it.[10]

Unlike both horror remakes, The Texas Chainsaw Massacre (2003) and The Amityville Horror (2005)—which were also produced by Bay, Form, and Fuller—it was decided that Friday the 13th would not be a period piece. Form and Fuller said the film was not strictly a remake so there was no reason they could not set the story in the 2000s.[6] In October 2007, Damian Shannon and Mark Swift, the writers of Freddy vs. Jason, were hired to write a script for Friday the 13th.[11] Jonathan Liebesman was in negotiations to direct the film, but scheduling conflicts meant he was unavailable and Fuller and Form chose Marcus Nispel.[6] Nispel was apprehensive about taking the job, mainly because he would be taking over another film franchise, but Fuller eventually persuaded him to direct the project.[7] Principal photography began on April 21, 2008, in Austin, Texas and ended on June 13, 2008.[12] Additional scenes were shot on location at Camp Fern near Marshall, Texas.[13]

Casting[edit]

Stuntman Derek Mears was hired to portray Jason Voorhees at the recommendation of special make-up effects supervisor Scott Stoddard.[7][14] Before the producers contacted him, Mears had already heard about the production of a new Friday the 13th and had decided to start physical training so he could pursue the role. He was unaware that Stoddard and other industry professionals were suggesting him to the producers.[15] The studio worried that Mears’ pleasant demeanor might affect his ability to portray a menacing character, but Mears assured them he was suitable for the role.[7] According to Mears, «They were like, ‘You’re really nice  …  are you going to be able to switch over, right?’ I was like, ‘I cage fight… and I’ve got a lot of dad issues. So yeah.'».[7] Mears said he related to «Jason the victim» when he was growing up, and he wanted to portray Jason as a victim in the film. To Mears, Jason represents people who were bullied in high school—specifically those with physical deformities—for being outcasts. Jason is unusual because he exacts his revenge on those trying to take over his territory at Crystal Lake.[16]

When Mears went to audition for the role, he was asked, «Why do we need an actor as opposed to just a guy in a mask?» Mears said portraying Jason is similar to Greek Mask Work, in which the mask and the actor are separate entities, and depending on the scene, there will be various combinations of mask and actor in the performance. Mears said the energy from the actor’s thoughts will be picked up by the camera. He compared his experience behind the camera to a stock car race: he is the driver and the effects team is his pit crew. As he performs, the effects team subtly suggest ways he can give the character more life on camera.[17]

Amanda Righetti had not read the script when she was offered the role of Whitney Miller. She wanted to be part of the Friday the 13th franchise from the start. Righetti said she wanted to act in the film to be a part of the franchise and was convinced by the script.[7] Jared Padalecki describes Clay Miller as a real hero because he sets out «to do the right thing» when his sister goes missing, and goes about it as a «lone wolf» who wants to take on the responsibility alone.[18] Adjustments were made to the filming schedule to accommodate Aaron Yoo, who portrays Chewie. Yoo had his appendix removed shortly before filming began, and could not film his scenes immediately. As soon as Yoo was ready for filming, Nispel immediately hung him upside down from some rafters, exposing the staples over his surgical wound for the character’s post-death shot.[19]

Fuller and Form said the casting process for Friday the 13th was more difficult than that for The Texas Chainsaw Massacre because thirteen young actors were involved in Friday the 13th, as opposed to five in The Texas Chainsaw Massacre. The pair continually recast roles to find which actors worked best together. This recasting process lasted until the start of filming. Hostel: Part II’s Richard Burgi, who was cast as Sheriff Bracke, did not sign his contract until twelve hours before he was due to start filming his scenes.[6]

Writing[edit]

When Shannon and Swift began writing the script for Friday the 13th, they imposed some rules based on their experiences of writing Freddy vs. Jason on themselves. They wanted their teenage characters to «sound normal». Shannon and Swift said they did not want the characters to know Jason’s name or to become what they considered «the Scooby-Doo cliché where it’s a bunch of kids trying to figure something out».[20] The writers also wanted to distance themselves from self-referential slasher films such as Scream and to give the film a gritty, more 1980s feel that had been lost in recent films. They wanted to create a quick, loose Jason. The writing team decided to create a version of Jason «who was actually in the woods surviving off the land», and whose killings are presented as a way of defending his territory rather than randomly murdering whoever came along.[21]

We felt it was important to go back to the basics and put Jason back in the woods again.

—Mark Swift on conceptualizing a new Friday the 13th film.[21]

The writers did not want to spend a lot of time covering Jason’s childhood experiences, which they felt would remove the sense of mystery from the character. They tried to write scenes that would add verisimilitude, like the audience finding a deer carcass lying on the ground as they follow Jason through his tunnels. Fuller told the writers they would have to do without it because it would cost $100,000. Because of budget constraints, certain character deaths and the ending of the film were also scaled back from what Shannon and Swift originally envisioned.[20]

The writers had written a scene in which Willa Ford’s character Chelsea is stranded on the lake for hours after she sees Jason standing on the shore.[21] Eventually, the girl would tire and drown. Shannon and Swift felt this was something they had not seen in slasher films, but later decided to make the death quicker and more visceral.[20] A similar incident occurred with Danielle Panabaker’s character Jenna. Panabaker said Jenna was scripted to survive longer than she did in the final version of the film; Jenna was supposed to escape Jason’s lair and recite a «cute line» about a second date with Clay before an elaborate fight sequence that ends in her death.[22] The writers wanted to strike a balance between finding new and interesting ways to kill characters and paying homage to popular death scenes that appeared in installments of the previous series. To accomplish this, Shannon and Swift included the presence of a wheelchair and a sweater in Jason’s tunnels; the character Mark (Tom McBride) was a paraplegic who was killed by Jason in Friday the 13th Part 2 and Mrs. Voorhees wore the sweater in the original version of Friday the 13th.[20]

The writers altered Jason’s character. Mears describes him as a combination of John Rambo, Tarzan, and the Abominable Snowman from Looney Tunes. To Mears, Jason is similar to Rambo because the audience sees him setting up the other characters to fall into his traps. Like Rambo, he is calculating because he feels he has been wronged and he is fighting back; he is supposed to be more sympathetic in this film.[17] However, Fuller and Form said they learned from their experience with The Texas Chainsaw Massacre: The Beginning not to make Jason too sympathetic to the audience. They decided against an origin story because they did not want to focus on Jason’s tormented childhood because the producers felt that would «demystify» the character in an unhelpful manner. Fuller said, «We do not want him to be sympathetic. Jason is not a comedic character, he is not sympathetic. He’s a killing machine. Plain and simple.»[6]

Visual effects[edit]

The producers used Asylum Visual Effects to create digital effects for Friday the 13th. Although director Marcus Nispel is a proponent of practical effects, Asylum had to digitally create some shots to protect the actors and to allow the director to achieve a specific look. Visual effects supervisor Mitchell Drain assigned ten crew members to work on the visual effects; they first analyzed the script in pre-production to decide which shots would need digital effects. Asylum worked on 25 shots for the film.[23]

A man with a video camera kneels to film as an actor pulls a machete from the head of another actor who is sitting on the ground. Behind the cameraman, another man records sound from the scene they are filming, while a third man stands in the background.

Mears being filmed performing the killing of Ben Feldman’s character. Asylum digitally created the rest of the machete to show it being pulled away from Feldman’s face.

One of the first scenes Asylum was given was the scene depicting the death of Amanda, in which Jason ties her into her sleeping bag and hangs her over a campfire. The risk to the actor and the surrounding woodland was deemed too great to physically perform the scene. Asylum created a composite of two shots to show Amanda burning to death in her sleeping bag. Instead of creating a computer generated (CGI) model of the campfire, a real campfire was filmed. Asylum compositor John Stewart blended that footage with shots of the hanging sleeping bag into a single shot. Stewart digitally altered the flames to keep continuity between frames.[24] Another composite shot is used in the scene in which Chelsea is hit by a speedboat. Because the scene would be too dangerous for even a stuntperson to perform, Asylum digitally combined footage of Willa Ford reacting to an imaginary boat that runs over her with shots of the actual boat to create the effect.[25]

Asylum also enhanced some of Jason’s signature machete kills. In several scenes, the company used a computer-generated machete because Nispel wanted to show multiple characters’ deaths in one shot instead of cutting from the acts of murder to the aftermath of their deaths. In one scene, Jason kills Richie by slamming a machete into his head. Instead of using a real machete with a fake head, Nispel had Feldman act dead as Mears pulled a handle—with only a portion of the blade attached—away from Feldman’s head. Then, Asylum digitally created the rest of the machete blade to complete the effect.[24] For this scene, Asylum adjusted the actor’s facial expressions to create a «post mortem» look. The special effects team digitally drooped half of the actor’s face to appear as though the nerves had been severed by Jason’s machete.[25]

Asylum digitally created weapons for various scenes. In the scene in which Nolan is killed suddenly by a shot in the head from Jason’s arrow, Asylum created the arrow in post-production. Another scene involved Jason hurling a hatchet at Lawrence as he runs away, striking him in the back. The shot of a hatchet flying through the air—in one instance appearing in the same frame as the actor—would be too difficult to achieve practically. Asylum rendered a complete 3D model of the hatchet then inserted the model into the frames leading up to the frame in which it hits the character in the back. One of the final images added by Asylum was for Trent’s death scene. Here, Asylum digitally created a metal spike that bursts through Trent’s chest as Jason slams him onto the back of a tow truck.[25]

Creating Jason[edit]

A sculpture of a male torso and head is overlaid with fake skin, which has been molded to appear as lean muscle. The face is disfigured, the left side of the mouth is curled upwards as though snarling, the right eye droops and is pressed into the eye socket, and the top of the head is bald with strands of hair on the back. The skin is pale.

A bust of Jason as seen in the film. Effects artist Scott Stoddard combined characteristics from Jason’s appearance in Friday the 13th Part 2 and The Final Chapter when crafting his design.

Effects artist Scott Stoddard described his look for Jason’s face as a combination of Carl Fullerton’s design for Friday the 13th Part 2 and Tom Savini’s design for Friday the 13th: The Final Chapter. Stoddard’s vision of Jason included hair loss, skin rashes, and the traditional deformities in his face. Stoddard tried to craft Jason’s look so it would allow more human side of the character to be seen.[7] Mears was required to wear full body make-up from the chest upwards while performing as Jason. The actor wore a chest plate with fake skin that would adjust to his muscle movements. He wore a hump on his back to give the impression that Jason had scoliosis. A prosthetic eye was glued to Mears’ face to show realistic eye movements.[17] Stoddard initially spent three-and-a-half hours applying the make-up to Mears’ head and torso.[7] He was eventually able to reduce the required time to just over an hour for scenes in which Mears wore the hockey mask. For scenes in which Jason’s face is revealed, it took approximately four hours to apply the make-up.[26]

For Jason’s wardrobe, Mears was given a pair of combat boots and a «high-priced t-shirt» that allowed the special effects make-up to be seen through holes in the shirt. The jacket Jason wears in the film was created by combining a hunting jacket and a military jacket. Mears wanted to use the hunting jacket, but the creative team liked the way the military jacket billowed as he was making his «kill movements», so the top of the hunting jacket was removed and placed over the top of the military jacket to create what Mears called a «giant Frankenstein jacket.» He describes Jason as leaner in this film because the character does not eat much. A leaner Jason was deemed more functional and allowed more emphasis to be placed on the hump on his back.[17] Stoddard was inspired by the third and fourth films when designing Jason’s hockey mask. Using an original mold, Stoddard made six new versions of the mask. He said, «Because I didn’t want to take something that already existed. There were things I thought were great, but there were things I wanted to change a bit. Make it custom, but keep all the fundamental designs. Especially the markings on the forehead and cheeks. Age them down a bit. Break them up.»[7]

Music[edit]

Form and Fuller recognized the iconic status of the music used in the first four Friday the 13th films. For their 2009 film, they immediately had the studio attain the licensing rights to the music, which was composed and originally performed by Harry Manfredini. They did not plan to use the score in its entirety, but they had Steve Jablonsky compose a score that was reminiscent of Manfredini’s and created the atmosphere for the 2009 film.[6][27] Nispel contacted Jablonsky to score Friday the 13th after having worked with him on the remake of The Texas Chainsaw Massacre. Nispel told Jablonsky he wanted him to create something that Nispel could «whistle when [he] left the theater», but was subtle enough that it would not immediately register while watching the film. Nispel said, «I don’t believe that, when you watch a Friday the 13th film, you want to feel like John Williams is sitting next to you with the London Symphony Orchestra».[28]

Release[edit]

Theatrical[edit]

A teaser trailer of the film debuted at the 2008 Scream Awards held in October and was later released online.[29] In December, the film’s theatrical trailer was released along with the theatrical poster.[30] On Friday, February 13, 2009,[31] Friday the 13th was released in 3,105 theaters in North America.[2] The 2009 film was given the widest release of any Friday the 13th film, including the crossover film with A Nightmare on Elm Street. It was released in nearly three times as many theaters as the original 1980 film and exceeded Freddy vs. Jason by 91 theaters.[32] Friday the 13th was also released in 2,100 theaters in 28 markets outside North America.[33]

Home media[edit]

The film was released on DVD, Blu-ray, and Apple TV on June 16, 2009.[34] The DVD and Blu-ray releases contain the theatrical release and an extended cut of the film.[35] The film was re-released on September 13, 2013 for Friday the 13th: The Complete Collection, a box set featuring all twelve films in the franchise,[36] then again on October 13, 2020, for Shout! Factory’s «Special Edition» collection.

Reception[edit]

Box office[edit]

On its opening day, Friday the 13th grossed $19,293,446,[2] and immediately exceeded the individual box office grosses for The New Blood (1988), Jason Takes Manhattan (1989), Jason Goes to Hell (1993), and Jason X (2002), which earned $19,170,001, $14,343,976, $15,935,068, and $13,121,555, respectively.[32] From February 14–16, Friday the 13th earned an additional $24,292,003, making its four-day President’s Day weekend total $43,585,449.[2] By the end of its three-day opening weekend, it was already the second highest-grossing film in the franchise, having earned $40,570,365,[32] slightly exceeding The Grudge (2004) for the best 3-day weekend opening of any horror film.[37] When comparing the 2009 film’s opening weekend to that of its 1980 counterpart in adjusted 2009 US dollars,[38] the original Friday the 13th film earned $17,251,975. Although the 2009 film made more money, when factoring in the number of theaters each film was released in, the 1980 film earned an average of $15,683 per theater, compared to the 2009 film’s average of $13,066.[32][39]

Friday the 13th saw a significant drop in attendance in its second weekend at the box office. On its second Friday, the film earned $2,802,977—a decrease of 85.5% from its opening Friday.[2] By the end of its second weekend, the film had earned $7,942,472—a decrease of 80.4% from the previous weekend.[40] As a result, the film went from first place to sixth in the weekend box office chart.[41] By its third weekend, Friday the 13th had left the top ten, earning $3,689,156—a 53.6% decrease from its second weekend.[42] By the end of its box office run, Friday the 13th earned an estimated $65 million at the United States box office,[3] but failed to regain a top ten spot after its third weekend.[43]

As of July 2014, the 2009 film is the fifth-highest earning President’s Day weekend with $45,033,454.[44] It is the eighth-highest grossing weekend in the month of February,[45] and the eighth- highest-grossing weekend for the winter season—the period from the first day after the New Year weekend until the first Thursday of March.[46] Friday the 13th finished as the fourth-highest-grossing film of any February with $59.8 million, just behind Taken with $84.3 million, He’s Just Not That Into You with $77.2 million, and Madea Goes to Jail, with $60.9 million.[47]

Friday the 13th was the fifteenth-highest grossing R-rated film of 2009.[48] Because of the significant decrease in box office revenues in its second weekend, the film had the sixth-largest second-weekend drop.[49] It is the seventh-largest drop for a film that opened as the top-earning film in the United States.[50] With its $65 million revenue at the North American box office, Friday the 13th is the highest-grossing film among slasher film remakes from the 2000s, which comprise When a Stranger Calls (2006), Black Christmas (2006), Halloween (2007), Prom Night (2008), and My Bloody Valentine 3D (2009).[51] The film is ranked seventh-highest earning of all horror remakes,[52] and is the seventh-highest earning slasher film in unadjusted dollars.[53]

In addition to its North American box office gross, Friday the 13th earned over $9.5 million in foreign markets on its opening weekend.[54] The film’s biggest markets were the United Kingdom, Russia, Italy, Spain, and Germany. Friday the 13th took in approximately $1.7 million in both the United Kingdom and Russia, an estimated $1.1 million in Spain, and $1 million in both Italy and Germany. According to Paramount, this was the largest opening outside North America of any of the Friday the 13th films.[33] The film finished its North American box office run with $65,002,019; coupled with its earnings of $27,688,218 outside North America, the film has accumulated $92,670,237 worldwide.[1][3] The film earned $10,344,904 in domestic video sales.[1]

Critical response[edit]

Based on 175 reviews collected by review aggregator website Rotten Tomatoes, Friday the 13th has a 26% approval rating from critics with an average score of 4.30/10. The consensus reads: «Though technically well-constructed, Friday the 13th is a series rehash that features little to distinguish it from its predecessors.»[55] Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, calculated an average score of 34 based on 29 reviews.[56] CinemaScore polls reported that average grade cinemagoers gave the film a «B−» on a scale of A+ to F.[57] Exit polls showed that 51% of the audience was male and 59% were at least 25 years old.[58]

Alonso Duralde wrote that the film should please slasher fans, but that it added nothing new to the genre or the franchise and would not appeal to people who did not like slasher films. He also said the prospect of another Friday the 13th—crafted by the film’s «sequel-friendly» ending—did not leave him with a feeling of dread.[59] Bill Goodykoontz of The Arizona Republic said the film accepts the «ridiculousness» of what it is trying to accomplish—mainly the «death and dismemberment» of «party-hungry kids», and that audiences would enjoy it if they also recognized that. Although Goodykoontz acknowledges the unique touches the film brings to certain characters’ deaths, he was unimpressed with the acting and said Padalecki’s presence gave the film a «less-good episode of Supernatural» vibe.[60]

The Washington Post’s Dan Zak wrote that the film fails to provide laughs, scares, suspense, or gore. Zak also said it fails to provide the exhibition of nudity expected of horror films that cannot deliver on the previously listed criteria.[61] Mark Olsen of the Los Angeles Times said Nispel captured the despair he created with his Texas Chainsaw Massacre remake. Olsen also said the film failed to provide the «giddiness», «teenage lust», and «rambunctiousness» that made the previous Friday the 13th films work.[62] Wesley Morris said Friday the 13th did have humor; he said the characters continually act the clichéd role of would-be-victim, making it hard to fear for their safety. In his opinion, the 2009 film lacked the «psycho-social» aspect—a mother killing out of revenge for her son’s death—crafted by its 1980 predecessor, and ultimately the film is «more hilarious than terrifying».[63]

The New York Post’s Kyle Smith said Nispel made no attempt to create a movie beyond blood and guts, and even those attempts were «forgettable». Smith said that apart from Clay and Trent, the rest of the cast were merely «faces in the crowd» with no attempt to give them any sort of backstory.[64] USA Today’s Claudia Puig said that the film keeps to the same formula as its predecessors, with a story that adds little to nothing to the franchise. She also said Padalecki and Panabaker filled their lead roles well, and that Aaron Yoo’s comic relief made him one of the most likable characters on screen.[65] Rob Nelson of Variety also praised Panabaker and Yoo’s performances.[66]

In contrast to the film’s detractors, The New York Times’s Nathan Lee said Friday the 13th managed to «reboot the concept» of the original films with style. Lee said the film takes pleasure in killing off each of its characters, that there is a desire among cinemagoers for this type of material, and that Friday the 13th satisfies that desire.[5] Adam Graham from The Detroit News said that it is the most effective and scary film in the Friday the 13th franchise; he praised its choice of allowing Jason to run after his victims—as opposed to slowly walking behind them, as became prominent in later sequels—because it made him more menacing. Graham also said the film does not «soften» Jason’s scariness by providing a sympathetic backstory.[67] Roger Ebert of the Chicago Sun-Times explained his review of the film, he stated: «It will come as little surprise that Jason still lives in the woods around Crystal Lake and is still sore about the death of his mom. Jason must be sore in general».[68] Entertainment Weekly’s Clark Collis said director Nispel made a competent film that performs better as a whole than the previously released remakes of Prom Night (2008) and My Bloody Valentine 3D (2009), although it does provide a few too many unbelievable character moments.[69]

Jason Anderson of the Toronto Star said the film added freshness to the standard formula of the previous films by focusing on the chasing and killing aspects instead of lingering on the prolonged suffering of victims like the Saw films.[70] IGN’s Chris Carle said Aaron Yoo stole the film with his comic timing and with his «memorable death». Carle said Derek Mears’ portrayal of Jason adds more to the character than being simply a stuntman; Mears’s subtle movements, athleticism, and physicality created an imposing image of Jason.[71]

Cancelled sequel[edit]

In October 2009, Warner Bros. Pictures set a release date for a sequel to Friday the 13th as August 13, 2010.[72] On December 10, however, the sequel was pulled from its release date and was delayed indefinitely.[73] In April 2010, producer Brad Fuller announced that a sequel to the film was not happening.[74] In February 2011, Fuller announced that Damian Shannon and Mark Swift had finished a script for the sequel.[75] In June 2013, Warner Bros. relinquished their film rights to the Friday the 13th franchise to Paramount Pictures.[76] During the same month, however, Derek Mears (who portrayed Jason Voorhees in the 2009 film) revealed that Paramount was working with Platinum Dunes to produce a sequel to the remake.[77] However, the sequel was later developed into a separate installment of the franchise.[78]

References[edit]

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External links[edit]

Источник
Friday the 13th
A film poster with the title "Friday the 13th" appearing in red letters just below "From the producers of The Texas Chainsaw Massacre". Above the title stands Derek Mears dressed in full Jason Voorhees make-up and a machete in his right hand. Fog and a moonlit wilderness appear in the background. The production credits appear in small font at the bottom of the poster.

Theatrical release poster
Directed by Marcus Nispel
Screenplay by Damian Shannon
Mark Swift
Story by
  • Damian Shannon
  • Mark Swift
  • Mark Wheaton
Based on Characters
by Victor Miller
Produced by
  • Sean S. Cunningham
  • Michael Bay
  • Andrew Form
  • Brad Fuller
Starring
  • Jared Padalecki
  • Danielle Panabaker
  • Aaron Yoo
  • Amanda Righetti
  • Travis Van Winkle
  • Derek Mears
Cinematography Daniel C. Pearl
Edited by Ken Blackwell
Music by Steve Jablonsky

Production
companies
  • New Line Cinema
  • Paramount Pictures
  • Platinum Dunes
  • Crystal Lake Entertainment
Distributed by
  • Warner Bros. Pictures (North America)[1]
  • Paramount Pictures (International)

Release dates
  • February 9, 2009 (Mann’s Chinese Theater)
  • February 13, 2009 (United States)

Running time

 97 minutes[2]
Country United States
Language English
Budget $19 million[2]
Box office $92.7 million[1][3]

Friday the 13th is a 2009 American slasher film directed by Marcus Nispel, written by Damian Shannon and Mark Swift from a screen story by Shannon, Swift, and Mark Wheaton. It is a reboot of the Friday the 13th franchise, which began in 1980, and is the twelfth installment.[4][5] Nispel also directed the 2003 remake of Tobe Hooper’s The Texas Chain Saw Massacre (1974), while Shannon and Swift wrote the screenplay for the 2003 crossover Freddy vs. Jason. The film was produced by Platinum Dunes and Crystal Lake Entertainment and distributed by New Line Cinema and Paramount Pictures. It stars Jared Padalecki, Danielle Panabaker, Aaron Yoo, Amanda Righetti, Travis Van Winkle, and Derek Mears and follows Clay Miller (Padalecki) as he searches for his missing sister, Whitney (Righetti), who is captured by Jason Voorhees (Mears) while camping in woodland at Crystal Lake.

The film was originally conceived as an origin story, but the project evolved into a re-imagining of the first four Friday the 13th films. The character Jason Voorhees was redesigned as a lean, quick killer with a backstory that allows the viewer to feel sympathy for him, but not enough that he would lose his menace. In keeping with the tone of the film, Jason’s mask was recreated from a mold of the original mask used for Part III; though there were subtle changes. Friday the 13th includes some of Harry Manfredini’s musical score from the previous Friday the 13th films because the producers recognized its iconic status.[6]

Friday the 13th was theatrically released in the United States on February 13, 2009, by New Line Cinema in North American territories and by Paramount Pictures internationally. The film received generally negative reviews from critics, who felt that it did not add anything new to the franchise. The film would go on to gross $92.7 million at the box office on a budget of $19 million, becoming the second-highest-grossing film in the franchise after Freddy vs. Jason.

Plot[edit]

On Friday, June 13, 1980, a young Jason Voorhees watches as his mother Pamela is beheaded by a camp counselor, who was trying to escape Mrs. Voorhees’s murder spree around Camp Crystal Lake. Almost thirty years later, five friends—Wade, Richie, his girlfriend Amanda, Mike, and his girlfriend Whitney—arrive for a camping trip at Crystal Lake, where they hope to find a crop of marijuana growing in the woods. That night, an adult Jason kills everyone except Whitney, whom he captures as she resembles his mother at a young age.

Six weeks later, Trent, his girlfriend Jenna, and friends Chelsea, Bree, Chewie, Nolan, and Lawrence arrive at Trent’s summer cabin on the shore of Crystal Lake. Meanwhile, Whitney’s brother Clay Miller arrives at the lake to search for her, despite his local sheriff’s pleas to look elsewhere. Clay visits Trent’s cabin, and Jenna agrees to help him search for Whitney. Chelsea and Nolan go wakeboarding on the lake where Jason kills Nolan with an arrow, and fatally stabs Chelsea with his machete. Meanwhile, Clay and Jenna search the old Crystal Lake campgrounds, where they see Jason hauling a body into the abandoned camp house.

Jenna and Clay run back to the cabin to warn the others about Jason. Chewie is killed by Jason in a tool shed near the cabin, while Trent and Bree have sex in a bedroom. Jenna and Clay arrive, and Clay calls the police. Jason then disconnects the cabin’s electricity. Lawrence heads outside to search for Chewie, and Jason kills him with an axe. Jason then sneaks inside and kills Bree. A police officer arrives and knocks on the front door, but is killed by Jason before he can enter. Trent, Clay, and Jenna escape the cabin and become separated, and Trent is killed by Jason when he reaches the main road.

Jason chases Clay and Jenna back to the campgrounds, where Clay discovers Jason’s lair and finds his sister underground, chained to a wall. Clay frees Whitney, and all three try to escape as Jason arrives. They find an exit, but Jenna is impaled by Jason’s machete before she can escape. Jason corners Clay and Whitney in a barn, and Whitney confuses Jason by pretending to be Pamela. Clay and Whitney subdue Jason with a chain, and Whitney stabs Jason in the chest with his machete. After sunrise, Clay and Whitney dump Jason’s body into the lake, but before they leave, Jason bursts through the wooden dock and grabs Whitney.

Cast[edit]

  • Jared Padalecki as Clay Miller
  • Danielle Panabaker as Jenna
  • Amanda Righetti as Whitney Miller
  • Travis Van Winkle as Trent
  • Aaron Yoo as Chewie
  • Derek Mears as Jason Voorhees
    • Caleb Guss as Young Jason Voorhees
  • Jonathan Sadowski as Wade
  • Julianna Guill as Bree
  • Ben Feldman as Richie
  • Arlen Escarpeta as Lawrence
  • Ryan Hansen as Nolan
  • Willa Ford as Chelsea
  • Nick Mennell as Mike
  • America Olivo as Amanda
  • Kyle Davis as Donnie
  • Richard Burgi as Sheriff Bracke
  • Nana Visitor as Pamela Voorhees
    • Kathleen Garrett as voice of Pamela Voorhees

Production[edit]

Development[edit]

New Line Cinema’s Toby Emmerich approached Platinum Dunes producers Michael Bay, Brad Fuller and Andrew Form about remaking Friday the 13th in the same way they restarted The Texas Chainsaw Massacre franchise. They agreed and spent over a year obtaining the film rights from Paramount Pictures, New Line and Crystal Lake Entertainment—the latter run by Friday the 13th creator Sean S. Cunningham.[7] Paramount executives gave Platinum Dunes producers a license to use anything from the original films, including the title. Paramount was given the rights to distribute the film internationally and New Line retained U.S. distribution rights.[8] Fuller and Form said they did not want to make Friday the 13th Part 11 or 12, but wanted to rework the mythology. They liked elements from the first four films—such as plot points and ways particular characters are killed—and planned to use these in their remake, which they did with Paramount’s approval.[6] Fuller said, «I think there are moments we want to address, like how does the hockey mask happen. It’ll happen differently in our movie than in the third one. Where is Jason from, why do these killings happen, and what is Crystal Lake?»[6] The producers initially expressed an interest in using Tommy Jarvis, a recurring character who first appeared in Friday the 13th: The Final Chapter, but the idea was scrapped.[9]

Though the producers decided that Friday the 13th would not be an origin story, they said that they wanted to work out a logical origin story for Jason that would provide a sense of history as the film progressed.[9] Form and Fuller explained that the audience gets to see how Jason attains his famous hockey mask, and is given a reason for why he puts it on. Jason would transition from wearing a bag over his head—similar to the one seen in Friday the 13th Part 2—to finding and wearing his hockey mask, whereas in Friday the 13th Part III he obtains the mask off-screen and comes out of a barn already wearing it.[10]

Unlike both horror remakes, The Texas Chainsaw Massacre (2003) and The Amityville Horror (2005)—which were also produced by Bay, Form, and Fuller—it was decided that Friday the 13th would not be a period piece. Form and Fuller said the film was not strictly a remake so there was no reason they could not set the story in the 2000s.[6] In October 2007, Damian Shannon and Mark Swift, the writers of Freddy vs. Jason, were hired to write a script for Friday the 13th.[11] Jonathan Liebesman was in negotiations to direct the film, but scheduling conflicts meant he was unavailable and Fuller and Form chose Marcus Nispel.[6] Nispel was apprehensive about taking the job, mainly because he would be taking over another film franchise, but Fuller eventually persuaded him to direct the project.[7] Principal photography began on April 21, 2008, in Austin, Texas and ended on June 13, 2008.[12] Additional scenes were shot on location at Camp Fern near Marshall, Texas.[13]

Casting[edit]

Stuntman Derek Mears was hired to portray Jason Voorhees at the recommendation of special make-up effects supervisor Scott Stoddard.[7][14] Before the producers contacted him, Mears had already heard about the production of a new Friday the 13th and had decided to start physical training so he could pursue the role. He was unaware that Stoddard and other industry professionals were suggesting him to the producers.[15] The studio worried that Mears’ pleasant demeanor might affect his ability to portray a menacing character, but Mears assured them he was suitable for the role.[7] According to Mears, «They were like, ‘You’re really nice  …  are you going to be able to switch over, right?’ I was like, ‘I cage fight… and I’ve got a lot of dad issues. So yeah.'».[7] Mears said he related to «Jason the victim» when he was growing up, and he wanted to portray Jason as a victim in the film. To Mears, Jason represents people who were bullied in high school—specifically those with physical deformities—for being outcasts. Jason is unusual because he exacts his revenge on those trying to take over his territory at Crystal Lake.[16]

When Mears went to audition for the role, he was asked, «Why do we need an actor as opposed to just a guy in a mask?» Mears said portraying Jason is similar to Greek Mask Work, in which the mask and the actor are separate entities, and depending on the scene, there will be various combinations of mask and actor in the performance. Mears said the energy from the actor’s thoughts will be picked up by the camera. He compared his experience behind the camera to a stock car race: he is the driver and the effects team is his pit crew. As he performs, the effects team subtly suggest ways he can give the character more life on camera.[17]

Amanda Righetti had not read the script when she was offered the role of Whitney Miller. She wanted to be part of the Friday the 13th franchise from the start. Righetti said she wanted to act in the film to be a part of the franchise and was convinced by the script.[7] Jared Padalecki describes Clay Miller as a real hero because he sets out «to do the right thing» when his sister goes missing, and goes about it as a «lone wolf» who wants to take on the responsibility alone.[18] Adjustments were made to the filming schedule to accommodate Aaron Yoo, who portrays Chewie. Yoo had his appendix removed shortly before filming began, and could not film his scenes immediately. As soon as Yoo was ready for filming, Nispel immediately hung him upside down from some rafters, exposing the staples over his surgical wound for the character’s post-death shot.[19]

Fuller and Form said the casting process for Friday the 13th was more difficult than that for The Texas Chainsaw Massacre because thirteen young actors were involved in Friday the 13th, as opposed to five in The Texas Chainsaw Massacre. The pair continually recast roles to find which actors worked best together. This recasting process lasted until the start of filming. Hostel: Part II’s Richard Burgi, who was cast as Sheriff Bracke, did not sign his contract until twelve hours before he was due to start filming his scenes.[6]

Writing[edit]

When Shannon and Swift began writing the script for Friday the 13th, they imposed some rules based on their experiences of writing Freddy vs. Jason on themselves. They wanted their teenage characters to «sound normal». Shannon and Swift said they did not want the characters to know Jason’s name or to become what they considered «the Scooby-Doo cliché where it’s a bunch of kids trying to figure something out».[20] The writers also wanted to distance themselves from self-referential slasher films such as Scream and to give the film a gritty, more 1980s feel that had been lost in recent films. They wanted to create a quick, loose Jason. The writing team decided to create a version of Jason «who was actually in the woods surviving off the land», and whose killings are presented as a way of defending his territory rather than randomly murdering whoever came along.[21]

We felt it was important to go back to the basics and put Jason back in the woods again.

—Mark Swift on conceptualizing a new Friday the 13th film.[21]

The writers did not want to spend a lot of time covering Jason’s childhood experiences, which they felt would remove the sense of mystery from the character. They tried to write scenes that would add verisimilitude, like the audience finding a deer carcass lying on the ground as they follow Jason through his tunnels. Fuller told the writers they would have to do without it because it would cost $100,000. Because of budget constraints, certain character deaths and the ending of the film were also scaled back from what Shannon and Swift originally envisioned.[20]

The writers had written a scene in which Willa Ford’s character Chelsea is stranded on the lake for hours after she sees Jason standing on the shore.[21] Eventually, the girl would tire and drown. Shannon and Swift felt this was something they had not seen in slasher films, but later decided to make the death quicker and more visceral.[20] A similar incident occurred with Danielle Panabaker’s character Jenna. Panabaker said Jenna was scripted to survive longer than she did in the final version of the film; Jenna was supposed to escape Jason’s lair and recite a «cute line» about a second date with Clay before an elaborate fight sequence that ends in her death.[22] The writers wanted to strike a balance between finding new and interesting ways to kill characters and paying homage to popular death scenes that appeared in installments of the previous series. To accomplish this, Shannon and Swift included the presence of a wheelchair and a sweater in Jason’s tunnels; the character Mark (Tom McBride) was a paraplegic who was killed by Jason in Friday the 13th Part 2 and Mrs. Voorhees wore the sweater in the original version of Friday the 13th.[20]

The writers altered Jason’s character. Mears describes him as a combination of John Rambo, Tarzan, and the Abominable Snowman from Looney Tunes. To Mears, Jason is similar to Rambo because the audience sees him setting up the other characters to fall into his traps. Like Rambo, he is calculating because he feels he has been wronged and he is fighting back; he is supposed to be more sympathetic in this film.[17] However, Fuller and Form said they learned from their experience with The Texas Chainsaw Massacre: The Beginning not to make Jason too sympathetic to the audience. They decided against an origin story because they did not want to focus on Jason’s tormented childhood because the producers felt that would «demystify» the character in an unhelpful manner. Fuller said, «We do not want him to be sympathetic. Jason is not a comedic character, he is not sympathetic. He’s a killing machine. Plain and simple.»[6]

Visual effects[edit]

The producers used Asylum Visual Effects to create digital effects for Friday the 13th. Although director Marcus Nispel is a proponent of practical effects, Asylum had to digitally create some shots to protect the actors and to allow the director to achieve a specific look. Visual effects supervisor Mitchell Drain assigned ten crew members to work on the visual effects; they first analyzed the script in pre-production to decide which shots would need digital effects. Asylum worked on 25 shots for the film.[23]

A man with a video camera kneels to film as an actor pulls a machete from the head of another actor who is sitting on the ground. Behind the cameraman, another man records sound from the scene they are filming, while a third man stands in the background.

Mears being filmed performing the killing of Ben Feldman’s character. Asylum digitally created the rest of the machete to show it being pulled away from Feldman’s face.

One of the first scenes Asylum was given was the scene depicting the death of Amanda, in which Jason ties her into her sleeping bag and hangs her over a campfire. The risk to the actor and the surrounding woodland was deemed too great to physically perform the scene. Asylum created a composite of two shots to show Amanda burning to death in her sleeping bag. Instead of creating a computer generated (CGI) model of the campfire, a real campfire was filmed. Asylum compositor John Stewart blended that footage with shots of the hanging sleeping bag into a single shot. Stewart digitally altered the flames to keep continuity between frames.[24] Another composite shot is used in the scene in which Chelsea is hit by a speedboat. Because the scene would be too dangerous for even a stuntperson to perform, Asylum digitally combined footage of Willa Ford reacting to an imaginary boat that runs over her with shots of the actual boat to create the effect.[25]

Asylum also enhanced some of Jason’s signature machete kills. In several scenes, the company used a computer-generated machete because Nispel wanted to show multiple characters’ deaths in one shot instead of cutting from the acts of murder to the aftermath of their deaths. In one scene, Jason kills Richie by slamming a machete into his head. Instead of using a real machete with a fake head, Nispel had Feldman act dead as Mears pulled a handle—with only a portion of the blade attached—away from Feldman’s head. Then, Asylum digitally created the rest of the machete blade to complete the effect.[24] For this scene, Asylum adjusted the actor’s facial expressions to create a «post mortem» look. The special effects team digitally drooped half of the actor’s face to appear as though the nerves had been severed by Jason’s machete.[25]

Asylum digitally created weapons for various scenes. In the scene in which Nolan is killed suddenly by a shot in the head from Jason’s arrow, Asylum created the arrow in post-production. Another scene involved Jason hurling a hatchet at Lawrence as he runs away, striking him in the back. The shot of a hatchet flying through the air—in one instance appearing in the same frame as the actor—would be too difficult to achieve practically. Asylum rendered a complete 3D model of the hatchet then inserted the model into the frames leading up to the frame in which it hits the character in the back. One of the final images added by Asylum was for Trent’s death scene. Here, Asylum digitally created a metal spike that bursts through Trent’s chest as Jason slams him onto the back of a tow truck.[25]

Creating Jason[edit]

A sculpture of a male torso and head is overlaid with fake skin, which has been molded to appear as lean muscle. The face is disfigured, the left side of the mouth is curled upwards as though snarling, the right eye droops and is pressed into the eye socket, and the top of the head is bald with strands of hair on the back. The skin is pale.

A bust of Jason as seen in the film. Effects artist Scott Stoddard combined characteristics from Jason’s appearance in Friday the 13th Part 2 and The Final Chapter when crafting his design.

Effects artist Scott Stoddard described his look for Jason’s face as a combination of Carl Fullerton’s design for Friday the 13th Part 2 and Tom Savini’s design for Friday the 13th: The Final Chapter. Stoddard’s vision of Jason included hair loss, skin rashes, and the traditional deformities in his face. Stoddard tried to craft Jason’s look so it would allow more human side of the character to be seen.[7] Mears was required to wear full body make-up from the chest upwards while performing as Jason. The actor wore a chest plate with fake skin that would adjust to his muscle movements. He wore a hump on his back to give the impression that Jason had scoliosis. A prosthetic eye was glued to Mears’ face to show realistic eye movements.[17] Stoddard initially spent three-and-a-half hours applying the make-up to Mears’ head and torso.[7] He was eventually able to reduce the required time to just over an hour for scenes in which Mears wore the hockey mask. For scenes in which Jason’s face is revealed, it took approximately four hours to apply the make-up.[26]

For Jason’s wardrobe, Mears was given a pair of combat boots and a «high-priced t-shirt» that allowed the special effects make-up to be seen through holes in the shirt. The jacket Jason wears in the film was created by combining a hunting jacket and a military jacket. Mears wanted to use the hunting jacket, but the creative team liked the way the military jacket billowed as he was making his «kill movements», so the top of the hunting jacket was removed and placed over the top of the military jacket to create what Mears called a «giant Frankenstein jacket.» He describes Jason as leaner in this film because the character does not eat much. A leaner Jason was deemed more functional and allowed more emphasis to be placed on the hump on his back.[17] Stoddard was inspired by the third and fourth films when designing Jason’s hockey mask. Using an original mold, Stoddard made six new versions of the mask. He said, «Because I didn’t want to take something that already existed. There were things I thought were great, but there were things I wanted to change a bit. Make it custom, but keep all the fundamental designs. Especially the markings on the forehead and cheeks. Age them down a bit. Break them up.»[7]

Music[edit]

Form and Fuller recognized the iconic status of the music used in the first four Friday the 13th films. For their 2009 film, they immediately had the studio attain the licensing rights to the music, which was composed and originally performed by Harry Manfredini. They did not plan to use the score in its entirety, but they had Steve Jablonsky compose a score that was reminiscent of Manfredini’s and created the atmosphere for the 2009 film.[6][27] Nispel contacted Jablonsky to score Friday the 13th after having worked with him on the remake of The Texas Chainsaw Massacre. Nispel told Jablonsky he wanted him to create something that Nispel could «whistle when [he] left the theater», but was subtle enough that it would not immediately register while watching the film. Nispel said, «I don’t believe that, when you watch a Friday the 13th film, you want to feel like John Williams is sitting next to you with the London Symphony Orchestra».[28]

Release[edit]

Theatrical[edit]

A teaser trailer of the film debuted at the 2008 Scream Awards held in October and was later released online.[29] In December, the film’s theatrical trailer was released along with the theatrical poster.[30] On Friday, February 13, 2009,[31] Friday the 13th was released in 3,105 theaters in North America.[2] The 2009 film was given the widest release of any Friday the 13th film, including the crossover film with A Nightmare on Elm Street. It was released in nearly three times as many theaters as the original 1980 film and exceeded Freddy vs. Jason by 91 theaters.[32] Friday the 13th was also released in 2,100 theaters in 28 markets outside North America.[33]

Home media[edit]

The film was released on DVD, Blu-ray, and Apple TV on June 16, 2009.[34] The DVD and Blu-ray releases contain the theatrical release and an extended cut of the film.[35] The film was re-released on September 13, 2013 for Friday the 13th: The Complete Collection, a box set featuring all twelve films in the franchise,[36] then again on October 13, 2020, for Shout! Factory’s «Special Edition» collection.

Reception[edit]

Box office[edit]

On its opening day, Friday the 13th grossed $19,293,446,[2] and immediately exceeded the individual box office grosses for The New Blood (1988), Jason Takes Manhattan (1989), Jason Goes to Hell (1993), and Jason X (2002), which earned $19,170,001, $14,343,976, $15,935,068, and $13,121,555, respectively.[32] From February 14–16, Friday the 13th earned an additional $24,292,003, making its four-day President’s Day weekend total $43,585,449.[2] By the end of its three-day opening weekend, it was already the second highest-grossing film in the franchise, having earned $40,570,365,[32] slightly exceeding The Grudge (2004) for the best 3-day weekend opening of any horror film.[37] When comparing the 2009 film’s opening weekend to that of its 1980 counterpart in adjusted 2009 US dollars,[38] the original Friday the 13th film earned $17,251,975. Although the 2009 film made more money, when factoring in the number of theaters each film was released in, the 1980 film earned an average of $15,683 per theater, compared to the 2009 film’s average of $13,066.[32][39]

Friday the 13th saw a significant drop in attendance in its second weekend at the box office. On its second Friday, the film earned $2,802,977—a decrease of 85.5% from its opening Friday.[2] By the end of its second weekend, the film had earned $7,942,472—a decrease of 80.4% from the previous weekend.[40] As a result, the film went from first place to sixth in the weekend box office chart.[41] By its third weekend, Friday the 13th had left the top ten, earning $3,689,156—a 53.6% decrease from its second weekend.[42] By the end of its box office run, Friday the 13th earned an estimated $65 million at the United States box office,[3] but failed to regain a top ten spot after its third weekend.[43]

As of July 2014, the 2009 film is the fifth-highest earning President’s Day weekend with $45,033,454.[44] It is the eighth-highest grossing weekend in the month of February,[45] and the eighth- highest-grossing weekend for the winter season—the period from the first day after the New Year weekend until the first Thursday of March.[46] Friday the 13th finished as the fourth-highest-grossing film of any February with $59.8 million, just behind Taken with $84.3 million, He’s Just Not That Into You with $77.2 million, and Madea Goes to Jail, with $60.9 million.[47]

Friday the 13th was the fifteenth-highest grossing R-rated film of 2009.[48] Because of the significant decrease in box office revenues in its second weekend, the film had the sixth-largest second-weekend drop.[49] It is the seventh-largest drop for a film that opened as the top-earning film in the United States.[50] With its $65 million revenue at the North American box office, Friday the 13th is the highest-grossing film among slasher film remakes from the 2000s, which comprise When a Stranger Calls (2006), Black Christmas (2006), Halloween (2007), Prom Night (2008), and My Bloody Valentine 3D (2009).[51] The film is ranked seventh-highest earning of all horror remakes,[52] and is the seventh-highest earning slasher film in unadjusted dollars.[53]

In addition to its North American box office gross, Friday the 13th earned over $9.5 million in foreign markets on its opening weekend.[54] The film’s biggest markets were the United Kingdom, Russia, Italy, Spain, and Germany. Friday the 13th took in approximately $1.7 million in both the United Kingdom and Russia, an estimated $1.1 million in Spain, and $1 million in both Italy and Germany. According to Paramount, this was the largest opening outside North America of any of the Friday the 13th films.[33] The film finished its North American box office run with $65,002,019; coupled with its earnings of $27,688,218 outside North America, the film has accumulated $92,670,237 worldwide.[1][3] The film earned $10,344,904 in domestic video sales.[1]

Critical response[edit]

Based on 175 reviews collected by review aggregator website Rotten Tomatoes, Friday the 13th has a 26% approval rating from critics with an average score of 4.30/10. The consensus reads: «Though technically well-constructed, Friday the 13th is a series rehash that features little to distinguish it from its predecessors.»[55] Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, calculated an average score of 34 based on 29 reviews.[56] CinemaScore polls reported that average grade cinemagoers gave the film a «B−» on a scale of A+ to F.[57] Exit polls showed that 51% of the audience was male and 59% were at least 25 years old.[58]

Alonso Duralde wrote that the film should please slasher fans, but that it added nothing new to the genre or the franchise and would not appeal to people who did not like slasher films. He also said the prospect of another Friday the 13th—crafted by the film’s «sequel-friendly» ending—did not leave him with a feeling of dread.[59] Bill Goodykoontz of The Arizona Republic said the film accepts the «ridiculousness» of what it is trying to accomplish—mainly the «death and dismemberment» of «party-hungry kids», and that audiences would enjoy it if they also recognized that. Although Goodykoontz acknowledges the unique touches the film brings to certain characters’ deaths, he was unimpressed with the acting and said Padalecki’s presence gave the film a «less-good episode of Supernatural» vibe.[60]

The Washington Post’s Dan Zak wrote that the film fails to provide laughs, scares, suspense, or gore. Zak also said it fails to provide the exhibition of nudity expected of horror films that cannot deliver on the previously listed criteria.[61] Mark Olsen of the Los Angeles Times said Nispel captured the despair he created with his Texas Chainsaw Massacre remake. Olsen also said the film failed to provide the «giddiness», «teenage lust», and «rambunctiousness» that made the previous Friday the 13th films work.[62] Wesley Morris said Friday the 13th did have humor; he said the characters continually act the clichéd role of would-be-victim, making it hard to fear for their safety. In his opinion, the 2009 film lacked the «psycho-social» aspect—a mother killing out of revenge for her son’s death—crafted by its 1980 predecessor, and ultimately the film is «more hilarious than terrifying».[63]

The New York Post’s Kyle Smith said Nispel made no attempt to create a movie beyond blood and guts, and even those attempts were «forgettable». Smith said that apart from Clay and Trent, the rest of the cast were merely «faces in the crowd» with no attempt to give them any sort of backstory.[64] USA Today’s Claudia Puig said that the film keeps to the same formula as its predecessors, with a story that adds little to nothing to the franchise. She also said Padalecki and Panabaker filled their lead roles well, and that Aaron Yoo’s comic relief made him one of the most likable characters on screen.[65] Rob Nelson of Variety also praised Panabaker and Yoo’s performances.[66]

In contrast to the film’s detractors, The New York Times’s Nathan Lee said Friday the 13th managed to «reboot the concept» of the original films with style. Lee said the film takes pleasure in killing off each of its characters, that there is a desire among cinemagoers for this type of material, and that Friday the 13th satisfies that desire.[5] Adam Graham from The Detroit News said that it is the most effective and scary film in the Friday the 13th franchise; he praised its choice of allowing Jason to run after his victims—as opposed to slowly walking behind them, as became prominent in later sequels—because it made him more menacing. Graham also said the film does not «soften» Jason’s scariness by providing a sympathetic backstory.[67] Roger Ebert of the Chicago Sun-Times explained his review of the film, he stated: «It will come as little surprise that Jason still lives in the woods around Crystal Lake and is still sore about the death of his mom. Jason must be sore in general».[68] Entertainment Weekly’s Clark Collis said director Nispel made a competent film that performs better as a whole than the previously released remakes of Prom Night (2008) and My Bloody Valentine 3D (2009), although it does provide a few too many unbelievable character moments.[69]

Jason Anderson of the Toronto Star said the film added freshness to the standard formula of the previous films by focusing on the chasing and killing aspects instead of lingering on the prolonged suffering of victims like the Saw films.[70] IGN’s Chris Carle said Aaron Yoo stole the film with his comic timing and with his «memorable death». Carle said Derek Mears’ portrayal of Jason adds more to the character than being simply a stuntman; Mears’s subtle movements, athleticism, and physicality created an imposing image of Jason.[71]

Cancelled sequel[edit]

In October 2009, Warner Bros. Pictures set a release date for a sequel to Friday the 13th as August 13, 2010.[72] On December 10, however, the sequel was pulled from its release date and was delayed indefinitely.[73] In April 2010, producer Brad Fuller announced that a sequel to the film was not happening.[74] In February 2011, Fuller announced that Damian Shannon and Mark Swift had finished a script for the sequel.[75] In June 2013, Warner Bros. relinquished their film rights to the Friday the 13th franchise to Paramount Pictures.[76] During the same month, however, Derek Mears (who portrayed Jason Voorhees in the 2009 film) revealed that Paramount was working with Platinum Dunes to produce a sequel to the remake.[77] However, the sequel was later developed into a separate installment of the franchise.[78]

References[edit]

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  35. ^ «Friday the 13th Remake Blu-ray / DVD Art». Dread Central. April 18, 2009. Archived from the original on April 19, 2009. Retrieved April 18, 2009.
  36. ^ «Friday the 13th: The Complete Collection». High Def Digest. Archived from the original on June 26, 2018. Retrieved June 26, 2018.
  37. ^ Scott Bowles (February 15, 2009). «Friday the 13th scores largest horror-film debut». USA Today. Archived from the original on June 1, 2010. Retrieved February 22, 2009.
  38. ^ «Adjusted 2009 dollars». Half Hill. Archived from the original on March 4, 2012. Retrieved February 22, 2009.
  39. ^ Simple division used with Tom’s Inflation calculator to determine the «per theater» rate of the 1980 film.
  40. ^ «Weekend Box Office». Box Office Mojo. Archived from the original on February 19, 2009. Retrieved February 23, 2009.
  41. ^ «February 20–22, 2009 Weekend Studio Estimates». Box Office Mojo. Archived from the original on February 25, 2009. Retrieved February 22, 2009.
  42. ^ «February 27 – March 1, 2009 Weekend Studio Estimates». Box Office Mojo. Archived from the original on March 3, 2009. Retrieved March 2, 2009.
  43. ^ «Weekend Box Office». Box Office Mojo. Archived from the original on March 10, 2009. Retrieved March 10, 2009.
  44. ^ «President’s Day weekend grosses». Box Office Mojo. Archived from the original on February 17, 2009. Retrieved February 16, 2009.
  45. ^ «Top Opening Weekends by Month». Box Office Mojo. Archived from the original on February 25, 2009. Retrieved February 22, 2009.
  46. ^ «Top Opening Weekends by Season». Box Office Mojo. Archived from the original on February 15, 2009. Retrieved February 22, 2009.
  47. ^ Brandon Gray (March 3, 2009). «February Breaks Box Office Record». Box Office Mojo. Archived from the original on March 4, 2009. Retrieved March 3, 2009.
  48. ^ «2009 Yearly Box Office by MPAA Rating». Box Office Mojo. Archived from the original on August 30, 2009. Retrieved September 9, 2009.
  49. ^ «Biggest Second Weekend Drop». Box Office Mojo. Archived from the original on February 23, 2009. Retrieved February 22, 2009.
  50. ^ «Second Weekend Rank Drops (#1)». Box Office Mojo. Archived from the original on February 23, 2009. Retrieved February 22, 2009.
  51. ^ «Slasher Remake Comparison Chart». Box Office Mojo. Archived from the original on March 4, 2009. Retrieved March 1, 2009.
  52. ^ «Horror Remake Comparison Chart». Box Office Mojo. Archived from the original on March 7, 2009. Retrieved March 1, 2009.
  53. ^ «Horror Comparison Chart». Box Office Mojo. Archived from the original on June 14, 2019. Retrieved March 1, 2009.
  54. ^ Conor Bresnan (February 19, 2009). «Around the World Roundup: ‘Benjamin Button’ Clings to Lead». Box Office Mojo. Archived from the original on February 23, 2009. Retrieved February 24, 2009.
  55. ^ «Friday the 13th Movie Reviews». Rotten Tomatoes. Fandango. Archived from the original on May 23, 2019. Retrieved December 24, 2020.
  56. ^ «Friday the 13th (2009): Reviews». Metacritic. CNET Networks. Archived from the original on February 18, 2009. Retrieved February 22, 2009.
  57. ^ Joshua Rich (February 15, 2009). «‘Friday the 13th’ slashes records». Entertainment Weekly. CNN.com. Archived from the original on January 15, 2018. Retrieved February 16, 2009.
  58. ^ Brandon Gray (February 17, 2009). «‘Friday the 13th’ Hacks Up Top Spot». Box Office Mojo. Archived from the original on March 21, 2009. Retrieved March 16, 2009.
  59. ^ Alonso Duralde (February 12, 2009). «‘Friday the 13th’ doesn’t stray from formula». Today.com. Archived from the original on December 4, 2017. Retrieved February 18, 2009.
  60. ^ Bill Goodykoontz (February 11, 2009). «Goodykoontz reviews Friday the 13th«. The Arizona Republic. Retrieved February 18, 2009.
  61. ^ Dan Zak (February 13, 2009). «Editorial Review of Friday the 13th«. The Washington Post. Archived from the original on August 22, 2016. Retrieved February 18, 2009.
  62. ^ Mark Olsen (February 13, 2009). «The remake misses the point: Slasher flicks should be gory, giddy and full of lusty teens». Los Angeles Times. Archived from the original on February 16, 2009. Retrieved February 18, 2009.
  63. ^ Wesley Morris (February 13, 2009). «This ‘Friday the 13th’ redux is just a hack». The Boston Globe. Archived from the original on February 18, 2009. Retrieved February 18, 2009.
  64. ^ Kyle Smith (February 13, 2009). «Flesh, Blood, and the Usual Flying Hatchets». New York Post. Archived from the original on September 6, 2012. Retrieved February 18, 2009.
  65. ^ Claudia Puig (February 13, 2009). «Same old number for ‘Friday the 13th’«. USA Today. Archived from the original on September 10, 2016. Retrieved February 18, 2009.
  66. ^ Rob Nelson (February 12, 2009). «Friday the 13th». Variety. Retrieved July 19, 2022.
  67. ^ Adam Graham (February 13, 2009). «New ‘Friday the 13th’: A slice above the rest». The Detroit News. Retrieved February 18, 2009.[dead link]
  68. ^ Roger Ebert (February 11, 2009). «Roger Elbert reviews Friday the 13th (2009)». RogerEbert.com. Archived from the original on September 1, 2013. Retrieved June 30, 2018.
  69. ^ Clark Collis (February 12, 2009). «Collis reviews Friday the 13th«. Entertainment Weekly. Time Inc. Archived from the original on February 15, 2009. Retrieved February 18, 2009.
  70. ^ Jason Anderson (February 13, 2009). «Friday the 13th: Jason’s back and it’s not so bad». Toronto Star. Archived from the original on September 19, 2012. Retrieved February 18, 2009.
  71. ^ Christopher Carle (February 12, 2009). «Carle reviews Friday the 13th«. IGN. Archived from the original on February 16, 2009. Retrieved February 18, 2009.
  72. ^ «Warner Bros. Announces ‘Friday the 13th Part 2’ Release Date». Bloody Disgusting. Retrieved October 25, 2022.
  73. ^ «Box Office Updates: ‘Friday the 13th 2’ Vanishes, ‘Saw VII’ Locked Down». Bloody Disgusting. Retrieved October 25, 2022.
  74. ^ «Friday the 13th Sequel «Not Happening»«. Dread Central. Retrieved October 25, 2022.
  75. ^ «‘Friday The 13th’ reboot sequel script completed». NME. Retrieved October 25, 2022.
  76. ^ «Warner Bros. Gives Up ‘Friday the 13th’ Rights to Board Christopher Nolan’s ‘Interstellar’«. The Hollywood Reporter. Retrieved October 25, 2022.
  77. ^ «EXCLUSIVESEXCLUSIVE: Platinum Dunes Partnering With Paramount For ‘Friday The 13th’ Sequel!!!». Bloody Disgusting. Retrieved October 25, 2022.
  78. ^ «‘Friday The 13th’ & ‘Paranormal Activity 6’ Pushed Back; Paramount Dates ‘Rings’«. Deadline. Retrieved October 25, 2022.

External links[edit]

Источник
FADE IN:

1 EXT. ROAD — DAY

The TRACK is SILENT.

The CAMERA looks at a sign. It reads:

CAMP CRYSTAL LAKE
Established 1935

Gradually we can begin to hear, in the BG, the SOUNDS of
CHILDREN playing.

CUT TO:

2 EXT. SOFTBALL FIELD — DAY

In the BG a few dozen CHILDREN, in camp uniforms, are enjoying
a game of softball.

In the FG CLAUDETTE is looking for someone. CLAUDETTE is 17
years old. She is pretty. She wears a t-shirt with «Assistant
Counsellor» written on it. She fills out the shirt very well.

Failing to find whomever she is looking for, CLAUDETTE walks
quickly in the opposite direction.

The CAMERA holds on the game for a few seconds and we
SUPERIMPOSE:

JULY 4, 1958

The CHILDREN’S VOICES FADE slowly.

CUT TO:

3 EXT. RIFLE RANGE — DAY

ECU as a COUNSELLOR squeezes off a shot.

The paper target is ripped in the black.

The COUNSELLOR hands the weapon to a CAMPER who snaps in at the
line.

CLAUDETTE shouts up to the COUNSELLOR from the BG.

CLAUDETTE
Have you seen Barry?

The COUNSELLOR smiles. Shrugs.
COUNSELLOR
He and Chloe were at the Lodge last time
I saw him.

CLAUDETTE leaves. The COUNSELLOR smiles.

CUT TO:

4 EXT. MAIN LODGE — DAY

Two CHILDREN run by carrying Indian headdresses. CLAUDETTE
passes them impatiently as she sees BARRY and CHLOE.

BARRY is leaning against the front rail of the porch, his arms
behind his head—the better to show off his physique to CHLOE,
and Assistant Counsellor, who is currently looking at him with
cow eyes. In the BG we can hear a portable radio blaring out
an Everly Brothers hit.

BARRY is 17, handsome and out for all he can get. He is not
ashamed for being caught with this other good-looking girl.

CLAUDETTE
We’ve got to talk.

BARRY looks at CHLOE, then eases off the rail. Nods.

BARRY
Okay.

5 BARRY puts an arms around CLAUDETTE, looks over his
shoulder at CHLOE, and saunters off with the former.

The Everly Brothers continue as we:

CUT TO:

6 EXT. LAKE — DAY

From over the tops of a rack of canoes we see BARRY and
CLAUDETTE walking along the shore.

CLAUDETTE
You said we were special.

BARRY
I meant everything.

In the BG, CHILDREN leap into the water.
BARRY
(continuing)
You know what I said, though.

CLAUDETTE
I can’t, Barry…

CUT TO:

7 EXT. FOREST — DAY

The TRACK goes SILENT.

BARRY & CLAUDETTE walk along a path. This is not an aimless
walk, for BARRY knows exactly where he wants to go. He leaves
the path and goes to sit on a log in a small clearing.
CLAUDETTE hesitates, then goes to sit next to him.

BARRY
I care very much.

He puts an arm around her and draws her close. They kiss.
They separate.

CLAUDETTE
Does Chloe kiss as good as I do?

BARRY decides to be politic.

BARRY
I wouldn’t know.

CLAUDETTE
Oh, you…

She kisses him and they are locked.

A bird calls, wheels across the patch of sky above.

The CAMERA shifts to ANOTHER ANGLE: Just beyond the thicket of
lacy vines. It is a slow tracking shot which gives the
impression that we are watching the action from the POV of
another person, an unseen visitor…watching the two teen-aged
Assistant Counsellors making their first sexual encounters.

This unseen observer will be called the PROWLER.

BARRY reaches up outside CLAUDETTE’S t-shirt to hold her
breast. She reaches up to take his hand away.

BARRY
Claudette…
CLAUDETTE
Somebody’ll see.

BARRY
No, they won’t…

He ends the argument by snaking his hand inside her t-shirt so
that part of her bra is exposed. He seals her protesting lips
by kissing her.

From the PROWLER’s POV, the CAMERA MOVES to get a better angle.
A hand moves into FRAME and pulls back some branches to clear
the field of vision. A branch pops.

CLAUDETTE
(in a thick whisper)
Somebody’s there, Barry.

BARRY
Come on, Claudette. A man’s not made of
stone.

CLAUDETTE
Let’s go back, Barry…

BARRY
I need you so much, Claudette.

BARRY leans in and unhooks her bra. They kiss again,
passionately.

The PROWLER pauses, then moves, never seen—except for a bit of
foot or hand—from the POV of the CAMERA, closer and closer as
the two TEENAGERS become more and more oblivious.

Closer. The THEME has snuck in. It becomes discordant. It
swells. Closer.

QUICK CUT to BARRY & CLAUDETTE’S faces, their eyes closed, the
perspiration streaking their flushed skin.

Suddenly CLAUDETTE looks up into the CAMERA with terror.

A hatchet flashes into FRAME and CLAUDETTE goes down under the
blow.

The CAMERA TURNS TO BARRY. The PROWLER’s powerful hand has him
by the throat. He backpeddles, trying to get away.

ANOTHER ANGLE: as BARRY is stopped against a tree.

A hunting knife soars against the leafy sky.
BARRY grabs the knife-hand at the wrist. The knife falls to
the mossy floor of the clearing.

Two hands go for the free blade. BARRY’s hand has it.

There is a confused jumble of struggle.

Onto the bed of moss falls the little finger of the PROWLER.

REACTION SHOT: BARRY, horrified by the sight.

The PROWLER’s hand has the knife. It moves quickly forward.
We can hear the blade strike.

BARRY stares up at the sky in a soundless shriek.

MCU the moss where the finger fell. The PROWLER reaches into
FRAME, picks up the finger, and exits FRAME.

QUICK CUT TO: CHLOE, out searching for the missing Counsellors.
She stands at the edge of the clearing, her hands pressed on her
temples, her throat filled with a scream of terror. The MUSIC
has stopped abruptly.

THE SCREEN BLEEDS TO WHITE.

It is completely SILENT.

CUT TO:

8 TITLE SEQUENCE

The screen is completely black. A small white shape starts to
ZOOMS towards the FG. The shape becomes a three-dimensional
rendering of FRIDAY THE 13TH. Just as it gets to its final
position, the FRIDAY 13 logo shatters a previously unseen pane
of glass. There is a loud crash. The logo shifts to the upper
left corner of the FRAME as we ROLLS TITLES, white on black.

The THEME MUSIC is a reprise of the THEME we heard during the
Forest sequence, now done in a childlike arrangement.

TITLES END and the MUSIC fades out.

DISSOLVE TO:

9 EXT. RURAL TOWN — EARLY MORNING

The TRACK is SILENT.

In a LONG SHOT we see the one main street. A newspaper
delivery truck drives away from the CAMERA. A GIRL walks down
the street.

Источник
    • Автор сценария:
    • Виктор Миллер
    • Рон Курц
    • Режиссер:
    • Шон Каннингэм

Их предупреждали… Их прокляли… В пятницу, 13-ого… их уже ничего не спасет… Уютный лагерь «Хрустальное озеро» вновь открывается! Вожатые ожидают летнюю смену, приготовив для юных гостей увлекательные мероприятия и забавные игры. Правда, появилась новая игра, о которой вожатые еще не знают: она будет пользоваться большой популярностью в этом сезоне. Игра называется — «Убей вожатого!».

СКАЧАТЬ

                                        FADE IN:
 
 
         1    EXT.  ROAD - DAY
 
              The TRACK is SILENT.
 
              The CAMERA looks at a sign.  It reads:
 
                                    CAMP CRYSTAL LAKE
                                     Established 1935
 
              Gradually we can begin to hear, in the BG, the SOUNDS of
              CHILDREN playing.
 
                                                       CUT TO:
 
 
         2    EXT. SOFTBALL FIELD - DAY
 
              In the BG a few dozen CHILDREN, in camp uniforms, are enjoying
              a game of softball.
 
              In the FG CLAUDETTE is looking for someone.  CLAUDETTE is 17
              years old.  She is pretty.  She wears a t-shirt with "Assistant
              Counsellor" written on it.  She fills out the shirt very well.
 
              Failing to find whomever she is looking for, CLAUDETTE walks
              quickly in the opposite direction.
 
              The CAMERA holds on the game for a few seconds and we
              SUPERIMPOSE:
 
                                       JULY 4, 1958
 
              The CHILDREN'S VOICES FADE slowly.
 
                                                       CUT TO:
 
 
         3    EXT. RIFLE RANGE - DAY
 
              ECU as a COUNSELLOR squeezes off a shot.
 
              The paper target is ripped in the black.
 
              The COUNSELLOR hands the weapon to a CAMPER who snaps in at the
              line.
 
              CLAUDETTE shouts up to the COUNSELLOR from the BG.
 
                                  CLAUDETTE
                      Have you seen Barry?
 
              The COUNSELLOR smiles.  Shrugs.

                                  COUNSELLOR
                      He and Chloe were at the Lodge last time
                      I saw him.
 
              CLAUDETTE leaves.  The COUNSELLOR smiles.
 
                                                       CUT TO:
 
 
         4    EXT. MAIN LODGE - DAY
 
              Two CHILDREN run by carrying Indian headdresses.  CLAUDETTE
              passes them impatiently as she sees BARRY and CHLOE.
 
              BARRY is leaning against the front rail of the porch, his arms
              behind his head--the better to show off his physique to CHLOE,
              and Assistant Counsellor, who is currently looking at him with
              cow eyes.  In the BG we can hear a portable radio blaring out
              an Everly Brothers hit.
 
              BARRY is 17, handsome and out for all he can get.  He is not
              ashamed for being caught with this other good-looking girl.
 
                                  CLAUDETTE
                      We've got to talk.
 
              BARRY looks at CHLOE, then eases off the rail.  Nods.
 
                                  BARRY
                      Okay.
 
         5    BARRY puts an arms around CLAUDETTE, looks over his
              shoulder at CHLOE, and saunters off with the former.
 
              The Everly Brothers continue as we:
 
                                                       CUT TO:
 
 
         6    EXT. LAKE - DAY
 
              From over the tops of a rack of canoes we see BARRY and
              CLAUDETTE walking along the shore.
 
                                  CLAUDETTE
                      You said we were special.
 
                                  BARRY
                      I meant everything.
 
              In the BG, CHILDREN leap into the water.

                                  BARRY
                            (continuing)
                      You know what I said, though.
 
                                  CLAUDETTE
                      I can't, Barry...
 
                                                       CUT TO:
 
 
         7    EXT. FOREST - DAY
 
              The TRACK goes SILENT.
 
              BARRY & CLAUDETTE walk along a path.  This is not an aimless
              walk, for BARRY knows exactly where he wants to go.  He leaves
              the path and goes to sit on a log in a small clearing.
              CLAUDETTE hesitates, then goes to sit next to him.
 
                                  BARRY
                      I care very much.
 
              He puts an arm around her and draws her close.  They kiss.
              They separate.
 
                                  CLAUDETTE
                      Does Chloe kiss as good as I do?
 
              BARRY decides to be politic.
 
                                  BARRY
                      I wouldn't know.
 
                                  CLAUDETTE
                      Oh, you...
 
              She kisses him and they are locked.
 
              A bird calls, wheels across the patch of sky above.
 
              The CAMERA shifts to ANOTHER ANGLE:  Just beyond the thicket of
              lacy vines.  It is a slow tracking shot which gives the
              impression that we are watching the action from the POV of
              another person, an unseen visitor...watching the two teen-aged
              Assistant Counsellors making their first sexual encounters.
 
              This unseen observer will be called the PROWLER.
 
              BARRY reaches up outside CLAUDETTE'S t-shirt to hold her
              breast.  She reaches up to take his hand away.
 
                                  BARRY
                      Claudette...

                                  CLAUDETTE
                      Somebody'll see.
 
                                  BARRY
                      No, they won't...
 
              He ends the argument by snaking his hand inside her t-shirt so
              that part of her bra is exposed.  He seals her protesting lips
              by kissing her.
 
              From the PROWLER's POV, the CAMERA MOVES to get a better angle.
              A hand moves into FRAME and pulls back some branches to clear
              the field of vision.  A branch pops.
 
                                  CLAUDETTE
                            (in a thick whisper)
                      Somebody's there, Barry.
 
                                  BARRY
                      Come on, Claudette.  A man's not made of
                      stone.
 
                                  CLAUDETTE
                      Let's go back, Barry...
 
                                  BARRY
                      I need you so much, Claudette.
 
              BARRY leans in and unhooks her bra.  They kiss again,
              passionately.
 
              The PROWLER pauses, then moves, never seen--except for a bit of
              foot or hand--from the POV of the CAMERA, closer and closer as
              the two TEENAGERS become more and more oblivious.
 
              Closer.  The THEME has snuck in.  It becomes discordant.  It
              swells.  Closer.
 
              QUICK CUT to BARRY & CLAUDETTE'S faces, their eyes closed, the
              perspiration streaking their flushed skin.
 
              Suddenly CLAUDETTE looks up into the CAMERA with terror.
 
              A hatchet flashes into FRAME and CLAUDETTE goes down under the
              blow.
 
              The CAMERA TURNS TO BARRY.  The PROWLER's powerful hand has him
              by the throat.  He backpeddles, trying to get away.
 
              ANOTHER ANGLE: as BARRY is stopped against a tree.
 
              A hunting knife soars against the leafy sky.

              BARRY grabs the knife-hand at the wrist.  The knife falls to
              the mossy floor of the clearing.
 
              Two hands go for the free blade.  BARRY's hand has it.
 
              There is a confused jumble of struggle.
 
              Onto the bed of moss falls the little finger of the PROWLER.
 
              REACTION SHOT:  BARRY, horrified by the sight.
 
              The PROWLER's hand has the knife.  It moves quickly forward.
              We can hear the blade strike.
 
              BARRY stares up at the sky in a soundless shriek.
 
              MCU the moss where the finger fell.  The PROWLER reaches into
              FRAME, picks up the finger, and exits FRAME.
 
              QUICK CUT TO:  CHLOE, out searching for the missing Counsellors.
              She stands at the edge of the clearing, her hands pressed on her
              temples, her throat filled with a scream of terror.  The MUSIC
              has stopped abruptly.
 
              THE SCREEN BLEEDS TO WHITE.
 
              It is completely SILENT.
 
                                                       CUT TO:
 
         8    TITLE SEQUENCE
 
              The screen is completely black.  A small white shape starts to
              ZOOMS towards the FG.  The shape becomes a three-dimensional
              rendering of FRIDAY THE 13TH.  Just as it gets to its final
              position, the FRIDAY 13 logo shatters a previously unseen pane
              of glass.  There is a loud crash.  The logo shifts to the upper
              left corner of the FRAME as we ROLLS TITLES, white on black.
 
              The THEME MUSIC is a reprise of the THEME we heard during the
              Forest sequence, now done in a childlike arrangement.
 
              TITLES END and the MUSIC fades out.
 
                                                       DISSOLVE TO:
 
 
         9    EXT. RURAL TOWN - EARLY MORNING
 
              The TRACK is SILENT.
 
              In a LONG SHOT we see the one main street.  A newspaper
              delivery truck drives away from the CAMERA.  A GIRL walks down
              the street.

              Superimposed title:
 
                                       THE PRESENT
 
              A MEDIUM SHOT in front of the bank reveals a day/date/time/temp
              sign which blinks:
 
                                       FRIDAY, 13
 
                                       7:01
 
                                       60 Degrees
 
                                       FRIDAY, 13
 
                                       7:01
 
                                       60 Degrees
 
              We can begin to hear a small-town DJ OVER as a pick-up truck
              moves down the street past the GIRL in her late teens.  She has
              a knapsack, a freshly scrubbed face, jeans, and a plaid shirt.
              She wears her hair in a long braid.  She wears Nike jogging
              shoes.  This is ANNIE.
 
                                  DJ (V.O.)
                      It's 7:01 on Friday the 13th of June.
                      This is Big Dave and it's time for you
                      lazy bones to GET OUT OF BED!  It's
                      black cat day in Crystal Lake.  Don't
                      forget the big drawing today to see who
                      gets our FRIDAY THE 13TH Monster
                      Surprise: either a man's digital
                      continuous readout watch or a Panasonic
                      color television set!
 
                                                       CUT TO:
 
 
        10    INT. DINER - MORNING
 
              In CU a hand moves to turn down an old brown plastic radio from
              which Big Dave is doing his morning-man routine.
 
                                  DJ (V.O.)
                      Don't walk under a ladder!  Don't spill
                      any salt, don't...
 
              The radio is turned way down.  We see that the hand belongs to
              TRUDY, a hefty waitress who wears her golden hair in a bun with
              a pencil stuck in it.  BUDDY, the boss, is seen in the BG
              working the grill.

              The regulars are there:  five MEN and two WOMEN who always come
              in for breakfast.  They are the retailers, the oil delivery
              man, the switchboard operators, and the cop.
 
              ANNIE walks in the front door, crosses the past the cash
              register and walks down the counter.
 
                                  SALESMAN
                      I'm sick of them repeats.
 
                                  TRUDY
                      I musta seen that Kojak 82 times.
 
                                  ANNIE
                      Excuse me.  How far is Camp Crystal Lake?
 
                           SALESMAN                      OPERATOR
                   They gonna open that place    Camp Blood?
                   again?
                                                         TRUDY
                           COP                   What is it, Eddie?  Forty
                   I heard they were gonna try   miles?
                   it.
                                                         EDDIE
                           OIL MAN               'Bout that.
                   Lotsa luck.
 
                           SALESMAN
                      (with a wink)
                   Be an interesting summer.
 
                                  ANNIE
                      Can I get a bus or something?
 
                                  TRUDY
                      Not likely.  Sam?  You goin' out to the
                      crossroads?
 
              The OIL MAN nods.
 
                                  TRUDY
                            (continuing)
                      Give her a lift?  That's hallway.
 
                                  OIL MAN
                            (paying up)
                      No sweat, Trudy.  Let's do it to it, kid.
 
                                  ANNIE
                      Name's Annie.

                                  OIL MAN
                      Okay, Annie.  Let's go.
 
              ANNIE steps aside as the OIL MAN heads for the front door.  He
              is smirking.  He's fifty, strong, and balding.  He makes no
              attempts to hide his appreciation for ANNIE's figure.
 
              They exits.
 
                                  TRUDY
                      I wouldn't send my kids to that camp for
                      all the tea in China.
 
                                  SALESMAN
                            (kidding)
                      I thought you hated your kids.
 
              TRUDY looks around, does a take, then laughs.
 
                                                       CUT TO:
 
 
        11    EXT. TOWN STREET - MORNING
 
              ANNIE walks a half step behind the OIL MAN, heading for his
              truck which is parked there on the street.
 
                                  OIL MAN
                      All the girls up there gonna look as
                      good as you?
 
                                  ANNIE
                      I don't know.
 
              ANNIE wonders if she should accept the ride with this guy.
              Suddenly, from between two parked cars pops RALPH, a crazy hobo
              who has two dead rats in his mouth, their tails in his teeth;
              they swing from him like a strange beard.
 
                                  OIL MAN
                      Goddamnit, Ralph!  Get outta here.
                            (to ANNIE)
                      Don't worry about him.  He's harmless.
                            (back to Ralph)
                      G'won.  Git!
 
                                  RALPH
                      It's Friday the 13th.
 
              He giggles and skulks away.
 
                                  OIL MAN
                      Climb on up, Miss.

              The OIL MAN gives her a boost up and then climbs aboard the rig.
 
                                                       CUT TO:
 
 
        12    INT. OIL TRUCK - DAY
 
              As the truck pulls away, we see RALPH through the windshield,
              standing at the edge of the road.  He is angry and upset now.
              He pats his rats.
 
              The OIL MAN shifts, looks over and smiles.  His two front teeth
              are missing on top.
 
                                  OIL MAN
                      Must be the fourth time somebody's tried
                      to reopen that place.
 
                                  ANNIE
                      Camp Crystal Lake?
 
              He nods.
 
                                  OIL MAN
                      Something always happens up there.
 
              He turns on the radio in the cab and we hear the DJ again.
 
                                  DJ (V.O.)
                      ...of bed.  I'm gonna count to three and
                      then you better get up.  It's 7:24.  A
                      beautiful day.  Weatherman Dr. Jim says
                      it's gonna be a nine point five day.
                      Here's Meatloaf from the Bat Out of Hell
                      album.
 
                                                       CUT TO:
 
 
        13    EXT. RURAL ROADS - DAY
 
              The oil truck thunders along the road.
 
                                                       CUT TO:
 
 
        14    EXT. RURAL CROSSROADS - DAY
 
              The oil truck has stopped.  ANNIE stands alongside the driver's
              side.
 
                                  OIL MAN
                      Don't let the spooks getcha, Annie.

              ANNIE smiles.
 
                                  ANNIE
                      No sweat.  Thanks a lot for the lift.
 
              He nods and shakes his head with the sense of what might have
              been if he were thirty years younger.  He puts it in gear and
              roars off.
 
              ANNIE looks around and sees an old gas station.  It is closed.
              There's a sign which reads:  "No Gas 'Til Sat."  A mangey dog
              sits on the stoop watching ANNIE.
 
              ANNIE kneels down and calls the dog.  The dog comes.  ANNIE
              pets him and then heads off up the road.
 
              The dog watches her go.
 
                                                       CUT TO:
 
 
        15    EXT. RURAL HIGHWAY - DAY
 
              ANNIE is beginning to get worried about the time.  It's hot and
              she's late.
 
              She looks up.
 
              From her POV a Jeep barrels along the road towards us.
 
              ANNIE puts out her numb.
 
                                                       CUT TO:
 
 
        16    INT. JEEP - DAY
 
              From the DRIVER'S POV, we see ANNIE waiting for a lift.  The
              DRIVER, unseen, shifts down until ANNIE is alongside.  The
              Jeep, an uncovered model, stops.  ANNIE smiles a big delicious
              smile at us as we sit in the DRIVER's seat.
 
                                  ANNIE
                      Hiya!  I'm headed for Camp Crystal Lake.
                      Can you help me out?
 
              Apparently the DRIVER nods, because ANNIE beams at us.  She
              tosses her pack in the back and hops aboard.  The DRIVER
              accelerates.
 
                                                       CUT TO:

        17    EXT. RURAL ROADS - DAY
 
              The Jeep roars along the road.  The sun and shadows keep us
              from seeing the DRIVER.
 
                                                       CUT TO:
 
 
        18    INT. JEEP - DAY
 
              Still in the DRIVER's POV, the CAMERA watches as ANNIE looks
              around, admires the woods, the Jeep, the day.  Things are going
              her way.
 
                                  ANNIE
                      I can't remember being this excited
                      about anything.  I want to be a teacher
                      when I finish at Southern State.  I
                      guess I've always wanted to work with
                      children.  I hate it when people call
                      'em kids.  Sounds like little goats.
 
              The forest outside the speeding Jeep is deeper and signs of
              civilization have all but disappeared.  ANNIE still turns and
              looks at the CAMERA when she speaks to the DRIVER.
 
                                  ANNIE
                            (continuing)
                      The job market for teachers is supposed
                      to be the pits these days, but I don't
                      care.  When you have a dream as long as
                      I have, you'll do anything...
 
              A look of surprise passes ANNIE's young face.
 
                                  ANNIE
                            (continuing)
                      Wasn't that Camp Crystal Lake?  Just
                      back there?
 
                                                       CUT TO:
 
 
        19    EXT. RURAL ROADS - DAY
 
              In the FG the sign for Camp Crystal Lake.  In the BG, the Jeep
              roars off into the distance.
 
                                                       CUT TO:

        20    INT. JEEP/DRIVER'S POV - DAY
 
                                  ANNIE
                            (frightened, confused)
                      I think we better stop... Please stop...
                      Please!  Stop!
 
              The Jeep's speed increases.
 
                                  ANNIE
                            (continuing)
                      Please!
 
              ANNIE grabs for the ignition key, but the DRIVER's hand darts
              out and slaps ANNIE away.  We see that this hand is missing its
              little finger!
 
              Panicked, without any other recourse, ANNIE looks about her and
              then leaps from the moving Jeep, aiming for the relatively soft
              underbrush alongside the narrow road.
 
                                                       CUT TO:
 
 
        21    EXT. ROADSIDE - DAY
 
              ANNIE lands, rolls, is upended, scratched by brambles, and
              flips.  She scrambles to her feet and starts running towards
              the camp.
 
                                                       CUT TO:
 
 
        22    EXT. RURAL ROAD - DAY
 
              The Jeep stops, turns quickly, heads back for her.
 
                                                       CUT TO:
 
 
        23    INT. JEEP - DAY
 
              From the DRIVER's POV we see ANNIE run, looking back in fear.
 
                                                       CUT TO:
 
 
        24    EXT. ROADSIDE - DAY
 
              ANNIE's feet pound the hard-packed dirt.  She looks over her
              shoulder to see the Jeep.  The sun flares on the Jeep's
              windshield, keeping us from being able to see any details of
              the DRIVER.

              In a final desperate move, ANNIE drives into the underbrush to
              escape.
 
              The Jeep skids to a stop.
 
                                                       CUT TO:
 
 
        25    EXT. ROADSIDE/WOODS - DAY
 
              The CAMERA becomes the DRIVER and chases into the thicket.
              Branches and briars snap back at us.  Just ahead, the terror-
              stuck ANNIE stumbles and falls.  She screams as a knife flashes
              past her in a blur.
 
              When the knife has passed, all we can see is a look of surprise
              on ANNIE's face.
 
              The CAMERA PULLS BACK.  Her throat has been cut.  She collapses
              out of FRAME.
 
              A bird soars across the sky above.
 
              The TRACK is SILENT.
 
                                                       CUT TO:
 
 
        26    EXT. HIGHWAY - DAY
 
              A gaily decorated camper-van travels along the highway.  We
              hear rock 'n roll OVER coming from a car radio as this much-in-
              need-of-repair vehicle passes a slower car.
 
                                                       CUT TO:
 
 
        27    INT. CAMPER VAN - DAY
 
              In the camper van are three young people.  They are full of
              fun, fresh and expectant as they head towards Crystal Lake.
              They are instantly likeable.
 
              At the wheel is NED, a short 22-year-old whose well-developed
              upper body is a tribute to his weight-lifting.  He is nice-
              looking, a joker who is always trying to get some attraction.
              He is funny and alert.
 
              Next to him is JACK, an athlete whose clean-cut look is as
              American as popcorn.  He is quieter, two years younger and not
              as smart as NED.  He has to think things through.
 
              MARCIE is JACK's girlfriend.  She is leaning over the front
              passenger seat so she can messenger JACK's shoulders.

              She is a funny girl, pretty, and always looking for fun.  She
              enjoys every minute of every day.  She hasn't been touched by
              tragedy.
 
                                  MARCIE
                      Sex is all you ever think of, Neddy.
 
                                  NED
                      There you are dead wrong.
 
                                  JACK
                      Ha!
 
                                  NED
                      Sometimes I only think about kissing
                      women.
 
              MARCIE finds a sore spot on JACK's back.
 
                                  JACK
                      Ow!
 
                                  NED
                      I was just wondering if you thought
                      there'd by any other gorgeous women at
                      Camp Crystal Lake.  Besides yourself.
 
                                  MARCIE
                      You are a true pierce of work, Ned.
 
              MARCIE hits NED on the arms, playfully.
 
                                  MARCIE
                            (continuing)
                      How about our last jay?
 
                                  JACK
                      Good call.
 
              JACK reaches into the glove compartment and comes out with a
              joint.
 
                                  NED
                      What about the dope paragraph in Mr.
                      Christy's letter?
 
                                  JACK
                      Quote:  Controlled substances are
                      expressly forbidden.  Possession or use
                      of marijuana or alcohol on campgrounds
                      will means instant dismissal.  Unquote.

                                  MARCIE
                      We got two weeks before the kids even
                      arrive.  Then I'll act responsibly.
                      Until then, hit me.
 
              She takes the lighted joint and tokes.
 
                                                       CUT TO:
 
 
        28    EXT. CAMP CRYSTAL LAKE ENTRANCE - DAY
 
              The van turns past the sign that reads:
 
                           CAMP CRYSTAL LAKE--Established 1935
 
                                                              CUT TO:
 
 
        29    INT. VAN - DAY
 
              MARCIE is wide-eyed, looking at the lush surroundings.
 
                                  MARCIE
                      It's beautiful...
 
                                  NED
                      Yeah, and it also look like it hasn't
                      seen a coat of paint in six years.
 
                                                       CUT TO:
 
 
        30    EXT. CAMP DRIVE - DAY
 
              The CAMERA SEES what NED saw.  The buildings are run down at
              the heels.  It is the same camp we saw in the early scenes, but
              time has torn the place badly.
 
              The van passes the CAMERA and we see the three new ARRIVALS
              looking out the window.
 
                                                       CUT TO:
 
 
        31    EXT. MAIN CAMP AREA - DAY
 
              This is the main building.  It is the building where Barry and
              Claudette met.  Outside is a flagpole, a small parking area, a
              large overhanging tree.
 
              In the BG we can see part of the lake.

              In the FG there is a Jeep.
 
                                                       CUT TO:
 
 
        32    EXT. CAMP MAIN AREA - DAY
 
              An axe flashes through the FRAME and hacks apart the halves of
              a huge tree stump.
 
              The CAMERA PULLS BACK to reveal a middle-aged man in cut-offs,
              a bare chest, hiking boots and beat-up cowboy hat.  This is
              STEVE CHRISTY.  He is strong, charming, and engaging.  He is
              animated, always in motion, impatient with how long it takes to
              do things.
 
              In the BG the van comes to a stop.  No sooner has JACK hopped
              down, than STEVE is beckoning him over.
 
                                  STEVE
                      Wanta give me a hand here?
 
              JACK smiles and comes quickly.
 
                                  STEVE
                            (continuing)
                      Alice?
 
              NED steps down from the van and now we can see that he has had
              polio when he was a kid.  His upper body is strong, but his
              legs are slightly deformed.  He and MARCIE hustle over to the
              big stump.
 
                                  STEVE
                            (continuing)
                      Wanta roll this sucker out of the way.
                      Alice?
 
              ALICE comes into the MS.  She is carrying a shovel and a bucket
              and has obviously been working for a couple of hours.
 
                                  ALICE
                      Cabin B is ready.
 
                                  STEVE
                      Push on this side.  Alice, this is Jack,
                      Marcie and Ned.  Push.
 
              They exchange "hellos" as they bend to the work.

                                  STEVE
                            (continuing)
                      That's got her.  Thanks.  I'm Steve
                      Christy.  Welcome to Camp Crystal Lake.
                      You got some grubby clothes?  Climb into
                      'em.  Alice, see if Bill has cleaned out
                      the boathouse.  I want him to start with
                      the canoes.  What happened to Brenda?
 
                                  ALICE
                      You told her to sweep the courts.
 
              STEVE sets off.
 
                                  STEVE
                      I'd rather she painted.  Let's go, folks.
 
              As soon as he's gone, NED turns to ALICE.
 
                                  NED
                      I thought we had two weeks...
 
              ALICE shrugs.
 
                                  ALICE
                      You can changed in three.
 
                                                       CUT TO:
 
 
        33    EXT. EDGE OF LAKE - DAY
 
              The CAMERA looks down a long line of canoes, each with its hull
              up.  A brush slaps into view.  BILL is sweating while finishing
              a coat of paint on the last canoe.
 
              BILL is a thin, ascetic-looking college sophomore.  He rubs his
              long thin rose with the back of his wrist as he hears someone
              call his name OS.  He turns to see ALICE at the bottom of the
              trail.
 
                                  ALICE
                      Steve said for you to start on the boats.
 
                                  BILL
                      I finished the boats.
 
              ALICE nods slowly.
 
                                  ALICE
                      I'll tell him.
 
              She turns away.

                                  BILL
                      Alice?  The others show up?
 
                                  ALICE
                      Everybody except the girl who's supposed
                      to handle the kitchen.  Annie.
 
              BILL puts his brush in a coffee can of turps.
 
              ALICE look at him, then turns again.
 
                                  BILL
                      You think you're gonna last all summer?
 
                                  ALICE
                      I'm not sure I'll last all week.
                            (pauses)
                      I'll tell Steve.
 
                                                       CUT TO:
 
 
        34    EXT. GIRL'S CABIN - DAY
 
              STEVE and NED are rehanging a door.  Next to them is BRENDA, a
              dark Eurasian girl who is trying to do a good job of painting
              the wall.  On the other side MARCIE is scraping some flaking
              paint.
 
                                  STEVE
                      Shim it up just a scooch.
 
              NED levers the door higher at the top.
 
                                  STEVE
                            (continuing)
                      Perfection.  Hold it.
 
              STEVE uses a long ratchet screwdriver.
 
                                  STEVE
                            (continuing)
                      To answer your question, my parents once
                      owned this camp.  There were some tragic
                      accidents and they went bankrupt.  I
                      promised them I'd reopen if I could.
                      See if it closes right now.
 
              NED swings the door on its hinges.
 
                                  NED
                      Looks good.

                                  STEVE
                      Perfection. Did you meet Brenda?
 
              BRENDA turns and nods.
 
                                  STEVE
                            (continuing)
                      She's archery.  He's rifle ranged.  And
                      I'm behind schedule.  Let's go, Ned.
 
              They exit with the tool box.  MARCIE stops and turns to BRENDA,
              who looks upward and blows the hair from her forehead.
 
                                                       CUT TO:
 
 
        35    EXT. EDGE OF THE LAKE - DAY
 
              STEVE, ALICE, BRENDA, MARCIE, NED, JACK and BILL are lugging a
              swimming float down to the water's edge.  STEVE supervises as
              he carries the thing, which is quite heavy.  They ad-lid as
              appropriate.  ("There goes my hernia." "Are you sure you're
              lifting?" "Not so fast." "I'm walking backward.")
 
              They drop the things carefully.
 
                                  STEVE
                      Come on back here and let's above the
                      float in.
 
              They get behind it and shove it into the water.  NED hops
              aboard for the ride, flipping into a handstand.
 
                                                       CUT TO:
 
 
        36    INT. EQUIPMENT SHED - DAY
 
              The screen has gone completely black.  The door to the shed is
              whipped open quickly, letting in the full brightness of the
              sun.  There is a shape.
 
              The CAMERA IRISES DOWN so that we can see that JACK has come in
              on an errand.
 
              As JACK looks around, we can take the time to see that there
              are a half-dozen lantern, a few cans of lantern fuel, a couple
              of hibachis, some entrenching tools packs, portable ice chests,
              etc.  Up on the long side wall are a half-dozen hunting knives
              in sheathes, also hanging neatly.
 
              Suddenly a hand comes into FRAME and touches JACK on the
              shoulder as he is preoccupied with his task.  JACK turns with
              a start.  He looks into the CAMERA.

              REVERSE POV to see MARCIE standing in the doorway.
 
                                  MARCIE
                      What are those for?  An Indian raid?
 
              She points to the row of hatchets and knives.
 
                                  JACK
                      Steve's got a woodlore program.  You see
                      any life rings?
 
              MARCIE looks behind some piled up equipment.  She pulls out two
              rings.
 
                                  MARCIE
                      Here.  Meet me in my cabin after taps.
                      Okay, Camper?
 
              She kisses him on the cheek and gives him a playful goose.
 
                                  JACK
                      For sure.
 
              They exit together.
 
                                                       CUT TO:
 
 
        37    EXT. ARTS & CRAFTS CABIN - DAY
 
              STEVE CHRISTY comes upon ALICE, who is renailing floorboards on
              the porch of the Arts & Crafts cabin.  On the railing is a
              sketch pad which Steve thumbs through.
 
              INSERT:  ALICE'S SKETCH.  It is a moody pierce, a sense of
              foreboding dominates it.  Otherwise, it is the camp's central
              compound, featuring the tree that forms the central focus.
 
                                  STEVE
                      You draw very well.
 
                                  ALICE
                      Oh, thanks.  I wish I could spend more
                      time at it.
 
              ALICE misses a nail and hits her thumb.  She reacts good-
              naturedly and keeps on working.
 
              STEVE bends down next to ALICE.
 
                                  STEVE
                      This isn't your cup of tea, hunh?
 
              She shakes her head.

                                  STEVE
                            (continuing)
                      Any particular reason?
 
                                  ALICE
                      Just a feeling.
                            (pause)
                      Nothing personal.
 
                                  STEVE
                            (nodding)
                      You want to leave?
 
                                  ALICE
                      I don't know.  Probably be best for
                      everybody.
 
                                  STEVE
                      You may not care a lot about this place,
                      Alice, but I mean to make it my whole
                      life.  It's been my whole life.  Gimme
                      a chance.  Stay a week.  Help get it
                      ready.  Next Friday, if you're not
                      happy, I'll put you on the bus myself.
                      I'll be grateful.
 
              He puts out a hand and runs the back of it across her cheek.
 
              She looks up.  She nods.
 
                                  ALICE
                      Next Friday.
 
                                  STEVE
                      Thanks, Alice.
 
              He stands up.
 
                                  STEVE
                            (continuing)
                      I've got to go to town and pick up the
                      trailer and all that other stuff, but
                      I'll be back around ten.  If you're
                      still up, we can talk, okay?
 
                                  ALICE
                      Sure.
 
              She watches him cross out of FRAME.
 
                                                       CUT TO:

        38    EXT. MAIN CABIN AREA - DAY (LATER)
 
              STEVE is at the wheel of his Jeep.  The COUNSELLORS are
              standing within earshot, huddled around the Jeep.
 
                                  JACK
                      You want it listed separately?
 
                                  STEVE
                      Yeah.  Brenda, after lunch hit the
                      archery range.  If Annie gets here, have
                      her start in on the kitchen.  Do your
                      best.  Tomorrow we have a preliminary
                      inspection by the state safety people.
                      I'd like to look good.
 
              He wheels the car around and out the driveway.  The others
              stand looking before NED breaks the silence.
 
                                  NED
                      He neglected to mention this place is
                      called "Camp Blood" downtown.
 
              They are all getting back to work.
 
                                  ALICE
                      How come?
 
                                  NED
                      Some campers drowned.  Then some
                      counsellors got killed.
 
                                  BILL
                      No shit.  When?
 
                                  NED
                      Late fifties sometime.  They never
                      caught the guy who did it either.
 
                                  MARCIE
                      Neddy collects weird facts.  Next he is
                      going to tell us that there are poisonous
                      snakes in the outhouse and green lizards
                      in the lake.
 
              As they laugh, the CAMERA HOLDS on ALICE.
 
                                                       CUT TO:

        39    EXT. ARCHERY RANGE - DAY
 
              BRENDA has her sleeves rolled up and is doing her job.  She
              enjoys having the responsibility for the whole safe operation of
              this area.  She likes to think of herself as more sophisticated
              than she is--or have others think her more sophisticated.
 
              BRENDA rolls a straw target out from under the lean-to shelter
              and heads for a tripod in the middle distance.  There are
              already two such targets out, a product of her efforts so far.
              The targets are heavy.  This isn't an easy one-person job.
 
              The CAMERA CLOSES IN tighter and tighter on her as she gets
              closer to setting up the target.
 
              In MCU, she lifts a target up.  Her head is very close to the
              face of the target.  She gets it up, lets the tripod take the
              weight, and then, just as she lifts her weight back, an arrow
              streaks into the center of the gold, missing her head by
              eighteen inches.
 
              BRENDA whips around.
 
              WE SEE WHAT SHE SEES:  a very cocky NED, standing by the lean-
              to with a bow in his hands and three more arrows knocked
              simultaneously.  He has a feather stuck in his hair.
 
              She grabs the arrow and storms at him.
 
                                  BRENDA
                      You're crazy!
 
              She snaps the arrow in half.
 
                                  NED
                      Did anyone ever tell you you're
                      beautiful when you're angry?
 
                                  BRENDA
                            (plussed)
                      I don't believe you...
 
                                  NED
                      Want to see my trick shot?  It's even
                      better.
 
              BRENDA still thinks he's a jerk, but he's so outrageous there's
              little she can do.  She laughs.
 
                                  BRENDA
                            (still laughing)
                      You ever fire one of those bows again,
                      and I'll tack you up on the wall to dry.

                                  NED
                      God, but I love that sexy talk.
 
              BRENDA snatches the bow from him, shakes her head and puts the
              bow down next to a collection of wicked-looking arrows.
 
                                                       CUT TO:
 
 
        40    INT. ARTS & CRAFTS CABIN - DAY
 
              This is a fairly large single room.  The walls are bare and
              uninsulated.  There are a few easels, but for the most part,
              the room is dominated by long tables and rough-hewn benches.
 
              The light seeps through the streaked windows, making the grey
              wood interior appear silver-colored.  ALICE, her hair in a
              bandana, has just finished sweeping up.
 
              The CAMERA picks up on ALICE's sketch of the central camp area
              on one easel.  On a second easel she has done the preliminary
              sketch of the lake itself.  It is also a moody picture.
 
              ALICE cocks her head to look at the sketches, shivers just a
              little, then goes on to her next task.  There is a row of newly-
              arrived cardboard boxes.  She opens the first in CU with a
              matte knife.  She take out the invoice and checks it against
              the first items:  gimp, the plastic string from which all the
              campers will make lanyards.
 
                                                       CUT TO:
 
 
        41    EXT. ARTS & CRAFTS CABIN - DAY
 
              We watch through one of the dusty panes, seeing the charcoal
              sketch in the FG, ALICE in the BG checking her materials
              against her invoice.
 
                                                       CUT TO:
 
 
        42    INT. ARTS & CRAFTS CABIN - DAY (INTERCUT)
 
              ALICE snaps around, sensing that she is being watched.  In CU
              her frightened face looks at the sun-drenched dusty pane.  Her
              face relaxes until BANG!  The sound of a door slamming echoes
              through the room.
 
              The CAMERA ZOOMS BACK from her face to see someone standing in
              the doorway.
 
              It is BILL.

                                  BILL
                      Sorry.  How you doing?
 
              ALICE smiles, then turns back to her job of taking inventory.
              BILL watches her.
 
                                  ALICE
                      Did you want something?
 
              She starts to take a box down from a high shelf.  She doesn't
              realize that there is something on top of the box.
 
                                  BILL
                      Steve said you were thinking of leaving.
                      True?
 
                                  ALICE
                      Un-hunh.
 
              ALICE lugs down the box and suddenly a bunch of leather-working
              tools clatters down, shattering the silence.  ALICE fends off
              the flying implements and BILL rushes to her side.
 
                                  ALICE
                            (continuing)
                      Oh, my God...
 
                                  BILL
                      You okay?
 
              She nods.
 
                                  BILL
                            (continuing)
                      You're lucky.
 
              They stoop down to pick up the fallen tools from the floor.
              BILL looks at her while they work.
 
                                  BILL
                            (continuing)
                      How come you're leaving?
 
                                  ALICE
                      It's long and personal.  It has nothing
                      to do with you or the other kids.
 
                                  BILL
                      Maybe I can help?
 
              ALICE looks at BILL and smiles.  This really is a very nice, if
              naive, young man.

                                  ALICE
                      And it's this place.  It makes no sense,
                      but it spooks me.
 
                                  BILL
                            (smiling)
                      You're right.  It makes no sense.
 
              As ALICE nods, she is interrupted by a shrill scream outside.
 
                                                       CUT TO:
 
 
        43    EXT. ARTS & CRAFTS CABIN - DAY
 
              MARCIE is the source of the scream.  She runs towards the
              CAMERA, dressed in cut-offs and a floral halter.  Her feet are
              bare.  When she get closer, we see that she is being chased by
              JACK and NED who have found two giant green bullfrogs.  The
              screams were not serious and MARCIE is doing some of it for
              effect.  BRENDA brings up the rear.  They are all dressed more
              or less for a frolic in the lake.
 
              BILL and ALICE stand in front of the Arts & Crafts cabin.  BILL
              is smiling, ALICE is a little bit amused.
 
                                  MARCIE
                      Help me!  Save me!  The frog people are
                      after me!  It's swim time at Camp Crystal
                      Lake.  Come on, Alice, I need protection!
 
                                                       CUT TO:
 
 
        44    EXT. CRYSTAL LAKE - DAY
 
              A LONG WIDE SHOT reveals the cool, clear lake during the lull
              of a hot afternoon.
 
              At the edge of the lake, in the shallows, are the members of
              the group:  MARCIE, JACK, NED, BRENDA, BILL and ALICE.  They
              are sitting or paddling or diving off the float.  There is no
              real attempt to exert too much energy.
 
              Gradually we become aware that this LONG WIDE SHOT is someone's
              POV.  The CAMERA moves from its stable position, now hand-held,
              on a trajectory around the side of the lake, out of sight.
 
              Branches, brush, and twigs are butted through.  Occasionally,
              we can see part of the PROWLER's arm fending off the underbrush.
 
                                                       CUT TO:

        45    EXT. WATER - DAY
 
              The group sits or lies in the cool water, more or less focused
              on NED, who is acting as moderator.
 
                                  NED
                      What do you want to be when you grow up?
 
                                  BRENDA
                      Dancer.
 
                                  MARCIE
                      Cowboy.
 
                                  NED
                      Girls can't be cowboys.
 
                                  MARCIE
                      Okay, Fireman.
 
              NED goes to JACK.
 
                                  NED
                      Jack?
 
                                  JACK
                      Coach, athletic director somewhere.
 
                                  BILL
                      Filmmaker.
 
                                  ALICE
                      Artist.
 
                                  NED
                      Doctor.  Now, if you were a flavor of
                      ice cream, what would you be?
 
                                  MARCIE
                      Rocky Road.
 
              They laugh.
 
                                                       CUT TO:
 
 
        46    EXT. MAIN CAMP AREA - DAY
 
              The PROWLER looks in LONG SHOT down at the lake and we can just
              make out the COUNSELLORS.
 
              The CAMERA PANS and we move toward cabins.
 
                                                       CUT TO:

        47    EXT. LAKE - DAY
 
              ALICE is treading water, talking with BRENDA, as NED comes up
              out of nowhere.
 
                                  BRENDA
                      Vitamin C's supposed to neutralize the
                      nitrites or something.
 
              NED surfaces between them.  He looks with googly eyes at ALICE.
 
                                  NED
                      There are sand sharks in this lake and
                      they can eat the bathing suit right off
                      you.
 
              ALICE laughs.
 
                                  NED
                            (continuing)
                      See?  I'm getting to you.  Very slowly.
 
              NED does a porpoise drive and disappears.
 
              BRENDA is not laughing.  She is looking off towards the cabin
              area.
 
              ALICE sees her and look where she looks.
 
                                  ALICE
                      What'd you see?
 
                                  BRENDA
                      I don't know.  Marcie's got me paranoid.
 
              She smiles.
 
                                                       CUT TO:
 
 
        48    EXT. BEHIND ALICE'S CABIN - DAY
 
              The CAMERA, shooting from the PROWLER's POV, moves to a place
              alongside Alice's cabin.  There is underbrush about two feet
              tall and all around that area.  The PROWLER stops, leans down
              and reaches into FRAME with a gloved hand.
 
              The gloved hand reaches into the underbrush for the tip of a
              burlap bag which has been secreted there.  The hand lifts the
              bag, which has something in it that moves.
 
              The CAMERA MOVES around to the side of the cabin right below
              the window.  The window is open, making entry quite simple.

              The PROWLER's gloved hands untie the neck of the bag, reach in
              and haul out quickly a medium-sized snake.  One hand has the
              animal firmly behind the jaws.  The hand takes the snake and
              puts it through the open window, leaving it on the clean white
              coverlet.  It slithers across the bed.
 
              The PROWLER's hand closes the window.
 
              The CAMERA MOVES towards one of the sheds.
 
                                                       CUT TO:
 
 
        49    EXT. EDGE OF LAKE - DAY
 
              BILL and ALICE are lying on the shore on their towels, watching
              the OTHERS in the water and grabbing some afternoon sun.  ALICE
              is on her stomach, tracing angular designs in the sand.  BILL
              is on his back, listening.
 
                                  BILL
                      It still hurts?
 
                                  ALICE
                      I walked into it knowing I'd get hurt,
                      but I thought I could stand anything.
                            (pause)
                      I just wasn't ready for that kind of
                      pain.  We were supposed to meet in L.A.
                      When I got back there, he sent a telegram
                      saying he was going back to his wife.
 
              BILL turns over so he can look at her better.
 
                                  BILL
                      What'll you do when you leave here?
 
                                  ALICE
                      I don't know.
 
              Various feet enter the FRAME.  BILL and ALICE look up to see
              JACK with his arm around MARCIE, NED toweling his head, and
              BRENDA putting on her blue workshirt.
 
                                  MARCIE
                      Pistachio, fudge ripple, creme de menthe
                      and I are going back to work.
 
              BILL gets up.
 
                                  BILL
                      Speaking as black raspberry, I guess I'm
                      ready.  Frozen yogurt?

              ALICE smiles at the reference.
 
                                  ALICE
                      I'll be along.
 
                                  NED
                            (in a nelly voice)
                      Don't burn that gorgeous body, or I'll
                      scratch your eyes out...
 
              They head off.  ALICE turns over to tan her front.
 
                                                       CUT TO:
 
 
        50    EXT. FOREST - DAY
 
              A machete rips through some vines.  Again it hacks at the brush.
 
              PULLS BACK to reveal BILL clearing away the years of vine
              growth which have choked off a path.  He wipes the perspiration
              from his eyes and continues along.
 
                                                       CUT TO:
 
 
        51    EXT. BEHIND THE MAIN CABIN - DAY
 
              Set up behind the cabin is a make-shift exercise area.  There
              are chinning bars--pipeslashed between two trees--and there's
              an aging set of parallel bars.  There is even a set of weights
              made from tin cans, pipes and assorted amount of cement.
 
              ECU of NEDS's face in a distorted, twisted expression.  He
              explodes his breath.
 
              We PULL BACK to see BRENDA watching NED work out on the uneven
              parallel bars.  He is really very good and there is no doubt
              about his strength.
 
                                  BRENDA
                      Not bad.
 
              As NED moves off the apparatus, BRENDA comes in and does a neat
              little turn which is dazzling.  NED does a take.
 
                                  NED
                      Holy shit...
 
                                  BRENDA
                      We wouldn't want you thinking you're the
                      only show-off in camp, would we?
 
                                                       CUT TO:

        52    EXT. LAKE - DAY
 
              The sun has dropped lower on the horizon.
 
              The CAMERA looks down on ALICE as she sleeps peacefully in the
              late sun.  A shadow passes across her face, and she awakes with
              a start.
 
              CUT BACK to see BILL standing over her with a machete.
 
                                  ALICE
                      I didn't know I was asleep...What time
                      is it?
 
                                  BILL
                      Almost five.
 
              ALICE gets up.
 
                                  ALICE
                      Now I'm only eleven hours behind
                      schedule.  Steve is going to have a
                      small cow.
 
              They walk away from the shore.
 
                                                       CUT TO:
 
 
        53    EXT. ALICE'S CABIN - DAY
 
              ALICE is walking quicker than BILL.  We realize we have seen
              this cabin before--when the snake was placed in it.
 
                                  BILL
                      You can only do what you can do.
 
                                  ALICE
                      And then Steve looks at you with those
                      hurt eyes--like you don't care about
                      children...
 
              BILL laughs at her imitation.
 
                                  ALICE
                            (continuing)
                      I'll see you later.
 
              She turns to go up the steps to her front door.
 
                                  BILL
                      Alice?
 
              She stops and look down at him.  He is serious and he cares.

              ALICE appreciates what's she's just heard.  She knows that it
              wasn't easy for BILL to say.
 
                                  ALICE
                      You're very nice.
 
              They share a short silent moment.
 
                                  BILL
                      Hope you will.
 
              BILL smiles and turns and jogs off, still carrying his long
              blade.
 
              ALICE watches him go.  She shrugs.  This might be a good place
              to stay.  She turns and goes into her cabin.
 
                                                       CUT TO:
 
 
        54    INT. ALICE'S CABIN - DAY
 
              In the FG is the camp bed with its white coverlet.  The snake
              is nowhere in sight--which means it could be anywhere.
 
              ALICE is humming to herself and is happier now than she has
              been since we met her.
 
              The room is small.  There is the metal-frame cot, an old wooden
              dresser with a cloudy mirror on top.  The walls are a light
              blue, freshly painted.  The wall on the inside does not go all
              the way to the ceiling so that she can monitor what's going on
              in the campers' section of the cabin on the other side.
 
              ALICE looks at herself in the old cloudy mirror and likes what
              she sees.  She pushes her hair so that she looks a little
              sexier.  She smiles at herself.
 
              She reaches out in CU.  Open a drawer.  Takes out a towel.
 
              ALICE turns and goes to her footlocker.  Bends down and opens
              it up.  Takes out a terrycloth robe.
 
              She closes the footlocker, stands up and heads out the door.
 
                                                       CUT TO:
 
 
        55    EXT. ALICE'S CABIN - DAY
 
              ALICE heads from her cabin to the showers.
 
                                                       CUT TO:

        56    INT. SHOWER ROOM - DAY
 
              ALICE walks into her room wearing her bathrobe, her hair in a
              towel-turban.  She flicks off her shower clogs, and looks for
              her hairbrush.  She takes her towel off and lets her tangled
              hair fall down.
 
              She hums.  Opens her top drawer.  Nothing there.
 
              Opens the next drawer.  Nothing there.
 
              Opens the next drawer.  Nothing there.
 
              ALICE opens the fourth drawer and the snake strikes!  It flails
              at her right wrist, a wrist which we have established earlier
              as having a Navajo bracelet on it.  The snake strikes the
              bracelet, hangs on as ALICE tries to shake it free.  The snake
              falls to the floor and recoils for another attack.
 
              There is no way that ALICE can get past the snake to run away.
              Her scream is loud.
 
                                                       CUT TO:
 
 
        57    EXT. MAIN CABIN - DAY
 
              BILL, returning from his last half hour of trail-blazing, hears
              ALICE.
 
                                  ALICE (O.S.)
                      Help!
 
              BILL doesn't hesitate.  Carrying his machete, he runs to
              ALICE's cabin.
 
              MARCIE and JACK follow in the BG.
 
                                                       CUT TO:
 
 
        58    INT. ALICE'S CABIN - DAY
 
              ALICE is backed against the wall.  The snake could strike and
              get her.
 
              BILL runs into the room, still carrying his machete.  He looks
              at ALICE.
 
                                  ALICE
                            (a tight whisper)
                      There's a fucking snake in here.

              BILL sees it.  He freezes, then takes a step forward.
              Carefully, he winds up and smashes down with the edge of the
              machete, cutting the snake into two pieces.  Blood spurts onto
              the floor.
 
              MARCIE and JACK enter.  JACK carries a shovel as a weapon.
              MARCIE stops when she sees the embrace, but then looks further
              to see the blood and guts.
 
                                  MARCIE
                      Steve never mentioned serpents.  Jack,
                      would you get some paper towels?
 
              JACK nods and exits.
 
                                  ALICE
                      How the... did he get in there?
 
                                  BILL
                      Slipped in.  Probably liked the scent of
                      your perfume.
 
              JACK return and tosses a roll to MARCIE.
 
                                  MARCIE
                      Thanks.
 
                                  BILL
                      You okay now?
 
              ALICE nods.
 
              BILL gives her an extra hug.  Then steps back awkwardly,
              stepping on MARCIE's big toe.
 
                                  MARCIE
                      Go ahead.  I walk on 'em all the time.
                            (to JACK)
                      Would you shovel Mr. Snake outta here?
 
              JACK nods.  He picks up his shovel and we see in CU as he gets
              underneath the wide-fanged snake.
 
              MARCIE begins to clean the blood off the floor with the paper
              toweling.
 
                                                       CUT TO:

        59    EXT. CAMP - LATE AFTERNOON
 
              Looking across the lake, we can see the camp, nestled in among
              the late afternoon rays of the sun.  We can hear the sounds of
              the nocturnal animals beginning to rise and hunt.
 
                                                       CUT TO:
 
 
        60    INT. CAMP KITCHEN - LATE AFTERNOON
 
              The kitchen and the main meeting room are really one in the
              same room, cut off by a partition.  The kitchen has a couple of
              sinks, a heavy old stove, long shelves, a pantry/larder, and
              some windows which look out on the rear.
 
              BRENDA is making a salad for herself.  She is a vegetarian.
              MARCIE is making a guacamole dip.
 
              In the big room there is a fireplace and a ping pong table.
              JACK and BILL are playing.
 
                           BRENDA                        JACK
                   She all right?                Get ready for the schneider.
 
                           MARCIE                        BILL
                   Yeah.  Scared the hell out    No chance.
                   of her.
                                                         JACK
                           BRENDA                Four zip.
                   How'd it get in the drawer?
 
              ALICE walks into the kitchen.  She has washed her face after
              getting her act together.  She stands in the doorway to the
              kitchen.
 
                                  MARCIE
                      How you doin'?
 
                                  ALICE
                      Okay.  Can I help?
 
                                  BRENDA
                      It's catch as catch can.  I'm making a
                      salad.  The guys are planning to cook
                      greaseburgers for themselves.
 
                                  MARCIE
                      There's a lot of dishes if you just want
                      something to do.
 
              ALICE smiles.  Nods.

                                  ALICE
                      The way I feel, that's perfect.
 
              ALICE goes to the sink and begins to work her way through the
              dirty dish pan.
 
              NED comes flying through the door dressed in various bits and
              pieces of old Indian costumery.  He does a bad dance.
 
              JACK and BILL quit their game and come to the doorway.
 
                           JACK                          BILL
                   What the hell?                Where'd you get that stuff?
 
                           MARCIE                        BRENDA
                   Oh, Lord!                     Neddy!
 
                           JACK
                   It's gonna be a long summer.
 
                                  NED
                      Wait, wait!   When I was finding these
                      goodies in the shed.  I also found this
                      letter which a camper never sent home.
                      Listen.
 
              He takes a letter out of his breechclout.  He pretends to read,
              when really we can see that the paper is blank.
 
                                  NED
                            (improvising)
                      Dear Mom and Dad, Camp Blood is real fine
                      except for the strange man who flies at
                      night and sucks our counsellor's body...
 
              ALICE leans against the sink and laughs.  She is a very pretty
              girl, younger than she first appeared.
 
                                  NED
                            (continuing)
                      And, Mommy, we really love our counsellor.
                      He says that whenever I'm scared, I can
                      sleep in his bunk with him.
 
              JACK and BILL laugh.
 
              NED takes off his headdress.
 
                                  NED
                            (continuing)
                      No wonder they lost America.  How could
                      you sneak around in the bushes wearing
                      that?  What's to eat?

                                  BRENDA
                      Whatever you make yourself.
 
              ALICE looks up from her dishes and cocks her head to the side.
              Does she sees something?
 
              The CAMERA PANS SLOWLY to look over her shoulder.
 
              The window pane is dirty and it's a bit difficult to see, but
              there is something standing there out by a cabin.  But it
              stands, doesn't move... Is it a building?
 
              CUT AWAY to see ALICE using her dishcloth to clear the glass.
              When we CUT BACK, the shape is gone.
 
              REACTION SHOT:  ALICE.  Curious.  A cold chill...
 
              ALICE looks around at the others who are still adlibbing about
              food.
 
                           BRENDA                        JACK
                   How can you eat that stuff?   You like them rare?
                   Looks like dead animals.
                                                         BILL
                           NED                   Too bad that Annie never
                   Cannibals.  It's old          showed.  She was supposed
                   counsellor.                   to be a good cook.
 
                           BRENDA                        MARCIE
                   You can get all the protein   No way I am gonna play chef
                   you need if you mix them      to all of you guys.  It's
                   right.                        women's lib from here on
                                                 out.
 
                                  NED
                      The squaws are revolting!
 
              ALICE looks up.  Pulls the light cord in the middle of the room.
 
              The bulb does not light.
 
              ALICE pulls it again.
 
                                  BILL
                      Trouble?
 
                                  ALICE
                      Bad bulb or no power.  It's getting a
                      little gloomy in here.
 
                                  JACK
                      Steve taught me how to use the emergency
                      generator.  The town power lines are
                      supposed to be real shitty.

                                  NED
                      God, but I love that macho talk!
                      Emergency generators!  The Indian used
                      campfires.
 
              JACK turns to BILL.
 
                                  JACK
                      Give me a hand?
 
                                  BILL
                      For sure.
 
                                                       CUT TO:
 
 
        61    INT. GENERATOR SHED - LATE AFTERNOON
 
              JACK steps in and, in CU, we see there is a puddle where he is
              standing.  The puddle is somehow significant.
 
              BILL leans over JACK's shoulder to see what he's doing.
 
                                  BILL
                      This is almost like the one at my
                      uncle's cabin in Maine.
 
                                  JACK
                      Here we go.
 
              The CAMERA watches JACK's actions tightly.  In a REVERSE POV we
              see JACK's tongue come out the side of his mouth as he
              concentrates.  He bites down on it.
 
              ANOTHER ANGLE:  as JACK pulls the starter cord.  The engine
              roars into action.
 
                                  JACK
                            (yelling)
                      Now ya' close the switch.
 
              CU as JACK's hand reaches in and touches a heavy-duty metal
              switch.  A spark arcs and we PULL BACK to see JACK with a
              perfect connection running through his body.  There is a
              sparking sound, the little light in the shed blinks, JACK
              screams, the generator chugs roughly.  Hundreds of volts are
              streaking through JACK's body and grounded through his wet
              shoes.
 
              BILL reacts quickly:  knowing better than to touch him and
              continue the connection, he takes a half-step backwards, aims
              at an oblique angle and executes a perfect Bruce Lee-type drop-
              kick on his friend, severing the contact.

              JACK stumbles out of the shack and the light goes dead.  The
              machine stops.
 
                                                       CUT TO:
 
 
        62    EXT. GENERATOR SHED - LATE AFTERNOON
 
              JACK lands, almost unconscious.  BILL kneels into FRAME and
              cheeks JACK's vital sign:  his eyes, his carotid pulse, his
              breathing.
 
              JACK shakes his head.
 
                                  JACK
                      I'll be okay.  Holy shit...
 
                                  BILL
                      Don't get up.  Take a second...
 
              JACK lies back down.  Covers his eyes with his arm.
 
                                  JACK
                      You saved my life.
 
                                  BILL
                      I had to.
 
                                  JACK
                      Thanks.
 
                                  BILL
                      I figured if I didn't save you.  I'd
                      have to give you mouth-to-mouth and that
                      would have ruined my appetite.
 
              JACKS looks up and smiles.  BILL give him a hand and the groggy
              athlete gets to his feet.
 
                                  JACK
                      Whew.
 
              Satisfied that JACK won't fall down, BILL goes to the shed and
              looks in.
 
              We can look in over BILL's shoulder and see a smoke-scarred
              switch and a now-silent generator.
 
                                  BILL
                      This puddle was enough to ground you all
                      the way to China.
 
              JACK looks in, too.

                                  JACK
                      Floor probably leaks.  This area is full
                      of springs.
 
                                  BILL
                      A short somewhere.
 
              BILL leans down and sees a smokey-colored wire that touches
              another wire.
 
                                  BILL
                            (continuing)
                      There's the problem, Jack.  Wire worked
                      itself loose.
 
              He starts to wind it round a set-screw in CU.
 
                                  JACK
                      Just in cause this bugger goes bad.  I'm
                      gonna pick up some lanterns from the
                      equipment shack.
 
              JACKS walks away.
 
                                                       CUT TO:
 
 
        63    INT. EQUIPMENT SHED - DUSK
 
              The door opens at us, letting in the limited light.  JACK comes
              in and goes to pick up a fluorescent lamp.  He flicks it on.
              As he bends down to pick up two Coleman lanterns, the CAMERA
              slowly moves toward the wall where once we saw all the hatchets
              and knives.  They are all missing.
 
              JACK takes his booty and exits.
 
              The light is gone and we are alone in the dark.
 
                                                       CUT TO:
 
 
        64    INT. KITCHEN - DUSK
 
              ECU of the lightbulb over the kitchen area.  It flickers on as
              we hear in the BG the sound of the generator start up.  The
              bulb glows, goes down, glows cheerily.
 
                                  NED
                      What hath God wrought?
 
                                  BRENDA
                      That was the telephone.

                                  NED
                      Ha!  You wily oriental!  The phone was
                      "Mr. Watson, come in here, I need you."
                      "What hath God wrought" was the telegraph.
 
              JACK comes in with his lanterns followed by BILL.
 
                                  MARCIE
                      Last line of Gone With the Wind?
 
                                  NED
                      Frankly, Scarlet, I don't give a damn!
 
              ALICE listens as she washes the dishes.  It looks as if things
              will be okay.
 
                                  BRENDA
                      Shows how much you know.  It's something
                      about tomorrow.
 
                                  ALICE
                      Tomorrow is another day.
 
                                  BRENDA
                      Right!  Right!
 
              MARCIE is finishing up making her green California dip.
 
              Suddenly ALICE cries out.  Everybody whips around to see.
              ALICE holds up a piece of broken glass--the bottom half of a
              bottle.  She has cut her finger.  It is not a serious cut, but
              the blood is visible.
 
                                  ALICE
                      This just plain ain't my day.
 
              BILL reaches into a cupboard and pulls out a BandAid.
 
                           MARCIE                        NED
                   You okay?                     Those things can be nasty.
 
                           BRENDA
                   Wash it out real good.
 
              BILL comes up to ALICE.
 
                                  BILL
                      Lemme see.  Doesn't look too bad.
 
              That said, the OTHERS go back to what they were doing.
 
              BILL and ALICE are featured even though we can hear the others.
              BILL takes great care and puts the BandAid on ALICE's finger.

              They share this moment with soft smiles as the trivia contest
              continues.
 
                                  NED
                      Who played the role of Gorgon in Star
                      Trek?
 
                           BILL                          BRENDA
                   I don't want you getting      Melvin Belli.
                   hurt.
                                                         NED
                           ALICE                 Aaaargh!  That my
                   I was careless.               guaranteed winner!
 
                           BILL                          MARCIE
                   How'd it get in there?        Melvin Belli?
 
                           ALICE
                   Somebody probably dropped
                   something too hard.
 
                                  NED
                      Alice, you're just lucky there are no
                      snakes in the dishwater here.
 
              NEDDY is hovering over a bowl of California dip which MARCIE
              has just made.  He dips a chip as soon as she steps back.
 
                                  MARCIE
                      Soooooeeeeey, piggy, piggy.
 
              Suddenly NED's face goes red.  His eyes bulge out.  He grabs
              his throat and gags.  Coughs, can't clear it.
 
                                  JACK
                      What is it?
 
                                  BILL
                      Is it stuck?
 
              NED points to the dip and slumps down on the floor where he
              writhes about.
 
                           MARCIE                        ALICE
                   Help him!                     Oh, my God!
 
                           BILL                          JACK
                   Roll him over!                Get behind him more.
 
              As BILL and JACK flip him over to try to give him the Heimlich,
              NED stops his act and grins from ear to ear.  It's a big finish:
 
                                  NED
                      Ta-da!

              REACTION SHOTS: as it sinks in that NED has been putting them on.
 
                                  JACK
                      Not funny, Ned...
 
              BILL stands up, angry, but willing to keep his mouth shut.
 
                                  MARCIE
                      Wait'll you're really in trouble and see
                      what happens...
 
                                  NED
                      But it's in the brochure!  "Camp Crystal
                      Lake has a full drama program."  You
                      just saw it.
 
              NED tries to laugh it off.  They shake their heads.  MARCIE
              walks away.  JACK looks at BILL.
 
                                  BILL
                      Chance to get even?
 
                                  JACK
                      I'll spot you five points.
 
                                  NED
                      Hey, look, I'm sorry.  I'll never do it
                      again.
 
              NED turns and heads for the door.  ALICE comes up next to him.
              The OTHERS are out of earshot now.  BILL and JACK play a little
              ping-pong.  NED is a little embarrassed by his play-acting
              stunt.
 
                                  NED
                            (continuing)
                      I'm sorry.
 
                                  ALICE
                      Ned?  We're gonna be working together
                      for a while.  You're a nice guy without
                      all the entertainment, okay?
 
              NED relaxes.  Nods.  He knows what she means.  He turns to look
              at the others.
 
                                  NED
                      Tell 'em I'm sorry?
 
              ALICE nods.
 
                                  ALICE
                      Sure.

                                  NED
                      I'm gonna go lie down and catch some
                      z's.  Today wiped me out.
                            (pause)
                      Thanks, Alice.
 
                                  ALICE
                      You're welcome.
 
              The CAMERA stays on ALICE's face as NED exits.  In the BG,
              MARCIE speaks.
 
                                  MARCIE
                      I hope that's the last time we see the
                      Camp Crystal Lake Drama Program.
 
                                                       CUT TO:
 
 
        65    EXT. MAIN CAMP AREA - EVENING
 
              We watch NED come away from the main cabin and walk moodily
              toward his cabin.
 
              The CAMERA stays with the troubled child as he stops, leans
              down, picks up a pebble and skips it off into the brush.  It
              cuts through.  He flips a few stones in his hand.
 
              NED looks off.  Sees something.
 
              WE SEE WHAT HE SEES:  a shape--a human shape--standing by a
              cabin.
 
              NED walks towards it.
 
                                  NED
                      Hello?  Can I help you?
 
                                                       CUT TO:
 
 
        66    INT. KITCHEN AREA - EVENING
 
              ALICE is just drying her hands.  She stands next to a giant
              stack of clean dishes and pots.
 
              BRENDA is reading a magazine while picking at some cauliflower
              and cucumber slices.
 
              BILL and JACK saunter in.
 
                                  JACK
                      You just had some lucky shots.

                                  BILL
                      Where's Ned?
 
                                  ALICE
                      He went to bed early.
 
                                  MARCIE
                      I don't blame him.
 
                                  BRENDA
                      He's probably setting up another one of
                      his practical jokes.
 
                                  MARCIE
                      Yeah, like draining the lake!
 
              They laugh.
 
                                  JACK
                            (to MARCIE)
                      Hey, how about a walk by the lake?
 
              The OTHERS all go "Ooooooooh."
 
                                  JACK
                            (continuing)
                      Just a walk, for Chrissakes.
 
                                  MARCIE
                            (kidding)
                      Boy, we sure do have a lot of filthy
                      small-minded people around here.
                            (to JACK)
                      Wait a minute, I'll get my diaphragm and
                      be right with you.
 
              MARCIE puts an arm through JACK's arm and they exit.
 
              The OTHERS laugh.
 
                                                       CUT TO:
 
 
        67    EXT. EDGE OF LAKE - NIGHT
 
              JACK and MARCIE walk across the pint needles towards the lake.
              There is the low rumble of thunder preceeded by a faint glow on
              the horizon.
 
              JACK and MARCIE walk along the shore to the lake.  They have
              turned on the flashlights which they carry with them.

                                  JACK
                      Wind's up.  It's shifted a good hundred
                      and eighty degrees.
 
                                  MARCIE
                      Makes me want to hold on and never let go.
 
                                  JACK
                      I love you.
 
                                  MARCIE
                      I love you.
 
              They kiss.  MARCIE pulls back.
 
                                  MARCIE
                            (continuing)
                      What about Neddy?
 
                                  JACK
                      I don't love Neddy.
 
                                  MARCIE
                      He keeps on acting like such an asshole!
 
                                  JACK
                            (yelling)
                      Ned!
 
                                  MARCIE
                      Don't call him.
 
                                  JACK
                      I thought you wanted to give him one of
                      your motherly lectures.  Ned is gonna do
                      whatever he wants to do, you know.
 
                                  MARCIE
                      I guess...
 
              The moon is victim of a blank cloud which cuts off the light.
 
                                  JACK
                      Looks like a storm.
 
                                  MARCIE
                      I'm a little scared of storms.  Always
                      have been.  Since I was a kid.
 
                                  JACK
                      You?  The brick?
 
              JACK shines the flashlight so that we can see her face in eerie
              shadows.  She flashes hers at him.

                                  MARCIE
                      I've dreamed this dream.  Maybe half a
                      dozen times.  There is a thunderstorm.
                      The rain comes down like pebbles.  I can
                      hear the sound.  I try to close my ears
                      off.  It doesn't work.  The sounds gets
                      louder.  The rain turns to blood and the
                      blood washes down in little rivers.  And
                      the sound stops.
 
              A loud crack of heat lightning slices the sky apart.  MARCIE is
              startled and reaches out for her lover.
 
                                  JACK
                      It's just a dream.
 
                                  MARCIE
                      I call it my shower dream.
 
              They look at one another in the two lights.  They grin.  Rain
              drops begin to fall on their faces and on the lake behind them.
 
                                  JACK
                      This is no dream.  Want to escape for a
                      while?
 
                                  MARCIE
                      Lead the way!
 
              JACK turns and jogs toward the nearest cabin.  MARCIE is only
              a half step behind, laughing.
 
              FROM A DISTANT ANGLE we watch them run.  There is no theme,
              just the rumble of thunder...
 
                                                       CUT TO:
 
 
        68    INT. BOY'S CABIN - NIGHT
 
              The door bursts open, a flashlight pierces the shadows, and
              JACK and MARCIE rush in and plop on the bottom bunk of the
              nearest bed.
 
                                  MARCIE
                      Are you wet?
 
                                  JACK
                      Just a little.  Wait a minute, woman.
 
              He reaches down and put his flashlight on its end so it points
              straight up and gives them some light to see by.

              They go into a long passionate kiss which is broken by MARCIE's
              hand coming up from behind JACK and tugging his t-shirt up
              towards his head.  He leans back and takes it off, and tosses
              it at the CAMERA.
 
                                                       CUT TO:
 
 
        69    EXT. FRONT OF MAIN CABIN - NIGHT
 
              The rain has gathered in intensity.  ALICE comes up to the
              front door and looks out.  BILL comes up behind her.
 
                                  ALICE
                      Jack and Marcie are gonna be drenched.
 
                                  BILL
                      Not if they're where I think they are.
 
              ALICE laughs.
 
                                  ALICE
                      I'm not always this stupid.
 
              She turned back into the cabin.
 
                                                       CUT TO:
 
 
        70    INT. BOY'S CABIN - NIGHT
 
              TIGHT on JACK and MARCIE as they make love under a camp
              blanket.  Their breathing and noises are heard just above the
              sounds of the rain outside.
 
              The CAMERA becomes interested in a droplet which appear to have
              leaked from the ceiling, hit the vertical member of the bed and
              dribbled down.  As the bed shakes with its love-making, the
              CAMERA PANS up the bunk's strut to trace the droplet's course.
 
              As the CAMERA PANS UPWARD, it pulls back slightly and we see
              NED lying in the upper bunk.  In a flash of lightning we
              realize he is dead:  his throat has been slashed.
 
              ANOTHER ANGLE:  JACK and MARCIE lie completely still beneath
              their blanket.  The CAMERA PANS along their quiet bodies.
              MARCIE's face is contented.  JACK is ready to doze off.
 
                                  MARCIE
                      Mmmmmmmph?
 
                                  JACK
                      Mmmmmmmph.

                                  MARCIE
                      Best over...
 
                                  JACK
                      Umhummmmph.
 
                                  MARCIE
                      Like waves.  It's never been likes waves
                      before.
 
                                  JACK
                      Whassamatta?
 
                                  MARCIE
                      Gotta pee.  You're lying on my bladder.
 
              She rolls over and grabs her underpants and t-shirt.  While
              still on the bottom bunk, she puts herself into her limited
              clothing.  JACK gives her room.
 
                                  MARCIE
                            (dressing)
                      I know this ain't very romantic, but
                      what can I say?  I don't want to explode.
 
              She grabs a flashlight, scoots to the door and is gone.
 
              JACK lies back and puts his hands under his hand.
 
                                                       CUT TO:
 
 
        71    EXT. CAMP GROUNDS - NIGHT
 
              MARCIE runs across the now-wet central area towards the
              bathroom facility.  She tries to skip between the raindrops,
              but she knows she'll get a drenching.
 
                                                       CUT TO:
 
 
        72    INT. BOY'S CABIN - NIGHT
 
              JACK rolls to his side, picks up a small hand-rolled cigarette
              and lights it.  He inhales deeply, rolls on his back.
              Something overhead catches his eye.
 
              Across the way from the row of toilet stalls is a row of shower
              stalls, and further down is a row of several sinks and mirrors.
              We hear the toilet flush.
 
              We CUT INSIDE the toilet booth as MARCIE stands reading the
              graffiti to herself.  We can only see her from the chest up.

                                  MARCIE
                            (reading)
                      "Forty yards to the outhouse by Willie
                      Makit."  "The Yellow Stream by I.P.
                      Daley."  Not the most original stuff,
                      kids.
 
              There is a noise outside the stall.
 
                                  MARCIE
                            (continuing)
                      Jack?
 
              She hears no response and assumes that her imagination is
              playing tricks with her.  MARCIE picks up the flashlight and
              exits the stall.
 
        73    MARCIE crosses to the row of sinks, stops, puts the
              flashlight down and turns on the water faucet.  There is
              no water.
 
                                                       CUT TO:
 
              PROWLER'S POV:  of MARCIE.
 
              From the end of the row of showers, we watch MARCIE bend under
              the sink and turn on one of the spigots.  Water rushes into the
              sink.
 
        74    MCU MARCIE:  She rinses her hands, shakes them dry and
              turns off the water.  Again she hears a noise.  She looks
              to the row of showers and smiles.
 
                                  MARCIE
                      Jack?
 
              The screen door to the shower room is swinging open and shut.
 
              MARCIE looks over, smiles.  She thinks someone is trying to
              scare her.
 
                                  MARCIE
                            (continuing)
                      Jack?  Neddy?  Don't put me on.
 
              There is a dripping sound.  MARCIE stops at the first shower,
              hesitates.
 
              Throws back the first curtain.  There is no one there.  She
              reaches in and makes sure the spigot is really off.
 
              She goes to the second shower, looks over her shoulder to the
              empty toilet.  Then reaches in to the shower curtain.

                                  MARCIE
                            (continuing)
                      Allee allee infree!
 
              She throws back the curtain.  Again no one is there.
 
              She breathes a sigh of disappointment.
 
                                  MARCIE
                            (continuing)
                      Must be my imagination.
 
              In CU she turns back toward the sink area when suddenly the
              TRACK explodes with a MUSICAL STINGER.  It happens in a flash.
              A shape lunges from the toilet booth across from the first
              shower.  A hatchet glints.  MARCIE screams.  The hatchet
              strikes.  The flashlight clatters to the floor.
 
                                                       CUT TO:
 
 
        75    EXT. DINER - NIGHT
 
              The sound of a cash register ringing up a sale hangs over an
              establishing shot of the diner.  Through the window, which are
              being pelted with rain, we can see a WAITRESS and some CUSTOMERS
              seated on stools at the counter.
 
                                                       CUT TO:
 
 
        76    INT. DINER - NIGHT
 
              The WAITRESS is different from the morning woman, slightly
              older, but still attractive.  She says good night to her
              CUSTOMER, who finishes paying his bill and crosses down the
              counter.  Seated there is STEVE CHRISTY, finishing his cup of
              coffee.  The waitress, SANDY, picks up his empty pie plate and
              tosses it in a pan of other dirty dishes.
 
                                  SANDY
                      Anything else you want?
 
                                  STEVE
                      No, thanks.  I'm fine.  Sandy.
 
                                  SANDY
                      You can't go back there tonight.  Not in
                      that stuff.  'Less you wanta get drownded.
 
                                  STEVE
                            (drinking quickly)
                      I got to.

                                  SANDY
                      Aw.
 
              SANDY likes STEVE and enjoys flirting with him.
 
                                  STEVE
                      I have six new counsellor up there.
                      They're all babes in the woods in every
                      sense of the word.
 
                                  SANDY
                      They'll be okay if they know enough to
                      stay in outta the rain.
 
 
                      How much do I owe you?
 
                                  SANDY
                      One night on the town.
 
                                  STEVE
                      I mean...
 
                                  SANDY
                      ...I know what you mean.  Two and a
                      quarter.  Plus fifteen percent tip to
                      make up for me spending the night alone.
 
              STEVE pays up and walks to the cash register.
 
                                  SANDY
                            (continuing)
                      You got a roof for that Jeep?
 
              She rings up the money.  Gives him his change.  He hands her a
              tip.
 
                                  STEVE
                      Yeah.  I got it on before this--
                            (indicates the storm outside)
                      --all started.
 
                                  SANDY
                      That's thirty percent.
 
                                  STEVE
                      For two lonely nights.
 
              She smiles and is really kind of pretty underneath all that
              extra makeup.
 
                                  SANDY
                      Drive careful and don't drownd your dumb
                      self.

              STEVE smiles and leaves.  She watches, then counts her changes
              and sticks it her pocket with the rest of her tips for the day.
 
                                                       CUT TO:
 
 
        77    EXT. DINER - NIGHT
 
              The rain continues as STEVE exits the diner, gets in his Jeep
              and starts it up.  He roars off through a big puddle, splashing
              water towards the CAMERA.  The Jeep pulls a small equipment
              trailer.
 
                                                       CUT TO:
 
 
        78    EXT. HIGHWAY - NIGHT
 
              The Jeep plows through the rain, leaving the town lights
              behind.  A sign off to the side reads:
 
                                  CRYSTAL LAKE   45 Mi.
 
                                                       CUT TO:
 
 
        79    EXT. MAIN CABIN - NIGHT
 
              PROWLER'S POV:  From outside the cabin, we can see some
              activity in the big meeting room.  The CAMERA moves slightly
              from left to right as the shot is established.  Then an unseen
              hand releases a branch which partially blocks the shot.
 
                                                       CUT TO:
 
 
        80    INT. BIG MEETING ROOM - NIGHT
 
              ALICE enters from the kitchen, carrying two cups of coffee.
              She hands one to BRENDA, who is curled up on the couch in front
              of the fire.  BILL stands to the left of the hearth, picks up
              a couple of pieces of dry woods and puts them on to burn.
 
                                  BRENDA
                      You think they fell asleep?
 
                                  BILL
                      Anything's possible.  My parents taught
                      me to leave sleeping lovers alone.
 
                                  ALICE
                      It wouldn't matter except Steve should be
                      getting back pretty soon.  It wouldn't
                      look so great if he fell over them.

                                  BILL
                      Good point.
 
                                  ALICE
                      Well, it hasn't been that long.
 
              BRENDA smiles.
 
                                  BRENDA
                      Long enough for me.
 
              They laugh.
 
                                  ALICE
                      I think we should go wake them up.  Just
                      in case.
 
                                  BRENDA
                      Give them a little while longer.  It's
                      still early, anyway.
 
                                  ALICE
                      I guess...
 
                                                       CUT TO:
 
 
        81    EXT. RURAL ROAD - NIGHT
 
              The rain is very heavy.  Steve's Jeep drives past the CAMERA.
              The tires squish in the muddy roadway.
 
                                                       CUT TO:
 
 
        82    INT. STEVE'S JEEP - NIGHT
 
              Lighted by dash panel, STEVE tries to concentrate on seeing the
              road.  He leans forward, rubs a cloth on the windshield to get
              rid of the condensation.
 
              From his POV we watch the windshield wipers struggle to stay
              ahead of the rain.  Beyond them the headlights make a slight
              dent in the night.
 
              In the BG we hear a country station on the radio, but it is
              bringing in more static than music, owing to the electrical
              storm.
 
              STEVE's hand reaches in and shuts off the radio.
 
                                                       CUT TO:

        83    INT. BIG MEETING ROOM - NIGHT
 
              ALICE has finished her coffee.  BILL enters, shakes the rain
              off his poncho and stamps his feet.
 
                                  BILL
                      Got to it just in time.  The generator
                      was running on fumes.  I filled it up.
                      That should keep it humming until Steve
                      gets back.
 
              BRENDA gets up.
 
                                  BRENDA
                      Good night, Alice.
 
                                  ALICE
                      Good night, Brenda.
 
              BRENDA takes her lantern, and, throwing the slicker over her
              head like a portable tent, she races off into the night.
 
              ALICE watches her go.  A glimmer of lightning outlines her as
              she heads off.
 
              BILL walks back into the big room, followed by ALICE.
 
                                  BILL
                      Help you clean up?
 
                                  ALICE
                      Absolutely.
 
 
 
              She walks with him as he carries the tray of empty coffee cups
              into the kitchen.
 
                                                       CUT TO:
 
 
        84    INT. CAMP BATHROOM - NIGHT
 
              The door opens and BRENDA comes in with her lantern and
              slicker.  Her actions are direct and business-like.
 
              BRENDA goes first to the row of sinks and looked at herself in
              the mirror, holding up a propane Coleman lantern like an
              examination lamp.  She takes out a toothbrush and some other
              toilet articles.
 
              She flips on both faucets and nothing comes out.  She put her
              lantern down on the floor and turns on the water valves.  She
              stands up, and washes her hands and face.

              She turns off the faucets and now we hear the dripping sound
              that Marcie had heard.  BRENDA looks off at the shower stalls,
              shrugs, picks up her lantern and makes her exit.
 
                                                       CUT TO:
 
 
        85    EXT. RURAL ROAD - NIGHT
 
              STEVE's Jeep coughs, sputters, stalls.  OVER we can hear him
              trying to re-start his dead engine.  R-r-r-r...
 
                                                       CUT TO:
 
 
        86    INT. STEVE'S JEEP - NIGHT
 
              STEVE angrily steps on the gas again and hits the starter.
              R-r-r-r-rrr... nothing...
 
              He looks up to see headlights coming at him in his rear view
              mirror.
 
              STEVE, wearing a yellow slicker, gets out of the Jeep to try to
              flag down the oncoming car.
 
                                                       CUT TO:
 
 
        87    EXT. RURAL ROAD - NIGHT
 
              STEVE smiles to see that the oncoming car is the local police
              car, driven by a middle-aged cop named TIERNEY.  TIERNEY has
              the window down already.
 
                                  TIERNEY
                      I told you not to buy that hunk of junk!
 
                                  STEVE
                      I think water got into the electrical
                      system.  You ride me back to camp?  I'll
                      get one of my counsellors to drive me
                      back tomorrow morning.
 
                                  TIERNEY
                      Why not?
 
              STEVE is around the car and hopping in almost before TIERNEY
              can answer.
 
                                  TIERNEY
                            (continuing)
                      "To serve and protect" don't mean to
                      chauffeur.

              He puts the car in gear and roars into the night.
 
                                                       CUT TO:
 
 
        88    INT. GIRL'S CABIN/COUNSELLOR'S SECTION - NIGHT
 
              Under a single hanging lightbulb, BRENDA finishes writing at a
              small table.
 
              The weather howls outside.  There's a tapping sound.  BRENDA
              looks up.  Listens, yawns, then gets up and starts to take off
              her clothes.
 
                                                       CUT TO:
 
 
        89    EXT. GIRL'S CABIN - NIGHT
 
              Through her window we can see BRENDA changing into her soft
              yellow pajamas.
 
                                                       CUT TO:
 
 
        90    INT. GIRL'S CABIN - NIGHT
 
              The tapping returns.
 
                                  BRENDA
                      That could drive a person bug-city.
 
              The SOUND is apparently coming from the front of the cabin;
              perhaps she can fix it without getting too wet.
 
              BRENDA grabs her slicker and heads out.
 
              The CAMERA FOLLOWS BRENDA through the darkened cabin to the
              front door.
 
                                                       CUT TO:
 
 
        91    EXT. GIRL'S CABIN - NIGHT
 
              There is a small roof overhang like a porch, affording some
              protection from the wind and wet.
 
              ANOTHER ANGLE, CLOSER:  as BRENDA hears the tapping sound
              closer by.  She looks and sees.
 
              WE SEE WHAT SHE SEES:  somebody has ties a kitchen knife to a
              string and left it dangling from the eaves.  The wind blows,
              making the knife tap against the building.

                                  BRENDA
                      Neddy?  Cut the screwing around, Neddy!
 
              She grabs the knife, breaking the string.
 
                                  BRENDA
                            (continuing)
                      This isn't even half funny.
 
              Angry, BRENDA turns and goes back inside the cabin.
 
                                                       CUT TO:
 
 
        92    INT. GIRL'S CABIN - NIGHT
 
              BRENDA comes in shaking off her slicker, carrying the knife.
 
                                  BRENDA
                      Christ, what a jerk.
 
              The single bulb goes out.
 
                                  BRENDA
                            (continuing)
                      Great.  Now what?
 
              BRENDA crosses to the table, puts down her knife and strikes a
              match.  She fires up the propane lantern.
 
                                  BRENDA
                            (continuing)
                      Looks like I turn in early.
 
              She moves the lamp and gets ready to climb into her bed.  She
              reaches down and takes the coverlet and tugs it clear,
              revealing something that has been left there.
 
              REACTION SHOT:  Fear spreads across her face.
 
              REVERSE POV:  WE SEE WHAT SHE SEES:  A camp hatchet lies across
              her pillow.  The shiny blade is marked with blood.
 
              BRENDA turns and runs from her room.
 
                                                       CUT TO:

        93    EXT. PATHWAY/CAMP - NIGHT
 
              BRENDA runs through the rain, her flimsy pajamas drenched.  Her
              bare feet slip in the mud.  She heads for a small rise that
              leads to the softball field.
 
                                                       CUT TO:
 
 
        94    EXT. SOFTBALL FIELD - NIGHT
 
              WIDE SHOT of BRENDA running across the softball diamond.
 
                                                       CUT TO:
 
 
        95    EXT. ELECTRICAL JUNCTION BOX - NIGHT
 
              CLOSE UP:  a hand reaches in and slams on a circuit breaker.
 
                                                       CUT TO:
 
 
        96    EXT. SOFTBALL FIELD - NIGHT
 
              CLOSE UP:  Two large spot lights on a telephone pole light up.
 
                                                       CUT TO:
 
 
        97    EXT. SOFTBALL FIELD - NIGHT
 
              The softball field is now lit.  BRENDA is confused.  She looks
              off behind the backstop.  Then to center field.  Confused, she
              runs out of the light into the darkness and underbrush behind
              third base.  The CAMERA slowly zooms in on the darkness where
              BRENDA exited.  We hold on that spot for several seconds.
              Finally the silence is broken by a terrified scream.  Then
              another.
 
                                                       CUT TO:
 
 
        98    INT. BIG MEETING ROOM - NIGHT
 
              ALICE is at one of the windows.
 
                                  ALICE
                      I don't here it anymore.
 
                                  BILL
                      Can't hear anything through that wind
                      and rain.

                                  ALICE
                      It sounded like Brenda.
 
                                  BILL
                      I'll go take a look.
 
                                  ALICE
                      Did somebody leave the lights on at the
                      softball field?
 
              We are looking over at her shoulder.  The distant glimmer
              suddenly goes dark.  BILL joins her and looks.
 
                                  BILL
                      Where?
 
                                  ALICE
                      They're off now.
 
              BILL heads for the door.
 
                                  BILL
                      I'll go check on Brenda.
 
                                  ALICE
                      Okay.
 
              ALICE turns.  BILL is halfway out the door.
 
                                  ALICE
                            (continuing)
                      I'll go with you.
 
              BILL shrugs.
 
                                  BILL
                      If it'll make you feel better.
 
                                                       CUT TO:
 
 
        99    INT. POLICE CAR - NIGHT
 
              The rain continues as they drive along.
 
                                  TIERNEY
                      Bad enough we got a full moon; it's
                      Friday the 13th.  They keep statistics.
                      We get more accidents, more robberies,
                      more rapes, more homicides, more of
                      everything when there's a full moon.  It
                      affects people.  Makes 'em nuts.

                                  STEVE
                      You've made a science out of coincidence.
 
              The police radio, which has been on "squelch," comes on.
 
                                  DISPATCHER #1 (V.O.)
                            (filtered)
                      Sgt. Tierney, Report.
 
                                  DISPATCHER #2 (V.O.)
                            (filtered)
                      Need a clear frequency...
 
                                  DISPATCHER #1 (V.O.)
                            (filtered)
                      Sgt. Tierney, car niner.
 
              TIERNEY takes the mike.
 
                                  TIERNEY
                      This is Tierney.
 
                                  DISPATCHER #2 (V.O.)
                            (filtered)
                      Rescue squad with jaws of life... near
                      mile marker 17... possible fatals...
                      three, maybe more... head on... at least
                      one trapped...
 
                                  DISPATCHER #1 (V.O.)
                            (filtered)
                      Sgt. Tierney, there's a bad accident.
                      One fatality known, several possibles
                      near mile marker 17 on the Interstate.
                      Bus, tractor trailer.  Over.
 
                                  TIERNEY
                      Roger.  Acknowledge receipt.  Estimate
                      arrival time fifteen minutes.  How copy?
 
              TIERNEY has jammed on his brakes and swung the car around.
 
                                  DISPATCHER #1 (V.O.)
                            (filtered)
                      100%.  I'll tell 'em you'll be there in
                      fifteen minutes.  Out.
 
              TIERNEY bangs the mike down on the holder.  He stops the car.
 
                                  TIERNEY
                      Have to drop you here, Steve.
 
                                  STEVE
                      Sure.

              STEVE gets out quickly.
 
                                  STEVE
                            (continuing)
                      Good luck.
 
                                  TIERNEY
                      Another coincidence.
 
                                  STEVE
                      Yeah.
 
                                                       CUT TO:
 
 
       100    EXT. RURAL ROAD - NIGHT
 
              STEVE turns as the cop's car door slams.  TIERNEY peels out on
              the wet road.
 
              CU as STEVE watches the lights grow dim in the distance.
 
              ANOTHER ANGLE:  as STEVE turns and jogs the other way.  Low
              thunder rolls in the distance.
 
                                                       CUT TO:
 
 
       101    EXT. GIRL'S CABIN - NIGHT
 
              BILL and ALICE have made their way to BRENDA's cabin.  From the
              outside they can see the Coleman lantern burning on the table
              within.
 
                                  ALICE
                      Brenda?  Brenda?  You there?
 
              There is no response.  The CAMERA stays in a MCU of ALICE as
              she and BILL cross up the stairs and into the cabin.
 
                                                       CUT TO:
 
 
       102    INT. GIRL'S CABIN - NIGHT
 
              The SHOT continues on ALICE as she looks about the empty cabin.
              Finally she stops, looking down.  The CAMERA continues to hold
              on her face.
 
                                  ALICE
                      Bill.
 
              BILL crosses over to ALICE.  They are both looking down, past
              the CAMERA LENS.

              ANOTHER ANGLE:  WE SEE WHAT THEY SEE:  the bloody hatchet left
              on Brenda's pillow.
 
              ANGLE on BILL and ALICE:  (as before).  Their faces are serious.
 
                                  ALICE
                            (continuing)
                      What the fuck is going on here?
 
                                                       CUT TO:
 
 
       103    EXT. JACK'S CABIN - NIGHT
 
              The rain slants down as BILL and ALICE make their way towards
              Jack's cabin.  They go to the door.  BILL knocks.
 
                                  BILL
                      Jack?
 
                                  ALICE
                      Marcie?
 
                                  BILL
                      Hey, guys!
 
              BILL opens the door to the cabin.
 
                                                       CUT TO:
 
 
       104    INT. JACK'S CABIN - NIGHT
 
              The door opens at us.  We see the silhouetted figures of BILL
              and ALICE.  BILL flips on the light switch.
 
              The cabin is empty.  Jack's backpack lies on the bed, the
              contents neatly laid out.
 
                                                       CUT TO:
 
 
       105    INT. CAMP BATHROOM - NIGHT
 
              It is dark inside.  The door slams open at us as BILL and ALICE
              make their way inside.
 
                                  ALICE
                      Marcie?  Brenda?  Jack?
 
              BILL walks slowly towards the row of toilets and showers.

                                  ALICE
                            (continuing)
                      I think we should call the police, Bill.
 
              BILL, who was just about to open one of the toilet stalls, nods
              and turns back to ALICE.
 
                                  BILL
                      Okay.
 
              They exit.  There is a beat... and then a slickered shape
              passes between us and the night sky light which comes through
              the windows.  The shape is dragging something.
 
                                                       CUT TO:
 
 
       106    EXT. OFFICE CABIN - NIGHT
 
              ALICE and BILL are on the porch of one of the cabins.  To the
              left of the door is a small sign that reads:  "Office."  BILL
              tries the door, but cannot open it.
 
                                  BILL
                      Sucker's locked.  Who's got the key?
 
              ALICE ignores the question, bends down beside the cabin and
              comes up with a short 2x4.  She crosses to the door and smashes
              through one of the window panes.  She puts her arm through the
              broken glass, unlocks the door and enters.  BILL follows.
 
              The CAMERA continues to watch them from outside the cabin.
              They turn on a light and cross to a phone on Steve Christy's
              desk.  BILL picks up the receiver, listens, clicks the switch
              on the desk set several times.
 
                                  BILL
                            (continuing)
                      It's dead.  Try the pay phone.
 
                                  ALICE
                      Do you have a dime?  A quarter?
 
                                  BILL
                      No.  There must be some in the desk
                      somewhere.
 
              They fumble through the desk to find some change.  BILL finds
              some in the postage drawer.  He then crosses over to a pay
              phone mounted on the wall.  The CAMERA moves to the cornice of
              the building where the phone line exits.  It follows the link
              up the side of the cabin to the junction where the power and
              phone lines come in from the pole.  Here we see a dangling
              phone cable which has been recently cut.

              OVER, we hear the sound of a quarter dropping in the dead
              telephone.
 
                                  ALICE (V.O.)
                      Hello?  Hello?  This damn thing's dead,
                      too.
 
                                                       CUT TO:
 
 
       107    EXT. PARKING LOT - NIGHT
 
              BILL and ALICE comes out into the rain, heading for the camper
              van.  They hop in.
 
                                                       CUT TO:
 
 
       108    EXT. VAN/PARKING LOT - NIGHT
 
              BILL slides behind the wheel.  The keys are in the ignition.
              ALICE hops in on the passenger side.
 
              BILL turns over the engine.  It grinds away but does not catch.
 
              From an ANGLE behind the outside mirror, we hear the engine
              fail to catch.  We look in the mirror and see someone standing
              in the distance, watching.
 
              BILL gets out of the driver's side.  Slams the door.  The
              CAMERA TRUCKS with him as he opens the door to the engine.
              ALICE joins him as he shines his light on the engine.
 
                                  ALICE
                      What's the matter with it?
 
                                  BILL
                      Wet.  I don't know.
 
              He tries a few more times.
 
                                  ALICE
                      Why don't we run?  Just run now?
 
                                  BILL
                      It's over twenty miles to the
                      crossroads.  Steve'll be back in an
                      hour.  Things will straighten out then.
                      We'll take his Jeep and get help.
 
              He goes to her and cradles her face in his hands.

                                  BILL
                            (continuing)
                      Don't worry.  There is probably some
                      really stupid explanation for all this.
                      When the sun comes up tomorrow, you'll
                      smile.
                            (pause)
                      Promise.
 
              ALICE nods.
 
                                                       CUT TO:
 
 
       109    EXT. CAMP ENTRANCE - NIGHT
 
              In the FG we see a camp sign.  In the BG we see a figure
              running towards us.
 
              The figure reaches our vantage point and is revealed as STEVE
              CHRISTY.  Just as he's about to make the turn into the
              driveway, he looks up and smiles.  He stops and catches his
              breath as the other person catches him in the light of a
              flashlight.
 
                                  STEVE
                      Hi.  What are you doing out in this mess?
 
              He shields his eyes from the light.
 
                                                       CUT TO:
 
 
       110    EXT. LAKE - NIGHT
 
              From across the lake, the lights from the camp twinkle through
              the rain drops.
 
                                                       CUT TO:
 
 
       111    EXT. GENERATOR SHED - NIGHT
 
              The CAMERA as PROWLER moves to the shed.  The noise of the
              generator grows louder as the door is opened.
 
                                                       CUT TO:
 
 
       112    INT. BIG MEETING ROOM - NIGHT
 
              BILL sits on the chair, a rifle across his lap.  In the BG,
              ALICE sits on the couch, dozing.  On the coffee table in front
              of her is a large machete.

              BILL's eyes are closing.  He jerks himself awake, then starts
              to doze again.
 
              The bulb overhead grows yellow, orange, and then goes out.
 
              BILL snaps awake.  He grabs a flashlight by his feet and flicks
              it on.
 
                                  BILL
                      Oh, shit....
 
              He goes to the ping-pong table where he has placed some
              lanterns.  He fires up a Coleman and places it on the pong
              table.
 
              BILL checks on ALICE, makes sure she's asleep, then exits,
              carrying his rifle and a battery-operated fluorescent lamp.
 
              HOLD on ALICE's peaceful face as she slumbers.
 
                                                       CUT TO:
 
 
       113    EXT. GENERATOR SHED - NIGHT
 
              The rain has lessened a bit.  BILL approaches the shed with his
              fluorescent lamp and rifle.  He has the rifle at the ready.
 
              CU on his hand on the door handle.  He pulls it open.
 
                                                       CUT TO:
 
 
       114    INT. GENERATOR SHED - NIGHT
 
              The generator stands there quietly.  BILL comes into view,
              spraying the interior with lamplight.
 
              In the FG a broken sparkplug which BILL does not see immediately.
              It has been smashed by the blow of a hammer.
 
              BILL goes to the gas tank and unscrews the top.  He looks
              in--there is enough gas.  He puts the cap back on.
 
              Then his eye catches something.  He looks at the broken plug.
              He shakes his head and looks around for a wrench to fix it.  He
              puts the rifle down on the floor of the shed.
 
                                                       CUT TO:
 
 
       115    INT. BIG MEETING ROOM - NIGHT
 
              ALICE sits up into the CAMERA, startled and afraid.

                                  ALICE
                      Bill?!
 
              She gets her bearings and looks around.  Stands up.  She looks
              at the bulb overhead.  Pulls its string.  No light.
 
              She sees the lanterns which have been placed around.
 
                                  ALICE
                            (continuing)
                      The generator...
 
              Now that she has figured out where Bill must be, she relaxes a
              little.  Smiles.  She goes to the mantelpiece, takes the lantern,
              and walks into the kitchen.
 
                                                       CUT TO:
 
 
       116    INT. KITCHEN - NIGHT
 
              ALICE puts down the lamp and goes about filling a big old tea
              kettle with water.  She puts it on the stove and pops on a
              burner and prepares two cups of instant coffee.
 
              Impatient and curious, she walks to the front door of the cabin
              and looks out.
 
                                  ALICE
                      Bill?  Bill?
 
              The calm which she had grasped a few moments before is beginning
              to desert her.
 
                                                       CUT TO:
 
       117    INSERT:  Whistling tea kettle on the kitchen stove.
 
                                                       CUT TO:
 
 
       118    INT. KITCHEN - NIGHT
 
              ALICE takes the kettle off the flame.
 
              The whistling stops abruptly.  ALICE pours water into the two
              cups.  She stirs the coffee.
 
              Unable to contain her impatience any longer, ALICE picks up her
              lantern, grabs a slicker, and heads out the door.
 
                                                       CUT TO:

       119    EXT. MAIN CABIN AREA - NIGHT
 
              ALICE walks very quickly around the side of the cabin, headed
              for the generator shed.
 
                                  ALICE
                      Bill!
 
                                                       CUT TO:
 
 
       120    EXT. GENERATOR SHED - NIGHT
 
              The door to the shed is closed.  ALICE looks around and then
              puts a hand on the hand.  In CU we see the hand pull.  The door
              doesn't budge.
 
              REACTION SHOT:  ALICE decides to pull harder.
 
              She puts down her lamp and uses both hands and tugs.  She pulls
              until she finally wrenches the door open.  The lamp casts long
              shadows upwards.
 
              The generator sits silent.
 
              ALICE leans into the shed to look.
 
              The CAMERA TRACKS very slowly around behind her so that we can
              see behind the right-hand corner of the building.  As we clear
              the edge, we see something hanging from a rope which runs down
              from a branch above.
 
              The something turns slowly in the wind.  It is BILL--dead--in
              a travesty of the martyrdom of St. Sebastian, shot with arrows.
 
              ALICE comes out of the shed, distraught.
 
                                  ALICE
                      Bill?
 
              She closes the door, and turns in the direction of the body.
 
              REACTION SHOT:  ALICE.  She is riveted with horror, unable to
              move or turn or run.  The SOUNDTRACK screams with the THEME,
              the insistent STINGER, a shriek and a thunderclap.
 
              ALICE finally gives voice to her terror--again and again.  She
              turns, leaving the lantern, and runs back towards the main
              cabin.

                                  ALICE
                            (continuing)
                      Help!  Help!
 
                                                       CUT TO:
 
 
       121    INT. MAIN CABIN - NIGHT
 
              ALICE bursts through the front door into CAMERA.
 
                                  ALICE
                      Jack!  Marcie!  Help me!
 
                                                       CUT TO:
 
 
       122    INT. BIG MEETING ROOM - NIGHT
 
              ALICE races to the coffee table, looking for BILL's machete.
              It is not there.
 
                                  ALICE
                      The knife!
 
              She gets down on her hands and knees to look for it.
 
              LOW ANGLE:  as she scrabbles on all fours.  Nothing under the
              couch.
 
              ALICE gets back up and rushes to the ping-pong table to get the
              lamp.
 
              Just as she reaches the table--which is more or less against a
              window--a figure swings, pendulum-like, into the glass,
              shattering the pane in the window opposite ALICE.
 
              It is BRENDA, long-since dead, dripping wet, white-faced.
 
              ALICE sees her, turns and runs as fast as she can for the front
              door.
 
              ALICE flings open the wooden door and runs into a rain-suited
              figure.
 
              ALICE screams.  The figure holds ALICE in a strong grasp.
 
              When ALICE focuses, she sees a kindly woman in her early
              forties.  She is strong, fairly tall, and very nice-looking.
              This is MRS. VOORHEES.  She wants ALICE to stop shrieking long
              enough to tell her what the matter is.  ALICE sobs incoherently,
              pointing back to the rear window.

                                  MRS. VOORHEES
                      There now, my dear.  Please.  I can't
                      help you if you can't talk to me.
                      There, there now...
 
              ALICE allows the woman to lead her back into the room.
 
              MRS. VOORHEES leads ALICE to the couch.  In the BG we can see
              the broken window, but BRENDA is not visible.
 
                                  ALICE
                      He's dead... She's dead... all dead...
                      Please save me... oh... poor Bill... Oh
                      my God, oh my God... oh God...
 
                                  MRS. VOORHEES
                      It will be all right.  I'll take care of
                      you.
 
                                  ALICE
                      Jack?  Marcie?  Ned?
 
              MRS. VOORHEES comforts her with a strong arm.
 
                                  MRS. VOORHEES
                      It's just this place.  The storm.
                      That's why you're all upset.
 
                                  ALICE
                      No, no, they're all dead...
 
              ALICE points over her shoulder towards the ping-pong table
              without looking.
 
              MRS. VOORHEES looks, shrugs.
 
                                  MRS. VOORHEES
                      I'll go look.
 
              ALICE's face registers the new terror.
 
                                  ALICE
                      They'll kill you!  Don't leave me!
 
              MRS. VOORHEES smiles warmly.
 
                                  MRS. VOORHEES
                      I'm not afraid.
 
              ALICE waits by the couch as MRS. VOORHEES crosses the room to
              the back window.
 
                                  ALICE
                      All dead?  Neddy?  Oh, Marcie...

              ALICE stands close to the fireplace.
 
              MRS. VOORHEES reaches the window and looks out.  BRENDA's body
              sways just out of reach.  MRS. VOORHEES is shocked.
 
                                  MRS. VOORHEES
                      Oh, my lord...
 
              MRS. VOORHEES turns back and, as she passes the ping-pong table,
              she picks up the lantern.
 
              ALICE waits at the fireplace.
 
                                  MRS. VOORHEES
                            (continuing)
                      So young, so pretty.  What monster could
                      have done such a thing?
 
                                  ALICE
                      Bill--Bill--Bill is out there...
 
              She lets MRS. VOORHEES take her in her arms.
 
                                  MRS. VOORHEES
                      We shall go straight to the police.
 
              ALICE backs up.
 
                                  ALICE
                      The killer is still out there.
 
                                  MRS. VOORHEES
                      I will protect you.
 
              MRS. VOORHEES looks around the room.
 
                                  MRS. VOORHEES
                            (continuing)
                      Oh, this place... It should never have
                      been a camp.  Not for children.  They
                      had so much trouble here.
 
              The fire glimmers slightly in the fireplace.  A log burns
              through and rolls off, throwing up a small shower of sparks.
 
                                  MRS. VOORHEES
                            (continuing)
                      Camp Blood.
 
              MRS. VOORHEES has almost completely calmed the girl down.
              Strokes her soft hair.

                                  MRS. VOORHEES
                            (continuing)
                      You know a boy drowned the year before
                      those two others were killed?  An
                      accident?  It was inadequate supervision.
                      The counsellors were not paying enough
                      attention... They were making love when
                      that boy drowned.
 
              ALICE looks up as the WOMAN strokes her hair.
 
              ANOTHER ANGLE:  MCU as the OLDER WOMAN's hand strokes the
              YOUNGER WOMAN's hair.  The hand is missing its little finger!
 
              The THEME enters upon the TRACK in a lyrical, child-like
              version, echoing back to another era, pretty and light.
 
                                  MRS. VOORHEES
                            (continuing)
                      We should go now.
 
                                  ALICE
                      Maybe we should wait for Mr. Christy.
 
              MRS. VOORHEES shakes her head gently.
 
                                  MRS. VOORHEES
                      No.  That won't be necessary.
 
              As she speaks, MRS. VOORHEES reaches into her slicker in a
              surreptitious manner and very slowly slips out a long hunting
              knife.
 
                                  ALICE
                      I don't understand.
 
              MIXED on the TRACK, filtered, echoed and distant, is the SOUND
              of a ten year old boy, JASON, crying for help in a fantasy
              version of what might have happened when he drowned in 1957.
 
                                  JASON (V.O.)
                            (filtered)
                      Help me, mommy... save me... please,
                      mommy... please, mommy... help me, mommy...
                      save me....
 
                                  MRS. VOORHEES
                            (cocking her hand to listen)
                      I am, Jason.  I am.
 
                                  ALICE
                            (a little confused)
                      Why shouldn't we wait for Mr. Christy?

              MRS. VOORHEES has gone through some subtle changes.  While her
              voice remains warm and comforting, her face has started to slip
              into her other manifestation.  All of this is in concert with
              the visibility of her weapon.
 
                                  MRS. VOORHEES
                      It was my son they killed.  They said he
                      drowned, but I know it was inadequate
                      supervision...
 
              ALICE starts to become increasingly anxious.  She can't see the
              knife rise behind her.
 
                                  ALICE
                      Mr. Christy will be back soon.
 
              MRS. VOORHEES shakes her head from side to side.
 
                                  MRS. VOORHEES
                      No, he won't.  I killed him as well....
 
              The shock of recognition hits ALICE.  In CU her eyes look up
              and see the knife which MRS. VOORHEES now has poised and ready
              to strike.
 
              ALICE bolts off the couch and stumbles backwards into the
              fireplace, scattering ashes and sparks.
 
              MRS. VOORHEES stands and steps forward.
 
                                  MRS. VOORHEES
                            (continuing)
                      I couldn't let them start this camp
                      again, could I?
 
              ALICE, in panic, looks for an escape.  She grabs the fireplace
              poker.
 
                                  ALICE
                      I won't let you!
 
              ALICE swings the poker back and forth.
 
                                  ALICE
                            (continuing)
                      No!  No!  No!
 
              MRS. VOORHEES raises her arm to slash downward with the knife.
              ALICE swings the poker hard to MRS. VOORHEES' other arm and rib
              cage.
 
              MRS. VOORHEES is in pain, her face a mask of rage.
 
              ALICE drops the poker to run for the door.

              MRS. VOORHEES hesitates for a moment, then follows ALICE
              deliberately.
 
              Lightning goes off followed quickly by thunder.
 
                                                       CUT TO:
 
 
       123    EXT. MAIN CABIN/TREE - NIGHT
 
              ALICE gets to the door and stops.  She fiddles with the side of
              the screen... somebody has latched it.
 
              CLOSER on ALICE, taking one look over her shoulder, kicks at
              the door, snapping the latch.
 
              ANOTHER ANGLE:  as ALICE runs out into the rain, the mud, the
              thunder and the lightning.  The THEME is going full-tilt as
              ALICE makes a quick turn to run towards the road.
 
              TWO-SHOT:  as ALICE bumps into an object which swings from
              above.  A slice of lightning reveals it to be the dead body of
              STEVE CHRISTY hanging from the tree.  A rope is looped under
              his arms, his head is down on his chest, and a long blade
              protrudes from his heart.
 
              REACTION SHOT:  ALICE in terror.
 
              ANOTHER ANGLE:  ALICE runs and suddenly bumps into another pair
              of legs which swing from the same big tree.
 
              STROBE SHOT:  of JACK, dead.
 
              ANOTHER ANGLE:  ALICE runs for the Arts & Crafts.  In the BG we
              see can the yellow-slickered MRS. VOORHEES closing the distance
              between herself and ALICE.
 
                                                       CUT TO:
 
 
       124    EXT. ARTS & CRAFTS CABIN - NIGHT
 
              ALICE runs for the door, slams through it.
 
              The CAMERA waits for MRS. VOORHEES, but she does not appear.
 
                                                       CUT TO:
 
 
       125    EXT. GENERATOR SHACK - NIGHT
 
              MRS. VOORHEES runs to the door and opens it quickly.
 
                                                       CUT TO:

       126    INT. ARTS & CRAFTS CABIN - NIGHT
 
              ALICE is hiding in the shadows behind a table.  We hear the
              SOUNDS of the generator starting outside and suddenly three
              bright overhead lights come on.
 
              ALICE looks across the room to the light switch, afraid to
              reveal her hiding place.
 
              She looks for an escape.  There's a window.  She starts for it,
              then stops and turns and dives under an arts & crafts table.
 
              ANOTHER ANGLE:  MRS. VOORHEES opens the door and walks in a few
              feet.
 
              She carries a machete in her hand.  We see this instrument in
              CU as we hear OVER the sound of her son, JASON, calling to her.
 
                                  JASON (V.O.)
                      Help, mommy, I'm drowning!  Oh, mommy,
                      please....
 
              The CAMERA PANS UP to her face and we see that the voice of
              JASON is coming from within her in LIP SYNC.  She is both
              characters--though the child's voice is authentically dubbed.
 
              ALICE can just make out what is happening and can hear the
              VOICE OF JASON.
 
              ALICE is very still.  Her eyes widen as she listens to MRS.
              VOORHEES rave.
 
                                  JASON (Lipsync)
                      Don't let me die, mommy... I can't
                      breathe... Help me, breathe...
 
              MRS. VOORHEES is having trouble catching her own breath.  She
              strokes her throat with her free hand and the voice of the
              child stops.
 
                                  MRS. VOORHEES
                            (in her own voice)
                      I can't let them kill any more children.
                      Come out now.
 
              She wades through table after table, pushing them out of her
              way with the strength she has demonstrated throughout as the
              PROWLER.
 
              When MRS. VOORHEES is too quick for her, shoving a table across
              her path like a barred door.  Before ALICE can think twice,
              MRS. VOORHEES has shoved a second table in behind her so that
              now ALICE is sandwiched between them.

              She can duck down or climb over or come out the only open end--
              the end where MRS. VOORHEES is standing.
 
              ALICE looks behind her and sees a shelf.  On the shelf is a box.
 
              MRS. VOORHEES is coming down the aisle between the two tables.
              Her machete is coming up in an attack.
 
              ALICE reaches into the box in CU and pulls out a handful of
              leather-working tools.  She hurls them at MRS. VOORHEES as hard
              as she can.
 
              MRS. VOORHEES has to put her arms up to ward off the spinning
              knives.  One cuts her under the eye and she lets out a low
              animal bellow.
 
              ALICE leaps up, climbs over the table and runs for the door.
 
              MRS. VOORHEES shoves the tables over and hurries after her.
 
              ALICE gets to the door, shuts off the light switch and runs out.
 
              We can hear JASON'S VOICE.
 
                                  JASON (V.O.)
                      Kill her, mommy!  Kill her!
 
                                                       CUT TO:
 
 
       127    EXT. CAMP GROUNDS/EQUIP. SHED - NIGHT
 
              The central area is bathed in light.  The rain has stopped.
              MRS. VOORHEES has turned on all the flood-lights.
 
              ALICE runs to the corner of one of the cabins.  She stops to
              look back.  MRS. VOORHEES is gaining on her.
 
              ALICE runs to the equipment shed.
 
              ANOTHER ANGLE:  The door is thrown back.  ALICE goes in.  Looks
              for a weapon.  Nothing is available.  ALICE sobs with fear.
              She runs.
 
              MRS. VOORHEES passes the equipment shed.
 
                                                       CUT TO:

       128    EXT. RIFLE RANGE SHACK - NIGHT
 
              A single bulb outside the building shows ALICE as she bursts
              through the door.
 
                                                       CUT TO:
 
 
       129    INT. RIFLE RANGE SHACK - NIGHT
 
              It is a small cabin.  On the walls are five .22 calibre rifles.
 
              ALICE runs into the dimly lit cabin and takes one of the rifles
              from the wall.
 
              She rummages in a drawer.  It's empty.  She tries another.
              Empty.
 
                                  ALICE
                      Where are the goddamned bullets?
 
              The next drawer has a lock and hasp on it.
 
              ALICE looks around.
 
                                                       CUT TO:
 
 
       130    EXT. RIFLE RANGE SHACK - NIGHT
 
              MRS. VOORHEES is on her way, charging through the night.
 
                                                       CUT TO:
 
 
       131    INT. RIFLE RANGE SHACK - NIGHT
 
              ANGLE ON ALICE:  She whacks the hasp with the butt of the
              rifle.  The hasp doesn't give.  She gives it another butt
              stroke.  It won't give.  A shadow covers ALICE's back.  She
              turns.
 
              ANOTHER ANGLE:  MRS. VOORHEES is standing in the doorway,
              blocking the light.  Still carrying the machete, MRS. VOORHEES
              steps slowly toward ALICE.
 
              ALICE, with an almost useless .22 in her hands, does the only
              thing she can.  She takes the weapon by the barrel and,
              swinging it like a baseball bat, whacks MRS. VOORHEES on the
              arm/shoulder, knocking the killer off balance and into the wall.
 
              MRS. VOORHEES slams through a flimsy table, crushing it, and
              drops to the floor.

              ALICE runs out the door.
 
                                                       CUT TO:
 
 
       132    EXT. MAIN CABIN FRONT - NIGHT
 
              ALICE huffs past the dead camper van, through the mud to the
              front door of the main cabin.  She runs in quickly.  There is
              no sign of MRS. VOORHEES.  She turns off the lights and runs
              into the kitchen.
 
                                                       CUT TO:
 
 
       133    INT. KITCHEN AREA - NIGHT
 
              ALICE looks from side to side, hoping to find a place to hide.
              She spots the half-open door to the larder, looks inside and
              then hides there, closing the door behind her.
 
                                                       CUT TO:
 
 
       134    INT. LARDER - NIGHT
 
              There is some light that comes through the cracks and crevices.
              ALICE's hands fasten onto the inside lock--the dead bolt type
              which requires a key to unlock it from the other side.
 
              ALICE relaxes a little bit now that she is locked inside.
 
              As soon as she relaxes, we hear the front screen door slam.
              Then we hear some shuffling around outside.  The lights are
              turned on.
 
                                  JASON (V.O.)
                      Please kill her, mommy... Help me,
                      please.  Kill her, mommy.
 
              There is the sound of pots being rustled through.  Then the
              sound of another door being slammed.
 
              ALICE relaxes again.
 
              Then there is a silence.  ALICE thinks about unlocking the door
              now.  She reaches out for the lock.  Then thinks better of the
              idea.
 
              She cases down the door frame to the floor.  On all sides are
              the cans of food and cooking implements.  There is a large
              skillet, some bags of flour, etc.
 
              ALICE covers her head with her arms.

              The doorknob above her head (a few inches away) turns very
              slowly.  We see it, but she does not.  MRS. VOORHEES' hand
              finishes turning and now starts to push gently.  There is
              almost no give, but we see that the door is being tested.
 
              The voice on the other side is very young, very sing-song.
 
                                  JASON (O.S.)
                      Come out, come out, wherever you are...
 
              ALICE jerks back and stands up on the far side of the small
              room.
 
              Fists bang in a rage on the floor.
 
                                  ALICE
                      Please...
 
              ALICE folds her hands at the side of her face.
 
              The fist-banging gives way to a short silence.
 
              The silence is interrupted by a new sound:  MRS. VOORHEES has
              begun to use her machete to chop away at the outside of the
              door to the larder.
 
              REACTION SHOT:  ALICE... oh, my God...
 
              At first we see nothing on our side.  Then, gradually, we see
              little slivers of lights admitted by the blade's chops.  ALICE's
              eyes race around the larder to try to find a weapon, a defense,
              anything...
 
              Larger holes are now made.  MRS. VOORHEES stops just long enough
              to take a peck inside.  We can see her eye at the largest hole.
              She goes back to whacking away at the door.  The hole is near
              the lock.  It is soon big enough for MRS. VOORHEES to reach
              inside with her hand and turn the rachet.
 
              ALICE realizes she must defend herself.  She reaches down and
              picks up a heavy skillet and, as the door opens, ALICE raises
              her weapon and, screaming, charges the woman who is trying to
              come through the entrance.
 
              MRS. VOORHEES chops down with the machete.  ALICE fends off the
              blow with the skillet that she holds with both hands above her
              head.  As the machete blade bounces off the skillet, ALICE is
              able to swing the skillet downward and hit MRS. VOORHEES with
              a solid blow on top of her head.  MRS. VOORHEES sprawls
              sideways across the table and then collapses in a heap on the
              floor.

              ALICE raises the skillet again to strike.  She crosses
              carefully to MRS. VOORHEES and pushes her gently with her foot,
              the way she might poke a dead animal in the roadway.
 
              ANOTHER ANGLE:  MRS. VOORHEES lies totally inert.  There is a
              small puddle of blood under her head.
 
              ANGLE ON ALICE:  She relaxes, puts down her weapon and crosses
              slowly out of the room.
 
                                                       CUT TO:
 
 
       135    EXT. LAKE - NIGHT
 
              The moon comes out from behind a cloud.  ALICE pushes a canoe
              into the water and paddles, as rapidly as her tired body will
              permit, out in the lake to safety.
 
                                                       CUT TO:
 
 
       136    EXT. LAKE - NIGHT
 
              Exhausted, ALICE puts her paddle across her lap and falls
              forward, slumped across a thwart.
 
                                                       CUT TO:
 
 
       137    EXT. CAMP - DAWN
 
              The first rays of sunlight streak the sky from beyond the
              horizon, promising a hot and sunny summer's day.  The birds are
              up, foraging for food.
 
              As the CAMERA scans the peaceful scene, we see the sky
              reflected in the calm waters of Crystal Lake.  The canoe
              holding ALICE is drifting in big slow circles across the
              surface of the lake.
 
                                                       CUT TO:
 
 
       138    EXT. LAKE - DAWN
 
              ALICE lies, in MCU, in the canoe, sleeping.  She has not
              changed her position since collapsing a few hours before.  The
              water laps gently against the side of the canoe.  Very slowly,
              she wakes.  She opens her eyes.
 
              The canoe has drifted into the shade of some enormous tree
              boughs that overhang the edge of the lake.

              They shade ALICE from the bright rays of the sun.  The canoe
              rocks gently.  ALICE is still, listening to the sound of the
              lapping water.
 
              Suddenly there is a blood-curdling scream, a MUSICAL STINGER,
              and the screen is filled with the flying, whirling form of MRS.
              VOORHEES, who leaps from the overhanging boughs into the canoe,
              barely missing ALICE's slumped form!
 
              The canoe immediately overturns and both MRS. VOORHEES and ALICE
              try to find their footing in the shallow water.  MRS. VOORHEES
              is covered in mud and blood.  She sees ALICE struggling to get
              up and move toward her, brandishing her blood-spattered machete.
              ALICE turns, sees MRS. VOORHEES coming.  ALICE grabs a paddle
              floating near her.
 
              MRS. VOORHEES pushes the canoe to one side, wading through the
              waist-high water as fast as she can.  She screams with rage.
              Her face goes through a horrifying transformation.  From her
              mouth comes the VOICE OF JASON.
 
                                  JASON (Lipsync)
                      Mommy!  Mommy!  Mommy!
 
              ALICE can't move fast enough to get away from MRS. VOORHEES,
              who is slashing the air with her big knife trying to hit ALICE.
              ALICE slips, falls in the water, gets her footing back and has
              to turn and block the blow of the machete with the paddle,
              using it like a staff to ward off the blow.  The machete cuts
              the paddle nearly in half.  MRS. VOORHEES raises the knife for
              another blow and ALICE lunges for her knees and succeeds in
              throwing MRS. VOORHEES into the water.  The machete flies out
              of her hand and lands in the water.  The two women roll in the
              water.  MRS. VOORHEES is trying to strangle ALICE, her hands
              stretching to reach around her throat.  They roll over and
              under the water.  We cannot see who is winning.
 
              Suddenly MRS. VOORHEES finds her footing and stands up, looking
              for ALICE.  She is screeching madly.
 
                                  JASON (Lipsync)
                            (continuing)
                      Kill her, mommy!  Kill her, mommy!
 
              ALICE shoots up out of the water holding the machete, and in
              one, wild swing, decapitates MRS. VOORHEES, whose head flies
              off into the water.
 
              The body stands for a minute, then falls heavily into the lake.
 
              ALICE drops the machete into the water and starts to wade to
              shore.
 
                                                       CUT TO:

       139    EXT. CAMP ROAD/SIGN - MORNING
 
              ALICE walks slowly down the road away from the camp.  We hear
              the sound of a car approaching.  Now it comes into view.  It is
              a state vehicle, black and white, with an emblem on the door
              that says "State Department of Health and Safety".  There are
              two middle-aged bureaucrats inside.
 
              ALICE waves down the car, which pulls up beside her.
 
                                  1st INSPECTOR
                      Good morning, miss.
 
                                  2nd INSPECTOR
                            (Leaning across the front seat)
                      Are you all right, ma'am?
 
                                  ALICE
                      Help me.
 
              The CAMERA PANS BACK while the two men get out of their vehicle
              and come around to help ALICE.
 
                                                       CUT TO:
 
 
       140    EXT. CAMP - MORNING
 
              LONG SHOT of the camp with the sun sparkling on the waters of
              Crystal Lake.  The canoe lies half sunken in the shallows.  One
              paddle drifts in the current.  The lake has swallowed its secret.
 
              ROLL CREDITS.

Источник
Пятница, 13 (фильм, 2009)
Пятница, 13
Friday the 13th
Постер фильма
Жанр

Фильм ужасов
Режиссёр

Маркус Ниспель
Продюсер

Майкл Бэй,
Эндрю Форм,
Брэд Фюллер
Автор
сценария

Дэмиен Шенон,
Марк Свифт,
Виктор Миллер,
Рон Кёрц
В главных
ролях

Дерек Мирс,
Джаред Падалеки,
Даниель Панабейкер,
Аманда Ригетти,
Тревис Ван Уинкль,
Аарон Ёу
Оператор

Дэниел Перл
Композитор

Стив Яблонский
Кинокомпания

Paramount Pictures,
New Line Cinema
Страна

США
Язык

Английский
Год

2009
IMDb

ID 0758746

«Пя́тница, 13» (англ. Friday the 13th) — фильм ужасов Маркуса Ниспеля, вышедший в 2009 году.

Содержание

  • 1 Описание
  • 2 Сюжет
  • 3 В ролях
  • 4 Создание фильма
    • 4.1 Съёмки
  • 5 Выход фильма
  • 6 Интересные факты
  • 7 Примечания
  • 8 Ссылки

Описание

Сценарий к фильму написали Дэмиен Шенон и Марк Сфифт. Фильм начинает с начала серию «Пятница, 13», которая закончилась пересекающимся вымыслом «Фредди против Джейсона» (2003). Ниспель уже снимал в 2003 году ремейк фильма Тоуба Хупера «Разрежь меня на части!», а Шенон и Свифт ранее написали сценарий для фильма «Фредди против Джейсона». Главные роли в фильме исполняют Дерек Мирс, (Джейсон Вурхиз), а также Джаред Падалеки и Аманда Ригетти, исполняющих главные мужскую и женскую роли, соответственно.

Сюжет

Ища свою пропавшую сестру, Клей[1] (англ. Clay) заходит в таинственный лес Хрустального Озера (англ. Crystal Lake), где он натыкается на останки старых сгнивших хижин, которые скрыты от глаз густой листвой. И это ещё не всё, что скрыто под ветвями деревьев. Не слушая советов полиции и предупреждений местных жителей, Клей продолжает поиски вместе с девушкой, которую он встретил среди группы учащихся колледжа, собравшихся на Уикенд Страха. Но они найдут гораздо больше, чем ожидают. Они ещё не знают, что они вошли во владения одного из самых ужаснейших призраков в истории американских фильмов — неизвестного убийцы, удерживаемого Хрустальным Озером, вооружённого острым как бритва мачете… Джейсона Вурхиза.[2]

В ролях

  • Дерек Мирс
  • Джаред Падалеки
  • Даниель Панабейкер
  • Аманда Ригетти
  • Тревис Ван Уинкль
  • Аарон Ёу

Создание фильма

Съёмки

Съёмочный период фильма начался 21 апреля 2008 года в Остине (Техас) и закончился 31 июня 2008-го.[3]

Выход фильма

Фильм вышел в североамериканский прокат в пятницу, 13 февраля 2009 года.[4]

Интересные факты

  • По ходу действия фильма Джейсон убивает ровно 13 человек (это было также показано в одном из трейлеров к фильму).

Примечания

  1. ↑ Уменьшительное от Клейтон — англ. Claytone.
  2. ↑ The Full Trailer & Plot Synopsis for Friday the 13th
  3. ↑ Why THIS Friday the 13th is important!(англ.)
  4. ↑ Young Jason Cast in Friday the 13th remake(англ.)

Ссылки

  • Официальный сайт фильма(англ.)
  • «Пятница, 13»(англ.) на сайте Internet Movie Database
  • «Пятница, 13»(англ.) на сайте Rotten Tomatoes
  • «Пятница, 13»(англ.) на сайте «Пятница, 13»(англ.) на сайте «Box Office Mojo»

Пятница, 13-е (киносериал)
Фильмы Пятница, 13-е (1980)  · Пятница, 13-е. Часть 2 (1981)  · Пятница, 13-е, 3-D (1982)  · Пятница, 13-е: Последняя глава (1984)  · Пятница, 13-е: Новое начало (1985)  · Пятница, 13-е: Джейсон жив (1986)  · Пятница, 13-е: Новая кровь (1988)  · Пятница, 13-е: Джейсон штурмует Манхэттен (1989)  · Последняя пятница. Джейсон отправляется в ад (1993)  · Джейсон X (2002)  · Фредди против Джейсона (2003)  · Пятница, 13 (Ремейк, 2009)
Персонажи Джейсон Вурхиз  · Памела Вурхиз
Разное Пятница, 13 (телесериал)  · Хронология Кошмаров и Пятниц  · Friday The 13th  · Фредди против Джейсона против Эша

Wikimedia Foundation.
2010.

Полезное

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Источник

Фильм «Пятница 13-е» (1980)

Friday the 13th, 1980

Американский слэшер, снятый в 1980 году режиссёром Шоном Каннингемом по сценарию Виктора Миллера. Фильм является одной из самых знаковых картин в своём жанре. При бюджете 550 тысяч долларов, в прокате фильм собрал 59,7 миллиона долларов и сейчас является классикой фильмов ужасов, а Джейсон Вурхиз, который в этом фильме ещё не является убийцей, стал культовым персонажем в кинематографе. Успех фильма привел к многочисленным продолжениям, кроссоверам и ремейку 2009 года, а также выпуску книг, комиксов и видео игр по мотивам. Картина заняла 15 место в списке 500 лучших фильмов ужасов по мнению пользователей сайта IMDb.

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