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Hedden, Rob
Friday The 13th Part 8 Jason Takes Manhattan
The festivities aboard a Manhattan-bound boat full of high school graduates are interrupted when stowaway Jason Voorhees crashes the party. One of the teens in particular is terrified; she believes she was almost drowned by Jason as a child. As Jason takes over the boat, everyone's fears are realized: He wants to take over Manhattan, too. How will the city be saved from the wrath of the hockey-masked murderer?
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This moviescript available in following formats:
Hedden, Rob. Friday The 13th Part 8 Jason Takes Manhattan
Friday the 13th Part VIII: Jason Takes Manhattan Script
FADE IN:
EXT. CRYSTAL LAKE - NIGHT
A dark, rumbling sky. Haze clings to the lake as we float
across it, clearing to bring the opposite shoreline into
view. A few scattered streetlights. Dilapidated cabins.
An abandoned campsite. CAMP CRYSTAL LAKE.
We continue to drift towards it, hearing the faint sound
of seductive music and an occasional giggle. A small
HOUSEBOAT floats into our foreground, its interior light
flickering as TWO BODIES move around inside.
INT. HOUSEBOAT - NIGHT
A teenage boy and girl, JIM and SUZY, are slow-dancing.
Jim’s lips softly touch her lissome shoulders.
JIM
Well...how do you feel?
SUZY
Ask me in about five minutes.
She bites his ear, giggles, then kisses him fully..
JIM
I’m talking about graduation. Being
totally free to do whatever we want
now.
Her hands slip inside his Pendleton shirt. He sighs.
SUZY
It feels excellent.
Her mouth finds his again. After a long kiss, he gently
pulls away from her with a teasing smile.
JIM
Gotta throw the anchor over.
He leaves the cabin. She slips under the bed sheets.
EXT. HOUSEBOAT DECK - NIGHT
as Jim tosses a small anchor overboard.
TIGHT ON WATER SURFACE
as the weighty object splashes, sinking into black
oblivion, pulling its cable down with it.
JIM
glances at the lake, at their eerie surroundings. He
feels a chill, heading back inside.
EXT. UNDERWATER - NIGHT (TANK)
as the anchor drifts to the lake bottom, dropping a few
feet from a THICK POWER CABLE which rests in the lake
silt.
INT. HOUSEBOAT - NIGHT
as Jim returns with an uneasy expression. He crawls on
top of the bed, kissing her again, but not with the same
enthusiasm as before.
SUZY
What’s wrong?
JIM
Nothing.
He starts to pull off his shirt and join her. She senses
his anxiety.
SUZY
C’mon, Jimmy. Something’s bothering
you.
Jim pauses, turning off the mood music.
JIM
It’s just that we’re right around that
old summer camp where all those
murders took place.
The boat creaks. She’s instantly nervous.
SUZY
What murders?
JIM
Never mind, you don’t want to know
about it.
SUZY
Tell me.
JIM
There’s nothing to worry about, Suzy.
The guy’s dead now, somewhere at the
bottom of this lake...if you believe
the stories.
(beat)
Let’s drop it, okay?
He starts to kiss her again. She stops him.
SUZY
What stories?
He doesn’t want to go into it but Suzy’s face insists.
JIM
There was this boy named Jason
Voorhees who drowned in Crystal
Lake...
FLASHBACK
Eight year old JASON is desperately trying to tread
water, flailing his arms like a marionette to get
attention as he gulps down gallons of mossy lake water.
YOUNG JASON
Hhhhelp....me....I’m drowning...
JIM (V.O.)
None of the counselors heard him.
YOUNG JASON
Mmmmmmommy....
...And Jason finally slips under the surface for good.
INT. HOUSEBOAT - CONTINUOUS
JIM
A bunch of years went by and everybody
forgot about it.
(beat)
That’s when the murders started.
FLASHBACK MONTAGE (STOCK)
as our senses are bombarded with QUICK CUTS of assorted
teenagers just about to die, their screams echoing over
each other. We do not see the attacker. As the
cacophony reaches a screeching crescendo, CUT BACK TO:
INT. HOUSEBOAT - NIGHT
as the silence hits us hard again.
SUZY
Jason did it...?
JIM’
That’s what some people thought. But
they were wrong.
FLASHBACK (STOCK)
as MRS. VOORHEES comes directly at camera wielding a huge
knife and a primal scream.
INT. HOUSEBOAT - NIGHT
JIM
His mother blamed the counselors for
his death and tried to kill them all.
(dramatic pause)
She got her head chopped off by one of
them.
We don’t need to see this clip...Suzy’s reaction is quite
sufficient.
SUZY
So the murders stopped?
He gives her a long, penetrating look.
JIM
No.
FLASHBACK MONTAGE (STOCK)
We’re bombarded with QUICK FLASHES of a hockey masked
JASON wreaking havoc on assorted teenagers...brandishing
everything from hatchets to knives to chainsaws. Just as
Jason is about to stab us, CUT BACK TO:
INT. HOUSEBOAT - NIGHT
Suzy flinches as if she were getting the knife.
JIM
Legend has it that Jason came back to
avenge his mother’s death, vowing to
kill every teenager from the area.
(beat)
And every now and then, the murders
start up again.
The boat lurches slightly, tugging at the anchor cable.
She’s scared: he’s frightened himself a little, too.
JIM
Forget about it, Suzy. They’re just
stories.
He brushes her hair back, kissing her cheek gently,
finding the nape of her neck again. She closes her eyes,
trying to dismiss what he’s dredged up. But she can’t.
Suzy begins to rationalize.
SUZY
We’re the last graduating class,
right?
Jim’s kissing her body, putting Jason behind him.
JIM
Right.
SUZY
I mean, Lakeview High just closed its
doors for good, right?
JIM
Right.
SUZY
So there’s no reason for him to come
back because there won’t be any of us
around...right?
Jim stops, looking her squarely in the eyes.
JIM
Right. Except that Jason isn’t real
so none of it matters anyway.
She starts to relax, returning his kisses.
EXT. UNDERWATER - NIGHT (TANK)
as the anchor drifts along the lake floor, tugging hard
on the power cable. Camera TRACKS along the cable,
coming to a RUSTY SET OF CHAINS TANGLED AROUND IT.
INT. HOUSEBOAT - CONTINUOUS
as Jim slides on top of Suzy. Thoughts of Jason are
starting to slip away along with their clothes.
EXT. UNDERWATER - NIGHT (TANK)
as the chains emit a dull tinkle due to movement from the
tugging anchor. Camera continues to TRACK again...and we
find to our horror that the waterlogged, fish-eaten body
of JASON IS SECURED BY THESE SAME CHAINS. (NOTE: Jason’s
face is obscured.)
INT. HOUSEBOAT - CONTINUOUS
Teenagers in love, lost in not-so-innocent passion. At
the same moment:
EXT. UNDERWATER - NIGHT (TANK)
The anchor tugs one last time and RIPS THROUGH THE CABLE.
SPARKS INSTANTLY FLY, chasing along the cable, finding
the chain which secures Jason and ENGULFING HIM IN
ELECTRICITY.
EXT. HOUSEBOAT - ON LAKE SURFACE (EFX)
as BRIGHT FLASHES OF BLUE LIGHT strobe-under the surface.
ARCING CURRENT chases up the anchor cable, sparking
across the hoist.
EXT. CAMP CRYSTAL LAKE - WIDE SHOT FROM WATER
as the electricity feeding the streetlights is abruptly
extinguished, plunging the campsite into darkness.
INT. HOUSEBOAT - CONTINUOUS
as Suzy’s eyes flash open.
SUZY
Did you hear that?
JIM
Hear what?
He pulls her back down.
SUZY
C’mon, I’m serious.
He knows the mood is broken.
JIM
All right, I’ll check it out.
He slips on his jeans, exiting the cabin. She pulls the
sheet up around her fearfully.
EXT. UNDERWATER - NIGHT (TANK)
as the cable smolders, void of electricity now. TRACK to
find the chains again...but they’re dangling loosely.
JASON IS GONE.
INT. HOUSEBOAT - CONTINUOUS
Suzy is tensely kneeling on the bed now. The black void
of night is all she sees out the cabin door, which Jim
has left open. An uncomfortable amount of time passes.
SUZY
Jimmy...?
No answer. Her heart starts to pound.
SUZY
Jim...?
Again, nothing. She wraps herself in the sheet, moving
towards the open door. The ship creaks again.
SUZY’S POINT OF VIEW
as she grows closer to the doorway, nothing but pitch-
black beyond it.
SUZY
Stop screwing around, Jim. I mean
it...
...And just as she reaches the door:
A HOCKEY MASKED MONSTER
leaps out, clutching a HUGE KNIFE. Suzy barely has time
to scream before JASON PLUNGES THE KNIFE INTO HER CHEST.
SUZY
stands there in speechless shock, looking down at her
mortal wound. But there’s no blood.
THE MONSTER
pulls the knife back out, pushing the blade in and out
with his hand. It’s a retractable rubber knife. JIM
pulls off the hockey mask with a huge grin, tossing it
aside.
JIM
Gotcha good, baby cakes.
She doesn’t know whether to hug him with relief or kick
him in the balls. He pulls her back onto the bed,
laughing.
EXT. HOUSEBOAT - CLOSE ON HOCKEY MASK
sitting dormant on the deck, where Jim tossed it. A
SHADOW FALLS ACROSS IT...followed by a SLIMY, DECOMPOSING
HAND. The hand grabs it like it’s an old friend, pulling
it away.
INT. HOUSEBOAT - CONTINUOUS
as Jim holds his angry girlfriend down on the bed, trying
unsuccessfully to kiss her.
JIM
All right, all right -- I’m a major
ass.
SUZY
And you’ll never do it again.
JIM
And I’ll never do it again. Forgive
me?
SUZY
No.
She’s resisting only for effect. Her legs curl around
him, finally giving in.
EXT. HOUSEBOAT - NIGHT
A deadly-sharp SPEAR GUN rests in its rack outside the
cabin. JASON’S HAND REMOVES IT.
INT. HOUSEBOAT - CONTINUOUS
The sheets begin to roll like waves as they work each
other. Thoughts of Jason are nonexistent now.
ANGLE - CABIN DOOR
Nothing there for a moment...then a pair of moss-covered
BARE FEET SLOSH INTO FRAME.
SUZY
closes her eyes with pleasure...
ANGLE - CABIN DOOR
...and camera RISES from the mossy feet, up the bloodless
legs and torso to ultimately reveal the hockey-masked
face of our anti-hero: JASON VOORHEES.
SUZY
lets out a broad smile, her eyelids fluttering. They stay
open long enough to regard the visitor in the doorway.
She tries to choke out a warning to Jim, who’s just
collapsed himself.
SUZY
JJJJJJJJason...
He doesn’t follow her glance, smiling instead.
JIM
Uh-huh. You must really think I’m an
ass.
But she continues to stare in horror as:
JASON
raises the spear, taking aim.
ANGLE - SUZY AND JIM
Hs starts to kiss her but she bolts up with a blood-
curdling SCREAM. A second later, JASON FIRES THE SPEAR,
PIERCING HER NECK, PINNING HER TO THE HEAD BOARD.
Jim stares point-blank at his dead girlfriend, not able
to assimilate it quickly enough. He spins around to see
the monster himself.
JIM
Ohmygod...
Jim springs off the bed, looking around for anything to
defend himself with, grabbing the bedside lamp. He
SMASHES IT OVER JASON’S HEAD which has little effect. Jim
scrambles to get past him, but Jason LIFTS JIM IN THE
AIR, SLAMMING HIM DOWN ON ONE OF THE SPIKED BEDPOSTS.
EXT. CRYSTAL LAKE - NIGHT
as the HOUSEBOAT silently drifts onward. The lone
silhouette of Jason emerges from within, taking the helm.
He’s back.
FADE OUT/MAIN CREDITS.
FADE IN:
EXT. HARBOR - ESTABLISHING - DAY
Only the faintest sign of daylight can be seen through a
thick blanket of gray fog. In the distance, speckled
lights outlining a smaller LUXURY CRUISE SHIP
intermittently appear.
EXT. DOCKSIDE - DAY
Standing at the boarding ramp is CHARLES MCCULLOCH,
clipboard in hand. He’s just finished checking off a pair
of new-agey SENIOR GIRLS. McCulloch is approaching fifty,
wearing a tie and unwrinkled clothes, as well as the
disposition of a stern puritan.
MCCULLOCH
Remember girls, the shuffleboard
tournament will start at six p.m.
sharp. A non-attendance will restrict
your time in port, understood?
They nod for his benefit, exchanging derogatory whispers
as they head up the ramp. Camera ADJUSTS to find a small
parking lot adjacent to the docks, where several cars are
just now arriving -- parents dropping off their high
school seniors, hugging them bon voyage.
CLOSER ANGLE PARKING LOT
as SEAN ROBERTSON walks toward the ship with pal MILES
WOLFE. Sean’s a tall, nice looking, somewhat serious guy;
Miles is shorter, athletic and more extroverted.
MILES
You’re telling me this boat has a pool
with a three meter board?
SEAN
It’s a ship and that’s right. Plus a
disco, gym, game room and a lot more.
MILES
I think I’m gonna blow off New York
and just stay on this thing.
MCCULLOCH
You’ll do no such thing, Mr. Wolfe...
Camera ADJUSTS to reveal McCulloch, holding his list,
checking off their names.
MCCULLOCH
Your itinerary has been carefully
planned and make no mistake, it will
be executed accordingly.
MILES
(under his breath)
Of course...wouldn’t want to risk
enjoying this trip.
McCulloch gives him a frown. Sean steps up to him
tentatively.
SEAN
Which cabin is Rennie in, Mr.
McCulloch?
MCCULLOCH
Rennie’s not coming.
He’s devastated.
SEAN
But I thought...
MCCULLOCH
She changed her mind.
(eyeing list)
Let’s see...Mr. Wolfe is in stateroom
one-eleven and you, Mr. Robertson, are
in two-twenty-five.
A booming VOICE from above interrupts them:
ADMIRAL ROBERTSON (O.S.)
Sean -- where the hell have you been?
We’re already into early departure
protocol...
ANOTHER ANGLE
Standing on the upper deck is a no-nonsense, uniformed
Navy man, ADMIRAL ROBERTSON. The captain of the ship. And
Sean’s father. Sean’s sadness about Rennie’s absence is
immediately replaced with anxiety.
SEAN
Be right up, Dad.
He and Miles head up the gangway, both boys giving
McCulloch one last glare.
INT. ’76 BMW 2002 - DAY
Behind the wheel is MISS COLLEEN VAN DEUSEN, thirties,
attractive, a progressive attitude. RENNIE WICKHAM sits
next to her -- she’s seventeen, pretty, slightly
withdrawn. Rennie’s dog TOBY, a border collie, rides in
the back seat.
MISS VAN DEUSEN
I’m glad you decided to come after
all.
RENNIE
Me too. But I’m not sure Uncle Charles
will be.
MISS VAN DEUSEN
You let me worry about him, okay?
(pause)
Personal experiences are what fuel the
minds of great writers, Rennie. You
made the right decision.
RENNIE
What about not-so-great writers?
Rennie smiles self-deprecatingly, Miss Van Deusen
grinning back. But Rennie’s smiles are few and far
between, this one disappearing as she glances out the
window.
RENNIE’S POINT OF VIEW (SECOND UNIT)
as the countless gallons of harbor and lake water spread
out before her, eery in the bog. A small ROWBOAT grazes
across it occupied by two indistinguishable people.
RETURN TO SHOT
Rennie’s eyes show a hidden terror. She quickly turns
away, shivering briefly. Miss Van Deusen notices. She
turns a corner, heading into the parking lot.
MISS VAN DEUSEN
Everything okay?
RENNIE
Just felt a little chill.
Rennie rubs her arms, faking coldness.
MISS VAN DEUSEN
Did you know that I’m giving up
teaching?
RENNIE
Really?
MISS VAN DEUSEN
Since the school is closing anyway,
I’m going to write that novel I’ve
been threatening on everybody.
RENNIE
That’s wonderful, Miss Van
Deusen...what’s it about?
She parks the car, turning off the ignition.
MISS VAN DEUSEN
A senior class cruise to Manhattan,
laced with romance, adventure and
murder.
(beat)
Or a Gothic cook book. I haven’t
decided which.
She’s coaxed the smile out of Rennie again. Miss Van
Deusen pulls a small wrapped box from her glove
compartment, handing it to Rennie, who seems utterly
surprised.
MISS VAN DEUSEN
Go on, open it.
Rennie pops off the lid, revealing an antique ink-dip
pen.
MISS VAN DEUSEN
Stephen King supposedly used it when
he was in high school.
RENNIE
I don’t know what to say...
MISS VAN DEUSEN
Rennie, you’re the best student I ever
had...you have a real gift. If anybody
can make use of that pen, it’s you.
Rennie hugs her teacher. Camera RISES above the car’s
window, finding a Mercedes 560 SL pulling in a short
distance away.
CLOSER ANGLE - MERCEDES
A sexy, money-dressed blonde is behind the wheel. TAMARA
MASON. She climbs from her leather seats as a trio of
SENIOR GIRLS walk by, offering enthusiastic hi’s and
hellos. She’s obviously Miss Popular. Tamara crosses to a
cute Japanese girl unloading luggage from a beige Honda,
EVA WATANABE.
. TAMARA
Are you ready for drugs, sex and rock
’n roll or what, girl?
Eva gives her a warning glance, nodding to her left.
Eva’s MOTHER appears by the passenger door, forcing a
smile at Tamara.
MRS. WATANABE
Hello, Tamara.
TAMARA
Hi, Mrs. Watanabe. Just kidding.
MRS. WATANABE
Yes, I’m sure.
Embarrassed, Eva hurries to her Mom, rushing a kiss
goodbye.
EVA
Don’t worry about a thing, Mom. I’ll
have a terrific time and I won’t do
anything stupid, okay?
Before Mrs. Watanabe can squeeze a word in, her daughter
is gone. She waves a bittersweet goodbye to her graduate.
MRS. WATANABE
I love you...
TRACKING WITH TAMARA AND EVA
Once they’re out of Mrs. Watanabe’s earshot --
TAMARA
I hear the crew members are cute guys
in their twenties.
EVA
Really?
TAMARA
I’m sure we’ll have no problem getting
them to party with us...especially
with this.
Tamara unzips her purse, revealing a baggie filled with
fine white powder. Eva looks very nervous.
TAMARA
It’s my graduation gift from Daddy. It
cost over a thousand bucks but it’s
the best.
EVA
He bought you that?
TAMARA
More or less. It’s part of my college
fund.
She grins coquettishly, walking on. Camera HOLDS on the
calm, foggy harbor...where the faint image of a HOUSEBOAT
is aimlessly drifting into port.
CLOSER ANGLE - HOUSEBOAT
Sure enough, it’s the same one we saw JASON on last
night...but no one is behind the helm. It seems to be a
ghost ship.
EXT. DOCKSIDE - DAY
as Tamara tries to slip past McCulloch, busy with another
pair of seniors.
MCCULLOCH
You can stop right there, Miss Mason.
He motions the others onward. Busted. Tamara instantly
hands Eva her drug-filled purse, paralyzing Eva.
MCCULL40CH
Only graduating seniors are allowed on
this cruise.
TAMARA
What are you talking about?
MCCULLOCB
You never turned in your final biology
project, so I’ve had your diploma
rescinded.
TAMARA
You can’t do that...
MCCULLOCH
It’s already been done.
(turning to Eva)
Congratulations on the 3.9 average,
Miss Watanabe. You’re in stateroom two-
fifty-five.
Eva smiles awkwardly, reaching for her luggage, stalling
to see what happens with Tamara.
TAMARA
Look, Mr. McCulloch, I got in a car
accident yesterday and missed our
appointment. It’s okay, no big deal,
just a bruised arm...
(squeezes her arm)
...so I brought my project along
today. It’s in my suitcase. Really.
He looks at her suitcase, not buying a word of this.
EVA
She’s telling the truth, Mr.
McCulloch. I saw her pack it.
He’s surprised to hear this...and so is Tamara.
MCCULLOCH
All right. But if it mysteriously
disappears en route, I’ll have you
sent back home the minute we dock.
Understood?
TAMARA
Perfectly.
She grabs her purse back from Eva, quickly moving on
before he changes his mind. Their voices become whispers.
TAMARA
A major prick.
EVA
What are you going to do?
TAMARA
Improvise, of course.
EXT. DOCK PILINGS - SAME TIME
as the HOUSEBOAT haphazardly bumps into barnacle-covered
dock pilings, still around fifty yards from the cruise
ship.
POINT OF VIEW OUT HOUSEBOAT WINDOW
The window is splattered with blood, but still clear
enough to make out Tamara and Eva walking up the gangway,
along with a half dozen other teenagers mingling on
board.
TIGHT ON HOUSEBOAT’S ANCHOR CABLE
--or rather the remnants of it. It’s a piece of frayed
woven metal charred by extreme electricity, severed just
above water level. Suddenly there’s blurry movement
behind it; camera RACK FOCUSES just in time to catch a
glimpse of JASON SLIPPING OFF THE SIDE, FLOATING TOWARDS
THE PILINGS.
EXT. DOCKSIDE - SAME TIME
as McCulloch impatiently checks his watch and list again.
Miss Van Deusen walks up to him.
MISS VAN DEUSEN
Hello, Charles. Has everyone checked
in?
MCCULLOCH
Jim Miller and Suzy Donaldson never
showed up. I’m a little concerned.
MISS VAN DEUSEN
Don’t be. They probably decided to
explore each other rather than New
York.
He gives her a disdainful look, starting up the ramp.
MCCULLOCH
Let’s go -- we’re running two minutes
late.
MISS VAN DEUSEN
Charles, there’s someone else coming
along too.
He stops, following her glance. His face tightens.
ANOTHER ANGLE
Rennie is walking toward them with a small suitcase, her
dog Toby striding next to her. She walks up to him,
starts to say something, then decides against it. Rennie
heads up the gangway. HOLD on McCulloch and Miss Van
Deusen. He’s livid.
MCCULLOCH
You have no right...
MISS VAN DEUSEN
And neither do you. It’s up to Rennie
to decide what she wants to do.
MCCULLOCH
She doesn’t know what she wants. She’s
never had a stable life.
MISS VAN DEUSEN
And she sure doesn’t have one now,
either. She needs to live.
MCCULLOCH
I’m her legal guardian, not you or
anybody else, and I alone know what’s
best for her. End of discussion.
MISS VAN DEUSEN
No, I think it’s just the beginning.
She walks past him.
EXT. RAMP/SHIP - ON RENNIE
as she reaches the top of the gangway, her heart
pounding. Rennie pauses, working up the courage to look
out at the lake again.
RENNIE’S POINT OF VIEW
The ROWBOAT she saw earlier is still there, even closer
now.
RENNIE’S PUPILS
contract, her blood pumping faster. Then she hears a
FAINT VOICE BELOW HER...
VOICE (O.S.)
Hhhhelp me...
Rennie looks straight down at the water beneath her and
sees:
AN EIGHT YEAR OLD BOY
floundering in the water. It takes us only a moment to
recognize him -- IT’S YOUNG JASON. He’s gasping, sucking
in huge amounts of liquid, exactly like he did in the
prologue.
YOUNG JASON
Hhhhelp me....I’m drowning...
RENNIE
leans back in terror, falling into Miss Van Deusen.
MISS VAN DEUSEN
What’s wrong, Rennie??
Rennie frantically points over the ramp edge, unable to
speak. Miss Van Deusen quickly looks and sees:
MISS VAN DEUSEN’S POINT OF VIEW
The water is calm. No Young Jason.
RETURN TO SHOT
as Rennie gets a hold of herself.
RENNIE
I just got a little dizzy. I’m fine.
She continues up the ramp. HOLD on Miss Van Deusen,
watching her go, somewhat troubled by it. RACK to
McCulloch below her, also watching. Extremely concerned.
RENNIE
continues along the starboard side, not risking another
glance overboard. She passes an older, very deranged DECK
HAND, mopping the deck. HOLD on him, his bloodshot eyes
following her like a crazed raven.
INT. BRIDGE - CLOSE ON HARPOON - DAY
Sharp and rusty, mounted on the wall amidst jagged
scaling knives, shark jaws and other artifacts. WIDEN to
reveal they are surrounding a navigational chart on the
cruise ship’s bridge. Admiral Robertson and his CHIEF
ENGINEER are preparing for departure, checking the OMEGA
satellite computer as well as the LORAN.
ADMIRAL ROBERTSON
(checking watch)
Let’s take in the brow.
CHIEF ENGINEER
Yes Sir.
(into intercom phone.)
Take in the gangway and single up all
lines.
SEAN and MILES enter the room; Sean gets a glance from
his Dad. Miles is very impressed with the bridge.
SEAN
Hello, Dad.
MILES
Hey, Admiral Robertson. Love your
ship.
ADMIRAL ROBERTSON
She’s a beauty, isn’t she? I should’ve
retired from the Navy ten years ago.
MILES
You’ve really been generous to give us
this cruise. I know I speak for
everybody on board.
Everybody...with the possible exception of Sean. He
avoids eye contact with his father.
ADMIRAL ROBERTSON
Hell, there’s just twenty or so of you
-- we only need a skeleton crew and
it’s a pleasure to sail her anyway.
(beat)
By the way, congratulations on winning
the intramural diving championships,
Miles. I’m sure you made your old man
proud.
Admiral Robertson gives his own son a glance; maybe Sean
should think about doing the same.
CHIEF ENGINEER
Have you decided on your departure
protocol, Admiral?
ADMIRAL ROBERTSON
Actually, I thought I’d leave the
honors to my son.
SEAN
Dad, I don’t think...
ADMIRAL ROBERTSON
(to Chief Engineer, ignoring
Sean)
Relinquishing command of the Princess
Ruby to Captain Sean Robertson.
Sean has no say in the matter. Miles can feel his
friend’s nervousness as well.
ADMIRAL ROBERTSON
But before you take the helm, take
this.
He tosses Sean a wrapped box. Sean opens it. Inside is a
navigational computer the size of a calculator, sitting
next to a rusty old sextant.
ADMIRAL ROBERTSON
Something old and something new. I
used the sextant when I was your age,
but now they have these goddamn
computers to do all the work for you.
CHIEF ENGINEER
(to Sean)
Have you decided on a plan of
departure, Captain?
Sean’s nervous. He eyes the Omega, quickly glancing at
the LORAN, briefly referring to the navigational chart.
SEAN
How about if we start up the forward
engines and come around. 180
degrees...
ADMIRAL ROBERTSON
Aren’t you forgetting something?
Sean looks flustered. Admiral Robertson storms to a
large button, pressing it three times, piercing the air
with three long blasts of the ship’s horn. It
underscores his frustration.
ADMIRAL ROBERTSON
We’re in foggy weather! Send out the
international maritime signal that a
vessel is backing down, followed by a
security broadcast warning other
ships!
He shoves the mike out at Sean, but he doesn’t grab it,
leaving the bridge, humiliated. There’s an awkward moment
for Miles, unable to find any appropriate words. He exits
as well. Admiral Robertson stares out the bridge window,
saddened and frustrated. It wasn’t supposed to go this
way.
EXT. DECK - ON SEAN
as he continues away, his retreat blocked by the DECK
HAND. The crazy old man pierces a dead serious stare at
Sean.
DECK HAND
This voyage is doomed.
SEAN
Yeah, tell me about it.
Sean sidesteps him, moving on.
EXT. HARBOR - DAY (CRANE SHOT)
Parents and relatives wave gleefully from the docks as
CAMERA RISES AND ROTATES to find eighteen or so teenagers
1ining the upper deck, happily waving back. The ship
begins to slice through serene water. The voyage has
begun.
CLOSER ON HULL
The water begins to ripple as the ship’s speed increases.
All seems normal...until JASON’S HANDS APPEAR, CLINGING
TO A LOOSE MOORING LINE DRAGGING IN THE WATER. He
slithers up the side towards the deck as dense fog
breezes past him.
EXT. DECK - DAY
as Sean continues along, hands in pockets. He turns a
corner and collides with RENNIE, walking her dog. His
eyes instantly brighten, as do hers.
SEAN
Rennie...
RENNIE
Hi, Sean.
SEAN
I heard you weren’t coming.
RENNIE
(glances at Toby)
We changed our minds.
Sean pats her dog. There’s an awkward pause...they are
obviously in the early stages-of a relationship.
Sean reaches into his coat pocket, bringing back a small
necklace-sized box.
SEAN
I got you a present.
RENNIE
But I didn’t get you one...
SEAN
Forget it. It’s a dumb little thing
anyway.
Rennie opens it up, exposing a petite silver necklace
with a Statue of Liberty pendant on it. She’s touched.
RENNIE
Sean...it’s beautiful.
Sean takes it from her, snapping it around her neck.
SEAN
I thought maybe we could hike to the
top of the Statue when we got there,
if you felt like it. It’s supposed to
be 22 stories tall.
RENNIE
I’d love to.
MCCULLOCH (O.S.)
Your father was looking for you, Mr.
Robertson.
McCulloch appears behind them. The mood has been broken.
SEAN
I guess I’ll see you later.
Sean leaves. McCulloch steps up to Rennie, pointing out
to the foggy sea. Her respiration increases as she
psyches herself up to look.
MCCULLOCH
There’s a storm predicted tonight.
Rennie looks at the ocean, forcing herself not to turn
away.
MCCULLOCH
You’re making a big mistake, Rennie.
It’s not too late to put you back on
land.
RENNIE
I’m staying.
MCCULLOCH
If Miss Van Deusen knew how afraid you
were of...
RENNIE
She didn’t push me into coming.
MCCULLOCH
Why are you doing this to yourself?
RENNIE
I don’t even know why I’m afraid,
Uncle Charles. I can’t even remember
when it started. Don’t you think it’s
time I found out and got over it?
He takes a measured pause.
MCCULLOCH
Facing your fear doesn’t always
conquer it.
RENNIE
I’m staying.
He’s not going to change her mind.
P.O.V. - RENNIE AND MCCULLOCH (B & W/VIEWFINDER MATTE)
through a porthole window...and through the viewfinder
of a video camcorder. McCulloch shakes his head, turning
away from Rennie and walking away. A sinister electric
guitar solo screeches out. PAN with McCulloch as he
passes the window, coming around 180 degrees into a CLOSE
UP of J.J. JARRETT, fingering a sleek Gibson "Flying V."
J.J.
(into camera)
Is this axe awesome or what?
INT. J.J.’S STATEROOM - DAY
as J.J., a female rocker in the vein of band "Vixen,"
continues to wail on her guitar. She’s wearing a black
leather corset, with wildly teased deep red hair. Holding
the camcorder is WAYNE WEBBER, MTV-acclimated, wearing
the latest hip prescription glasses.
WAYNE
Too cool, J.J. Your parents came
through.
She pops out the guitar cable from her practice amp.
J.J.
No lie. I hear there’s a big power
room down below where I can get
supreme concert hall echo. Come down
and shoot a basement tape on me, okay?
WAYNE
Sure...but I gotta shoot some
shockumentary footage first.
He avoids eye contact when he says it. She gives him a
look.
J.J.
Man, don’t tell me you’re still trying
to scam on Tamara...
His non-answer means yes. J.J. walks over to him,
grabbing his cheeks, shaking them like jello.
J.J.
How long have we known each other?
Don’t be a dweeb, Wayne. She’s not
interested in you, only what you can
do for her. She’s a user.
WAYNE
She’s sexy.
J.J.
So’s this guitar. So what?
WAYNE
I’ll catch you later.
He exits. She mumbles something under her breath, coiling
up her amp cord.
INT. CORRIDOR - TRACKING WITH WAYNE
as he walks onward. DROP DOWN to find his FEET as he
passes a DARK ALCOVE...which happens to have SLIMY
FOOTPRINTS AND SEAWEED leading into it. Camera FOLLOWS
the footprints, RISING again and with dim recognition,
our eyes fall on JASON. Lurking in the shadows. But not
for long.
INT. POWER ROOM - DAY
Massive, very dark, backlit steam seeping from a maze of
pipes overhead. No windows. A wall of circuit breakers
and voltage meters decorate one wall, quietly humming
generators on the opposite side. J.J. appears with her
guitar, amp and ghetto blaster, appreciative of the
surroundings.
J.J.
This place is aching for a video.
Wayne, you’re an asshole.
She finds an outlet and plugs in her equipment.
JASON’S POINT OF VIEW
We’re peering at J.J. predatorially through the steam,
moving through it, behind the generators.
J.J.
pops a cassette into her blaster, jamming the "play"
button. A loud rock ’n roll rhythm track blasts out.
JASON’S POINT OF VIEW
moving around the generators, eyeing her sleek leather
pants as she bends over to plug in her axe.
TIGHT ON ELECTRIC GUITAR
as J.J. snaps the male end of the plug into the female.
receptacle.
JASON’S FACE
appears for an instant through the vapor, then vanishes.
J.J.
screams out the opening licks of her solo in sync with
her playback. The generators are causing a breeze which
makes her hair dance, steam flowing between her legs.
She’s lost in her music, building to a crescendo, bending
the high "E" string above the upper octave fret. She
opens her eyes with the pleasure of it and sees:
JASON
emerging from a cloud of vapor like her worst nightmare.
EXT. UPPER DECK - SAME TIME
as J.J.’s SCREAM echoes from an exhaust duct. WHIP PAN to
find the crazed DECK HAND standing just below it,
reacting with dread. He’s the only one who has heard it.
INT. POWER ROOM - SAME TIME
as Jason tears the guitar off her body, raising it in the
air like a hatchet. The horrified girl flees down a
narrow maze of steel steps, forced back against a
generator with nowhere to go. PUSH IN on her face for one
last look at her before:
JASON
swings the guitar downward and buries it in J.J.’s skull.
EXT. UPPER DECK - SAME TIME
as the Deck Hand flinches upon the thick, dull sound of
her demise, followed by discordant feedback from her
guitar...and eventual silence. He reaches into his breast
pocket, his hand shaking badly as he sips from a flask of
Early Times.
EXT. OCEAN - NIGHT (EFX)
as LIGHTNING FLASHES over a gray, choppy sea. A storm is
imminent. The Princess Ruby finally appears, cutting
through whitecaps, no land in sight.
CLOSE UP - INK DIP PEN
as Rennie’s hand carefully dips it in India ink, moving
to a blank page in her journal. She hesitates for several
beats.
INT. RENNIE’S STATEROOM - NIGHT
No inspiration. She puts down the pen, looking at her
dog, who’s curled up on the bed.
RENNIE
What do you think...time for some
personal experiences to fuel our
minds?
The dog’s eyes blink, but no more than that.
RENNIE
I agree.
Rennie moves to her closet, finding a silk blouse and
some black satin pants.
EXT. OUTSIDE DECK - SAME TIME
Wind is picking up, sweeping thick mist past a row of
decorative flags. One of them flaps back...AND EXPOSES
JASON.
THROUGH JASON’S EYES (FLYING WALL EFX)
as the flag whips our faces. We MOVE through it, down the
empty passageway, coming to a porthole window. Rennie’s
window. We peer through it with unnerving intensity at
the backside of Rennie as she pulls off her T-shirt,
slipping on the blouse. Camera continues through the
tiny round window, floating across the room, over Toby
and the bed...until we’re INCHES FROM THE BACK OF
RENNIE’S HEAD. She suddenly spins around in fright,
facing us point-blank, and:
REVERSE ANGLE
Nobody is there, her porthole window empty. But there’s
something surreal about the window...
TIGHT ON PORTHOLE WINDOW (EFX)
Empty grayness...then EIGHT YEAR OLD JASON FLOATS UP FROM
BELOW, BUBBLES ESCAPING FROM HIS LIPS. The porthole has
become a window into the depths of Crystal Lake.
RENNIE
feels her throat catch with terror and an instant later:
DOG TOBY
begins to bark vociferously, rushing to her cabin door,
scratching to get out.
RENNIE’S EYES
are distracted to Toby for a second; when she looks back
at the porthole, she sees:
AN EMPTY WINDOW
No water, no drowning boy.
RENNIE
snaps out of it, moving to the door, where her dog is
frantically clawing with his fur up.
RENNIE
Okay Toby, calm down...
She’s talking to herself as much as the dog. Rennie
closes the curtains on her window, then steps to her
door. She swings the door open for Toby...and exposes
an empty hall. Toby scrapes his way out of the room,
dashing off down the hall, snarling.
INT. SHIP CORRIDOR - NIGHT
as Toby runs straight toward us. PAN with him as he
rushes around a corner, leading us into a view of TAMARA
and EVA, disappearing down a staircase.
INT. MENS GYM - DAY
A strong seventeen year-old black kid, JULIUS GAW, is
going a few rounds with another senior boy who’s clearly
losing the boxing match. Julius dances around him on the
mat like he’s Mike Tyson, several other boys cheering
them on.
REVERSE ANGLE - LOCKER ROOM WINDOW
as Tamara and Eva step into view. Eva glances around,
feeling out of place in the men’s locker room.
EVA
I’m not sure we’re supposed to be
here, Tamara.
A couple of skinny boys wearing only towels walk by. But
Tamara doesn’t notice them, her face pressed up against
the glass, watching Julius.
TAMARA
Is that a muscular bod or what?
Tamara puts on a sexy smile. The other boxer sees her
instead, instantly distracted. Julius lays him out with a
left-right-left combination. The onlookers applaud.
Julius pulls out his mouthpiece, giving Tamara a wicked
smile.
TAMARA
He’s undefeated, you know that?
(beat)
Julius is the only senior I’d even
consider doing it with. If he wasn’t
black, that is.
EVA
(awkward)
My parents are open minded about that
sort of thing.
TAMARA
My stepmom couldn’t care less, but
Daddy would have a shit fit.
(lets it slip out)
He might even pay some attention to
me.
Tamara quickly puts up her veneer again, spotting
something.
TAMARA
Gorgeous guy at ten o’clock. Look
sensual.
Both girls slip into instant sultry as a CREW MEMBER in
his mid-twenties passes them, wearing a tool belt. Very
masculine. He gives the girls a pleasant smile. Tamara
turns around to check out his back side.
TAMARA
I think it’s time for some
recreational activity, girl.
EVA
Sounds good. I hear there’s a
shuffleboard court on deck -- it might
be kinds cool...
TAMARA
You’re joking, right?
She wasn’t, but Eva tries to act like she was. Tamara
walks on, Eva following.
INT. STATEROOM HALLWAY - NIGHT
as McCulloch steps from Rennie’s room, looking very
worried. Wayne Webber passes by, his eye stuck in his
viewfinder. McCulloch yanks the camcorder away from his
face.
MCCULLOCH
Have you seen my niece anywhere?
WAYNE
Yeah, motivating downstairs, I think.
What’s the problem, Mr. McCulloch?
MCCULLOCH
Senior predictions started five
minutes ago and she hasn’t shown up.
WAYNE
Some of us don’t want our futures
predicted.
MCCULLOCH
In your case I’m sure that’s true.
He brushes past Wayne angrily.
INT. SERVICE AREA - NIGHT
as Tamara drags Eva into a secluded service area, pulling
out her mirror, straw and baggie.
TAMARA
The night time is the right time.
Tamara hands the straw to Eva.
EVA
(nervous)
No thanks.
TAMARA
What? Don’t be a lightweight...this is
top dollar toot.
EVA
It’s not that, it’s just that...
(beat)
It I get caught, I’ll lose my science
scholarship and everything.
TAMARA
You’re talking to the prom queen,
Eva. Do you really think I’m going to
risk getting caught?
EVA
(a pause)
I guess not.
TAMARA
Do you realize how many people would
kill to be sitting here right now?
Come on, it’s grad night. You’ve got
your whole life to be uptight.
Eva takes the straw.
STALKING POINT OF VIEW
as we move down the corridor, in and out of shadows,
hearing giggles from Tamara and Eva up ahead. Jason’s
coming...
ANGLE - TAMARA AND EVA
as Eva takes a nosefull, sneezing badly.
TAMARA
Is that unbelievable or what?
Tamara giggles, getting ready to tap out another line.
But the snickering stops upon the sound of APPROACHING
FOOTSTEPS. They both look up, every muscle tensing with
fear as:
RENNIE
appears from the shadows, just as startled to see them.
It’s not Jason at all. Rennie can’t help noticing the
cocaine, trying hard to ignore it.
TAMARA
Jesus, you scared the hell out of us.
RENNIE
Have you seen my dog? I think he came
this way.
TAMARA
No, we haven’t.
(awkwardly)
Care for a hit?
RENNIE
No thanks.
Rennie continues on. After she’s gone...
TAMARA
A real space cadet. I wonder if she’ll
narc on us...
EVA
I have her in Creative Writing and
she’s fairly nice.
TAMARA
Nobody related to McCulloch can be
nice.
Tamara puts the straw to her nose.
ANGLE - RENNIE
as she presses on, the corridor getting darker.
RENNIE
Toby?
No reply. She walks on, turning down the left hallway...
but camera turns down the right hallway. Suddenly JASON
REVEALS HIMSELF, quietly stepping from the GAME ROOM.
He’s holding a pool cue, which he proceeds to snap in
half, providing a splintery sharp shaft.
INT. SERVICE AREA - SAME TIME
as Tamara finishes off her line, wiping her nose with a
sniffle.
TAMARA
Oh yeah. Ready to party and then some.
She rolls up her baggie, stuffing it into her purse.
STALKING POINT OF VIEW
as we come down a corridor, turning into the Service
Area, stomping right up to Tamara and Eva. They both
GASP; Tamara drops her mirror, which SHATTERS on the
ground.
REVERSE ANGLE
They are facing McCulloch.
MCCULLOCH
What are you doing in here?
TAMARA
Nothing.
He eyes the broken mirror. He wasn’t born yesterday.
MCCULLOCH
Are you girls using drugs?
EVA
Do you think I would use drugs, Mr.
McCulloch? We were just exploring the
ship.
He doesn’t want to believe Eva is a druggie. But Tamara
is a different matter. He levels his eyes on her.
MCCULLOCH
I’11 be coming around your stateroom
in exactly fifteen minutes, Miss
Mason. You’d better have your biology
project ready or I’m phoning your
parents.
TAMARA
They’re out of town.
MCCULLOCH
Then I’ll make sure you remain on
board while your classmates see the
sights.
He’s gotten to her with that one. McCulloch storms away.
EVA
What are you going to do?
TAMARA
Relax, I’ve got McCulloch covered...
but that little narcing bitch niece of
his is a different matter.
(calculating)
Rumor has it she’s a teensy bit afraid
of the water...
SPLASH!
as a body pierces the surface of the deck swimming pool.
It’s MILES, having just completed a dive from the high
board. Miss Van Deusen and several others stand at
poolside, giving him some applause.
MISS VAN DEUSEN
Poetry in motion, Miles.
MILES
A half-twist short. I’ll hone that
dive yet.
He swims to the side, leading us to a view of Rennie.
She’s very cautious about getting too close to the pool
edge as she approaches Miss Van Deusen.
MISS VAN DEUSEN
Rennie -- I was just on my way over to
your room
RENNIE
Have you seen my dog anywhere?
MISS VAN DEUSEN
No, but I’m sure Toby’s fine. The
ship’s only so big and there’s
certainly no way off it, is there?
She smiles reassuringly, but her words are less than
comforting.
INT. SHIP CORRIDOR - TRACKING WITH TOBY - SAME TIME
as the canine continues to sniff out Jason through the
maze of corridors. TRACK with the dog as he slows his
pace, knowing he’s getting close to something.
TOBY’S POINT OF VIEW (STEADICAM)
Low to the ground, creeping past a steam vent which
obscures his vision, then turning down a metal staircase,
weaving into another passageway. Then with absolutely no
warning, A BODY FALLS FROM ABOVE, THUDDING DIRECTLY IN
FRONT OF US.
TOBY
rears back with teeth bared, but:
THE BODY
is quite dead: Toby is snarling at the corpse of the
TEENAGE BOXER who lost his bout against Julius. He’s
still in his boxing shorts...BUT JASON’S SPLINTERY POOL
CUE HAS BEEN STABBED THROUGH HIS CHEST.
EXT. DECK POOL - ON RENNIE AND MISS VAN DEUSEN
as they walk along the edge of the pool.
MISS VAN DEUSEN
So, are you having fun yet?
RENNIE
(lying)
Yeah...a lot.
MISS VAN DEUSEN
I seem to detect a hint of
ingenuousness in your tone.
(beat)
In other words, level with me.
RENNIE
(a pause)
There’s something I haven’t told
you...
...But before she can begin the next sentence, Rennie is
shoved from behind.
WATER ANGLE
as she SPLASHES INTO THE POOL’S DEEP END.
MISS VAN DEUSEN
spins around, seeing Tamara standing there with Eva.
TAMARA
Wow, sorry...
RENNIE
flounders at the surface, nobody realizing the terror
she’s experiencing. She’s too scared to even cry for
help.
MISS VAN DEUSEN
isn’t looking at Rennie, her attention on admonishing
Tamara.
MISS VAN DEUSEN
Why on earth would you do something
like that?
TAMARA
It was an accident, I swear...
Eva avoids eye contact, feeling awful. Sean comes walking
up, seeing Rennie.
SEAN
What happened?
(to Rennie)
Rennie, are you okay?
RENNIE’S POINT OF VIEW
She’s can’t even hear Sean, her vision being splashed by
the chlorinated water. She sinks under the surface,
turning around...AND COMING FACE TO FACE WITH YOUNG
JASON. The eight year-old corpse GRABS HER ANKLE AND
TRIES TO DRAG HER DOWN.
SEAN’S POINT OF VIEW
as Rennie sinks under the surface, all alone, thrashing
in terror.
SEAN
realizes she’s in trouble. He immediately dives in after
her, pulling her to the pool’s edge, where Miss Van
Deusen helps to lift her out.
TAMARA AND EVA
quickly move on.
TAMARA
That was truly excellent.
EVA
(feels like shit)
Yeah.
TAMARA
Time to check out the waiters.
EVA
I think I’ll pass. See you later,
okay?
TAMARA
But...wait a minute!
Eva walks away. Tamara acts angry, but deep down she’s
hurt.
TAMARA
Some friend you are.
EXT. POOL SIDE - SAME TIME
as Sean climbs from the pool to join Miss Van Deusen, who
is trying to comfort Rennie.
MISS VAN DEUSEN
(to Sean)
Bring her a towel, okay?
Sean nods, hurrying off as others start to crowd around.
Miss Van Deusen looks up at them.
MISS VAN DEUSEN
She’s fine -- everybody go back to
what you were doing.
They disperse. Rennie slowly starts to cry, holding tight
to her teacher.
MISS VAN DEUSEN
Care to talk about it?
After a moment to compose herself...
RENNIE
I can’t swim.
MISS VAN DEUSEN
I gathered that.
Rennie says nothing else. Miss Van Deusen knows she’s
holding out.
MISS VAN DEUSEN
I had a skiing accident in high
school, broke my left leg. It took
three winters before I would even look
at the snow again...but the solution
kept eluding me.
(beat)
I finally took lessons. I’ve never
broken a bone since.
RENNIE
It’s not that simple.
MISS VAN DEUSEN
Maybe not. But you’re not telling me
everything, are you?
RENNIE
(long pause)
Whenever I get near the water, I see
this young boy drowning. He tries to
pull me down with him.
The teacher didn’t expect this, taking a thoughtful
pause.
MISS VAN DEUSEN
When did this start?
RENNIE
About four years ago...at Crystal
Lake. I spent a few summers there with
Uncle Charles inbetween boarding
school.
MISS VAN DEUSEN
After your parents passed away?
Rennie nods somberly.
MISS VAN DEUSEN
Did you have an accident in the lake?
RENNIE
No. It was just a normal summer. I’ve
never been able to figure it out.
MISS VAN DEUSEN
Only one young boy ever drowned in
that lake, and that was before you
were even born. His name was Jason
Voorhees.
The name has triggered some deep memory...but the
recollection vanishes upon the sound of her uncle’s
voice.
MCCULLOCH (O.S.)
Dear God...
ANOTHER ANGLE
as McCulloch rushes over to Rennie, seeing that she’s
soaked. He’s livid.
MISS VAN DEUSEN
She’s fine, Charles. Take it easy...
MCCULLOCH
Oh, I can see that. You’ve done a
wonderful job of supervising the kids,
Miss Van Deusen.
RENNIE
It wasn’t her fault.
He gets Rennie to her feet just as Sean runs back with a
towel. McCulloch grabs it from him, wrapping it around
his niece, facing both Miss Van Deusen and Sean.
MCCULLOCH
Stay away from her...both of you.
He starts to lead her away. The crazy DECK HAND blocks
their path, slipping his flask away.
DECK HAND
He’s come back and you’re all going to
die.
Rennie gazes at the Deck Hand, then back at McCulloch.
RENNIE
Just...leave me alone...
She pulls away from him, hurrying off, confused and
frightened. McCulloch’s retinas pierce the Deck Hand with
scorn. He checks his watch, then storms off.
INT. TAMARA’S STATEROOM - NIGHT
as a loud, firm KNOCK punctuates the silence. Then comes
a sultry voice...
TAMARA (O.S.)
The door’s open.
McCulloch swings it open.
MCCULLOCH
I’m in no mood for any more stall
tactics, Miss Mason. Where is your
final project?
REVERSE ANGLE
as Tamara fills a pair of champagne glasses with a bottle
of Dom Perignon. She’s wearing a full body robe.
TAMARA
Wouldn’t you like a glass of champagne
first, Charles?
He’s about to lose his temper. McCulloch steps closer.
MCCULLOCH
Where did you get that alcohol?
TAMARA
I packed it. Just for us.
EXT. DECK CORRIDOR - STALKING POINT OF VIEW
as we approach Tamara’s porthole window, peering through
it. We can’t hear the words but we can clearly see the
people.
INT. TAMARA’S STATEROOM - CONTINUOUS
as McCulloch takes the bottle from her, setting it down
on her nightstand.
MCCULLOCH
That’s it. You’re not setting foot off
this ship until we return home.
TAMARA
But I haven’t even shown you my
biology project...
Tamara unties her robe. PAN DOWN to the floor with it as
it softly piles at her bare feet.
ANGLE - PORTHOLE WINDOW
as the SHADOW OUTSIDE quickly blurs past the window.
RETURN TO SCENE
McCulloch is flabbergasted, too stunned to fully react.
Tamara is wearing a layered teddy, which she’s beginning
to unsnap, exposing her lithe body...but that’s not all.
Tamara has drawn all her major organs on her bare skin.
TAMARA
Take a closer look, Charles. I want to
make sure I labeled all my organs
correctly.
EXT. TAMARA’S STATEROOM - STALKING POINT OF VIEW
as we approach her door, still cracked open from
McCulloch’s entrance. We get there just in time to see
Tamara slip her arms around McCulloch, planting her lips
on his, pressing her nubile flesh up against his stiffly
starched shirt.
INT. TAMARA’S STATEROOM - CONTINUOUS
as she holds him tight. He finally breaks away in a fit
of anger.
MCCULLOCH
Oh, you’ve done it now. Not only are
you going home, I’ll see to it that
you spend next year back in a high
school classroom!
He storms for the door, swinging it open, coming face to
face with:
WAYNE
who casually lowers his camcorder.
TAMARA
I don’t think so, Mr. McCulloch.
(to Wayne)
Did you get anything good?
His eyes are unable to leave her nakedness.
WAYNE
Oh yeah.
She quickly slips on her robe again, all business.
McCulloch realizes what has just transpired.
MCCULLOCH
You’ll never get away with it.
(eyeing Wayne)
And you can forget about ever
attending any film school.
(serious beat)
You’re both going to be very, very
sorry.
He storms off. Wayne looks very, very nervous. Tamara
steps over to him, cuddling up.
TAMARA
Relax, Wayne. He won’t risk doing a
thing.
(beat)
Can I have the tape?
He pops the eject button, absently handing it over. Wayne
steps into her room, nervous and excited to be there. He
lifts the glass of champagne she poured for McCulloch.
WAYNE
This is going to sound supremely
lame...but I’ve had the major hots for
you since our sophomore year, Tamara.
He gulps down the fizz. She forces a smile, stashing the
incriminating videotape.
TAMARA
That’s sweet, Wayne. Look, I’d love to
chat but I’m really pressed for time.
(ushering him to door)
Let’s try to get together later, okey-
doke?
WAYNE
But I thought...
TAMARA
Thanks for the camerawork.
And out he goes, the door shut in his face. Wayne stands
outside her room, realizing he’s a major chump.
WAYNE
Wayne, you’re an asshole.
He despondently exits.
INT. TAMARA’S STATEROOM - SAME TIME (STEADICAM)
as Tamara heads for the bathroom, slipping off her robe.
She moves to the shower curtain and we’re right behind
her. Her hand reaches up, grabbing the curtain, yanking
it back...
Nothing is there.
INT. LADIES RESTROOM - SAME TIME - NIGHT (EFX)
as Rennie enters, her eyes reddened. She moves to the
sink, looking at herself in the mirror. So much for the
silk blouse and satin pants, not to mention her soaked
hair. Rennie runs some warm water, rinsing her face.
When she starts to fill her hands a second time, BLOOD
POURS OUT THE FAUCET INSTEAD OF WATER. Rennie gasps,
jerking up and seeing YOUNG JASON REFLECTED ON THE OTHER
SIDE OF THE MIRROR, SPLASHING IN WATER.
RENNIE
It’s not real, it’s not real...
INT. TAMARA’S SHOWER - SAME TIME
as water from the shower head SPLASHES CAMERA for a beat
before Tamara turns it off.
ANOTHER ANGLE
as Tamara reaches for her robe, slipping it on. Her body
paint has been washed off.
She steps from the shower, glancing in her vanity mirror
AND SEEING THE REAL JASON REFLECTED IN IT. Tamara spins
around, looking face to face with JASON IN HER BATHROOM.
Just as she SCREAMS:
INT. LADIES RESTROOM - SAME TIME (EFX)
Young Jason reaches out to grab Rennie, HIS FIST CRASHING
THROUGH THE MIRROR. Right when Rennie SCREAMS:
INT. TAMARA’S BATHROOM - SAME TIME
The real Jason SHATTERS TAMARA’S VANITY MIRROR WITH HIS
FIST. He grabs a sharp chunk of it, advancing on a
whimpering Tamara.
TAMARA
Please...please don’t...
Jason raises the shard above her and just as she
SHRIEKS...
CLOSE UP - STEAM WHISTLE OF SHIP
as it blasts loudly in the bleak stormy night. It begins
to rain.
EXT. LADIES RESTROOM - NIGHT
as Rennie comes rushing out, right into the arms of.
Sean. She clings to him, sobbing as the rain falls over
them.
SEAN
It’s okay...you’re going to be okay.
RENNIE
I want to go home. I want off this
ship.
After a moment...
SEAN
Me too.
(beat)
Let’s go talk to my Dad.
He puts his arm around her, leading her toward the
bridge.
INT. BRIDGE - NIGHT
as wind and rain pummel the bridge window.. Admiral
Robertson turns to his Chief Engineer.
ADMIRAL ROBERTSON
Let’s kick in the stablilizers, Mr.
Carlson, and get the seas off the
quarter. These kids are in for one
hell of a storm.
CHIEF ENGINEER
Yes Sir. Activating comfort cruise
mode.
The Chief Engineer moves to a bank of toggle switches,
flipping a row of them.
TIGHT ON NAVIGATIONAL CHART WALL - SAME TIME
as a bloodstained HAND silently removes the rusty
harpoon hanging above the map.
ADMIRAL ROBERTSON
gets a reflective look in his weary eyes.
ADMIRAL-ROBERTSON
How olds your boy now, Carlson?
CHIEF ENGINEER
Nineteen months.
ADMIRAL ROBERTSON
A tremendous age. Take some advice
from a salty old man: don’t push him
too hard.
The Chief Engineer nods with a sympathetic smile as the
Admiral steps off the bridge, onto the stormy deck,
contemplating the sea. The Chief Engineer moves to the
radio/intercom console. He lifts a telephone, punching in
a three digit number. PUSH IN TIGHT ON HIS FACE.
CHIEF ENGINEER
This is the bridge. Approaching
weather suggests we secure the main
deck and...
His sentence is sharply cut off, his head jerking from
excruciating, instant pain.
His mouth contorts with words no one will ever hear as he
stares into the face of:
JASON
holding the opposite end of the harpoon. He shoves it
forward with one more staccato jerk and:
CLOSE UP - CHIEF ENGINEER’S BACK
-- The harpoon’s bloody, corroded tip pierces through
his once-white uniform.
ADMIRAL ROBERTSON
returns to the bridge as LIGHTNING flashes outside.
ADMIRAL ROBERTSON
Better have them doublecheck the
lifeboat stations as well...
Admiral Robertson stops cold upon the sight of Mr.
Carlson. He hurries over to him, kneeling down, freezing
as a pair of MUDDY FEET ENTER FRAME. Admiral Robertson
bends his neck upwards to face:
JASON
hovering over him, now clutching one of the scaling
knives.
INT. BRIDGE CORRIDOR - NIGHT
as Sean and Rennie walk up the corridor leading to the
bridge.
RENNIE
Can he really take us home?
SEAN
Not completing a voyage is against
everything he stands for. But I think
I can convince him to call a Coast
Guard cutter for you.
RENNIE
What about you?
SEAN
If I go with you, he’ll never
speak to me again.
(beat)
But I’m never going to live up to his
expectations anyway...so maybe it’s
the right thing to do.
He’s made a big decision. Sean takes her hand as they
walk on.
THEIR POINT OF VIEW
moving closer and closer to the bridge door, having not
the slightest inclination of what’s in store for them.
SEAN
knocks on the bridge door. No answer. He’s confused. He
pushes the door open but something is blocking it. Sean
puts his weight into it, shoving hard.
INT. BRIDGE
as the door slides open, Sean stepping inside. His eyes
roil downwards upon seeing THE DEAD CHIEF ENGINEER, THE
HARPOON PROTRUDING FROM HIS BLOODY CHEST.
SEAN
Oh Jesus...Dad??
Sean looks over at the helm...where his father is still
sitting in the swivel chair, his back to them. Silent.
Sean sidesteps the Chief Engineer’s corpse, moving toward
his father as Rennie remains frozen in shock.
SEAN’S POINT OF VIEW
Slowly walking toward Admiral Robertson...at least he
thinks it’s his dad because he’s unable to see his
face. Is it Jason now wearing the uniform?? When he’s
about two feet away from him...
SEAN
reaches out and swivels the chair around. It is his
father BUT HIS THROAT HAS BEEN SLIT. Sean staggers
backwards, uncomprehending, his senses overloaded. We
MOVE with him until he’s backed into Rennie, clutching
onto him tightly.
SEAN
He’s...he’s dead...
INT. CORRIDOR OUTSIDE RENNIE’S STATEROOM - SAME TIME
as Miss Van Deusen steps up to Rennie’s door, gently
knocking.
MISS VAN DEUSEN
Ronnie? I just came by to see how you
were feeling...
No answer. She knocks harder...and it creaks open,
unlocked.
MISS VAN DEUSEN
Rennie...?
Suddenly the door is jerked from her grasp and swung
open. MCCULLOCH is standing on the other side of it.
MCCULLOCH
I thought I told you to stay away from
her.
MISS VAN DEUSEN
(holds her ground)
Where is she?
MCCULLOCB
(accusing)
That’s a very good question and I’d
appreciate an answer.
A LOUD BUZZER blares out of an intercom speaker next to
their heads, causing the teachers to both jump. Sean’s
unsteady voice immediately follows.
SEAN (V.O.)
Attention everybody, attention. This
is Sean Robertson...
EXT. SWIMMING POOL - SAME TIME
Miles is toweling off under the shelter of a gazebo as
Sean’s voice blares out of a rain-pounded megaphone
speaker nearby.
SEAN (V.O.)
There’s been...
(swallows)
What I mean is, this is an
emergency...
Miles knows he can’t be joking around. Wayne comes
walking by, covering his camcorder with his jacket.
WAYNE
Miles -- have you seen J.J.? She was
supposed to be jamming down in the
power room but...
Miles gestures for him to be quiet, listening very
worriedly.
SEAN (V.O.)
Repeat, this is an emergency...
INT. GYM LOCKERS - SAME TIME
as JULIUS and two other senior boys finish dressing after
a shower, hearing Sean’s words reverberate around them.
SEAN (V.O.)
I want everybody to meet on the
bridge...
JULIUS
What the fuck is this?
The others shrug, concerned.
EXT. SHUFFLEBOARD COURT - SAME TIME
The wooden shuffleboard disks are drowning in
precipitation. Eva stands alone in the rain, staring at
the court as Sean’s voice continues.
SEAN (V.O.)
Stay calm, but get here as quick as
possible. Walk with a friend if you
can...
Eva wipes the rain from her face, then walks away.
INT. BRIDGE - ON SEAN
trying his best to keep it together. He glances at his
dead father, still unable to believe it.
SEAN (V.O.)
God, I wish this was a joke, but it’s
not.
Sean slowly puts down the phone. He’s lost in a daze.
Suddenly the SHIP LURCHES, a huge swell SPLASHING THE
BRIDGE WINDOW. Admiral Robertson’s body falls from the
swivel chair.
RENNIE
What is happening???
Sean regains his balance, moving to the computer console,
looking at the OMEGA and LORAN like he’s never seen them
before.
SEAN
I don’t know...we’ve gone off course
or something...
RENNIE
What do you mean???
Another wave hammers the bow. She’s in a state of awful
panic.
SEAN
I don’t know what I mean! All’s I know
is that there’s no one guiding this
ship anymore...
Sean is starting to lose it. The fear of the ocean
guiding her, Rennie rushes to him, gripping and shaking
him.
RENNIE
Can’t you call for help??
Sean tries to get a grip and assess the situation, pacing
frenetically.
SEAN
I think so. But we have to lower the
anchors so we don’t drift any
further...
RENNIE
Where are they?
SEAN
The bow...front of the ship. There’s a
hoist on each side that lowers them
She starts to exit.
SEAN
I didn’t mean for you to go!
RENNIE
Just radio for help, okay???
She hurries out the door, working on terror-induced
adrenaline. Sean rushes to the radio console, depressing
the keying button, speaking into the mike.
SEAN
Mayday, mayday, mayday...
ANOTHER ANGLE
as JULIUS arrives with the others from the locker room.
They react to the dead bodies while Sean continues at the
radio.
SEAN
Please...can anybody out there hear
me??
No response. WAYNE and MILES rush in.
MILES
Sean, what’s going on?
Then he sees the corpses. He needs no further answer.
WAYNE
Jesus Christ...
He’s too scared to even videotape it. Sean is bombarded
with questions as he tries to figure out the radio.
JULIUS
Who did this, man?
WAYNE
Is the radio even working??
MILES
Isn’t there some international S.O.S.
thing you can do???
SEAN
(suddenly remembers)
Channel 16...the distress frequency...
(dialing knob)
Mayday, mayday, mayday...this is the
Princess Ruby. Please, somebody
answer...
EXT. OCEAN - NIGHT (STOCK)
as a COAST GUARD CUTTER tracks through stormy seas.
RADIO OFFICER (V.O.)
This is Coast Guard cutter Dallas.
What is the nature of your problem,
Ruby?
INT. BRIDGE - ON SEAN AND OTHERS
as they hear the voice, reacting, relieved and thrilled.
SEAN
The Captain and Chief Engineer...
they’ve been...they’re dead.
RADIO OFFICER (FILTERED V.O.)
(a grave-pause)
What is your location?
SEAN
I...I don’t know...
RADIO OFFICER (FILTERED V.O.)
Is your ship equipped with Omega
satellite navigation or LORAN?
SEAN
Yes...
RADIO OFFICER (FILTERED V.O.)
The LORAN has a digital printout of
your latitude and longitude. Give me
the coordinates and we’ll be there as
quick as we can.
Sean hurries to the LORAN, reading the numbers.
EXT. DECK - RADIO ANTENNA - SAME TIME (EFX)
as LIGHTNING STRIKES above it in the night sky. Camera
slowly ADJUSTS to find the RADIO ANTENNA CABLE. A second
later, JASON’S HAND REACHES FOR IT, GETTING A FIRM GRASP.
INT. BRIDGE - SAME TIME
as Sean hurries back to the radio, pressing it against
his spitless mouth.
SEAN
I’ve got the numbers.
RADIO OFFICER (FILTERED V.O.)
Give me the degrees first, followed by
minutes and sec...
Suddenly his voice is CUT OFF, followed by STATIC.
SEAN
Hello? Are you there??
No response. A lump sinks into everyone’s throat.
EXT. DECK - RADIO ANTENNA
as Jason drops the cable he’s just torn out, marching
onward.
EXT. BRIDGE - NIGHT
as McCulloch bursts onto the bridge, followed by Miss Van
Deusen.
MCCULLOCH
I demand to know what is going on...
MISS VAN DEUSEN
Oh dear God...
She’s seen the bodies. McCulloch follows her glance,
paling. He quickly takes charge, pushing through the
students.
MCCULLOCH
Where’s the radio?
SEAN
It’s...dead.
DECK HAND (O.S.)
You’re all going to die.
All heads spin as the deranged DECK HAND treads out from
a shadowy corridor.
DECK HAND
You’re the last ones. He’s come back
for you.
MCCULLOCH
What are you talking about?
The Deck Hand takes a final swig from his flask, dropping
it with unsteady hands.
DECK HAND
Jason Voorhees.
There is a collective, disconcerting silence triggered by
the infamous name.
MCCULLOCH
You’re insane, old man. Jason Voorhees
has been dead for over thirty years.
DECK HAND
He walks this ship, here and now.
MCCULLOCH
A killer walks this ship indeed. And
it’s certainly none of us...
The crazed old man gets his drift. Everyone looks at him
suspiciously. McCulloch grabs a SCALING KNIFE off the
wall, taking a step towards him.
DECK HAND
You’re the one who’s insane!!
The raving man flees back the way he came. McCulloch
raises the flare gun; Miss Van Deusen grabs McCulloch’s
arm, stopping him.
MISS VAN DEUSEN
What are you doing??
MCCULLOCH
That lunatic has been spouting off
about Jason since we boarded...
(eyeing bodies)
It’s no coincidence.
MISS VAN DEUSEN
But that doesn’t prove that he’s the
one!
MCCULLOCH
Walking corpses are not real!
JULIUS
Yeah, well these dead bodies are sure
enough real.
(to the others)
I say we regroup and find this
motherfucker before he finds us.
There’s a murmur; it makes sense.
MCCULLOCH
You’ll do no.such thing and watch your
mouth, young man! I’m in charge here!
They all look at McCulloch defiantly.
JULIUS
School’s out, McCulloch.
(to the others)
Let’s go.
Julius walks off the bridge; all the seniors follow
except Sean.
MISS VAN DEUSEN
Please everybody, stay here!!
They don’t listen. McCulloch starts to go after
them...and then it hits him:
MCCULLOCH
Christ...where’s Rennie??
SEAN
She’s...she’s dropping the anchors. I
thought the Coast Guard could find us
easier if...
MCCULLOCH
What?? You sent her out there with a
murderer running around loose??
EXT. DECK - NIGHT
as Rennie moves past wet, empty lounge chairs towards the
bow. She passes a row of translucent windows. The first
three are normal...but the fourth has the SILHOUETTE OF
JASON ON ITS OPPOSITE SIDE.
He begins to stride parallel to her, then disappears
when the windows end and a wall takes over.
INT. BRIDGE CORRIDOR - NIGHT
as Julius and his followers continue on, passing Eva,
who’s coming up from a staircase. She stops Wayne.
EVA
What’s going on? I heard on the P.A.
system that...
WAYNE
(interrupting)
The Captain’s been murdered. The buzz
is that Jason might be on board.
EVA
Jason...Voorhees?
She knows the legend as weld as everybody else. Wayne
nods gravely, moving to catch up with the others. Eva
rushes up to him again.
EVA
Have you seen Tamara?
WAYNE
No. And I’m not losing any sleep over
it.
EVA
But she might be in trouble...
WAYNE
So what else is new?
(beat)
Look Eva, you’re asking the wrong dude
to feel sorry for Tamara Mason. Wise
up -- it’s not hip to be her friend.
EVA
I don’t care about being hip anymore.
She means it. Wayne nods with understanding.
WAYNE
I’m sorry, but I’ve gotta find J.J.
He hurries on.
EXT. BOW - NIGHT
as Rennie appears, fighting the wind and rain to get
closer to the anchor hoists.
POINT OF VIEW THROUGH DECK WINDOW - SAME TIME
--spying on Rennie like a wolf watching a lamb. We MOVE a
few windows down, getting a better view of her.
REVERSE ANGLE - ON JASON
deciding that the time is right to strike. His hand moves
to the bow entrance door knob, slowly turning it, pulling
it open.
EXT. BOW - ON RENNIE
moving closer to the right anchor hoist, her back to us
as well as Jason. She climbs behind the hoist, looking at
the consoles. Then suddenly a BARK.
RENNIE
Toby?
She turns, catching a glimpse of her dog running down the
side of the deck. Rennie leaves the hoist, going after
Toby.
JASON’S POINT OF VIEW
through the crack in the door, watching Rennie
unexpectedly take off. He’s about to move after her when
ha hears:
EVA (O.S.)
Tamara? Are you around here anywhere?
Jason quietly closes the door. Rennie will have to wait.
INT. CORRIDOR - TRACKING WITH EVA
as she cautiously walks along, poking her head in every
alcove.
EVA
Tamara?
JASON’S POINT OF VIEW
moving down the same corridor, catching a glimpse of Eva
before she turns a corner and disappears.
INT. HALLWAY/TAMARA’S STATEROOM - MOVING WITH EVA
(STEADICAM)
Eva steps into the hallway outside Tamara’s stateroom.
She walks up to Tamara’s door, knocking on it. It swings
open, unlocked.
EVA
Tamara?
(no response)
I just want to talk with you.
She steps into Tamara’s room and we go in with her. The
quarters are empty. Eva stands there for a beat, confused
and scared. She’s about to leave when a CREAKING SOUND
causes her to look back at:
THE BATHROOM DOOR
It slowly swings open...splashing Eva’s eyes with
grotesque multi-images of Tamara: SHE IS HANGING ON THE
DOOR HOOK, HER BODY PIN-CUSHIONED WITH A DOZEN MIRROR
SRARDS.
EVA
shrieks, running back out the door...
INT. STATEROOM HALLWAY
...and sliding to a abrupt halt because JASON IS STANDING
AT THE END OF THE HALLWAY. He moves toward Eva like a
bulldozer. She turns a rapid 180 and sprints in retreat.
RUNNING WITH EVA (HAND HELD)
Gasping for oxygen, Eva has no time to even scream as she
flees from the monster, erratically turning down a spiral
staircase and running on.
JASON’S POINT OF VIEW (STEADICAM)
chasing after her with the smooth determination of a
shark, never letting her get too far in the lead.
INT. BOWELS OF SHIP - ON EVA
Empty for a second, then Eva appears, weaving her way
through a maze of corridors and passageways. She races
past a sign directing passengers to "CLUB RUBY."
ANGLE - JASON
--entering the same corridor a beat after Eva exits it in
the direction of the disco. He tramples onward.
INT. CORRIDOR/DISCO (STEADICAM)
The thudding low frequency of a mesmerizing dance tune
precedes Eva as she tears open a door, entering the
corridor. MOVE BACKWARDS WITH HER as she rushes forward,
curving through the shallow passageway and emptying out
onto a high tech DISCO FLOOR. A flashing Star Wars
lighting system assaults her all directions along with
the music. She’s all alone in here.
TIGHT ON EVA
The lights strobing across her face only accentuate her
terror. She spots another door on a small stage, rushing
to it. It’s locked.
CROOKED ANGLE - ENTRANCE DOOR
as Jason enters the corridor, SLAMMING THE DOOR SHUT
BEHIND HIM.
EVA
decides this is the wrong place to be. She moves for the
corridor again and:
JASON
appears on the corridor steps for a brief second. The
spotlight goes black, then flashes on again. Now he’s
gone.
EVA
backs away, sliding along the edge of the dance floor
like she’s on a building ledge. Chaser lights and mirror
balls fondle her body as she moves as far away from the
point where she last saw him. But:
JASON
illuminates only ten feet from her, a crimson strobe
assaulting his hockey mask. She’s on a collision course
with him.
EVA
whirls dizzily to the center of the dance floor upon the
sight of him. Camera SPINS with her in 360 degree arcs,
PUSHING IN on her face.
EVA’S POINT OF VIEW
spiraling counter-clockwise on the dance floor, flashes
of Jason materializing where she least expects to see
him. And getting closer. Finally at the point of
exhaustion:
EVA
stops, looking everywhere.
EVA’S POINT OF VIEW
He seems to be gone. She catches her breath...then
sensing his presence, she revolves a half-turn to face:
THE HOCKEY MASK
exploding under a pin spotlight, standing directly
before her. His forearms recoil with lightning speed as
he grips her throat...
WIDE SHOT - DISCO
Thundering music. Frantic lights. And Jason and Eva at
the center of it all. HER FEET ARE TWENTY-FOUR INCHES OFF
THE GROUND, KICKING MADLY AS THE LIFE IS BEING CHOKED OUT
OF HER. Finally Eva’s legs go rag doll limp. Jason flings
her to the ground like a sack of flour. This dance is
over.
EXT. DECK - NIGHT
Rennie appears again, scanning her no-visibility
surroundings.
RENNIE
Toby? Where’d you go?
No sign of her dog. She remembers her mission, heading to
the anchors again.
EXT. BOW - CONTINUOUS
as Rennie arrives on the bow, climbing into the left
hoist box behind the huge anchor cable.
STALKING POINT OF VIEW
moving up to the bow door like Jason did before, cracking
it open, seeing Rennie from behind. And moving towards
her.
RENNIE
is oblivious as she reads the directions above the
controls.
INSERT - HOIST LEVER (SECOND UNIT)
as Rennie’s hand grabs it, shoving it forward.
INSERT - GREEN HOIST BUTTON (SECOND UNIT)
A moment later, her thumb finds it and depresses it.
INSERT - ANCHOR CHAIN (SECOND UNIT)
as the massive black chain links thunder to life.
STALKING POINT OF VIEW
He’s now within ten feet of the unaware girl.
RENNIE
remains in the hoist box, making certain it is operating
correctly. A second later, we see the fleeting outline of
a HUMAN SHAPE appear behind her.
STALKING POINT OF VIEW
Three feet from Rennie. She spins around to climb out of
the hoist box and GASPS.
REVERSE ANGLE
She’s facing MCCULLOCH. He immediately reaches past her,
yanking the lever back to its center position, and:
THE ANCHOR CHAIN (SECOND UNIT)
grinds to a halt.
RETURN TO SHOT
as McCulloch faces her, angrily grabbing Rennie’s arms,
shouting over the storm.
MCCULLOCH
You had me worried to death!
RENNIE
But Sean said...
MCCULLOCH
I’m the one you should be listening
to! Do you think dropping an anchor in
the middle of a storm makes any sense
whatsoever?
She tries to find some defense, but McCulloch leads her
off before any wards come forth.
CLOSE UP - EXERCISE MAT
as a pair of SKEET RIFLES, three FIRE AXES, a FLARE GUN
and several POOL CUES are dumped onto the foam padded
plastic.
INT. EXERCISE ROOM - NIGHT
where Julius has gathered his small group of vigilantes,
including Miles and Wayne.
JULIUS
I managed to scrounge this shit from
the game room and hallways. Grab what
you want.
Wayne takes one of the rifles; Miles grabs the axe.
WAYNE
What are you taking, Julius?
JULIUS
(flexes fists)
Nothin’.
WAYNE
(dead serious)
We’re talking the possibility of Jason
Voorhees here.
Julius pauses. He’s not stupid.
JULIUS
Nothin’ but this gun.
He reaches down, picking up the other rifle. And they
move.
INT. STATEROOM HALLWAY/RENNIE’S ROOM - NIGHT
as McCulloch guides his niece down the hallway, swinging
her door open.
RENNIE
Can’t we at least talk about it?
MCCULLOCH
I refuse to discuss this ridiculous
notion that a ghoul is terrorizing
this ship.
RENNIE
But what about the drowning boy I’ve
been seeing?
He avoids eye contact. McCulloch takes her hand, ushering
her across the threshold. She’s standing inside her room
now; he’s in the hallway.
MCCULLOCH
Whatever you’ve been...imagining...
has nothing to do with Jason Voorhees.
(pause)
I want you to be safe, Rennie. That’s
all I care about.
RENNIE
I’m not staying in my room, Uncle
Charles.
MCCULLOCH
This isn’t a request.
He closes the door on her face, pulling out a key,
locking the dead bolt. She pounds on it from the other
side.
RENNIE (O.S.)
Uncle Charles!
He ignores her, briskly walking away.
INT. RENNIE’S STATEROOM - SAME TIME
as she throws her fists against the door a final time,
realizing it’s futile.
INT. POWER ROOM - NIGHT
Steam continues to seep from the maze of criss-crossing
pipes. Wayne appears on one of the catwalks. He’s holding
the skeet rifle under one arm, using the sun gun off his
video camera to guide him.
WAYNE
J.J. -- you down here?
CLOSER ANGLE
as Wayne carefully lets his light guide him down the
precarious walkway. An unexpected blast of steam scares
the crap out of him, causing him to stumble.
INSERT - WAYNE’S GLASSES (SECOND UNIT)
--They slip off the bridge of his nose, skittering down
through the catwalk and pipes to God knows where.
WAYNE
lies helplessly on the metal grid work, realizing his
bleak predicament has just been squared. He pulls himself
to a standing position again.
WAYNE
We got a major problem, Wayne.
WAYNE’S BLURRY POINT OF VIEW
His vision now gives him shadows and shapes rather than
crisp images. He raises the gun and continues unsteadily
forward.
POINT OF VIEW THROUGH GRID WORK
as Wayne inches forward. Camera slowly PANS INTO A
PROFILE OF JASON, watching him from a catbird seat.
WAYNE
takes another step, almost tripping on a set of stairs
leading down to the next level. And when he arrives
there...
WAYNE’S BLURRY POINT OF VIEW
...A LARGE FIGURE STEPS OUT, HOLDING WHAT APPEARS TO BE A
KNIFE.
WAYNE
instantly raises the rifle and FIRES...
WAYNE’S BLURRY POINT OF VIEW
...and the body goes down. He’s hit him!
WAYNE
stands there, breathing some relief. He gets an idea,
looking through his camcorder eyepiece. Wayne begins to
adjust the eyepiece diaptor.
WAYNE’S POINT OF VIEW (B & W/VIEWFINDER MATTE)
as the figure on the ground slips in and out of focus,
finally becoming crisp. WAYNE HAS SHOT A CREW MEMBER --
the same good looking one Tamara and Eva ogled earlier.
He’s holding a screwdriver from his waist band tool set,
not a knife.
WAYNE
slowly lowers his camera as his heart rises into his
throat.
WAYNE
No...
He raises his camcorder again, hoping a second view will
reveal a dead Jason rather than this young man.
WAYNE’S POINT OF VIEW (B & W/VIEWFINDER MATTE)
He gets half his wish: a HOCKEY MASK NOW FILLS HIS
FRAME...but Jason is far from dead. Wayne catches a split-
second glimpse of Jason’s fist coming towards him, then
the camera is KNOCKED FROM HIS EYE AND THE WORLD BECOMES
DARK AND BLURRY.
WAYNE
screams, blindly running as fast as he can. He trips,
picking himself up, stumbling down the catwalk stairs.
Wayne makes it about ten feet before he stumbles over
something, bringing with it a harsh strum from an
ELECTRIC GUITAR.
ANGLE - WAYNE’S FEET
Sure enough, his left shoe is resting on the pickups of a
blood-streaked Gibson Flying V.
TIGHT ON WAYNE
--sprawled out on the metal floor. He gropes around, his
hands feeling something. It sends chills from his groin
up through his scalp.
WAYNE
No no no...
REVERSE ANGLE
Wayne’s hands are touching J.J.’S BLOODY FACE, A LARGE
CRACK IN HER SKULL. He doesn’t have time to scream or cry
because
JASON
hoists him off of J.J.’s body and flings him into:
THE SHIP CIRCUIT PANEL (EFX)
which shorts out with a fanfare of ELECTRICAL SPARKS
AND FIRE, INSTANTLY FRYING WAYNE.
INT. BRIDGE - SAME TIME
as the overhead lights briefly flicker, then resume
normal operation. Sean stands opposite the navigational
chart, ping-ponging between it and the ship’s
computers as Miss Van Deusen paces nervously.
MISS VAN DEUSEN
What was that??
SEAN
(very worried)
I don’t know.
MISS VAN DEUSEN
(trying not to panic)
What happens if we don’t get control
of the ship, Sean? I want you to tell
me the truth.
SEAN
(beat)
We could hit a reef, collide with
another ship...we could be out here
for weeks before anybody spotted us.
They are suddenly jolted with a DOOR SLAM as McCulloch
storms onto the bridge.
MISS VAN DEUSEN
Did you find Rennie?
MCCULLOCH
She’s locked safe in her room, no
thanks to either of you.
(like Sean isn’t even in the
room)
Has he brought it back on course yet?
Sean doesn’t look at him, still trying to assimilate the
wall of components.
MISS VAN DEUSEN
He’s doing the best he can, Charles.
MCCULLOCH
He’s the son of the Captain, for
Chrissakes. You’d think he’d be able
to operate this thing!
Sean closes his eyes, trying to keep from losing his mind
and temper. A fierce WAVE slaps the windows in front of
Sean’s face, motivating him to get his shit together. He
checks the Omega and LORAN.
MCCULLOCH
Well?
Sean doesn’t answer, moving to the seat behind the helm.
His father’s seat. Sean takes the chair, adjusting the
wheel, watching the compass. He studies a series of
buttons on the console.
CLOSE UP - WALL OF BUTTONS
We PAN across them, stopping on one labeled "FIRE ALARM -
DO NOT BREAK EXCEPT IN CASE OF EMERGENCY." Camera
continues around to find we are in the POWER ROOM, NOT on
the bridge. Our vision suddenly lands on JASON, staring
at the alarm button, considering. He glances back over
his shoulder.
JASON’S POINT OF VIEW (EFX)
Wayne’s body is NOW ON FIRE...AND THE BLAZE IS SPREADING
THROUGH THE ROOM.
INT. BRIDGE - SAME TIME
as Sean makes up his mind, flipping several toggle
switches.
INSERT - AUTO PILOT COMPUTER
as Sean flips the last toggle and a green light
illuminates, indicating the AUTO PILOT is in effect.
RETURN TO SHOT
SEAN
It worked...we’re back on course!
Sean feels his confidence instantly rejuvenated. Miss Van
Deuten immediately embraces him. But a fraction of time
later:
TIGHT ON FIRE ALARM BUTTON
Jason’s fist SMASHES the alarm button...
INT. BRIDGE - CONTINUOUS
...and a LOUD SIREN cries out across the entire vessel.
The blood drains from Sean’s face.
MCCULLOCH
What’s that?
SEAN
The fire alarm...
VARIOUS ANGLES ON BOARD SHIP - NIGHT
as the shrieking alarm assaults the main deck, hallways
and corridors, giving Julius, Miles and Wayne deep
pause for thought.
INT. RENNIE’S STATEROOM - SAME TIME
as the alarm bombards Rennie’s ears like everybody
else’s. She hurries to her curtained porthole window,
working up the energy to look outside. Rennie gets a grip
on them, FLINGING THEM OPEN. The DECK HAND’S CRAZED FACE
IS GAZING BACK AT HER. Rennie screams; a second later he
hurries off.
INT. BRIDGE - NIGHT
as McCulloch tears open a cabinet door labeled EMERGENCY
FLARE GUN. The siren continues to blast.
MCCULLOCH
Can you shut that damn thing off??
Sean moves to a bank of switches, his eyes darting around
for the appropriate switch. Miss Van Deusen sees
McCulloch remove the FLARE GUN from the cabinet.
MISS VAN DEUSEN
We already thought of that -- nobody
could possibly see it in this storm...
MCCULIACH
There’s only one person who needs to
see it. And I’m going to find him.
MISS VAN DEUSEN
What about the fire??
MCCULLOCH
I doubt very much that one even
exists.
MISS VAN DEUSEN
What are you talking about?
MCCULLOCH
Use some common sense! Setting off a
fire alarm causes panic...the same
kind of panic caused by suggesting
Jason Voorhees is on board.
(resolved)
Enough is enough.
He marches out the door. Sean finds the alarm kill
switch, flipping it. The excruciating siren vanishes. He
grabs a pair of rain jackets, tossing one to Miss Van
Deusen.
SEAN
We have to get everybody together just
in case the fire’s for real.
Sean heads for the door, shoving it forward.
EXT. DECK - ON DOOR
as it slams open...and JULIUS steps out, not Sean, from a
different deck door. TRACK with him as he treads along
the side of the ship, skeet rifle raised.
JULIUS’ POINT OF VIEW
walking past the lifeboat stations, the wind and
precipitation battering the small boats. With no warning,
AN OBSCURE FIGURE LEAPS OUT, GRIPPING AN AXE.
JULIUS
shoves the gun stock into his shoulder and takes
instantaneous aim...but he doesn’t shoot. He slowly
lowers the rifle.
ANOTHER ANGLE
as MILES lowers the axe. They’ve just scared the shit out
of each other.
MILES
I’ll take the upper deck.
Julius nods. They separate. Neither boy notices the
smoke which is starting to emerge from a deck vent...
INT. POWER ROOM - NIGHT (EFX)
Filled with black smoke. The fire is spreading
dangerously close to a series of hoses attached to a fuel
pump, leading to tanks below. A sign over them reads:
DANGER - FUEL TANKS.
EXT. DECK POOL - NIGHT
--steaming and far from calm as the weather blitzes it.
Miles appears, climbing a ladder to the upper deck level.
POINT OF VIEW THROUGH LADDER
Someone is spying on Miles from below, watching his every
step.
EXT. UPPER DECK - CONTINUOUS
as Miles arrives, axe raised. He pauses to regard his
surroundings, then moves on. RACK FOCUS TO FIND JASON
RIGHT BEHIND HIM, having followed Miles up the stairs.
ANOTHER ANGLE
Only darkness and rain for a beat, then Miles
materializes, curving around the gargantuan smokestack.
He passes us and we SWING AROUND, now looking at the back
of his head. He takes three more steps and JASON STEPS
INTO THE FOREGROUND. Miles senses his presence and JERKS
AROUND, RAISING THE AXE, BRINGING IT DOWN ON JASON’S
HEAD...
...but Jason easily grabs the axe handle before it makes
contact, flinging it away.
EXT. LOWER DECK - ON JULIUS
He’s pacing along when a clattering noise from above
makes him stop. Suddenly MILES’ AXE THUDS INTO THE
MAHOGANY DECK NEXT TO HIS FOOT. Julius gazes at it,
jerking his head upward.
JULIUS
Miles??
His answer is a LOUD CRACK OF LIGHTNING. At the same
time:
RUNNING WITH MILES
He’s scrambling as fast as he can across the slippery
deck as the monster relentlessly pursues him.
JASON’S POINT OF VIEW
He’s having no problem catching up to the defenseless
teenager.
EXT. DECK STAIRS - SAME TIME
as Julius zooms up them to aid his comrade.
EXT. RADAR MAST - NIGHT
as Miles slides up to the mast and begins scaling it. He
glances downward and sees:
MILES’ POINT OF VIEW
Jason is right at his heels.
MILES
slips on a rung, regains control, and continues upward.
He makes it three more steps, almost at the uppermost
point when JASON GRABS THE BACK OF HIS COAT, TEARING HIM
OFF THE MAST.
STUNT FREEFALL
Miles cries out as he FREEFALLS BACKWARDS, somersaulting
and twisting like he’s doing one of his better dives...
CLOSE UP - MILES’ FACE
...Empty space for a half-second, then MILES’ FACE JOLTS
INTO FRAME with a look of ultimate agony. Something has
abruptly stopped his fall. Something quite fatal.
EXT. DECK - ON JULIUS
coming around a corner, stopping dead in his tracks, his
stomach wrenching as his eyes fall on:
MILES (EFX)
...who is staring right back at him with dead pupils.
MILES HAS BEEN HORRIBLY IMPALED OM A SHIP FLAGPOLE.
JULIUS
doesn’t get the chance to grasp the reality of it because
JASON’S HAND GRIPS HIS SHOULDER, SPINS HIM AROUND AND
SLUGS HIM SQUARELY IN THE FACE. The force of it sends the
boxer REELING BACKWARDS OFF THE RAILING...
EXT. STORMY OCEAN (TANK)
...and Julius SPLASHES INTO THE ROUGH SEA. He’s quickly
swallowed by the torrential waters.
INT. RENNIE’S STATEROOM - NIGHT
as Rennie’s HAND jiggles her doorknob again, confirming
that it’s locked tight. RISE to find her desperate face;
she begins furiously pacing and we DOLLY BEHIND HER
...but Rennie stops cold upon hearing:
YOUNG JASON (O.S.)
Hhhhelp....me....
Rennie whirls into a CLOSE UP, staring with disbelief at:
YOUNG JASON (EFX)
...who is standing on the oval rug in her stateroom, his
hands reaching out to her. But then comes the
inexplicable: THE OVAL RUG TURNS INTO LAKE WATER AND
JASON SINKS INTO IT. He’s drowning in the middle of her
room, choking on murky water.
YOUNG JASON
Hhhhelp me....I’m drowning...
RENNIE
stands frozen, feeling herself drawn to him like a
magnet. She crawls to the edge of her rug, which is now a
deep lake, and extends her arms to him.
YOUNG JASON
grabs her hand, pulling hard, then grinning wide.
RENNIE
feels the skin on her face crawling off her skull, her
eyes expanding because she’s now looking at:
HERSELF!
Rennie is holding onto herself, about four years younger
in a bathing suit, drowning in the lake. YOUNG RENNIE.
YOUNG RENNIE
Hhhhelp....me....
RENNIE
screams with guttural fear, letting go of herself,
watching her younger self drown in the hole in her room.
YOUNG RENNIE
disappears under the surface of the water...which seconds
later CHANGES BACK INTO HER OVAL RUG.
NEW ANGLE
as Rennie moves away, tears rolling down her face,
utterly confused. She backs against the wall next to her
porthole window and THE REAL JASON’S FIST SMASHES THROUGH
THE WINDOW, GRABBING HER THROAT. Rennie struggles,
gasping for air as he attempts to strangle her.
CLOSE ON RENNIE’S HAND
groping for a weapon to stop him, her fingers skittering
across her table like a spider.
TWO SHOT - RENNIE AND JASON
Her head is pulled taut against the wall just below the
porthole, with Jason’s hideous mask framed in the
circular shattered window. She’s slowly dying.
CLOSE ON RENNIE’S HAND
Her movements slow as the oxygen leaves her system. But
Rennie’s fingers miraculously find a recognizable object:
the ink-dip pen given to her by Miss Van Deusen. She
seizes it, getting a firm grip.
CLOSE ON JASON
as Rennie JABS THE PEN BACKWARDS, SENDING THE SHARP
INSTRUMENT THROUGH THE EYEHOLE OF HIS MASK. Jason
instantly releases her, reeling backwards.
RENNIE
sinks to the floor, scrambling on all fours to get as far
away from the porthole as possible. She makes it across
the room to her stateroom door just as:
THE DOOR
is SLAMMED OPEN FROM THE OTHER SIDE. She shrieks in
terror but it’s SEAN who is standing there.
SEAN
Rennie...??
RENNIE
(pointing)
The window...
Sean rushes to the shattered porthole, looking out,
seeing nothing. He steps back to her.
RENNIE
I don’t understand what is happening
to me...
She breaks down; he holds her.
SEAN
It’s gonna be okay...
INT. POWER ROOM - NIGHT (EFX)
...but Sean couldn’t be more wrong. The flames are
lapping at the fuel pump and hoses, furiously burning
down into the tank. A second later the whole thing
EXPLODES IN A BALL OF FIRE.
EXT. SHIP HULL - UNDERWATER (EFX/MODEL?)
as a huge HOLE is blown through the thick steel hull:
INT. RENNIE’S STATEROOM - SAME TIME
The ship noticeably rocks from the explosion. Rennie
clings to him fearfully.
RENNIE
What is it??
One second later, the lights begin to flicker.
SEAN
The power room...
INT. POWER ROOM - SAME TIME (EFX)
as huge amounts of water rush in from a gaping hole in
the hull.
INT. SHIP KITCHEN - SAME TIME
as the overhead lights flicker over McCulloch. There’s
some fear mixed with the anger as he grips his flare gun,
moving onward.
PONT OF VIEW FROM KITCHEN OVENS
Someone is crouched behind a massive convection oven,
spying on McCulloch.
MCCULLOCH
almost flinches when the lights die and he’s plunged
into blackness. He moves forward, every step tentative.
He passes the convection ovens and we REMAIN on them,
spotting the frightened face of the DECK HAND in the
shadows. The deranged old man is very sober now,
clutching a LARGE KITCHEN KNIFE for defense.
INT. RENNIE’S STATEROOM - SAME TIME
Sean paces feverishly in the blackness of her room,
trying to think, talking to himself.
SEAN
Rule one, don’t panic. Rule two,
assess the damage and act
accordingly...
RENNIE
Is the ship going to sink??
He returns to Rennie, the panic settling back in.
SEAN
I don’t know.
Her ultimate fear is staring her straight in the face.
Suddenly the dim blue lights flicker on.
SEAN
The emergency lights just kicked in...
Sean makes Rennie look into his eyes. His words are meant
to convince himself as much as Rennie.
SEAN
We’ll be okay. I want you to wait by
the lifeboats, just in case.
RENNIE
(terrified)
I’m not going near any lifeboat!
SEAN
But Rennie...
RENNIE
I’m not!!
INT. SHIP RESTAURANT ROOM - SAME TIME
as Miss Van Deusen gathers a handful of students who are
panicking, sitting them down.
MISS VAN DEUSEN
Everybody wait right here until I come
back with the others -- understand?
They nod, frightened to death. She dashes away, carrying
us into a view of the dining room windows. No one
notices the SILHOUETTE OF JASON passing by on the outside
desk.
INT. ENGINE ROOM - SAME TIME (EFX)
Sea water is pouring into the ship’s motors. Clouds of
steam and black smoke fill the room as the engine
bearings begin to GRIND.
INT. SHIP HALLWAY - SAME TIME
as McCulloch rushes up to Rennie’s already open door,
cautiously entering with flare gun raised.
MCCULLOCH
Rennie??
MCCULLOCH’S POINT OF VIEW
The room is empty, shards of the porthole glass scattered
across her rug. He steps over to it, bringing his head up
to the gaping hole, peering outside. We wait for his
attack...but it doesn’t come. McCulloch’s eyes take us to
something across the room. The bathroom door is afar.
MCCULLOCH
cautiously steps up to the door, silently grabbing the
knob and SWINGING IT OPEN. It’s empty. He hears
something, spinning around. Again, nothing is there.
McCulloch quickly moves to the telephone and dials. A few
seconds pass.
MCCULLOCH
Come on, answer!!
INT. BRIDGE - SAME TIME
TIGHT on the bridge telephone, ringing repeatedly. RISE
TO FIND JASON, ignoring the phone, scrutinizing the deck
below through rain-streaked windows.
JASON’S POINT OF VIEW
Miss Van Deusen is darting across the deck, gathering up
a trio of terrified seniors.
RETURN TO SHOT
Jason methodically moves to the bank of switches,
studying them.
INSERT - CONSOLE
In large, unmistakable letters over a red button are the
words "ABANDON SHIP ALARM." He flips back the plastic
safety cover, exposing the button.
INT. BOWELS OF SHIP - SAME TIME
A horrible grinding sound echoes through the narrow
corridor. Sean and Rennie appear at the opposite end,
coughing on the black smoke which clouds their
passageway. Sean looks down, seeing that they are
standing in a puddle of water.
SEAN
Water has gotten to the engines.
(coughs)
We have to get everybody off this
ship...
INSERT - ABANDON SHIP BUTTON
as Jason presses it with firm deliberation, and:
INT. BOWELS OF SHIP - CONTINUOUS
A WHOOPING SIREN blasts through the passageway. Sean and
Rennie have no time to react because:
ANGLE - CORRIDOR (EFX)
A sealed compartment door EXPLODES OPEN WITH THE PRESSURE
OF SEA WATER...
REVERSE ANGLE (EFX)
...and a WALL OF WATER ENGULFS.RENNIE AND SEAN, KNOCKING
THEM DOWN. Sean fights to pull her up, but not in time
for her to witness:
WAYNE’S CHARRED CORPSE (EFX)
which bobs up in front of her. Rennie cries out,
scrambling to grab onto Sean as what’s left of Wayne’s
body washes past them.
EXT. DECK - NIGHT
as a door opens and Miss Van Deusen guides a half-dozen
SENIORS over to the LIFEBOAT STATIONS.
MISS VAN DEUSEN
(shouting over storm)
Everybody climb in!
They follow her orders as the Abandon Ship alarm wretches
on. But little do they know that:
STALKING POINT OF VIEW
Someone is briskly moving towards the group and Miss Van
Deusen. Just as we are within a few feet of her...
REVERSE ANGLE
--It’s MCCULLOCH who’s approached them. He grabs Miss Van
Deusen, shaking her violently.
MCCULLOCH
What did you do with Rennie??
MISS VAN DEUSEN
Nothing! I went to her cabin and...
McCulloch rushes off before she can finish. Miss Van
Deusen turns back to the other kids, helping them into
the boat.
MISS VAN DEUSEN
Everybody hurry...please...
EXT. DECK - CLOSE ON MAHOGANY DECKING - SAME TIME
We slowly DOLLY BACKWARDS until Miles’ AXE comes into
frame, still stuck in the mahogany decking. A beat, then
JASON’S HALAL DISLODGES IT FROM THE WOOD.
INT. CORRIDOR - NIGHT
as Sean climbs up from below, soaked to the bone, pulling
up a half-conscious Rennie. Sean carries her around a
corner, where he collides with McCulloch. McCulloch
pulls Rennie away from him.
MCCULLOCH
She never should’ve set foot on this
ship. This is your fault!
SEAN
This is Jason’s fault!
MCCULLOCH
(shouting)
Not another word, do you hear me??
EXT. LIFEBOAT STATIONS - NIGHT
as Miss Van Deusen throws the "down" lever and the
lifeboat hoist begins to lower the boat. Camera SLOWLY
CREEPS IN A SEMI-CIRCLE AS A SILHOUETTED FIGURE STEPS
INTO A POOL OF LIGHT BEHIND HER. JASON.
ANGLE - LIFEBOAT
One of the students screams, the others clinging together
upon the sight of this infamous monster. But the boat is
already over the edge, past the point of return. And
lowering at a snail’s pace.
MISS VAN DEUSEN
turns to see JASON APPROACHING THEM WITH AXE RAISED. She
backs away but Jason ignores her, heading directly for
the hoist. He arches back with his weapon and SLICES
DOWNWARD.
INSERT - HOIST CABLE (SECOND UNIT)
as Jason’s axe CHOPS THE CABLE IN TWO, and:
EXT. SHIP/OCEAN (TANK)
The bow cable SNAPS, DUMPING THE HALF DOZEN TEENAGERS
INTO THE TURBULENT SALT WATER. They last about five
seconds before succumbing to a drowning death.
MISS VAN DEUSEN
sees it all, her intestines constricting in agonizing
knots. She summons all her rationale and sends it down to
her legs, running away as fast as she can.
MISS VAN DEUSEN’S POINT OF VIEW
--knocking down deck tables, chairs and chaise lounges as
she flees. The creative writing teacher swerves around a
column, heading for an interior door, sliding to a stop
as it BANGS OPEN IN FRONT OF HER. McCulloch steps
outside, carrying Rennie, with Sean right behind her.
Rennie is conscious now, squirming free of her uncle upon
the sight of Miss Van Deusen.
ANGLE TO INCLUDE ALL
as Rennie rushes into Miss Van Deusen’s arms. The teacher
holds her, beginning to cry herself.
MCCULLOCH
Why aren’t you with the others,
woman??
Finally the message comes forth:
MISS VAN DEUSEN
Jason...he has an axe...
His face grows taut with anger.
MCCULLOCH
Jason Voorhees is dead!!
A PRIMAL SCREAM OF AGONY immediately cries out behind
them, the words unintelligible. They turn around to
witness THE DECK HANG STAGGERING TOWARDS THEM, GRIPPING
THE KITCHEN KNIFE.
MCCULLOCH
raises the flare gun with zero hesitation and FIRES IT...
ANGLE - DECK HAND (EFX)
...and the charge EXPLODES INTO HIS CHEST. He stands
there with his chest smoldering, almost like a gargoyle
in effigy. A second later the poor old man falls forward,
and:
CLOSE ON HIS BACK (EFX)
They all see that JASON’S AXE HAS BEEN BURIED IN HIS
BACK.
RETURN TO MASTER
McCulloch gazes with utter disbelief.
MCCULLOCH
Dear Christ...
SEAN
We have to get off this ship!!
They back away from the horrid sight and begin to run,
the Abandon Ship alarm still attacking their ears.
EXT. LIFEBOAT STATIONS - NIGHT
as McCulloch, Miss Van Deusen, Rennie and Sean scramble
to the closest lifeboat.
SEAN
Everybody in -- I’ll get the hoists
McCulloch has no time for politeness, moving to the
lifeboat ahead of the women. Rennie stops cold, gazing
classy-eyed at the small boat.
MISS VAN DEUSEN
Come on, sweetheart -- get in...
But she doesn’t budge. McCulloch levels wild eyes on her,
quickly climbing back down.
MCCULLOCH
Get in the boat, Rennie!
RENNIE
I...I can’t...
MCCULLOCH
(shaking her)
You can and you will!!
He tries to slap her out of it, dragging her over to the
boat, ignoring her terror-stricken frenzy.
SEAN
Stop it!!
MISS VAN DEUSEN
Leave her alone, Charles!
Miss Van Deusen quickly moves to a hysterical Rennie and
holds her, eyeing McCulloch vehemently.
EXT. DECK - TIGHT ON DEAD DECK HAND - SAME TIME
as rain begins to wash the blood from his back. JASON’S
FOOT TRUDGES INTO FRAME...then his HAND REACHES DOWN,
RETRIEVING HIS AXE FROM THE DECK HAND’S SPINE.
EXT. LIFEBOAT STATIONS - SAME TIME
as Rennie clings to Miss Van Deusen, crying.
MISS VAN DEUSEN
It’s the only way, Rennie. Let’s get
in the boat now, okay? Please...for
me?
Rennie finds herself nodding. Miss Van Deusen helps the
trembling girl up the steps, an angered McCulloch right
behind.
INT. LIFEBOAT - CONTINUOUS
as Rennie climbs over the boat edge, RECOILING AT THE
SOUND OF A SNARLING DOG. Toby is curled up in the
corner of the lifeboat, teeth bared.
RENNIE
Toby...
She climbs in, moving to her equally, relieved dog,
McCulloch and Miss Van Deusen right behind her.
INSERT - HOIST BUTTON (SECOND UNIT)
as Sean jabs it and the hoist motor kicks in.
EXT. SHIP - WIDE SHOT (EFX)
just as a huge BOLT OF LIGHTNING cracks over the smoke
stack and upper deck. JASON steps out from behind it,
gaping down on them with frightening omnipresence.
Gripping the bloody axe.
EXT. LIFEBOAT STATIONS - CONTINUOUS
Sean climbs in the boat as it continues to lower. He
takes one look back at the ship and sees:
JASON
rapidly moving down the staircase towards them. Sean’s
view is CUT OFF as the lifeboat sinks below d |
