FADE IN:

NEW LINE LOGO

Freddy’s theme plays hauntingly on a piano. A spark turns

into a flame that burns in our TITLES:

So Frowned the Mighty Combatants

that Hell Grew darker at their

frown; so matched they stood; For

never but once more was wither like

To meet so great a foe.

See, with that heat these dogs of

Hell advance To waster and havock

younder world. . .

MILTON

Paradise lost

MATCH CUT TO:

FLAMES. PULL BACK TO REVEAL:

INT. FURNACE

The flames are inside an old furnace. In it, we see a

child’s doll melting. Like evidence being destroyed.

INT. BOILER ROOM - SAME

Outside the furnace, a dark figure moves. A love with knives

for fingers screeches along a metal pipe. An unseen child

SCREAMS. And then. . .only blackness.

INSERT - NEWSPAPER FRONT PAGE

The headline reads: "Child Killer Set Free." There is a

PICTURE of Fred Krueger walking down the court steps,

smiling. We HEAR: the screams of a mother, the outrage of a

father. And then, the familiar laugh of Fred Krueger. But

then, the edges of the newspaper start to cinder. . .and

burn.

EXT. SPRINGWOOD - ABANDONED BOILER ROOM - SUNSET

Flames crawl up the side of an old Industrial building. A

window explodes. We hear Fred Krueger SHRIEKING inside.

2.

PULL BACK TO REVEAL: PARENTS gathered around the building.

One sets a GASOLINE CANNISTER on the ground. Others hold

hands as the tortured screams crescendo inside. . .

NANCY’S MOTHER (VO)

(taken from "A Nightmare On Elm

Street)

He can’t get you now. He’s dead,

honey. . .because Mommy Killed him.

INT. BEDROOM - NIGHT (CLIP: "A NIGHTMARE ON ELM STREET")

Nancy Thompson asleep in bed. Over the bed, Freddy literally

STRETCHES through the wall. Coming for Nancy in her dream. .

.

I/E. - VARIOUS (CLIPS: "A NIGHTMARE ON ELM STREET")

Distorted images fly by. . .Not too clear. . .but terrifying

and familiar. Freddy stalking in the Boiler Room...his arms

stretching across an alley...those eyes...that skin.

Horrible screams mix with Krueger’s evil cackling...

But then, the tide turns. Freddy getting beaten. He’s put

down with a flash of light. Send back to where he came from.

FEMALE WHISPER (VO)

. . .Freddy’s Dead. . .

Blackness. But we hear a faint, labored breathing. . .

FREDDY KRUEGER (VO)

They tried to forget their fear.

Lock me away like a dirty secret.

CLOSE ON - Freddy Krueger’s eye. Fire is reflected in it. We

don’t know where he is, but we can feel his anger.

FREDDY KRUEGER (VO) (CONT’D)

But I found someone. Someone that’ll

make ’em remember.

Blackness. And then. . . Another "theme" that sends shivers

up our spine: "Ch-Ch-Ch--Ah-Ah-Ah" Jason’s stalking sound.

WE PULL OUT of the blackness. . . Through the eye holes of a

HOCKEY MASK. We see now the mask is lying on the ground. . .

FREDDY KRUEGER (VO) (CONT’D)

I’ve searched all of Hell for

someone like you. You’re my ticket

home. . .

3.

Next to the mask, Freddy’s claw breaks through the earth,

grabs the hockey mask and yanks it down.

EXT. CAMP CRYSTAL LAKE - NIGHT

A full moon. Dark trees line a misty lake. There’s a CABIN

nearby with a light on inside. It suddenly goes dark.

INT. CABIN - NIGHT

Moving her hand away from a light switch, a beautiful female

CAMP COUNSELOR looks over a row of young sleeping campers.

She checks her watch devilishly, and slips from a small

bottle of BOOZE. She heads for the door...when a VOICE

stops her-

YOUNG CAMPER

I had a nightmare. Will you stay

with me until I fall back asleep?

A YOUNG CAMPER (8) is standing behind her. She turns to him

with a forced smile, hiding the booze behind her back.

FEMALE COUNSELOR

C’mon, you’re a big boy. Go back to

bed.

He just stands there, fear in his eyes. She suddenly scolds-

FEMALE COUNSELOR (CONT’D)

GO!

He runs to bed. She shakes her head, stuffs the bottle along

with a TOWEL into her bag, and heads out the cabin’s door.

The young boy is left alone in his bed, scared and shaking.

EXT. CAMP CRYSTAL LAKE - NIGHT

She makes her way toward the lake, eventually dropping her

stuff near the water’s edge. She looks around like she’s

waiting for someone. Another look to her watch. Suddenly,

a NOISE from behind stops her-

FEMALE COUNSELOR (CONT’D)

Mike? Is that you?

She looks to the woods. Nothing there but dense trees.

FEMALE COUNSELOR (CONT’D)

What are you waiting for, an

invitation?

4.

POV FROM THE WOODS - Someone IS watching her. But who?

She does a little clumsy striptease, giggling. She drops her

clothes, and dashes for the water. . .SPLASH

IN THE LAKE

She floats alone, staring at the shore. Waiting. FOG crawls

between the trees. She’s getting nervous now.

POV FROM UNDERWATER - From the murky depths of the lake, we

Suddenly, she gets TUGGED DOWN, as if pulled. She gasps,

reaches down in the water and pulls up: SEAWEED. It was

caught on her leg. She exhales, looking at the dark wet

clump of kelp in her hand, relieved. And that’s when a

hundred tiny BUGS crawl out of it, covering her arm.

She freaks, and starts swimming frantically toward shore.

POV FROM WOODS - "CH-CH-CH--HA-HA-HA!" We know who it is.

But we don’t see him. Not yet.

SHE GETS OUT OF THE WATER. . .quickly drying off, pulling

clothes on...head darting in all directions...scared...

A BRANCH SNAPS. Someone is definitely out here. It’s only

forty yards to the cabin. She can make it. She pulls her

stuff together, her shoes in her hands, moving quickly-

The FOG behind her swirls as she goes. . .is that a DARK

FIGURE following her?? She picks up the pace...twenty

She gets to the, TURNS AROUND-and there’s nothing behind

her. She’s safe. She exhales, feels a little silly at

being so scared. She goes to open the cabin door...but

IT’S LOCKED. She shakes the handle, checks her pockets-

CLOSE ON - THE CABIN KEY in the grass by the lake.

5.

FEMALE COUNSELOR (CONT’D)

Shit.

She looks back toward the water, knows she left it there.

She looks in the window, about to knock on the glass-

-when the YOUNG CAMPER pops up in the window, scaring her.

FEMALE COUNSELOR (CONT’D)

Billy. Can you open the door for-

He gives her "the finger". . .Then goes back to bed!

She turns back, stares into the fog. She listens, hears only

silence. She hesitates, them decides to go and get the key.

She RUNS back toward the lake, as fast as her bare feet can

carry her. Through the trees and fog. . .finally making it

to where she left the key. She bends down, picks it up-

-and right by her face, two BLACK BOOTS emerge from the

mist. She looks up, sees: A MACHETE RAISED FOR THE KILL!

SLO-MOTION: As the machete rushes down, she pulls away. .

.but the blade SLICES OFF a chuck of her flowing blonde

hair, and just nicks her shoulder. . .

She runs for her life, Jason pursuing. She runs, runs, lost

in the fog. . .surrounded by the trees. She TRIPS. .

.staggers up. . .turned around. . .which way was he coming

from??

CRACK. Someone’s close. She stops she slowly walks

backwards, away from the sound. . .back, back. . .eyes wide

she bumps into - a TREE. Whew. She turns to head the other

way-

-and JASON VOORHEES is right in front of her. With amazing

speed, his machete heads for her gut. . .

6.

REVERSE ANGLE: She actually FLIES BACK from the force of the

blow, heading for a tree-

BACK OF TREE: The tip of the machete’s blade pierces

through.

BLOOD DRIPS from the tip of her toes. . .which we now see

are suspended a few inches off the ground. Her eyes lock

with the white hockey mask. . .Her breathing getting slower,

slower. Her life slips away.

Impaled against the tree, she slumps over, dead. Jason

reaches for his machete, but another SOUND stops him. Is

there someone else out here? He turns to his left-

In the fog, a dark shadow moves. Someone wearing a HAT.

CLOSE ON - MOUTH - LIPS that look burned, charred,

UNSEEN STALKER

(mockingly)

"CH-CH-CH--HA-HA-HA!"

As Jason stares into the fog, OUT OF FOCUS in the b.g., the

dead girl’s head SLOWLY RISES BACK UP.

DEAD FEMALE COUNSELOR

I should have been watching them.

Not drinking. Not meeting a boy at

the lake.

Jason turns back to her - but she then changes into a

different girl. Black hair, taller. Someone completely new.

UNKNOWN DEAD GIRL

I deserved to be punished.

7.

We watch now as she turns into a YOUNG MALE. Behind Jason,

the UNSEEN STALKER is coming closer. . .

UNKNOWN DEAD BOY

We all deserved to be punished.

He changes into another girl, then someone else. . .faster

and faster. The changes become flashes, a chorus of voices

blend together. . .dozens of Jason’s victims from years

past. . .

UNKNOWN VICTIMS

For what you did to you. . .for what

we did to your mother. . .

Jason pulls out his machete, and the victims dissipate into

the mist. . .turning the fog RED. And that’s when FREDDY’S

CLAW reaches for Jason’s shoulder. . .touching him-

Jason spins around to attack, but no one’s there. Then, out

from the fog comes...Jason’s mother - PAMELA VOORHEES.

JASON’S MOTHER

Jason. My special, special boy. Do

you know what your gift is? No

matter what they do to you. . .you

can not die. You can never die.

Jason just stares at her, listening respectfully.

JASON’S MOTHER (CONT’D)

That means you don’t have to stay

here. You’re just...sleeping...

right now. And mommy wants you to

wake up. Because I’ve got something

I want you to do.

KRRRACK!! Thunder and lightning CRASH!

8.

JASON’S MOTHER (CONT’D)

There is a street that I want you to

go to. On that street, there is a

house...where you’ll punish someone.

Only one. And when your task is

finished, you must return to me.

back to Mommy. I’ll be waiting for

you, here at Crystal lake. Our

home.

(becoming fierce, scolding)

But first...you have to WAKE UP!

EXT. CRYSTAL LAKE - REAL WORLD - SUNSET

An old abandoned HOUSE. A mailbox in front with the name

VOORHEES hand-stenciled on the side. A near-by sign reads:

CRYSTAL LAKE - 2 miles .

CRANE UP: Over the newly paved road in front of the house.

Suddenly, we rush down...INTO the ground...down To-

INT. UNDERGROUND - JASON’S UNMARKED RESTING PLACE - SAME

KOOM! A massive body, buried in the ground, suddenly jolts.

JASON’S MOTHER (VO) (CONT’D)

Rise up, Jason! NOW! You’re NOT

DEAD! You must obey me! You will

LIVE AGAIN!

The body. . .a BLACK HEART beats. We move up, see Jason’s

hockey mask. His eye pops open.

EXT. CRYSTAL LAKE - DREAM WORLD - NIGHT

Jason’s gone. His mother stands among the trees, alone.

But the, everything CHANGES. The fog clears instantly.

Trees start to fade, then disappear. The lake vanishes.

We’re not in Crystal Lake..this was some sort of DREAM.

PUSH IN ON: Jason’s mother. An evil grin creeps across her

face as her SKIN slowly begins to melt away.

9.

FREDDY KRUEGER

Make them remember what fear tastes

like.

We keep PUSHING IN, finally holding on Freddy’s evil

piercing eyes. We see fires reflected in them. The fires

of HELL.

FREDDY KRUEGER (CONT’D)

I’ve been away from my children for

too long.

We can only HEAR the tortured souls around him, can only

IMAGINE the hellish wasteland that surrounds him...

BACK TO:

EXT. TOWN OUTSIDE CRYSTAL LAKE - SUNSET

A bulldozer rumbles down the newly paved road in front of

the VOORHEES HOUSE. Across the street, there’s a Bait &

Tackle shop. In the doorway, the Old Proprietor shakes his

head.

INT. BAIT & TACKLE SHOP - SAME

Inside, a CONSTRUCTION WORKER puts a candy bar on the

counter. The Old Proprietor comes around and rings him up.

CONSTRUCTION WORKER

What’s the problem? Opening a resort

by the lake will bring you more

business.

OLD PROPRIETOR

Bound to bring a lot more then that.

The Old Proprietor gives him a haunted look. The

Construction Worker smiles condescendingly, and leaves.

INT. BAIT & TACKLE SHOP - NIGHT

The Old Proprietor fills a pipe, watching TV. Suddenly,

through the open door, we see a FIST break up through the

road, sending chunks of asphalt flying! A head emerges. .

The Old Proprietor turns slowly to his right, sees Jason’s

hulking figure climbing out of the ground. Jason slowly

marches straight toward him and INTO THE STORE.

10.

The Old Proprietor backs up, nowhere to go. Jason looks in

the glass display counter, containing everything a fisherman

slowly unsheathes the machete, admiring it.

OLD PROPRIETOR

(trembling and terrified) . .

.will that be it for ya then??

Jason raises his head up slowly. . . one eye gleaming

through his mask at the Old Proprietor. He cringes, shutting

his eyes tight. And when he opens them, Jason is gone.

The old man looks out the door to the foreboding dark trees

outside: Shadows MOVE. Leaves SWIRL. Lightning PULSES.

EXT. STREET CORNER - NIGHT

A pleasant street lined with middle-class suburban homes.

Thunder crashes, Rain begins to splash on the ground... as

BLACK BOOTS step into frame.

PULL BACK TO REVEAL: JASON. Standing under a STREET SIGN

that reads: ELM STREET . He stalks toward one particular

unsuspecting home. On the mailbox: 1428 ELM ST.

Jason stands in the driveway as rain falls, machete in hand.

There are lights on in the windows...kids inside, The house

but painted YELLOW. Its as if the house’s troubled past has

been washed away and forgotten.

INT. 1428 ELM STREET - SAME

POV - VIDEO CAMERA: In BLACK & WHITE, three young goodlooking

female FACES stare intently at us.

KIA

I’m telling you, this thing is a

Nanny-cam. It’s probably videotaping

everything we’re doing right now.

LORI

Why would my Dad buy me a Nannycam??

Standing in a neatly furnished living room, Lori (17) pulls

a STUFFED TOY (like a FERBIE, but creepier) away from her

friend Kia. Lori’s an attractive, trusting, girl next door.

KIA (18) is worldly, black, and the hottest of the three.

11.

KIA

Maybe he wants to make sure his

little Princess isn’t naughty while

he’s away for the weekend.

LORI

Watch.

Lori snaps her fingers in front of the toy.

MR. NUZZLES

Hi! My name’s Mr. Nuzzles. HA-HA-HA!

LORI

My Dad just has bad taste, that’s

all.

GIBB

That’s great Lori. Is this what

we’re doing all night? Cuz... FYI?

This sucks.

GIBB (17) wears a baseball cap, drinks a BEER. She looks

like a tomboy party-girl.

KIA

Well, it’s the thought that counts.

My Dad and I aren’t even talking,

He’s such an ass. Did I tell you he

won’t loan me the money for my

surgery? It’s not like I won’t pay

him back...

LORI

Here’s a thought, Kia: maybe you

don’t NEED a nose job! You know you

already look great. I mean, you get

asked out more than anyone. What’s

the point?

KIA

You got something against selfimprovement?

Gibb pulls out a CIGARETTE... heads for the window.

LORI

Gibb! I thought you were gonna quit.

GIBB

I only smoke when I drink now.

12.

KIA

But you’re always drinking.

GIBB

Yeah, I gotta work on that next.

EXT. 1428 ELM STREET - SAME

POV FROM OUTSIDE: In the pouring rain, someone watches Gibb

sit down on the sill, and open the window wide.

INT. 1428 ELM STREET - SAME

Gibb blows smoke outside the window into the blackness of

night. Thunder claps. The LIGHTS inside flicker. . .

LORI

Maybe I should get some candles?

GIBB

What we need is more beer. This is

your Dad’s last one. You guys want

anything?

Gibb drains her beer, ready to go. She leans over toward the

open window, flicks her cigarette outside -

BACK INSIDE

Gibb gets up, gets her keys, and heads for the front door...

LORI

Are you sure you should be driving?

GIBB

kill me-

TREY (18). She’s startled. He holds up a l2pk of beer,

smirks. BLAKE (17) stands behind him.

TREY

Surprise!

GIBB

Trey. You answered my prayers.

She grabs the beer, and they kiss. But he pushes her off.

13.

TREY

Babe? What have I told you about

kissing me after you’ve smoked, huh?

GIBB

Those were menthols! I thought you’d

like it...

TREY

I brought Blake. So where’s Linda?

GIBB

don’t be a dick.

Trey pushes past her into the house. His buddy follows him

in, sipping from a SILVER FLASK. We immediately dislike

these two slicksters. Gibb closes the door. Lori pulls Kia

aside, aggravation on her face... whispers-

LORI

Did you know they were coming over??

KIA

Look, we knew you were just gonna

sit here alone all night. You need

to meet a guy! And... Blake’s cute.

LORI

He’s not my type.

KIA

Who is?! And don’t say Will Rollins,

’cuz that boy moved like four years

ago.

LORI

I’m really getting sick of this

town.

I/E. 1428 ELM STREET - NIGHT

Lights flicker in the windows of Elm Street. INSIDE, music

plays, everyone hanging out. Trey and Gibb are all over each

other. Lori puts down candles. Blake turns to Lori-

BLAKE

I like the flow of your place. Got

good feng shui. You know about Fen

Shui?

14.

KIA

You should see her bedroom. Great

flow in there. Lori? Why don’t you

go upstairs and let Blake see your

feng shui?

Lori turns to Kia with a pissed off look when - BOOM!

Lightning CRACKS nearby and the power goes out completely.

Lori strikes a match, lights candles. It’s still dark

though. Trey stands abruptly, gives Gibb a knowing look-

TREY

C’mon. I got a kink in my neck. You

can give me a massage. . .

GIBB

I think I need a couple more drinks

before there’s gonna be any

"massaging."

TREY

Babe? Don’t make me ask you twice,

OK?

Trey heads upstairs. Gibb, holding Mr. Nuzzles the toy, puts

two beers under her arm, grabs a candle and follows him.

GIBB

C’mon Mr. Nuzzles. You’re gonna

wanna see this. . .

Gibb goes upstairs with a wink. Lori just shakes her head.

INT. 1428 ELM STREET - DAD’S UPSTAIRS BEDROOM - NIGHT

Trey’s taking off his shirt, folding his clothes neatly on a

chair. Gibb puts Nuzzles and the candle on the nightstand,

starts pulling back the sheets on the bed. . .

TREY

Hey. What are you doing? Those

sheets are probably filthy. Just

pull back the comforter. . . we’ll

just lay on top, ok?

GIBB

God you’re a freak.

BACK DOWNSTAIRS

Kia, Lori and Blake sit in awkward silence. Finally15.

BLAKE

So Lori. Am I gonna get that grand

tour?

LORI

Why don’t you start in the kitchen?

And get us a beer while you’re in

there.

Blake shoots her a sexy nod, leaves. Kia turns to Lori:

KIA

Look, if you’re afraid of Blake

because you’re a virgin, don’t be.

He’s harmless. You only have to go

as far as you want.

LORI

Shut up, Kia. I just don’t like him

KIA

You don’t like anybody! We’re almost

out of school and you’ve barely gone

out since your -

Kia was about to say something, then thought better of it.

LORI

What, Kia? Since my mom took off? My

dad needs me, okay? I can’t just go

out all the time with guys. And if I

did, it wouldn’t be with someone

like Blake.

KIA

(softening, this is her friend)

OK, I get it. The girl just wants to

go at her own speed. But pretty

soon, you’re gonna have to ease up

on the brakes a little bit.

IN THE KITCHEN

Blake walks in with a candle. In the b.g, we notice the back

door is OPEN, a wet puddle on the floor. He opens the

behind it. Then Blake’s candle is suddenly BLOWN OUT. He

notices the open door, walks toward it slowly. . .closes it.

UPSTAIRS BEDROOM

16.

Trey and Gibb are going at it, Gibb on top. Gibb turns to

see Mr. Nuzzles staring at her on the nightstand and laughs.

DOWNSTAIRS

Blake comes back in the living room with the beers.

BLAKE

Your back door was open. I closed

it.

Kia and Lori look at each other, worry on their faces...

UPSTAIRS BEDROOM

Trey and Gibb lie next to each other on the bed, the deed

now done. She leans over to cuddle, a sexy simile on her

face...

TREY

Babe? You know I don’t like to be

touched after, OK?

Gibb shakes her head, can’t believe this guy. She pulls up

the comforter, wraps it around herself, gets up abruptly.

GIBB

I’m takin’ a shower.

TREY

Good. Your hair smells like

menthols.

Trey stretches out on the bed, satisfied. Gibbs pissed,

takes the candle into the bathroom, leaves him in

darkness...

DOWNSTAIRS

Blake, Kia and Lori with candles, checking windows, spooked.

UPSTAIRS BATHROOM

UPSTAIRS BEDROOM

Trey rolls over on his stomach, reaching for Gibb’s beer on

17.

THWOCK! The machete’s blade erupts through the bottom of the

mattress. Blood drips from the tip of the blade to the

floor. The blade Pulls back up. Beat. Then-

THWOCK! THWOCK! THWOCK! THWOCK! THWOCK! The machete pierces

through the mattress over and over again...

BATHROOM

One toe in the tub, Gibb stops. She heard something.

GIBB

Trey?

BACK IN THE BEDROOM

Jason stands over his victim, looking at what he’s done with

detached fascination. Suddenly, Trey’s finger twitches.

Jason suddenly grabs both ends of the bedframe and collapses

the bed onto Trey, FOLDING IT TOGETHER. Silencing him.

BATHROOM

What was that sound?? Gibb turns off the water, listens.

It’s all quiet now except for what sounds like someone

LAUGHING in the next room.......

GIBB (CONT’D)

Trey? What the hell are you doing??

Gibb moves toward the bedroom... leaving her candle...

INT. 1428 ELM STREET - DAD’S UPSTAIRS BEDROOM - NIGHT

It’s dark in here. Gibb locates the source of the laughing -

it’s coming from Mr. Nuzzles’ voice box. She picks it up.

GIBB

Eew! You’re all wet, M. Nuzzles...

CLICK! The LIGHTS suddenly COME BACK ON brightly, and Gibb

sees Mr. Nuzzles in her hands, speckled with blood. It

continues to repeat the canned laughter, stuck in a loop.

Gibb looks up toward the bed and gasps horribly. (We can

only imagine what Trey must look like.) She can’t catch her

breath... walks back, back-

LORI

18.

Gibb is shaking... points to the bedroom. Blake, Lori, and

Kia look into the room... see the carnage. Kia screams...and

they tear off down the hallway...

EXT. 1428 ELM STREET - NIGHT

Lori, Kia, Gibb and Blake pour out the front door of the

house, Gibb still wrapped in the bed’s comforter.

DOWN THE BLOCK -- A police car turns onto the Street on a

routine patrol. Kia runs into the Street, waving her arms.

A young cop (DEPUTY STUBBS) stops, rolls down his window. He

looks at Gibb, half naked trembling, blood on her hands

DEPUTY STUBBS

You kids need some.. assistance?

GIBB

(screams, holding up her bloody

hands)

INT. 1428 ELM STREET - DAD’S UPSTAIRS BEDROOM - NIGHT

Police tape over the doorway. The Sheriff’s OFFICERS are all

over the bloody crime scene. The SHERIFF stands closely with

one of his more nervous looking men, speaks in hushed tones.

SHERIFF

Look at this place. And the kid was

killed in bed. Remind you of

anything?

NERVOUS OFFICER

Jesus, it’s even the same damn

house. 1428 Elm. Gotta be him,

right? Gotta be Freddy Kru -

SHERIFF

HEY. Don’t even say that

sonofabitch’s name out loud. Let’s

keep it together.

NERVOUS OFFICER

Someone should burn this place down.

SHERIFF

OK lets wrap this up quick and get

the hell out of19.

LORI

Wait. . .who’s Freddy. . .?

BLAKE

Is that who did this?! FREDDY WHO?!

The Sheriff turns to see Lori and Blake standing in the

hall. They look shaken up, eyes puffy. And they’ve been

listening.

SHERIFF

here, NOW!

EXT. 1428 ELM STREET - NIGHT

Gibb, Kia, and Blake’s parents escort them to waiting cars.

Lori sits ALONE on her doorstep.

IN THE STREET, the SHERIFF stands closely with his men.

SHERIFF’S OFFICER

Her father’s on his way. Should we

take her down to the station with

us?

Beat. The Sheriff considers this gravely.

SHERIFF

We have to lock this down now. Keep

it contained. We’ve been through too

much to let this thing spread now.

Deputy Stubbs approaches... and hears the Sheriff say:

SHERIFF (CONT’D)

We can’t take her to the station.

The girl has to wait here.

DEPUTY STUBBS

here?? Her friend was just murdered

in there!

The cops look to each other conspiratorially. Stubbs is the

outsider. We can see the FEAR behind the other cops’ eyes...

SHERIFF

OK, Stubbs. You stay here and keep

an eye on things till her father

arrives.

(MORE)

20.

SHERIFF (Cont’d)

But make sure you stay awake out

here. Listen to me now: don’t doze

off. Not on this one, you hear me?

NERVOUS OFFICER

And I’d stay away from that girl

too!

The other Officers high tail it out of there, leaving Stubbs

alone, puzzled. He looks over to Lori. . .

EXT. 1428 ELM STREET - NIGHT

Lori now in her doorway, about to lock up, looks worried.

Stubbs stands on her doorsteps, doesn’t like all this, but-

DEPUTY STUBBS

Now, we’ve been through the house

three times. It’s completely safe.

Is there anything else that I can-

Lori shakes her head, a distant look on her face. Beat. The

Deputy hands Lori a walkie-talkie. It belches STATIC.

DEPUTY STUBBS (CONT’D)

Take this. You get scared, you want

to talk, ANYTHING... I’ll be right

outside, OK? Your Dad should be here

soon.

INT. 1428 ELM STREET - LORI’S BEDROOM - NIGHT

Lori sits on the edge of her bed in her PJs. She spies the

walkie-talkie on her dresser...

EXT. 1428 ELM STREET - POLICE CAR - SAME

Deputy Stubbs relaxes behind the wheel, pours a cup of

coffee from a thermos. The walkie-talkie comes to life:

KRRRISHT! INTERCUT BETWEEN LORI AND STUBBS, LORI IN HER

WINDOW:

LORI

OK, I do have one question. The

Sheriff said a name. Freddy

something, started with a K. Like

maybe he was the suspect. I think he

has something to do with my house.

You know who that is?

21.

DEPUTY STUBBS

Tell you the truth...I don’t. I

haven’t lived here that long. I can

look into it for you, though. Over.

INT. 1428 ELM STREET - LORI’S BEDROOM - NIGHT

Lori in her bed, under the covers, staring at the ceiling,

her mind swirling. Wondering about what she heard. Afraid.

LORI

. . .Freddy. . .

Lori YAWNS... looking over to a PICTURE of her FATHER on the

dresser. Suddenly, the walkie-talkie BELCHES STATIC.

VOICE ON WALKIE TALKIE

(through intermittent static)

Lori! Are you awake? Over.

Lori reaches over, picks up the walkie-talkie.

LORI

What? I didn’t copy that... say

again...

VOICE ON WALKIE TALKIE

the house...

Lori’s eyes go wide, sits up fast.

IN THE HALLWAY

Lori walks barefoot, clutching the walkie-talkie, trying

desperately to understand, getting scared now.

LORI

I can’t hear you! Please!

VOICE ON WALKIE TALKIE

Lori runs toward the room where Trey was killed... shields

her eyes from seeing inside, turns the corner...

22.

LORI

Repeat! Who?! FREDDY WHO??

LITTLE GIRL (OS)

Krueger.

AIIGH! Lori screams, seeing a little GIRL in a pristine

white dress standing rigidly at the other end of the hail.

LITTLE GIRL (CONT’D)

His name... is Freddy Krueger. And

he loves children...

CLOSE UP -- LITTLE GIRL’S FACE - - The little girl’s eyes

have been stabbed out, by Freddy’s claws we’re sure. Just

empty bloody black holes now. One red tear streaks down her

otherwise perfect face...

LITTLE GIRL’S VOICE

. . .Especially little girls.

LORI stumbles back in horror, grabs a door knob, turning it

frantically, trying to get away from here... IT OPENS...

BEDROOM

Lori slams the bedroom door. ON THE WALL, a blood streak

appears, painting a trail. Lori follows it with her eyes. Up

to the ceiling... it moves across the ceiling, where-

blonde teen wears only a blue night shirt and is somehow

held to the ceiling. (Tina from "A Nightmare On Elm Street")

DEAD TEENAGE GIRL (TINA)

Freddy is coming back. It’s OK to be

afraid, Lori. We were all afraid.

Warn your friends... warn all your

friends...

Lori runs downstairs, heading outside. The house starts

CHANGING - windows now boarded, walls have graffiti. And as

she goes, a familiar SONG echoes all around her:

."

OUTSIDE - TWO GIRLS continue to sing Freddy’s song while

playing jump rope. The house now looks like it used to.

Her front door SLAMS and turns from yellow back to BLOOD

RED.

23.

Lori spins around, sees WHITE CROSSES all over her lawn,

marking the dead. And as we PULL BACK, Lori looks down Elm

Street, and sees white crosses at every other house too.

Then the SOUND of Freddy’s horrible cackling. All we see is

the back of his red and green sweater as he reaches for her-

EXT. 1428 ELM STREET - STUBBS’ POLICE CAR - NIGHT

Sipping his coffee, Stubbs glances at his rearview mirror

AIIGH! In the passenger seat, LORI wakes up with a SCREAM.

Deputy Stubbs spills the coffee all over himself. . .

DEPUTY STUBBS

Dammit. You OK?

Lori nods, shaken. . .face white, sweating. Stubbs checks

the rearview mirror again skeptically, and rubs his eyes.

LORI

I guess I’m no better off down here

than I was in my room.

DEPUTY STUBBS

Another nightmare? Like I said, you

stay wherever you’re comfortable

till he gets here. You’re safe.

Whoever did this isn’t gonna hang

around here.

He takes another look through his window. No one there.

EXT. ELM STREET - BLAKE’S HOUSE - NIGHT

BLAKE sits in front of his house on a porch swing, wrapped

in a blanket. The front door opens, and his father comes

out.

BLAKE’S FATHER

Get inside, Blake. We have to talk.

. .

NEAR THE HOUSE. . .WALKING THROUGH THE TREES. . .

JASON marches back to whence he came as told. Then he hears24.

BLAKE’S FATHER (OS) (CONT’D)

You were supposed to be Watching

your sister tonight. You’re going to

have to be punished.

Jason pauses to stare at him. . .through the leaves. . .

BLAKE

My best friend was just killed, Dad.

Dad leaves. And as Jason stares, we PUSH IN on his eyes. . .

JASON’S MOTHER

And when your task is finished, you

must return to me. understand? You

must come straight back to Mommy. .

.

Jason starts walking again. . .but then. . .he takes a last

look back: Blake pulls out his flask, hits it hard, draining

it. (Blake should have been watching his sister AND he’s

drinking. Is the temptation for Jason too much??)

BACK ON THE PORCH

BLAKE

I’m gonna get this guy, Trey. Swear

to God. I’m gonna get this Freddy

guy.

Blake drops the flask, rubs his eyes drunkenly. . .when he

suddenly hears RUSTLING coming from behind the bushes.

BLAKE (CONT’D)

Who’s that? Someone there?

Oh my God. . .Blake actually gets up and heads toward the

bushes. The leaves move. . .someone definitely behind them.

BLAKE (CONT’D)

What am I doing?

Blake stops in his tracks, starts to back up when- BAAAAH!

Blake whips around to see a GOAT standing in front of the

porch, its white beard stained red with blood.

BLAKE (CONT’D)

JESUS!

25.

Laughter echoes. Blake turns to see a DARK FIGURE wearing a

hat, standing by some garbage cans across the street. He’s

nothing more then a silhouette. Then, his shadow seems to

grow, almost bleeding across the street toward Blake.

Blake’s had enough. He turns to run, but the blackness

the shadow claw drags Blake rapidly across the street toward

Freddy. . .

BACK ON THE PORCH

AIIGH! Blake WAKES UP, still sitting on the porch swing.

BLAKE (CONT’D)

Oh God! It was just a nightmare. I’m

OK. I’m awake. . .

Blake looks at his foot, sees a HOLE in his shoe. He moves

it, and sees a bloody mark. He looks at it, confused. Then -

about to scream when Jason grabs him by the throat, and

wraps the porch swing’s rope chain around his neck. . .

And as Blake’s life sleeps away, his breaths becoming

shorter, he falls unconscious. . .and we PUSH IN on his

vacant eyes. . .

BIRD’S EYE VIEW - DREAM WORLD - STREET

Blake’s body is laid out on the street, the last place he

was in the dream before he woke up. The DARK FIGURE in the

hat stands over him, prods the body with his boot.

FREDDY KRUEGER

This town ain’t big enough for the

two of us, Jason. (seething) ’Cuz

Freddy don’t do sloppy seconds.

Blake lets out his last breath, and his body disappears. . .

EXT/INT. - WESTIN HILLS PSYCHIATRIC HOSPITAL - NIGHT

The nuthouse. Patients slowly slide their soft white shoes

over clean white linoleum. Wheelchairs. Orderlies.

TWO YOUNG MEN (WILL and CARLOS) in white patient uniforms

play ping-pong together. Carlos seems to blink his eyes

alot. . .like a twitch. Will is less enthused by the game.

26.

CARLOS

You can’t handle my skills, bro!

WILL

That’s just ’cuz your meds give you

itchy hair-trigger reflexes.

CARLOS

Not to mention cotton-mouth and

paranoid delusions!

REPORTER ON TV

". . . tonight’s murder in this

quiet suburban neighborhood of

Springwood. . ."

Will’s eyes look to the TV mounted on the wall playing the

evening news. Carlos SMACKS the ball into Will’s chest-

CARLOS

GAME, fool! Now you owe me THREE

Lil’ Debbie Snack Cakes and TWOWILL

Hold on. Look what house that is. .

.

ON THE TV - The Reporter stands in front of 1428 Elm Street.

REPORTER ON TV

. . .details on the victim’s name as

well as possible suspects remain

unavail-

SHERIFF ON TV

No cameras! Clear the area! NOW!

ON THE TV - The SHERIFF pushes the reporter aside. . .

WILL

the one that - Oh God. Maybe we

should go to-

CARLOS

Go? Go where. . . Springwood?? I’d

rather stay locked up in the quiet

room.

A PATIENT starts tugging on Carlos’ sleeve. He ignores him.

27.

WILL

Save your Dream Demon bullshit for

group. We could just go see if she’s

OK. There and back. You can bring

your pills. . .

CARLOS

Are you joking? Will. . . four years

ago you told the cops that Lori’s

Dad killed his wife. . .and your ass

ended up in here. You really wanna

see her again?

WILL

I was. . .confused. (cold,

mechanical, rote) I cared about Lori

so much. . .that when her Mom left

them, I invented a story in my head

that vilified her father -

Carlos tires to free his arm from the patient’s tugging-

CARLOS

- so you could have Lori all to

yourself. I know, I’m the one who

stole your file for you! Oedipal

Complex bullshit, blah-blah-blah!

You think these head-shrinkers have

all the answers.

WILL

I have to see if she’s OK, Carlos

Carlos finally turns to the patient tugging on his sleeve.

CARLOS

YOU’RE INVADING MY SPACE, KURT!

We’ll play ’Uno’ in a minute! (beat,

to Will) Look at us, Will. Look

around you. We’re institutionalized.

Not to mention, there’s no way out

of here.

Will looks at Carlos, defeated. He knows he’s right.

INT. WESTIN HILLS ASYLUM - NIGHT

Will lays on a thin cot, wide awake, staring at the ceiling.

The room is spartan, empty, cold.

CARLOS (OS)

You still thinking about her?

28.

We see Carlos is in a cot on the other side of the room.

WILL

I gotta know if she’s OK.

Beat. Carlos winces. . . can’t believe what he’s about to

do.

CARLOS

You ever heard of Freezoid?

INT. WESTIN HILLS PSYCHIATRIC HOSPITAL - NIGHT

Carlos holds up a COMIC BOOK in its original yellowed bag

for a burly ORDERLY sitting near the SECURED EXIT to admire.

ORDERLY

This is issue number one? The one

where Freezoid meets Dr. Cerebrum?

CARLOS

Yep. And it’s a variant cover. Very

rare. Look at the spine. It’s in

mint condition. Worth a grand, easy.

ORDERLY

(beat, considers it)

What you want for it?

EXT. WESTIN HILLS PSYCHIATRIC HOSPITAL - NIGHT

Will and Carlos, running as fast as they can away from the

mental hospital. . . disappearing into the darkness of

night.

WILL

Didn’t your brother give you that

comic?

CARLOS

It’s OK, man. But when we get back,

I get all your desserts for a year.

. .

INT. ELM STREET - LORI’S BEDROOM - MORNING

It’s morning, but Lori is still tossing and turning under

the sheets. Finally, her eyes bat open. . .and she’s

startled to see: her FATHER standing over her bed. Was he

watching her?

29.

LORI

Dad!

Lori’s father (DR. CAMPBELL) sits down and hugs her warmly.

DR. CAMPBELL

I carried you up here last night.

Hope you don’t mind. But. . .we

don’t have to stay here tonight if

you don’t want to.

LORI

I’m just glad you’re home. . .

INT. 1428 ELM STREET - KITCHEN - MORNING

Lori sits at the kitchen table. Dad is by the back window.

Lori looks comfortable around her father. They’re close.

LORI

I know we agreed not to talk about

her. . . and don’t take this the

wrong way. . .but I wish Mom were

here right now with us.

DR. CAMPBELL

I know what you mean, Princess.

Dad stares out the window at an old rusted SWING SET in the

backyard. He quickly wipes away a tear.

DR. CAMPBELL (CONT’D)

The police. Did they. . .look around

the house? They ask you questions. .

tell you anything?

His back to her, he casually pours a glass of OJ. He empties

the contents of a small capsule into the glass.

LORI

No, they wouldn’t really talk to me

Dad nods, accepting this? He stirs up the OJ quickly. . .

DR. CAMPBELL

I still don’t think it’s a very good

idea for you to go to school. You’ve

just been through something very

traumatic. I wish you’d reconsider.

. .

30.

LORI

I want to go. I want to be around my

friends. Don’t worry, Dad. . . I’m

OK.

Lori kisses him on the cheek and heads for the door. Dr.

Campbell’s body language says he doesn’t want her to leave.

. .

DR. CAMPBELL

At least have some orange juice!

LORI

I’m already late. . .

EXT. 1428 ELM STREET - MORNING

Lori walks out her front door, backpack on, ready for

school. But when she closes the door, something stops her.

She turns back to her YELLOW front door. Remembers

something. Beat.

She pulls a metal NAIL FILE from her backpack. . .and after

a final moment’s hesitation, she starts scraping at the

paint.

LORI

It was just a dream.

It’s RED underneath, just like her dream. Lori starts

breathing heavily, afraid.

EXT. SPRINGWOOD - MORNING

Will and Carlos climb down from inside a semi-truck. . .and

wave goodbye to the driver. They’re still in their uniforms.

WILL

No one else is gonna believe that

we’re medical students. We gotta

change outta these clothes.

CARLOS

Relax, we’re almost there. . .

EXT. CARLOS’ HOUSE - MORNING

Carlos and Will creep up to the door of a suburban home,

looking sketchy. Carlos knocks, straightens his shirt. . .

CARLOS

Now. . .

(MORE)

31.

CARLOS (Cont’d)

My parents are kinda fucked up. I

mean, one son in the looney bin. .

.other committed suicide. . . you

can understand.

WILL

Completely. Don’t worry. I’ll be

cool.

The DOOR OPENS and Mom is standing there in a bathrobe,

holding a glass of OJ. Face blank.

CARLOS

Mama? It’s me. This is Will, my-

The glass falls from her hand. . .and SMASHES on the floor.

She moves to him awkwardly. . .eyes wide. . . and HUGS

Carlos tightly. Tears run down her cheek. Carlos softens. .

.

INT. CARLOS’ HOUSE - UPSTAIRS - SAME

Carlos pulls clothes out from a dresser, hands some to Will.

CARLOS

These should fit you.

Will looks around for somewhere to change, heads toward the

BATHROOM down the hall. . .

Will puts his hand on the knob, starts to open it when. . .

SLAM! Carlos rushes over and pulls it shut in front of him.

CARLOS (CONT’D)

Sorry, bro. We, uh. . .don’t use

that bathroom anymore.

The fear on Carlos’ face is unmistakable. It dawns on Will.

WILL

Sorry, man. I wasn’t thinking. . .

They move away from the bathroom door back to Carlos’ room.

And as Carlos shuts his bedroom door, he steals another

haunted glance at the bathroom. . .then shuts his door

tight.

EXT. SPRINGWOOD HIGH SCHOOL - MORNING

32.

Lori walks up the steps toward school, sees KIA and GIBB

sitting together on a stone ledge, waiting for her.

LORI

I wasn’t sure you were gonna come

Gibb-

GIBB

What was I gonna do? Stay home and

go mental in my room?

Gibb looks awful. Kia sees students STARING at them. . .

KIA

I guess everyone saw it on the news.

They all know. This is so messed up.

INT. SPRINGWOOD HIGH SCHOOL - MORNING

It’s even worse inside. WHISPERS start about Gibb and Trey.

Kia and Lori try to hold everyone back as best they can,

then-

GIBB

STOP STARING AT ME!

BRRRIIING! Bell rings, and students hustle into classrooms.

EXT./INT. SPRINGWOOD HIGH SCHOOL - DAY

Now dressed normally, Will and Carlos slip inside the

school. They sneak down the empty hall. Will looks nervous.

CARLOS

If she isn’t here, we should check

the morgue next.

WILL

You’re a real goddamn optimist,

Carlos.

CARLOS

Hard to be an optimist when you’re a

manic depressive.

BRRRIIING! End of class bell rings and students flood into

the hallways. Carlos and Will immediately get split up. . .

AT THE OTHER END OF THE HALL, LORI exists class with a nerdy

looking guy (LINDERMAN) following her closely, KIA behind.

33.

LINDERMAN

-well I was thinking, that maybe you

and I could partner up on our

Physics project-

LORI

I can’t really think about that now-

KIA

Jesus, Linderman! Don’t you know

what she’s been through?? Leave us

alone!

LINDERMAN

I’m sorry. . . I didn’t-- I’m sorry.

. .

LORI

It’s OK. I’ll talk to you later.

Linderman slinks off, eyes flickering to Lori. He’s smitten.

KIA

It’s like, nice timing to hit on

you, you know? Every day with this

dork it’s the same thing.

LORI

Take it easy on him. He didn’t know.

As Kia and Lori push their way through the herd of students

they approach GIBB talking with two stoner types (FREEBURG &

SCOTT) passing out YELLOW FLIERS to students as they pass. .

.

FREEBURG

That’s why you should go Gibb. Be

among friends where it’s safe.

There’s gonna be alotta love there.

. . for you and Trey.

GIBB

You know? Fuck it. You’re right. I

could use a few dozen drinks.

SCOTT

Atta girl. Let your freak flag fly.

NEARBY - CARLOS makes his way through the students, gets in

front of a large JOCK. Eyes twitching, Carlos looks strange.

34.

CARLOS

Do you know if Lori Campbell is

alive?

SHACK

(looking him up and down) Uh. . . .

. . .yeah. That’s her over there--

He points to LORI, standing with Kia and Gibb as they

examine one of the fliers. Carlos makes his way toward them.

. .

GIBB

You guys have to come with me to

this rave tonight. . .

LORI

I don’t know if I’m up for it. I

didn’t tell you this but, the cops

were talking about suspects, and I

overheard a name. (beat, this is

difficult) Then I had. . .a really

bad dream. . .about this guy. It was

so awful.

GIBB

So they have a lead. That’s good.

KIA

I can’t believe those cops made you

sleep there. I’d have nightmares

too.

LORI

But this was different. He was so

real.

GIBB

So what’d he look like?

LORI

Well. . .he wore this dirty brown

hat. . .

OTHER END OF HALLWAY - Will’s looking in open classrooms.

CARLOS is almost upon Lori, within earshot when--

LORI (CONT’D)

And his skin. . .was horribly

burned.

Carlos suddenly stops, her words stabbing him like a knife.

35.

LORI (CONT’D)

On his right hand, he had these long

razors. . .like they were his

fingers.

Carlos starts walking toward Lori slowly. . .like a dream.

LORI (CONT’D)

And there was this song. . .

CARLOS

"One, Two, Freddy’s comin’ for you.

. .Three, Four, better lock your

door. . ."

Lori goes rigid, turns to see Carlos behind her. He looks

crazy, shaking. Kids around them stop and stare, LISTENING.

CARLOS (CONT’D)

You had a dream about Freddy

Krueger. . .

KIA

Hey, freak! Who the hell do you--

LORI

How. . .how do you know about him?

And that song. . .that was from my

dream.

CARLOS

You know why they sing that??

Because that’s when he comes for

to be alive. . .

LORI

Who is he? Please. . . tell me.

CARLOS

(overzealous)

A child murderer that some parents

from around here burned alive. But

then. . .he came back. Back for

revenge in our nightmares. Funny no

one ever told us about him, huh??

NEARBY - Will sees Lori and his face fills with emotion. But

she’s talking to Carlos, looking afraid. Will rushes over-

ON LORI and CARLOS - Lori looks uneasy on her feet, head

swimming. . .terrified. Kids look to one another, scared.

36.

LORI

He’s real?? What. . .How do you-

CARLOS

You want some free advice? Coffee:

Make friends with it.

WILL gets to them, and pulls Carlos away from Lori. She

turns to Will, looks at him strangely. Does she know him??

WILL

I’m sorry Lori. . . don’t listen to

him. He’s. . .not well.

LORI

Who. . .who are--

WILL

It’s me, Lori. Will. I was watching

the news and - . . .Lori, are you

OK?

LORI

Will. . .?

Her eyes roll back, and she hits the ground. Students gather

around her. . . words spreading among them like wildfire.

WHISPERING VOICES

. . .she passed out. . .they know

who killed Trey. . .name is Freddy

Krueger. . .child murderer. . . said

he comes in our nightmares. .

.Blake’s dead too. . .

INT. SPRINGWOOD HIGH SCHOOL - HALLWAY - DAY

Will and Carlos wait outside the infirmary, in the hall.

WILL

What were you thinking, man?

CARLOS

I’m thinking for the first time in

my life that maybe I’m not crazy.

She had the same dream. My brother

was right.

WILL

Just stop pushing your paranoid

fantasies, OK? We’re not in group

anymore. That Boogeyman isn’t real,

and that old story’s bullshit.

(MORE)

37.

WILL (Cont’d)

It’s like Dr. Sims said . . .it’s

Dream Anxiety.

CARLOS

Not real, huh? Tell that to Lori.

Carlos opens a PRESCRIPTION BOTTLE labeled HYPNOCIL: FOR THE

SUPPRESSION OF DREAMS and dry swallows a pill.

INT. INFIRMARY - EXAMINING ROOM - SAME

Lori is laying asleep in an infirmary bed, a frosted GLASS

WINDOW behind her. Something RED and GREEN rises up outside.

INT. INFIRMARY - WAITING ROOM - SAME

Outside the examining room, Kia and Gibb sit and wait. Kia

is leafing through a MAGAZINE. She looks over to Gibb who

seems to be nodding off. Kia looks to a NURSE behind a desk.

KIA

How much longer? Is she OK or what?

The Nurse slowly puts a finger to her lops: "shhhhhh." Kia

furrows her brow, goes back to her magazine.

INSERT - MAGAZINE PICTURES of perfect looking models.

Kia looks back to the nurse. . .

KIA (CONT’D)

For a nose-job, what kind of

anesthesia do doctors use? They put

you all the way under, right?

The Nurse slowly points to a sign on the wall that reads:

"THE NURSE CAN’T HELP YOU." That’s weird. Kia returns to her

magazine. And as she flips the pages, the pictures of the

models became more and more bizarre. . .

INSERT - MAGAZINE PICTURES of semi-nude women with magic

marker lines on their faces and bodies depicting where

surgical incisions will be made. Realistic before and after

nose-job shots, complete with bruised eyes and bloodied

noses. Then strange and archaic-looking surgical tools. .

.bits of bone and flesh in metal receptacles. Scars. And

now. . .a hellish collage of vivisected women. . .

Kia flipping the pages, faster and faster. Panicking.

Suddenly, an image stops her: long rusty blades. . .CLAWS.

38.

SNICKT! A red and green striped arm SHOOTS OUT of the

magazine, blades connecting with Kia’s nose and face!

FREDDY KRUEGER

GOT YOUR NOSE!

INT. SPRINGWOOD HIGH SCHOOL - INFIRMARY - DAY

AIIGH! Kia WAKES UP, the magazine open on her lap. She

quickly tosses it to the floor as if it were a snake. She

looks to her right, sees Gibb staring at her. Scared.

GIBB

that guy Carlos was saying?

Beat. Kia shakes her head: No. Gibb gets up nodding,

stretches, heads for the door. But then, a tiny trickle of

blood runs from Kia’s noes. Kia touches it. . . looks in

horror at her fingers. Then she rubs it away. . .hiding it.

INT. SPRINGWOOD HIGH SCHOOL - HALLWAY - DAY

Will and Carlos sitting on the ground now, in the hallway.

WILL

I can’t wait here anymore. I’m going

in.

PRINCIPAL SHAYE (OS)

Who are you? You aren’t students

here! What are you don’t on school

property?

The PRINCIPAL approaches as GIBB comes out of the infirmary.

WILL

Hey! You’re a friend of Lori! I need

to see her. . .the Nurse wouldn’t

let me-

PRINCIPAL SHAYE

Let’s go you two, right now.

The Principle shuffles them down the hall, PUSHING them.

Will turns to Gibb, his eyes pleading with her. . .

WILL

Please. . .I can’t go to her house.

Her dad and I, we. . .it’s

complicated.

GIBB is unsure what to do. . .but then shouts to him. . .

39.

GIBB

The yellow fliers. I’ll make sure

she’s there.

Will grabs a discarded flier off the floor, and he and

Carlos take off toward the exit, the Principal following

them out.

EXT. HIGH SCHOOL - SAME

Will and Carlos walk down the school’s steps . . .

WILL

Strong work. I came to make sure

she’s OK, and you put her in the

infirmary.

CARLOS

Come on. I wanna go check something

out.

INT. LIBRARY - SPRINGWOOD - AFTERNOON

A gothic, cavernous library, nearly empty. Green legal lamps

decorate long tables. Carlos and Will are at a computer. . .

CARLOS

This doesn’t make any sense. There’s

nothing on Krueger. Not his arrest,

death. . .not even a birth

certificate.

WILL

There you go. Common nightmares are

a group delusion brought on by mass

hys-

CARLOS

Maybe they didn’t up the stuff on

computer yet.

Carlos and WILL make their way through the stacks. . .Now

they’re huddled at an old-school MICRO-FICHE machine. . .

CARLOS (CONT’D)

Wait a second. Look at this.

Large sections of what they are looking at are BLACKED OUT.

All that’s left are partial headlines. . . pictures. . .

40.

CARLOS (CONT’D)

There’s whole sections of records

gone. Look at all these blacked out

obituaries.

WILL

So what? Springwood’s library sucks.

Carlos gets up like a man possessed, heads to PERIODICALS.

He’s flipping through the original NEWSPAPERS. Pages are

missing. . .sections are cut out. This is creepy.

CARLOS

January 18. The day my brother

committed suicide. Why isn’t that in

here?

WILL

I don’t know. But I’m sure there’s a

good reason. Remember in morning

session? They used to tell us not to

jump to conclusions before-

CARLOS

(grabs Will be his shirt) Jesus,

listen to yourself! You hold onto

that psychobabble like a security

blanket! Let it go man! (beat,

releases him) They covered him up,

Will. They never told us about him,

because that’s how they decided to

beat him. And it worked.

WILL

But what. . .I guess now you think

something brought him back?

Beat. Carlos eyes look hollow. He nods slowly. . .

EXT. SPRINGWOOD - SUNSET

The sun sets on the town of Springwood.

EXT. 1428 ELM STREET - NIGHT

Gibb driving behind the wheel, Kia has shotgun, Lori in

back.

LORI

What am I supposed to say to him?

God, I can’t believe I fainted. . .

41.

KIA

Don’t worry about it. Just talk to

him.

GIBB

Just say: "Welcome back, you’re the

only guy I’ve ever loved. . .you

wanna do it"?

LORI

Uh. . .feeling better, Gibb?

GIBB

Yeah. I’m officially in re-tox.

Gibb brings a BEER up from between her legs, guzzles it. Kia

looks bad to Lori and they share a worried look. . .

EXT. CARLOS’ HOUSE - NIGHT

Will and Carlos stand in the driveway to his house. . .

WILL

Even if all that you’re saying is

true, then why didn’t this guy kill

Lori?

CARLOS

Freddy might be using her for

something. Or maybe he’s not strong

enough yet. My brother said it’s our

fear that gives him his power.

WILL

Well you sure as hell spread enough

fear today at school . . .

Beat. Carlos’ face goes white as it dawns on him. . .

CARLOS

Holy shit, you’re right. They wanted

to forget Freddy so they wouldn’t

fear him. What if I screwed up the

town’s plan?? (beat, in panic now)

Oh God! This fucker’s gonna spread

like a disease. Kids are gonna start

falling asleep. . .and. . . and. .

.it’s gonna be a bloodbath! Let’s

leave, man. Right now.

Will tries not to look at Carlos like he’s crazy.

42.

WILL

I can’t just leave her again. . .not

after today. I just. . .wanna talk

to her, you know? I gotta see her,

one more time.

CARLOS

This guy’s real, Will. If you fall

asleep. . .you won’t wake up.

WILL

So you comin’ with me, or not?

CARLOS

No way. Lori’s been marked. And if

you’re smart, you’ll at least take

one of my pills. You won’t dream

that way. . .

WILL

I’m sorry Carlos, but I just don’t

believe any of this. You and me. .

.we’re both. . .sick. (beat,

serious) I won’t take too long. Then

it’s back to the nuthouse. . .for

both of us.

Will takes a set of KEYS from Carlos’ hand. Carlos nods,

hits the garage clicker. Inside, there’s a tricked out 70’s

van. Will admires the PICTURE air brushed on the side:

CLOSE ON - A well-endowed fantasy chick with armor and axe,

taking on a serpent. Like art from Heavy Metal magazine.

WILL (CONT’D)

Your brother musta been one of a

kind.

CARLOS

He was.

WILL

So lemme guess: the serpent is a

huge dick and she’s trying to tame

it?

CARLOS

Will, Will, Will. Sometimes a

serpent, is just a serpent.

Will tries to smile, gets in the van, starts it up. He pulls

back down the driveway. Carlos suddenly looks concerned.

43.

CARLOS (CONT’D)

Hey wait a minute! Do you even know

how to drive??

The Van hops over a curb, and screeches down the road. . .

EXT./INT GIBB’S CAR - NIGHT

They drive down a dark road. To their right, nothing but a

dense CORNFIELD. Lori stares into the cornstalks as they

rush by, mesmerized by the repetition. . . unease on her

face.

LORI

Why are they having it out here in

the middle of nowhere?

GIBB

(turning around to face Lori) Uh. .

. that’s the point, Lori. So the

cops won’t bust it up.

When Gibb turns back to the wheel, there’s someone standing

in the middle of the road! Is that JASON??

GIBB (CONT’D)

OH SHIT!

She yanks the wheel to the right, barely missing him. In the

RED LIGHT of the brake lights, we see a solitary flash of a

hockey mask just before it disappears into the darkness.

GIBB (CONT’D)

There was someone in the road!

KIA

Christ Gibb, you’re drunk. I can’t

believe I let you drive.

They turn at a SCARECROW popping up from the cornfield. .

.and into a narrow path where the corn has been cut. The car

goes deep into the corn, no light except from their

headlights.

They finally come upon CARS blocking the path. They get out.

EXT. CORNFIELD - NIGHT

Kia, Gibb and Lori walk toward pounding music, but there’s

nothing ahead except dense cornstalks, until. . .

44.

. . .they walk into a large circular, carded-out clearing in

the corn. Here, deep in the cornfield, is where the rave is

happening. At least, a small-town version of a rave.

Tiki torches outline the perimeter, kids dance in the center

in front of a DJ at the turntable. Not too huge, maybe fifty

kids total. . . but pretty damn cool nonetheless.

A huge GRAIN SILO looms in the distance. . .

LORI

Wow. . . Isn’t some farmer gonna be

mad?

GIBB

Shack’s uncle owns it. Long as the

football team keeps winning, he

doesn’t give a shit.

Nearby, we see SHACK with his teammates, all wearing

jerseys, all drinking beer from a BEER BONG, chanting: Go!

Go! Go!

A small generator runs the flashing light and sound system.

Kids are decked out in the latest gear, many with

glowsticks. Three KEGS off to one side, a small CAMPFIRE on

the other.

GIBB immediately grab a cup of beer from some guy’s hand,

and blends into the dancing mob, leaving Lori and Kia.

KIA

Guess her mourning period’s over.

LORI

It’s her way of not dealing.

KIA

Well. . . God bless her then. What’s

a little partying gonna hurt?

OUTSIDE THE RAVE

In the cornfield near the silo, an old rusted out corn

picker is surrounded by weeds. A HAND comes INTO FRAME and

yanks off one of the machine’s long cutting rods. KRANK!

POV: Jason stalking toward the glowing rave in the distance.

BACK AT THE RAVE

A sweaty GLOWING RAVER ambles up to Kia, lust in his eyes. .

.

45.

GLOWING RAVER

You want a light show?

The RAVER immediately goes into a ridiculous dance all

around Kia, twisting his arms, using the many glowing items

on his hands and arms, to try and heighten the trippy

effect.

KIA

OK, move along, glow-worm.

The Raver leaves. Kia and Lori walk into the crowd. . .

ENTRANCE TO THE RAVE

A small two-wheeled RED SCOOTER sputters in. Its rider takes

off an oversized helmet, revealing: LINDERMAN. He surveys

the party, nodding. He says to himself. . .

LINDERMAN

What’s that Lori? You want me to

bring the funk? OK, but just for you

my sweet.

Linderman starts doing the old ROBOTO DANCE. SHACK and the

other JOCKS behind him start laughing their asses off.

SHACK

GO Linderman! Go Linderman GO --

Linderman freezes, embarrassed. . . tries to slink away

when--

SHACK (CONT’D)

Hey! C’mere, buddy! I got something

just for you.

LINDERMAN

Actually Shack, I was headed over

to--

But Shack pulls him in by the keg, and forces his lips

around the tube of a full beer bong. Linderman tries to

fight--

SHACK

LIFT!

Jocks lift the beer bong, and beer GUSHES around Linderman’s

face. They all laugh as Linderman pulls away from them.

LINDERMAN

Great. . . thanks guys. . . really.

46.

TRIPPY DUDE

Freeburg! Whassup! I’ve been looking

for you, dog. I need the magic.

FREEBURG

I can bestow what you seek. . .

Freeburg nods knowingly, does a little cheap "magic" and

pulls a small WHITE PILL out of the guy’s ear. Ecstasy.

NEAR THE KEG

Lori’s alone. Linderman sees his opportunity, makes a move.

LINDERMAN

Hey, Lori. Didn’t think I’d see you

here. Can’ I get you something to

drink?

Just then, KIA shows up with beers. . .hands one to Lori.

KIA

Smooth opening, but we’re taken care

of.

LORI

What happened to your clothes?

LINDERMAN

Oh this? Me and the jocko’s were

playing a drinking game. But, it

seems I was penalized for my ability

to read above a fourth grade level.

KIA

And I thought you wet yourself

again.

LINDERMAN

You know, Kia? I used to think you

hated me because you thought I

wasn’t good enough for Lori. But

that’s not it. You try and tear me

down to make yourself feel better.

It’s not me you hate. You hate

yourself. It’s sad, really. . .

With that, Linderman leaves Kia speechless. Lori can only

look down. Kia notices something by the ENTRANCE. She taps

Lori, and she looks. They see: WILL walking into the rave.

LORI

Shit. What do I do? Go over there?

47.

KIA

Go wait by the fire, but don’t look

like you’re waiting. I’ll do the

rest. . .

ENTRANCE TO THE RAVE

Will walks around wide-eyed. They didn’t have anything like

this at the institution. He’s clearly out of place here. . .

KIA (OS) (CONT’D)

Hey. . . you look a little lost.

Will turns, sees Kia with a hint of recognition on his face.

WILL

No. . . I’m just, uh. . . looking

for--

KIA

- Lori? I know. C’mon. You want a

beer?

She hands him a cup. As they walk through the crowd, Will

takes a sip, and his face grimaces. Was that his first beer?

BY THE CAMPFIRE

Kia, and will finally break through the throng to the

campfire. And there, he spots her, sitting by the fire. Lori

and Will lock eyes. And she smiles. So does Will. In the

b.g. we see Linderman watching. . . heart breaking.

EDGE OF DANCING MOB

Gibb leaves the dancing area. . . sweaty, stumbling, drunk.

She goes over to the line by THE KEG to get another beer.

GIRL IN BEER LINE

The cops are saying Blake killed

Trey then went home and committed

suicided.

GUY IN BEER LINE

How do you hang yourself on a porch

swing? It’s such bullshit.

GUY IN BEER LINE #2

I’m telling you, I heard this guy

Krueger killed ’em both.

(MORE)

48.

GUY IN BEER LINE #2

(Cont’d)

I said his name to my parents. . .

they almost lost it.

The GUY suddenly looks over, notices GIBB staring at him.

Upset, she drops her cup, bolts the other way. AS SHE RUNS,

it seems as if EVERYONE is whispering about FREDDY. . .

BY THE CAMPFIRE

Will and Lori are sitting together by the fire. Not too

close. Still awkward. Will often looks away from her. . .

WILL

I’m really sorry for my friend

saying all that stuff to you. He’s.

. .uh, he’s got issues. Are you

feeling. . .better?

LORI

Still a little freaked out. The

things he said. It’s just such an

insane coincidence. How do you know

him?

WILL

Uh. . .we’re sorta like. . .

roommates. At school. I actually

have to head back soon. But. . .I

don’t wanna go. . .if you’re not OK.

LORI

I don’t know. It’s like. . .I’m

afraid to close my eyes, you know?

Do you definitely have to. . . leave

again? I mean, so soon?

Beat. Will looks off, distant. Emotion on his face.

WILL

You know what I think about a lot?

That I never got to say goodbye to

you. Before I. . .left.

They lock eyes. . . but Will has to look away, HIDING

SOMETHING. Lori moves closer, ever so slightly . . .

LORI

Really? You. . .think about me?

49.

WILL

Sometimes all the time.

Lori looks at the fire, working up her courage?

LORI

I can’t believe I’m admitting this

to you, but. . .you’re actually. .

.the only guy I’ve ever kissed. Oh

God - you probably think I’m this

total sheltered loser now.

WILL

Believe me, I’m the last person who

would think that.

Will’s suddenly very uncomfortable, the truth starting to

come out. He sees GIBB stumbling by the edge of the corn.

WILL (CONT’D)

(changing the subject)

Isn’t that your friend? Is she OK?

LORI

Not really. She’s trying to hide it,

but I know how messed up she is

about Trey.

POV: THROUGH THE CORN - Jason moves right to the edge. . .

BY THE EDGE OF THE CORNFIELD

Gibb walks alone, swaying drunkenly. She watches the

dancing crowed in the distance. There’s a rustling behind

her. . .

Gibb turns around and sees. . . TREY’s FACE emerge from the

cornstalks! His skin is pale. His eyes are yellow.

TREY

I’m dead one day, and you’re already

out getting shitfaced. Same old

Gibb.

GIBB

Trey! I. . .I can’t believe it. . .

TREY

C’mon. . .let’s go.

Beat. Gibb is frozen where she stands. His eyes narrow50.

TREY (CONT’D)

Babe? Don’t make me ask you twice,

OK?

Trey disappears into the corn. And Gibb follows.

INT. CORN - NIGHT

Gibb follows Trey in the darkness. We can’t see Trey that

well, but he’s walking strangely, hunched over. And for some

reason, he keeps touching his face and chin. . .

GIBB

You’re walking funny. What’s wrong?

They break free of the corn and are now in a large clearing

in front of the SILO. And now we can see Trey clearly-

TREY

The hell do you think’s wrong? Don’t

you remember what happened to me?

He’s mangled. He touches his face again and now we see why:

He’s trying to keep his head upright, but his neck’s broken.

TREY (CONT’D)

C’mon, quit screwin’ around. I wanna

show you something.

His head slumps over again as he hobbles to the RED SILO

DOOR, and walks in. Gibb follows, a sick look on her face.

INT. GRAIN SILO - SAME

STEAM SHOOTS in Gibb’s face, water drips from pipes

overhead. Strange for a grain silo. Looks more like a BOILER

ROOM. . .

GIBB

Trey? Where are you??

Trey’s nowhere in sight. Suddenly, a hissing echoey voice. .

.

VOICE (OS)

. . .This way. . .

GIBB

I don’t like this. I’m gonna go

back.

Gibb turns, but the door is gone. Freddy’ laugh echoes.

51.

BACK AT THE RAVE - WAKING WORLD

The GLOWING RAVER is scopeing out the women. Approaches one.

GLOWING RAVER

Hey honeydew. You down for a light

show?

RAVER CHICK

You down for some pepperspray?

The glowing Raver holds up his hands, leaves the dance area.

He walks off, sees someone on the ground in the far

distance.

It’s GIBB, lying on the ground, surrounded by empty beer

cups, passed out ASLEEP. The Raver approaches her. . .stares

at her beautiful legs. He gets a lustful look in his eyes.

He looks around nervously, like checking for witnesses. . .

BACK IN THE BOILER ROOM - DREAM WORLD

SCREEECH! The sound of knives on metal pipes. Gibb is moving

faster now. . .trying to get away from that sound.

Walls and pipes stretch, like Freddy’s crawling inside them.

This place is alive. . .and elastic. Laughter echoes.

GIBB

You’re the one that killed Trey!

A SHADOW on the wall behind her. . .that distinctive hat.

FREDDY KRUEGER (OS)

Forget about my Errand Boy.

She tries to make her way through the boiler room, but it’s

like a maze. An obscured flash of Freddy at every corner.

FREDDY KRUEGER (OS) (CONT’D)

The only thing you have to fear. . .

Freddy’s face appears in the reddish light. . .out of

nowhere. . .right near her. Scarier than he’s ever been.

FREDDY KRUEGER (CONT’D)

. . .is fear HIMSELF!

Gibb SCREAMS and Freddy drinks it in, pure pleasure on his

face. This is what he’s been waiting for. She RUNS. . .

BACK AT THE RAVE - WAKING WORLD

52.

The GLOWING RAVER is lying next to Gibb’s sleeping body. He

looks around once more. Her body twitches from what’s going

on in the Boiler Room. It excites the Raver. He kisses her.

IN THE BOILER ROOM - DREAM WORLD

Gibb runs down a catwalk, passing a series of LOCKERS. As

quietly as she can, she opens one and slips inside. . .

POV INSIDE LOCKER - Breathing heavily, Gibb can just make

out what’s happening through three slits in the metal

locker’s door. Suddenly, she holds her breath, and Freddy

passes. . .Beat. She exhales. She puts her face to the

slits, looks left and right. No one there. She moves to

exit, when-

FREDDY suddenly appears, upsidedown, face filling the slits!

He turns clockwise slowly, facing her right side up. . .

CRANK! Freddy rips the door off, reels back for the kill

when blood spurts on Freddy’s face. His eyes go wide-

Gibb looks down at her own stomach, and there’s a wound! She

coughs up blood. . .and starts DISAPPEARING.

FREDDY KRUEGER

NOOO!

BACK AT THE RAVE - WAKING WORLD

JASON has just stabbed the GLOWING RAVER in the back with

the metal rod. . .while he was laying on top of Gibb! The

rod went all the way through, stabbing them both. Gibb’s

dead.

Jason pulls out his rod, but the Glowing Raver is still

stuck on it. . .and ALIVE. Jason shakes it, but he won’t

fall off. With a sudden burst of strength, Jason flings the

Raver back over his shoulder so hard that it LAUNCHES the

kid off the rod like a catapult!

We watch the glowing kid fly through the blackness of the

night. . .like a shooting star that glows. . .finally

disappearing into the cornfield.

EDGE OF THE CORN

The CROWD is bouncing up and down, dancing in colorful

bliss. Away from the crowd, near the edge of the corn, two

BIG DUDES hang out by the TIKI TORCH, drinking.

BIG DUDE #1

This everclear is kicking my ass.

53.

They see Jason emerge from the corn, heading right at them.

. .

BIG DUDE #2

Check out this fucking guy.

BIG DUDE #1

Must be some drunk farmhand. C’mon.

The Two Dudes walk up to Jason. Jason stops.

BIG DUDE #1 (CONT’D)

HEY! Jethro! This is a rave, not a

Halloween party.

BIG DUDE #2

Invite only, cornpoke.

Big Dude #2 walks IN FRONT of his friend, and starts POKING

Jason in the chest as he speaks. . .

BIG DUDE #2 (CONT’D)

(poking on each word)

And you. . .weren’t invited.

TILT DOWN: Jason slowly steps a big black boot on the Dude’s

bare left foot - CRUNCH!

BIG DUDE #2 (CONT’D)

AIIGH!

Jason then steps his other boot down the guy’s right foot,

pinning him to the ground. Jason suddenly grabs his head-

REVERSE ANGLE: Big Dude #1 watches in horror as -CRACK-Jason

twists the guy’s head around 180 until the two Dudes are

left FACING each other! Jason then POKES the Dude in the

chest. . . and he falls over, dead.

BIG DUDE #1

Sonofa-BITCH!

The guy tosses his drink in Jason’s face, dousing him with

EVERCLEAR. He pulls up the TIKI TORCH and JABS IT at Jason,

who instantly goes up in flames.

BIG DUDE #1 (CONT’D)

YEAHH! Burn motherfucker!

But Jason seems unfazed. Even as he cooks, he calmly removes

the MACHETE from his sheath. . .and marches toward the guy.

The Big Dude’s eyes go wide, and he runs for his life. . .

54.

IN THE CORNFIELD

Jason just marches after the Big Dude as always. . .even as

he burns. The Big Dude runs this way and that. . .stumbling

tripping. . .it’s like a maze in here.

BIRD’S EYE VIEW FROM ABOVE: As the guy weaves, Jason heads

straight for him, leaving a long FIRE TRAIL behind him.

JASON has almost caught up, WHIPS his machete. . .and the

blade hurls through the air on fire!

THWOCK! It buries in the guy’s back and he falls. The fire

spreads all over his back. . .and onto the dried cornstalks.

. .

AT THE KEG

SHACK is getting ready to take down yet another full beer

bong. He’s uneasy on his feet, trashed, eyes narrow.

JASON bursts through the corn, STILL ON FIRE. Ravers that

see him scream and run. But Shack is focused on that beer.

As Jason marches up to Shack from behind, the TRIPPY DUDE

with the big dumb hat watches, clearly blazing on X.

TRIPPY DUDE

DUDE! Burning man!

Shack stares at the Trippy Dude, doesn’t get it.

SHACK

Hey, you’re my witness. This is

three and a half beers in one shot.

That’s the record. OK. SPRINGWOOD

BULLDOGS RULE!

Shack puts the tube to his lips, the FLAMING JASON right

behind him now, people screaming all around them. As Shack

lifts the funnel. . .Jason opens his arms wide, and smashes

Shack’s head in with both hands, CRUSHING his skull. . .

FOOF! The BEER in the tube BLOWS OUT the top of the funnel

straight up from the force, comes back down, and lands with

a splash on Jason. . .PUTTING OUT THE FIRE.

The Trippy Dude can’t believe his eyes. That was amazing!

TRIPPY DUDE

BRAUGHH! DUDE! OH MAAAAN!

Jason turns to him, pulls out his machete. . .

55.

POV - TRIPPY DUDE ON X - So many colors, all blooming and

trailing off the machete’s blade as it descends upon us.

TRIPPY DUDE (OS) (CONT’D)

This feels so real. . .

NORMAL VIEW: Trippy Dude’s dead, a stupid smile on his face.

JASON stalks into the center of the rave, and now EVERYONE

sees him. RAVERS SCREAM and scatter in all directions.

WILL, LORI, and KIA run with the crowd, see the maniac in

the hockey mask. They cut toward the van. . .but Lori trips

on Gibb’s DEAD BODY. She falls to her knees. . .sobbing-

LORI

GIBB! OH GOD, NO!

Kia grabs her arm, drags her up. They run for CARLOS’ VAN.

RAVERS scatter, start their cars, mow down corn as they go.

Will, Lori, and Kia pile in the van’s OPEN DOOR. . .

WILL

Get in! HURRY!

Nearby, LINDERMAN jumps on his scooter. . .KICKS for it to

start. WHIRR. Nothing.

LINDERMAN

C’mon baby. . .c’mon. . .

WHIRR-WHIRR! Still nothing. Linderman looks back, sees:

Jason heading right for him! Linderman kicks harder, faster.

LINDERMAN (CONT’D)

Oh God please. . .this isn’t how the

Linderman story is supposed to end!

WHIRR-WHIRR-WHIRR! This thing ain’t starting. FREEBURG runs

toward Carlos’ fan as its door slams. He bangs on it-

FREEBURG

HEY DUDE! LEMME IN - C’MON!

The door opens and Freeburg dives in. Will starts the van as

LORI looks out, sees Jason almost on Linderman.

LORI

LINDERMAN! This way!

But he’s in his own world, trying to start it. . .

56.

LINDERMAN

. . .Start start start start start.

. .

WHIRR-WHIRR. . .VROOM! It starts. Linderman guns it, but the

scooter just kicks up dirt, NOT MOVING. What the hell??

Linderman looks over his shoulder, sees Jason’s holding the

back of the scooter! Jason arcs back with his machete. . .

LINDERMAN (CONT’D)

I regret nothing.

Linderman shuts his eyes and -WHAM! The back of the van

slams into Jason, knocking him to the ground. Freeburg

scrambles out of the van and pulls Linderman inside. . .

Jason gets up, but the van is already gone. He’s left

standing alone in the carnage, the field ablaze behind him.

INT. CARLOS’ VAN - NIGHT

Everyone shell-shocked under the funky BLACK LIGHTS of the

van. Will driving, Lori crying quietly, Kia eyes wide. . .

KIA

Was that him?? The guy you were

talking about? Freddy Krueger??

LORI

That wasn’t the guy from my dream.

That was someone else. . .

LINDERMAN

Who cares about some Dream Guy?!

That psycho in the hockey mask was

REAL!

Freeburg puts a JOINT in his mouth, tries to spark it. .

.hand shaking, terrified. He whispers to himself-

FREEBURG

Dude. That Goalie was pissed about

something. . .

Linderman’s hyperventilating. In his backpack, he dumps out

his lunch from a brown bag, and starts breathing into it. .

.

WILL

We gotta go talk to Carlos.

57.

LINDERMAN

Talk to who?? How about the police?!

Please. . .just drop me off...OK?

They all nod to one another, can’t take this. . .

INT. CARLOS’ HOUSE - BEDROOM - NIGHT

Carlos sits at his desk, going through the drawers. He pulls

out a framed black and white photo: A happy kid (CARLOS)

rides o