Friday the 13th

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.

MEDIUM CLOSEUP 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:

TITLE SEQUENCE

The screen is completely black. A small white shape starts to ZOOMS towards the F.G.. 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:

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:

INT. DINER – MORNING

In CLOSEUP 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 B.G. 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

They gonna open that place Camp Blood? again?

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:

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:

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:

EXT. RURAL ROADS – DAY