Freddy Vs Jason (Peter Briggs)

“	
Peter Briggs, who ended up co-writing 2004’s Hellboy, submitted his own Freddy vs. Jason pitch in the early ’90s. His crazy concept also toyed with the idea of Freddy and Jason having a shared past; in Briggs’ script, the Voorhees family used to live on Elm Street, and the Voorhees parents were part of the lynch mob that killed Freddy. This resulted in Freddy killing Jason after the Voorhees family moved to Crystal Lake; he then subsequently brought Jason back to life as an undead monster. Yes, Jason’s new origin story was to be that Freddy created him.
And that’s not even the craziest idea in Briggs’ script, which began in the 17th century and eventually pit Freddy and Jason up against one another… in Hell. Who was going to show up down there? Satan himself (named Thanos in the script), who was going to be revealed to be the master of both Freddy and Jason; they’ve just been his pawns this whole time, Briggs conceived.
The crazy ambitious film would’ve ended with Freddy and Jason killing Satan and then being banished from ever existing, due to a time travel plot device. An FBI agent goes back in time, forges a judge’s signature, and prevents Freddy from being released from prison. In other words, Freddy never became a Dream Demon, and as a result, Jason was never killed as a boy.
Can’t make this stuff up.	”
 	— John Squires The 5 Most Insane ‘Freddy vs. Jason’ Ideas That Never Came To Be	— John Squires The 5 Most Insane ‘Freddy vs. Jason’ Ideas That Never Came To Be
==Information==
		FADE IN:
	EPIC MUSIC O.S., the MAIN TITLES ROLLING over a series of medieval 
	WOODCUTS. SINISTER IMAGERY - monsters, demons, torture devices - 
	DISOLVING into one another, then we...
								OPEN ON:
	EXT. HILLSIDE PASS - SUNSET (17TH CENTURY)
	Lush green fields and vineyards, very like the Napa Valley. 
	SOLEMN BENDICTINE CHANTING on the SOUNDTRACK, and the distant 
	RESONANT TOLLING of a church bell, O.S.
	We HEAR TINKLING CHIMES. With a gentle CLIP-CLOP OF HOOVES, a 
	burro crests a dark hill, silhouetted against the blood-red sun. 
	Its rider adorned in lavish Catholic vesments.
	Before we can be amused, SIX MAGNIFICENT CHARGERS follow. Two 
	grim-faced 	CIVILIANS in formal Middle-Ages clothing to the fore, 
	a vanguard of pennant-wielding SOLDIERS at back.
	CLOSER NOW. The horses are nervous. The burro's rider - SIGNOR 
	DELUCA - MURMURS something nervously in Italian.
				SIGNOR DELUCA
		"Le colline...hanno occhi!"
	PITT - a wary American Witchfinder - narrows his eyes. Turns to 
	his traveling companion.
				PITT
		What did he say?
	HOPKINS - an aristocratic Englishman with a startling similarity 
	to Christopher Lee - avoids his gaze. Scours the encroaching 
	terrain with his 	keen vision.
				HOPKINS
		"The hills...have eyes."
	The horses WHINNY, worried by something nearby. SHEET-LIGHTNING 
	whites-out the sky, drizzle spattering the earth.
				SIGNOR DELUCA
			(heavily-accented English)
		It's begun --
	AN ANGLE ABOVE, LOOKING DOWN. The company trek purposefully along 
	the winding trail. Something dark prowls past IMMEDIATE 
	FOREGROUND. GROWLS inhumanely...
	EXT. CASTLE APPROACH - SUNSET (17TH CENTURY)
	The horses BUCK and REAR as they round the bend.
				SOLDIER #1
		Mother of God --
	THEIR P.O.V. A PAIR OF GROTESQUE WOODEN-FRAME EFFIGIES dominate 
	the trail 	ahead, one to either side. Human-shaped, 30 feet 
	tall. Both are aflame, packed with BURNING CADAVERS (anyone 
	remember the 1973 movie "The Wicker Man"?).
				HOPKINS
			(solemnly)
		I've seen this before.
				PITT
		In England?
				HOPKINS
		In the darkest chasm of my dreams...
	As the troupe continue forward, we CRANE UP BEHIND THEM. Half a 
	mile away, a gothic Italian castle looms ominously dark THUNDER 
	CLOUDS roll supernaturally across the sky. A SUPERIMPOSED CAPTION 
	CARD informs us this is:
		ITALY - 1648
	EXT. ENTRANCE - CASTLE - NIGHT (17TH CENTURY)
	The ground has turned to slush. The horses skid, lose their 
	footing. An ornate wooden box tethered to a saddlebag bursts 
	open, releasing --
				PITT
		Pontiff -- !
	SOLDIER #1 dismounts, scrabbles in the mud. Passes two rather 
	plain-looking daggers back to DeLuca. As he does--
	THEY TRANSFORM. Morphing into exact duplicates of the Byzantine 
	blade which slayed Jason Voorhees in "Jason Goes To Hell." 
	Astonishment flashes across the Soldier's face.
				SIGNOR DELUCA
			(admonishes him)
		This matter...will not pass your lips.
	Hopkins and Pitt stare covetously at the weapons.
				PITT
		The Daggers of Horvath...
				SIGNOR DELUCA
		Sacrosanct. Said...forged...by the 
		alchemists...of dead Atlantis.
				HOPKINS
			(cannily)	
		...And also from the blade which pierced
		the side of Christ?
	DeLuca shrugs, perhaps a little annoyed.
				SIGNOR DELUCA
		The origins are unimportant. Only their
		powers count this day.
			(to Soldier #2)
		Tether the animals.
	A turret rises above, a portent of doom. Lightning FLARES.
	INT. ENTRANCE HALL - CASTLE - NIGHT (FOREGROUND MINATURE)
	Boots ECHO on stone as the group enter an expansive circular 
	chamber. Water PLINK-PLONKS from dank archeways all around. 
	Inverted crosses on the walls, torches flickering in metal wall-
	holders. A wide staircase spirals into cobwebbed darkness above.
	A pair of giant censers swing back-and-forth...dozens of dangling 
	chains with upturned corpses - real Grand Guignol - tangled in 
	them.
	The FAINT STRAINS of a NURSERY RHYME - somehow familiar to us - 
	intrude. Incongruously, the LYRICS are Italian --
				DREAM CHILDREN
			(O.S., "Freddy Theme")
		"Uno, Due...Thanos venga per te. Tre,
		quattro...dovete chiudre le porte."
				HOPKINS
		You hear -- ?
				SIGNOR DELUCA
		Si. Pitt...?
	
	The American stares up at the hanging wrought-iron chandelier 
	frame, scrutinizing the SYMBOL forged into it. Neither Celtic 
	run, nor Egyptian glyph. Not Sanskrit, or pentangle...but somehow 
	all at once.
				PITT
		Salem. Four years past. I burnt a coven.
		This same device.
			(a beat)
		Evil is at hand...
				DREAM CHILDREN
			(O.S.)
		"Nove, dieci...non dormirai piu --"
	A VERTICAL ANGLE, HIGH ABOVE. The RHYME stops. SILENCE. We HEAR 
	a STEADY THUMP...THUMP. They draw their swords as --
	Something PUNCHES FORCEFULLY through a COBWEB VEIL, BOUNCES down 
	the steps. Comes to a halt at SOLDIER #3's feet...a dyed-purple 
	leather ball. He bends 	
				PITT
		Wait -- !
	Either the man chooses to ignore, or he doesn't understand. He 
	picks it up. There's a MIDIEVAL SMILING SUN embroidered in gold 
	filigree on one side. He grins. Flips it to see --
	BURNS and MELTS, maggots and yellow bile pouring forth into his 
	hand. It multiplies exponentially, spilling up along his arm in a 
	second like a cancer. He turns, SCREAMING to the others --
				HOPKINS
		Back...stay back!
	The Soldier lurches for them, his entire body consumed now. He 
	stumbles, falls to the floor. EXPLODING into a mass of scarab 
	beetles that scurry past their feet for the corners of the room. 
	DeLuca crosses himself.
	GIGGLING from above. The group look up to see a pair of YOUNG 
	GIRLS in white dresses duck back over a high balcony.
				SIGNOR DELUCA
		There...
	INT. WINDING STAIRWAY - CASTLE - NIGHT (17TH CENTURY)
	A HUGE SPIDER scuttles across the thick blocking cobwebs. The 
	group cautiously acend the stairway, slicing at the musty veil. 
	As Pitt turns his lantern to see a wall HEAVING with bugs --
	A COVEY OF CROWS flush from a cranny, wings fluttering into their 
	face, blinding them. DeLuca staggers back, feet pedaling on the 
	edge. A straight drop, 50 feet...
				HOPKINS
			(alarmed)
		Signor!
	Hopkins hand lashes out and drags him back.
				SIGNOR DELUCA
			(thankful)
		Grazie.
	INT. CORRIDOR - CASTLE - NIGHT (17TH CENTURY)
	At the corridor's end are massive iron doors, 5 feet tall. A pair 
	of drop-dead gorgeous BLACK WOMEN in white robes stand before 
	them, staring enigmatically with peculiar eyes. The smoke 
	wreathing them SWIRLS back through the doors like REVERSE TIME-
	LAPSE, gliding them with it.
	INT. NECROMANCER'S LAIR - CASTLE - NIGHT (17TH CENTURY)
	Another cylindrical chanber; the "Penticon" symbol Pitt recognized 
	hewn large on the ancient stone floor. Through a glass skylight 
	above, turbulent clouds simmer menacingly.
				HOPKINS
		The Necromancer.
	In the chamber's center - above the "Penticon", about 5 feet off 
	the ground - floats a MAN. Crunched into a fetal position, he is 
	naked. Tautly muscled, every square inch of his body inscribed 
	with occult symbology. (He also bears more than a passing 
	resemblance to Robert Englund).
				SIGNOR DELUCA
		My nephew...
	THE DOORS SLAM CLOSED behind them, the wall-torches extinguishing. 
	The chamber becoming wreathed in the darkest shadows imaginable. 
	A WOMAN'S LAUGHTER ECHOES ICILY, O.S.
				PITT
		Time is short.
				SIGNOR DELUCA
		Let us hurry.
	The three men approach. The air shimmers, as if they've just 
	passed through an invisible field of some kind.
	The three Soldiers stare around the room nervously. All around 
	are drawings and models, prototypes of fantastic inventions. 
	They're so proccupied, they don't notice --
	THIER OWN SHADOWS, peeling away from their bodies and sliding up 
	the wall to vanish into the gloom above.
				SIGNOR DELUCA (cont'd)
		Help me. Reveal his heart.
	DeLuca holds the Dagger steady. As Hopkins and Pitt reach up to 
	grasp the Necromancer's folded arms --
	Behind them, DARK GRASPING CLAWS shoot down from above towards the 
	Soldiers. Hauling a SCREAMING Soldier #1 upward.
	The Necromancer's eyes SNAP OPEN instantly, unleashing a BELLOW OF 
	RAGE. DeLuca slams forward with astonishing strength, driving the 
	Dagger into the Necromancer's chest..but only part way. The 
	creature's arms WHIP OUT with superhuman force, knocking the 
	demon-slayers away.
	Soldiers #2 and #4 hack furiously away with their swords, trying 
	to release their comrade, as --
	Hopkins reaches out. Grasps the Dagger's handle and drives it 
	further into the Necromancer's heart, twisting it. He SHRIEKS 
	like a feral animal --
	Then falls to the floor. That same instant, the disemboweled 
	corpse falls. Soldier #1 drops out of the shadows with a THUMP. 
	The survivors edge warily forward, until --
	THEIR LANTERNS FLARE LIKE XENON, achingly bright. The shadown in 
	the room seem to alter...flow. A moving, liquid mass from every 
	corner that pours towards the fallen Necromancer, entering the 
	corpse's mouth and nostrils. The chamber brightens, until --
	There are no more shadows in the room. A BEAT, then --
	THE BODY EXPLODES, atomized to fine red droplets. An ENORMOUS 
	FORM rises up from within, some vast CLOAKED OUTLINE, LAUGHING 
	with DEEP MALEVOLENCE. Pitt steps forward, brandishing a 
	crucifix.
				DARK VOICE
		Foolish mortals...do not task me!
				PITT
		Be gone, Apollyon!
	A shadow tentacle lashes out, slithers around Pitt's neck. Hauls 
	him off the floor and squeezes tight. The crucifix clatters to 
	the ground as blood seeps from his lips.
	Hopkins and SOLDIER #4 race forward to help. Another pair of 
	tentacles explode forth. Hopkins is sent sprawling...the black 
	mass PUNCHING straight through the Soldier #4's armor like a 
	javelin and impaling him against the wall. An arrow unleashed 
	from Soldier #2's crossbow evaporates in mid-air.
	Pitt's tentacle finishes its work. His decapitated body drops to 
	the ground, the head rolling off into the shadows.
	Another pseudopod hurtles for DeLuca, who cries out --
	But suddenly Hopkins is there, wielding a Dagger of Horvath. The 
	tentacle hits the Holy blade and rives into black ice, showering 
	the chamber floor. The Shape LAUGHS UPROARIOUSLY.
				DARK VOICE
		When Time...reaches its close...and your
		race attains the skies...I will set my 
		creatures to shatter this world.
				SIGNOR DELUCA
		Consign thee to Hell, foul spawn!
	The stone "Penticon" beneath the Necromancer's corpse SHATTERS 
	like glass, dropping into a GAPING ESOPHAGAL TUNNEL that plunges 
	into the DEPTHS OF HELL. The Shadow-form disappears in a 
	SHOCKWAVE BLAST that EXPLODES the skylight and SPLINTERS 
	everything breakable. The MOCKING LAUGHTER fades as the 
	"Penticon" reseals whole.
				HOPKINS
			(dryly)
		Demons. So overdramatic.
	DeLuca gazes around at the complex inventions, marvelling. 
				SIGNOR DELUCA
		Look at this. The detail...the genius.
				HOPKINS
		Humankind...might profit immeasurably.
	Soldier #4 approaches Hopkins hesitantly.
				SOLDIER #2
		Sire? What...should --?
	Hopkins moves something on a nearby drafting board. Examines the 
	soft vellum parchment stretched out there.
	Like a Da Vinci anatomical study, we see an intricately detailed 
	orthographic representation of FREDDY KRUEGER'S KNIFE-GLOVE 
	and JASON VOORHEES' KILLING MASK.
				HOPKINS
			(absent, but authoritative)
		Burn it all. Raze it to the ground.
	Flames CRACKLE up INTO FRAME all around as we TRACK SLOWLY into 
	the blueprint. SLAMMING ROCK MUSIC RISES O.S. as we --
				 		 DISSOLVE THROUGH TO:
	EXT. ELM STREET. - BETHLEHEM, VIRGINIA - DAY
	BRIGHT SUNLIGHT, filtering down through the boughs of trees. We 
	CRANE DOWN, past a sign reading "Elm Street." Hit a van in 
	FOREGROUND on a read of anonymous suburban storefronts.
	TWO CAPTIONS FADE-UP. The FIRST, which READS:
		
		BETHLEHEM, WEST VIRGINIA.
	And then is replaced by the SECOND:
		DECEMBER, 1999.
	An innocuous-looking bookshop sits across the road, the sign above 
	the door reading "SAMHAIN BOOKS." Right out-front, a muscular 
	HELL'S ANGEL sits astride a gleaming Harley. A scantily-clad 
	BIKER BABE faces him atop the gas-tank, legs wrapped around his 
	waist. They're sucking some serious face.
				REZNOR
			(O.S.)
		What - are you grafted to him, lady? Just
		how much foreplay's this gorilla need
		anyhow?!
	A TINY RED DOT flickers like an anxious firefly on the girl's 
	throught. Suddenly --
	SHE MOVES. Legs still in place, she swings around him to ride 
	pillion. He guns the engine, and they pull out.
				RENZOR
			(O.S.)
		Thank you! Crowd goes wild --
	The red dot settles on the bookshop window, and --
				SPEAKER VOICE #1
			(O.S., filtered)
		-- This one's young --
	Through the bookshop window, we see TWO MEN in conversation.
								CUT TO:
	INT. F.B.I. SURVEILLANCE VAN - DAY
	A THUMB, stabbing at a button --
				SPEAKER VOICE #1 (cont'd)
			(O.S., filtered)
		Fresh --
	A SPECTROSCOPE, leaping into high peaks --
				SPEAKER VOICE #1 (cont'd)
			(O.S., filtered)
		Like a peach --
	A LASER-MIKE BEAM, slicing out from the one-way van window --
				SPEAKER VOICE #1 (cont'd)
			(O.S., filtered)
		Camera loves her.
	Nestled hi-tech equipment in the van's rear is JAMES (JACK) 
	REZNOR, F.B.I. Agent extraordinaire. Grimy, unshaven. The toll 
	of days of stakeout. Take-out cartons and styrofoam cups littered 
	around him.
				REZNOR
		Yeah - I'll bet, ya toxic sack of puke...
	A video camera rolls quietly next to him. His cellular phone 
	WARBLES for attention. He reaches down, flips it on.
				REZNOR
		Agent Reznor. Better be good.
								 CUT TO:
	INT. TACTICAL ROOM - F.B.I. H.Q. - WASHINGTON - NIGHT
	An expansive, clean room. Dozens of manned cubicles, rows of 
	computer monitors. Jim Cameron territory. Christmas decorations 
	break the monotony.
	Reznor's partner JAMES (JACK) COBAIN is in his cubicle on the 
	other end, a big F.B.I. logo on the wall behind him.
				COBAIN
		Jack...it's Jack.
								 CUT TO:
	INT. SURVEILLANCE VAN - DAY (INTERCUT)
	To the side of the video-cam is an odd-looking CCD stills camera. 
	Reznor thumbs a remote plunger, takes a few shots.
				REZNOR
		Cobain - what's occurring? Expected your 
		sorry ass hours back...where are you?
	INT. TACTICAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)
	Cobain watches a CNN forest fire disaster on the wall-mounted T.V. 
	nearby.
				CNN ANCHOR
			(O.S., on television)
		"-- with close to 400 miles of woodland
		incinerated, Canadian authorities seem
		powerless to halt the blaze --"
				COBAIN
		Washington, still. They pulled the 
		pattern. Got me playing errand boy for
		some Vatican bigwig out to the airport.
	INT. SURVEILLANCE VAN - DAY (INTERCUT)
	Reznor jacks a wire from the stills-camera into the phone.
				REZNOR
		Shit. Well, look...get him to say some 
		"Hail Marys." Things are shaking here,
		just like we thought.
	INT. TACTIACAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)
	Cobain shifts in his seat, suddenly alert.
				COBAIN
		Snuff movies?
	INT. SURVEILLANCE VAN - DAY (INTERCUT)
	Reznor thumbs an inset button on the camera which illuminates a 
	green: "TRANSMIT."	
				REZNOR
		Yeah. I'm punching what I got through.
		Speaking of things priestly, Paula says I 
		should tell you - if you work me tomorrow
		night, your tush is excommunicated.
	INT. TACTICAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)
	The printer next to Cobain's V.D.U. WHIRRS, spits-out color stills 
	from Reznor's camera.
				COBAIN
		I'll consider myself doomed.
				REZNOR
			(V.0.)
		They process our backup yet?
				COBAIN
		Hold a sec. Uh --
	He cups the mouthpece as somebody (FBI AGENT #1) passes, TOOTING 
	an extendable party whistle. Rifles a tray of paperwork, finds a 
	requisition sheet with a SWAT header. The co-signature is still 
	blank.
				COBAIN (cont'd)
		Tanya...this SWAT request signature?
	A pretty woman looks across from a nearby cubicle. Shrugs.
				TANYA
		Holidays...cut-backs? Prob'ly an 
		oversight. Sorry, Cabain.
				CABAIN
			(back into phone)
		No change. Nice pictures...you get a bug
		in there?
	INT. SURVEILLANCE VAN - DAY (INTERCUT)
				REZNOR
		Not a hope. You wouldn't believe the 
		scanners these bozos use. Running a laser-
		mike onto their window.
	INT. TACTICAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)
				COBAIN
		Alright. What I'll do is, rush these
		through Photo Intelligence...drize down 
		the second I'm through.
	INT. SURVEILLANCE VAN - DAY (INTERCUT)
				REZNOR
		Deal. But Jack? Give SWAT a push. I got
		a hunch these sickos are about to move.
	INT. TACTICAL ROOM - F.B.I. HEADQUARTERS - DAY (INTERCUT)
	Cobain replaces the handset. Sits back. Looks at the paperwork. 
	Thinks a moment. Drags out a punch-file marked "S.W.A.T." and 
	opens it. Finds an old requisition. Glances around to make 
	certain nobody's watching, then --
	COPIES THE SIGNATURE. A perfect forgery.
	The T.V. catches his eye again. Another CNN disaster.
				CNN ANCHOR
			(O.S.)
		"-- Our top story...a heated skirmish in 
		International Waters, Leaving Korea one
		frigate down. Japan has already been 
		threatened with reprisals --"
	Somebody (FBI AGENT #2) slows as he passes the T.V.
				FBI AGENT #2
		Great way to end the Century, huh?
				COBAIN
			(grunts affirmatively)
		World's going to Hell in a handbasket.
	He stabs at a remote. Flips the channel to WHITE STATIC which --
					 MORPH-DISSOLVES THROUGH TO:
	EXT. "PLAIN OF BONES" - HELL - ZERO HOUR
	A DOWNPOUR OF HORIZONTAL RAIN against a dead grey sky. So subtle, 
	we don't get it for a second. Then --
	The SHOT ROTATES...TILTS. Swoops dizzyingly 100 feet. A LONELY 
	WIND HOWLS around a figure. Face upturned, droplets spatter her 
	face. We recogize her: ALICE JOHNSON, last seen defeating Freddy 
	Krueger in "THE DREAM CHILD." She shivers, her eyes SNAPPING 
	OPEN.
				ALICE
			(softly, to herself)
		Where am I?
	She's standing on a PLAIN OF BONES AND SKULLS stretching as far as 
	the eye can see, rolling hills on the horizon. The low sky BOILS, 
	a SEETHING BUBBLING REDNESS. A RUMBLE like an onrushing freight 
	train GROWS. She turns to see --
	A SINGULARITY TORNADO of MULTICOLORED ENERGY THUNDERING towards 
	her, just 100 feet away. Chewing up the landscape...sucking 
	"reality" into it. It's breathtaking, and it sounds like all the 
	noises in the world.
	Alice bolts as the worldbehind her CRUMBLES, sucked mightily 
	upwards. Her chest heaves, limbs working. Then --
	The ground QUAKES and ERUPTS, throwing her off-balance. She falls 
	solidly amongst a flurry of SPLINTERING bones. Looks up to see --
	THE SINGULARITY, looming large. Unstoppable. She SCREAMS --
				ALICE
		Nooooo --!
	A GREAT WHITE EXPLOSION hurls her through the air like a ragdoll. 
	Her arms flail, and then she IMPACTS HARD with --
	EXT. CRAGGY VERTICAL RACKFACE - HELL - ZERO HOUR (CONTINUING)
	A ROUGHLY-HEWN DARK GRANITE PILLAR perhaps 30 feet square, 
	dropping vertiginously away thousands of feet below. She snatches 
	a handhold...it SNAPS away. Falls about a foot...grabs another. 
	Begins a labored ascent...
	EXT. APEX OF PILLAR - HELL - ZERO HOUR (CONTINUING)
	Alice claws her way over the plateau edge. Lies there, breathing 
	heavily. A sibilant VOICE makes her jump --
	
				DARK VOICE
			(O.S.)
		Aaaaalicccee --
	She stumbles to her feet, finds herself looking out across the 
	plain as the Tornado decimates it. More bones here, a SINGLE 
	ARTHRITIC TREE claws upwards, and standing next to it towers 	-
-
	SOMEBODY...SOMETHING. Cloaked. A vicious bladed scythe clutched 
	in one hand, a BOA CONSTRICTOR coiling around the haft. If we 
	didn't know better, we might say it was the GRIM REAPER.
				ALICE
		Hello? Hello...
	Alice's eyes widen as - with an eerie HISS - the figure turns 
	towards her. But before we see the face --
	A VARIATION ON A FAMILIAR FOUR-BLADED CLAW curls disturbingly 
	around her neck from behind...
						SLAM CUT TO:
	INT. ALICE'S CAR - NIGHT
	JACOB JOHNSON - Alice's nervy 8 year old son - YELLS out in panic 
	from the passenger seat.
				JACOB
		Brake!
	Alice jerks awake from her daydream at the wheel to see --
				ALICE
		Shit!
	STATIONARY TRAFFIC on the freeway ahead, materializing at 40 MPH. 
	She grips the wheel, mashes the brake pedal hard...
	EXT. FREEWAY - BETHLEHEM - NIGHT
	Alice's red Lexus SKIDS through puddles of rain. SCREECHES to a 
	halt inches from the car in front.
	WIDER NOW, PULLING BACK. Her car a speck at the rear of the worst 
	Friday night gridlock you can imagine.
	INT/EXT. ALICE'S CAR - NIGHT
	Alice sits, hyperventilating. Grey eyes wide. We get a better 
	look at her now. Smartly-dressed. Mid-to-late 20s, mid-length 
	strawberry-blond hair. Cute as a button.
	Her son stares accusingly at her from alongside.
				JACOB
		Mom, you said you weren't tired!
				ALICE
		No...I...just must have drifted.
				JACOB
		You weren't...dreaming again? Like before?
	She gives him a look. Ducks the loaded question. Peers out 
	through the rain-	slicked windshield.
				ALICE
		Look at this rain. Feels like it tailed 
		us right from New Jersey.
	She reaches down and flips the radio on. Gets the news.
				RADIO NEWSCASTER
			(O.S., on radio)
		-- "Bizarre mass cult suicide at a Rio de
		Janeiro soccer stadium, 20,000 estimated 
		dead --"
		
				ALICE
		Getting harder to find any uplifting news
		these days.
				JACOB
		That's cause-of it's the "Fin de Sickle."
				ALICE
		The what?
				JACOB
		"Fin de --"
				ALICE
			(pronouncing correctly)
		Ah..."Fin de Siecle"?
				JACOB
		Yea. Like, when every century ends, 
		everything goes totally nutso. Only this
		time it's worse, cause it's, like, a new
		Millennium too.
				ALICE
			(smiles)
		Pretty slick. Where'd that come from?
				JACOB
		French class. Our tea --
	A RUMBLE starts-up, gaining intensity. A spring-mounted toy bird 
	dangling from the rear-view trembles. The car VIBRATES on its 
	suspension, the engine cutting-out.
				JACOB (cont'd)
		Earthquake! Wow...cool!
	THEIR P.O.V. People scramble from their cars. A traffic sign 
	ahead shakes, a freeway light swaying like a giraffe's neck.
				ALICE
			(gettign frightened)
		Virginia doesn't get quakes!
	Their gaze SNAPS ACROSS as a roadside fire hydrant BLOWS, gushing 
	water into 	the air. A high-tension wire above SNAPS with a 
	TWANG, Jacob YELLING as --
				JACOB
		Mom!!
	THE SPARKING CABLE hits their roof, HISSING as it writhes. 
	Searing the paintwork a couple of times before dropping to the 
	roadside and becoming inert.
	The tremor abruptly ends. Alice grabs Jacob --
				ALICE
		Jeez, are you alright--?!
		
				JACOB
		Think so...
				ALICE
		Sure?
				JACOB
		Yea...
		
				ALICE
		God...that was too freaky.
	She flips the ignition. Nothing. Tries it again. This time the 
	engine GRINDS UNPLEASANTLY.
				ALICE
		Oh. Oh, no...
				JACOB
		What's wrong?
				ALICE
		Our angel must be on coffee-break. Jake,
		honey...something's wrong. I'm gonna...
		have to pull us off the next ramp.
	Somebody HONKS behind. The engine catches, sounds unhealthy.
				JACOB
			(knowingly)
		What did I say?
				ALICE
		Yeah. Tell me about it --
	EXT. ALICE'S CAR - NIGHT
	We PULL BACK on the livid electrical scars seared into the car's 
	rooftop. Oddly, they resemble...Freddy claw gouges.
	A mindful NURSERY RHYME TUNE TINKLESdelicately O.S. as the Lexus 
	pulls out onto the freeway turn-off...
								 CUT TO:
	EXT. STREET - OUTSIDE FREEMAN HOUSE - BETHLEHEM - NIGHT
	
	Neat identical houses: Suburban Anywheresville, U.S.A. A 15ft 
	illuminated neighborhood Christmas tree shines like a candystore 
	beacon.
	Sheets of rain bead on telephone wires crossign the street. Drip 
	into the tree, FIZZING and FLICKERING the bulbs.
	INT. LIVING ROOM - FREEMAN HOUSE - NIGHT
	An 8 year-old blond girl - STEPHANIE FREEMAN - eats a sandwich 
	atop the back of a chaise-longue, face pushed up against the misty 
	widow. Stares wide-eyed as the tree flickers spastically across 
	the street.
				STEPHANIE
		Daddy! The tree isn't working right -- !
	She climbs down, wanders back across the long room. The 
	television plays "The Mask" animated series NOISILY to itself in 
	B.G. She glances cursorily at it in passing.
	INT. KITCHEN - FREEMAN HOUSE - NIGHT (CONTINUING)
	Stephanie's parents - STEVEN and JESSICA REEMAN - are in mid-
	argument in the cramped kitchen, a disassembled car gear box 
	neatly laid-out on the dining table.
	Steven is an odd blend of bookish and jock, his greasy work 
	overalls partially unbuttoned. His wife is exceptionally 
	pretty...at least she would be if she gave herself the chance. 
	She seems tired, long blond hair tied back in a ponytail. Both 
	are in their late 20s.
				JESSICA
		Steven, you made a promise!
				STEVEN
		Jess --
				JESSICA
		New Year's, 1999...a fresh Century! We 
		always said we'd celebrate this one
		togeter, regardless --
				STEVEN
		We will...look - it'll be a fast pick-up.
		Burn rubber first thing, get this guy's
		sump. Back in plenty of time. You...
		me...Stephy --
				JESSICA
		Ushering-in the "bright new future"?
	She turns away to wash some vegetables at the sink, her tone a 
	mixture of cynicism and tired resignation. Steven stops, frowns. 
	Puzzled and somewhat taken-aback.
				STEVEN
		Right. What?
	Stephanie appears at the doorway, interrupting the flow.
				STEPHANIE
		Daddy...?
				STEVEN
			(to Jessica, persistent)
		Look, I promised the guy. Am I missing 
		something here -- ?
				JESICA
			(to Stephanie)
		Oh - not now, baby...
				STEPHANIE
			(persistent, to Steven)
		-- Can you fix the tree?
	Stephanie picks the stick-shift up from the table.
				STEVEN
		Which tree?...don't touch that, pumpkin.
	Distracted, Steven takes it from Stephanie, replaces it. She 
	wraps her arms around him. Pouts petulantly.
				STEPHANIE
		Over the park. The lights are all sparky,
		look --
		
				JESSICA
		Stephy, Mom and Dad are yammerin --
				STEPHANIE
		Puh-lease?
	She jumps up-and-down. He ruffles her hair.
				STEVEN
		Weren't you watching T.V.?
				JESSICA
		T.V.'s for squids.
				STEVEN
			(laughs)
		Well...plumb the depths. I'll get there.
				STEPHANIE
		O-kay...
	
	Stephanie grudgingly leaves. Steven LAUGHS.
		
				STEVEN
		I swear, that kid's intent on setting the 
		whole world to rights.
				JESSICA
		Great. Have her start here.
	Steven's had it. Turns to her, baffled.
				STEVEN
		Alright. You gonna share into this little
		secret?
				JESSICA
		Which'd be what?
				STEVEN
		You, stomping about like a poster ad for 
		Prozac.
				JESSICA
		Oh - pull a 360, Steven! Take a wild stab!
	Steven looks wounded. This seems to be a familiar routine.
				STEVEN
		C'mon, Jess --
				JESSICA
		No! No, I've had it! I'm sic of...of 
		clipping coupons...scrimping every cent.
		We've bills up the ying-yang...I want us 
		to actually amount to something!
				STEVEN
		Pushing "delete" on one of "America's Most
		Wanted" wasn't enough for one lifetime -- ?
				JESSICA
		It's been eight years since we fried Jason
		Voorhees! Eight years! What do we have 
		to show for it?
				STEVEN
		We got the autoshop --
				JESSICA
		You seen our bank statements?
				STEVEN
		The recession...you know it's temporary.
		We'll pull through --
		
				JESSICA
		Yeah, and it's always around the next
		corner! Steven, we're sinking into a
		bottomless pit! I look at other families
		with 'lifestyles'...we don't even manage a
		life! I spend most of my life under a 
		car, up to my elbows in grease and swill!
		third-rate existence!
				STEVEN
		What do you want me to say? I'm all outta
		easy answers!
	The message pager on Steven's belt BEEPS annoyingly. He thumbs it 
	off, squints at the display. Looks abashed at Jessica.
				STEVEN (cont'd)
		It's...uh...a call-out --
	Jessica turns away. Picks up the knife. Chops mechanically at 
	the vegetables like a Stepford wife.
				JESSICA
		You should go.
				STEVEN
			(conciliatory)
		Jess --
				JESSICA
		No. Do it. We can use the money.
	Steven leaves the kitchen uncertainly. We HEAR him call out:
				STEVEN
			(O.S.)
		Up for a ride, sweet thing?
				STEPHANIE
			(O.S., excited)
		You bet!
				JESSICA
			(calling after)
		Don't forget your --
	Jessica closes her eyes as the front door BANGS. Heaves a SIGH, 
	instant regret flooding her features.
				JESSICA (cont'd)
			(finishing, redundant)
		-- Keys. Goddammit, Jess Voorhees --
								 CUT TO:
	EXT. DULLES INTERNATIONAL AIRPORT - NIGHT
	A big 747 comes in to land on a rain-swept runway.
	INT. ARRIVAL LOUNGE - DULLES INTERNATIONAL - NIGHT
	The terminal is packed with mostly-bored PASSENGERS, not even 
	Bruce Willis and some hijackers to liven things up.
	Cobain sits on a passenger rotunda, an F.B.I. file open of his 
	lap. He YAWNS...goes to sip from his styrofoam cup. A FAT 
	BUSINESSMAN to his right turns the pages of his newspaper, catches 
	Cobain's elbow. A great coffee SPLOT stains his paperwork. 
	Cobain shoots him an evil look.
				FAT BUSINESSMAN
		Sorry, pal.
	Cobain catches sight of the newspaper headline: "ASTRONOMERS 
	BAFFLED OVER DISAPPEARING STARS." Reaches down, wipes away the 
	mess. We see an attached "Front-and-Right" mugshot of a hatchet-
	faced guy (who we recognize from Reznor's surveillance shots) 
	registered with an "Interpol, Surete" stamp. From the corner of 
	his eye, Cobain notices the OLD WOMAN to his left reading the 
	file.
				COBAIN
			(pointedly)
		Interesting read?
	The woman looks hurriedly away...
		
								 CUT TO:
	
	EXT "SHAMAN BOOKS" - ELM STREET - NIGHT
	An ANGLE low on the rain-speckled sidewalk. A VAN'S TIRE enters 
	FRAME. The door opens; a boot drops into SHOT.
	INT. SURVEILLANCE VAN - NIGHT
	A dishevelled Reznor drops a cigarette butt in his empty styrofoam 
	cup. Opens his packet of Camels. Empty. Glances out the 
	window...and does a double-take. Sits up straight, instantly 
	galvanized. Snaps-off a few more photographs.
				REZNOR
		What? Little late-night browsing?
	HIS P.O.V., ACROSS THE ROAD. A newly-arrived van stands outside 
	the store as a RAINCOATED MAN fumbles an adjacent yard open. 
	Reznor watches as it proceeds inside.
				REZNOR (cont'd)
		Bingo. Pary-hearty time --
	He unholsters his pistol, thumb-catches the slide --
	EXT. YARD - "SAMHAIN BOOKS" - NIGHT.
	VERTICAL CRANE SHOT, looking down on the van as two FIGURES in 
	raincoats manhandle a struggling hape encased in a black bodybag 
	up through a fire-exit at the rear of the bookshop.
	EXT. YARD DOOR - "SAMHAIN BOOKS" - ELM STREET - NIGHT
	Rain plastering his hair, Reznor sidles carefully up to the yard 
	door, gun-in hand. Glances nervously around, puts his face to a 
	gap in the fence. Peers through --
				REZNOR
		Aw...shit!
	
	He pulls out his cellphone. Flips it open --
	EXT TURRET - "SAMHAIN BOOKS" - NIGHT
	Narrow lengthwise rectangular windows glow soft yellow against the 
	silhouette of the oddly medieval turret atop the bookstore. 
	Lightning BURSTS throw it into sharp relief. We HEAR the TOLLING 
	of a CHURCH BELL on the SOUNDTRACK...
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	A LOW ANGLE, orbiting a strange inverted "lightning rod" suspended 
	dead-center in the circular chamber. Sculptured ceiling "ribs" 
	curve outwards, forming cabalistic pillars lining the room. The 
	saffron glow from hundreds of candles highlights diabolic imagery 
	on the walls as the storm FLASHES through the windows high above, 
	MALEFIC CHANTING O.S.
	A wick is lit by one of several CLOAKED CULTISTS milling around 
	the room. An ANCIENT GRIMOIRE with a sculpted cover (the "EVIL 
	DEAD" Necronomicon, seen in the Voorhees house in "JASON GOES TO 
	HELL") rests open on a wooden podium. The LEAD CULTIST traces 
	arcane runes as he anoints the tooled silver blade of an AZTEC 
	SACRIFICIAL MACHETE with oils.
				LEAD CULTIST
		"Ro-Ta Derp...Suss-Ruv Nayala --"
	We TRACK LEFT as another Cultist totes a set of ominous iron limb-
	shackles. Linger in PASSING the video-assist monitor of a mounted 
	camcorder. It glitches to life, reveals an INVERTED WOODEN 
	CROSS...we CONTINUE and END on the real thing: 6ft long and tilted 
	at 40 degree slant.
	A HIGH ROTATING ANGLE, away from the Cross to a symbol carved into 
	the stone floor. We recognize it instantly as the "Penticon" rune 
	from our ITALIAN PROLOGUE. We hear a GIRL'S SHRIEKING VOICE from 
	somewhere just outside.
				GOTH GIRL
			(O.S.)
		Get your goddamn paws off -- !
	EXT. YARD - "SAMHAIN BOOKS" - NIGHT
	Reznor drops down from the fence top. The ground on the yard-side 
	is slushy - he loses his balance, skids awkwardly. His cellphone 
	falls into the mud. He picks it up, shakes the dirt from it. 
	Crosses to the van, peers quickly inside.
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	FAST CUTS. Chunky wrist clamps CLUNK into place. A spirited but 
	obviously-terrifed dark-haired GOTH GIRL SCREAMS crazily as two 
	CULTISTS attempt to secure her legs to the top of the slanted 
	cross, the others stand CHANTING in shadows surrounding the 
	room...
				CULTISTS
			(together)
		"Kandar...estrata...montos...eygrets --"
	The Lead Cultist - the same guy from Cobain's Interpol photographs 
	- stands behind the Necronomicon podium.
				LEAD CULTIST
		Lord of Gehanna...keeper of the Fallen
		Spirits of Darkness --
	The Girl lashes a long leg at one with the force of a Bruce Lee 
	karate kick. As Cultist #1 SLAMS back against a pillar, the cowl 
	slips away to reveal a WOMAN PRIEST with a CLERICAL DOG-COLLAR 
	beneath.
				GOTH GIRL
		Crazy freako psycho bastards...let me go!
	Cultist #2 ENTERS SHOT wielding a HI-TECH STUN ROD. Shoves it 
	against her with a SHARP OZONE CRACK. The Girl slumps back.
				LEAD CULTIST
		By the Abramelin Mage, receive this lowly
		oblation as your own --
	Another restraint CLAMPS around the Girl's throat. The CHANTING 
	RISES in PITCH as her dress is RIPPED SAVAGELY AWAY, revealing the 
	bare chest beneath. The videocam monitor begins to GLITCH 
	inexplicably --
	INT. YARD - "SAMHAIN BOOKS" - NIGHT
	Reznor glances up. The THUNDERCLOUDS above the store are SEETHING 
	into 	TURMOIL. He tries the fire-exit. Locked.
				REZNOR
		Perfect --
	He pulls a Lockaid gun - a staplegun-like device - from his coat 
	pocket. Squeezes the trigger. Thin protruding prongs WHIRR and 
	vibrate. He slides them into the keylock --
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	The CHANTING aproaches feer-pitch. The Lead Cultist runs the 
	Aztec Machete's tip lightly between the girl's breasts, drawing a 
	bead of blood. Raises the blade to shoulder height as she stirs 
	slightly and MOANS.
				LEAD CULTIST
			(rising to a shout)
		-- Hear these words of power! Barter this
		flesh and invoke your Holy Guardian...
		"Nosferatus, Emontus...Thanos"--!
	WIDER NOW, ACROSS THE ROOM. At the precise moment he drives the 
	blade down, we CRAB QUICKLY LEFT to --
	THE GIRL'S FACE on the VIDEO MONITOR, HOWLING in EXTREME CLOSE-UP 
	as the machee SLAMS home (mercifully OFFSCREEN). The monitor 
	picture starts to ROLL --
						FAST CUT TO:
	INT. YARD - "SAMHAIN BOOKS" - NIGHT
	SNAP! TIGHT ON Reznor's Lockaid gun as the twin prongs shear-off 
	in the lock --
				REZNOR
		Shit! This never happens on T.V.!
	He stumbles back into the yard, takes a look around as LIGHTNING 
	FLARES above --
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	The Girl's head slumps lifelessly back. Blood swells along 
	channels carved into the cross...weeps over the edge. Trickles 
	into --
	THE "PENTICON" BELOW. Disturbingly, the fluid MOVES OF ITS OWN 
	VOLITION...heading in assorted directions along the carved 
	gullies. The Cultists register surprise and trepidation as the 
	droplets ACCELERATE and ACCELERATE and --
	TRANSFORM from matter into SEARING POINTS OF ENERGY that race 
	about the unholy 	symbol like a circuitboard ELECTRON DANCE. A 
	strange wind GUSTS through the place, GUTTERING the candle 
	slightly. The videocam monitor SNOWS erratically as questing 
	tendrils of power SHOOT up from the circle, ARCING through the 
	Girl's body and shrivelling her to a desiccated husk --
	EXT. FRONT OF STARE - "SAMHAIN BOOKS" - NIGHT
	Reznor's head SNAPS UPWARDS as --
	EXT. TURRET - "SAMHAIN BOOKS" - NIGHT
	The heavens are RENT ASUNDER by a MIGHTY CRACK, a bolt of 
	LIGHTNING SLASHING DOWN to COURSE through the vane atop the 
	bookshop, and --
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	CRACKING DOWN from the inverted lightning conductor to the 
	"Penticon" which 	ERUPTS, coalescing into a RAGING ENERGY 
	MAELSTROM. All the candles BLOW OUT simultaneously --
	EXT. FRONT OF STORE - "SAMHIN BOOKS" - NIGHT
	KER-BOOM! The turret windows SHATTER, GOUTING EXHAUST SPUMES of 
	ROLLING ORANGE FIRE.
	Reznor dives for cover as debris showers down --
				REZNOR
		Holy fuck!
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	The ENERGY TORNADO is a WHIRLING VORTEX of RED-AND-GREEN LIGHT, 
	oscillating slightly (perhaps subliminally giving the idea we 
	might see Freddy Krueger). The Cross has become energized, an 
	INCANDESCENT GLOWING MASS...a BLAST WAVE hits it, BLOWING AWAY the 
	Goth Girl's ashen remains.
	Cultist #3 on the periphery IGNITES, a human fireball. The Lead 
	Cultist is 	snagged by the vortex's power, the trim of his cowl 
	catching fire. Both his skull and right arm GLOW from within, an 
	unearthly MOLTEN ORANGE --
	EXT. FRONT OF STORE - "SAMHAIN BOOKS" - NIGHT
	Reznor rainses his pistol squarely at the storefront window.
				REZNOR
		Screw "Reasonable Cause" --
	BLAMBLAMBLAMBLAM! A half-dozen rounds STAR and IMPLODE the 
	glass...
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	A SHAPE forms within the tornado...a HUMANOID framework of veins 
	suspended above the floor in a fetal ball, gaining solidity each 
	moment --
	Mass panic. Cultist #4 tries to bolt...an energy ribbon LASHES 
	out and BURNS A HOLE THROUGH HIM.
	The jaw of the transfixed Lead Cultist opens a SILENT SCREAM in 
	his WHITE-HOT SKULL --
	The Humanoid Shape is solid now, electrcal CRACKLES ZAPPING about 
	it. The vortex suddenly IMPLODES, and --
	A BURST of LIGHT tosses the Lead Cultist ferociously backwards, 
	his face sheared away and cauterized. The Aztec machete spins up 
	into the air, as --
	The remainder of the vortex EXPLODES and dissipates, as--
	The videocam monitor ROLLS BACK towards normality, and --
	A FAST CUT as CHUNKY CONSTRUCTION BOOTS with black crome shin-
	guards SLAM DOWN onto the reformed "Penticon", as -- 
	The machete pirouttes down, and --
	A HAND sporting fingerless open-backed biker-gloves WHIPS OUT from 
	nowhere, ENORMOUS FINGERS curling around the grip then --
	WHOOSH! The blade immediately CLEAVES through the air towards --
	THE THROAT OF CULTIST #5, who looses a SCREAM --
	Which is interrupted as he's DECAPITATED in a FAST VIDEO MONITOR 
	INSERT. We get a speedy SCAN-LINED glimpse of JASON VOORHEES' 
	KILLING MASK POWERING across the FRAME --
	BUT LIKE WE'VE NEVER SEEN BEFORE. Still a HOCKEY GOALIE, but now 
	DARK CHROME with ANGULAR FACETS. Terrifying - a regular SLASHER 
	DARTH VADER.
	INT. WINDOW DISPLAY - "SAMHAIN" BOOKSHOP - NIGHT
	Reznor knocks-in some dangerous glass shards, inadvertently 
	toppling a skeleton window display. He clambers over the frame 
	and into the store, his shoe coming down to crush the delicate 
	plastic skull --
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	Cultist #6 SHRIEKS in terror as Jason's foot SLAMS down MULCHING 
	his head to puree. Jason's head SNAPS AROUND as --
	Cultist #7 is there with a BATTLE CRY, wielding a sacrifiecial 
	dagger --
				CULTIST #7
		Morituri Abominati -- !
	THUNK! The dagger sinks up to the hilt in Jason's torso. Jason 
	glances calmly down...a moment's hesitation...the man 
	freezes...then Jason impales him cleanly with his machete.
	Jason pitches back with the dagger protruding as Cultist #1 
	catches him unawares, garroting him with the sacrificial restraint 
	chains. Jason relinquishes his grip on the machete, and Cultist 
	#7 reels towards a pillar, GURGLING --
	Jason staggers blindly, knocking the videocam tripod over. Rain 
	SPATTERING 	the dark crome mask through the breached roof above, 
	he CLAWS ineffectively at the chains as CULTIST #1 uses her 
	mass to lever him back, and --
	Cultist #2 CHARGES Jason from the front with the CRACKLING STUN-
	ROD. Cultist #1 SHRIEKS out in pain as the conductive charge ZAPS 
	through Jason's body and along the chains. As Cultist #2 TWISTS 
	the tip deeper into Jason's stomach, Jason SLAMS the woman back 
	against a stone pillar, CRUSHING her. He simultaheously SEIZES 
	the man's shoulders and --
	YANKS HIM BODILY FORWARD, the Stun-Rod SPEARING Cultist #2's chest 
	and passing cleanly through him. Cultist #2's SCREAMING face is a 
	matter of inches from the chrome faceplate as --
	Jason PLANTS a FEROCIOUS HEAD-BUTT on him, then TOSSES him aside 
	like a ragdoll. As Cultist #1 sinks down behind him, Jason 
	extracts the sacrificial dagger from is ribcage and tosses it to 
	the ground. Turns to Cultist #7 - alive and WHIMPERING against 
	another pillar with the machete protruding and stalks murderously 
	towards him --
	INT. STAIRWELL - "SAMHAIN BOOKS" - NIGHT
	Reznor takes the landing stairwell two stairs at a time. Down 
	below, we can see the orderly shelves that make up the small-but-
	cluttered store. As he reaches top --
	KER-SMASH! Reznor flinches, half-ducks as the door leading to the 
	turret ahead SPLINTERS WIDE APART, Cultist #7's corpse WHOOSING 
	throught he air. It CRACKS THROUGH the bannisters, PLUMMETS down 
	into the store. BOUNCING OFF a bookshelf adn coming to rest 
	below. Reznor gapes.
				REZNOR
		Jesus!
	A DARK SILHOUETTE steps forward from the shadows. Reznor raises 
	him pistol, Weaver-stance.
				REZNOR
		F.B.I. ...right where you are, twinkletoes!
	Reznor gets a good look as LIGHTNING reflects fromt he chrome 
	killing mask through the skylight immediately above. The jet-
	black boiler-suit...the dark liquid trickling along the Aztec 
	machete's rune-carved blade.
				REZNOR (cont'd)
		Drop the toothpick, buddy!
	Jason ignores him, strides malevolently forward. Reznor CLICKS 
	his pistol's safety catch --
				REZNOR (cont'd)
		One warning only...do it!
	Jason raises the blade threateningly...and Reznor lets him have 
	it, SHOT-AFTER-SHOT. Jason LURCHES each time the bullets him 
	home...Reznor's eyes bug at the lack of effect. The machete 
	SWISHES down, burying itself in the broken bannister-rail. Reznor 
	feints to the right, avoids the swing by millimeters ...loses his 
	footing on the ledge--
	AND SLIPS, tumbling down into the store. Conveniently, the prone 
	corpse of Cultist #7 cushions Reznor's fall...but his head BANGS 
	against something, KNOCKING him out cold.
	WE FINISH TIGHT ON REZNOR'S HEAD. Chromed construction boots 
	STOMP past on their way out into the night...
	EXT. "SAMHAIN BOOKS" - NIGHT (AERIAL MATTE SHOT)
	TIGHT ON the videocam monitor showing a SKEWED ANGLE of a 
	Cultist's face, staring sightlessly. PULL BACK to reveal --
	A GOD'S EYE ANGLE looking 270 degrees VETICALLY DAWN at the 
	bookstore. The shattered turret is in IMMEDIATE FOREGROUND, 
	pockets of GUTTERING FLAME in the rafters here-and-there. Through 
	the rent in the roof, we see part of the "Penticon" and various 
	SCATTERED CULTISTS' BODIES.
	Approaching POLICE SIRENS RISE in VOLUME, O.S. Far below, we note 
	TINY FIGURE of Jason Voorhees casting a huge shadow as it stalks 
	purposefully away into 	the darkness...
	
								 CUT TO:
	EXT. BLACKTOP ROADSIDE - BETHLEHEM - NIGHT (CRANE SHOT)
	Rain is coming down in sheets, still. A breakdown truck with 
	"Voorhees 24 Hour Motors" markings is pulled at the roadside. A 
	GUY in overalls and an all-weather jacket has his head under the 
	open hood of Alice's Lexus, just up-front.
	INT. ALICE'S CAR - NIGHT
	Alice watches as the guy drops the hood, SPLASHES around to the 
	driver's side. She thumbs a control. The window WHIRRS down, and 
	we see Steven Freeman's face.
				ALICE
		So, what do I owe you?
				STEVEN
			(shakes his head)
		I wish it were that simple...
				ALICE
		What is it?
				STEVEN
		Well. Contacts're fine. Battery's got a
		charge, so it's not electrical. Oil's 
		good...something with the gas mix, maybe?
		Might even be in the engine...
				ALICE
		Oh, God --
				STEVEN
		I can put it through the shop overnight.
		You could drop-by tomorrow...
	Alice shoots a worried look at Jacob, asleep in the back seat.
				ALICE
		No. I'm not...well, we don't live around
		here. We were driving back, to Ohio --
	Steven scratches his head. Thinks.
				STEVEN
		Well, then you certainly have a problem.
		I could maybe give you guys a ride? Some
		reasonable motels, just down off the 
		blacktop --
				ALICE
		This time of the year? This year?
				STEVEN
		Ah, I know some people.
			(grins)
		Friends in low places. Y'know?
				ALICE
		Thanks. Whatever. Anything I can get
		has to be better than sleepin here, I 
		guess --
								 CUT TO:
	INT. ARRIVAL LOUNGE - DULLES INTERNATIONAL - NIGHT
	CLOSE ON the second hand of Cobain's wristwatch, the TICKING 
	incredibly loud.
	WIDER NOW. Cobain's still sitting on the rotunda. His eyes are 
	heavy, head drooping. He catches himself. Repeats this 
	once...twice. The TANNOY ANNOUNCEMENT SLURS and FADES-OUT O.S., 
	and --
	HE WAKES BACK TO CONCIOUSNESS, suddenly fully refreshed. His gaze 
	comes up, not really focussing on anything --
	HIS P.O.V., looking around. Flurries of people hurrying to their 
	destination. Subtly SPEEDING-UP and BLURRING into one. (We HEAR 
	the TANNOY O.S. in QUICK GARBLED SPURTS.) A GAP appears in the 
	crowd --
	To reveal a WOMAN in a NUN'S HABIT. We recognize her as AMANDA 
	KRUEGER, Freddy's deceased mother. She does a quarter-
	turn...stares directly at Cobain.
	Cobain frown. Straightens. Hears a GREAT ECHOING MECHANICAL 
	"CLANK." Looks up to see --
	-- THE AIRPORT WALL-CLOCK GO BACKWARDS from "12:40" to "12:39". 
	He glimpses down at his wristwatch. The second hand is running 
	backwards, too...
	Cobain returns her gaze, finds himself standin inside --
	INT. "CHURCH VOID" (DREAM SEQUENCE)
	AN AREA OF LIGHT, bounded by impenetrable shadow. The stone floor 
	scattered with autumnal leaves, a dais ahead. Standing on it 
	before a VERTICAL STAINED GLASS WINDOW is Amanda, WHITE DOVES 
	fluttering about her. The GIANT CENSERS We saw in the ITALIAN 
	PROLOBUE WHOOSH BACK-AND-FORTH between her and Cobain, preventing 
	him getting any closer.
	She locks her gaze to him. He glances nervously left-and-right 
	into the shadows before returning it.
				AMANDA KRUEGER
			(resonant echo)
		The time of Darkness falls upon you all...
		you must choose the True Path...ahhhh --!
	She convulses, doubling over. Hands clutching at her chest. FOUR 
	GREAT BLOODY RIPS stain her robe's white frontispiece: FREEDDY 
	CLAW MARKS. Cobain makes to move forward --
	AND AMANDA'S HEAD SNAPS UP, hideously transformed into a SKELETAL 
	DEATH MASK. Before Cobain can react, Amanda EVAPORATES into a 
	SPECTRAL WRAITH and DISSAPEARS.
	A WEIRD EXAGGERATED CLACK-CLACK NOISE O.S. --
	INT. ARRIVAL LOUNGE - DULLES INTERNATIONAL - NIGHT
	Jerks Cobain back to reality. It was a dream...a weird nightmare. 
	A GROUP of 	BLACK YOUTHS are standing of to one side, 
	incongruously playing a "NIN" song 	LOUDLY on their boom-box. 
	Cobain looks up as the status of all the flights on the arrivals 
	board NOISILY changes to "DELAYED" --
								 CUT TO:
	EXT. AIRSPACE - NIGHT
	Lightning ERUPTS around a DC10, battered by storm clouds.
	INT. CLUB CLASS COMPARTMEN - DC10 - NIGHT
	Nervous PASSENGERS are shaken about in the half-full compartment, 
	many vomiting into bags. THe internal lights GLICKER wildly.
	Halfway-back sits PONTIFF MANFREDINI. 50s, plump and 
	mustachioed...anxiously clutching a black leather briefcase to his 
	chest. He fumbles awkwardly at the cap of a pill bottle as --
	A GREAT BLAST OF TURBULENCE sends it SPINNING from his grip. It 
	HITS 	deck...BURSTS open, spilling tablets. Rolls down the aisle. 
	A STEWARDESS stops its progress, smiles at Manfredini as she 
	swiftly replaces the pills.
				STEWARDESS
		Having a little trouble there, Pontiff?
	Manfredini grimaces apologetically. Speaks in a broken Italian 
	accent.
				PONTIFF MANFREDINI
		I'm...sorry. I do not...travel well.
				STEWARDESS
		Just like a good wine, huh?
	His attempt at a smile fades with another JOLT of TURBULENCE. 
				PONTIFF MANFREDINI
		The, uh...."Cabinetti"...bathroom?
	She turns, looks back down the aisle. The illuminated sign 
	changes to "OCCUPIED" as an AILING PASSENGER lurches inside.
				STEWARDESS
		Heavy traffic...look, there's another
		cubicle back that way, if you're chewing 
		your knuckles --
				PONTIFF MANFREDINI
			(rising)
		Si...yes. Thank you --
	INT. PASSAGEWAY - DC10 - NIGHT
	Manfredini is rocked against a wall as the plane is buffeted.
	INT. TOILET - DC10 - NIGHT
	Manfredini enters the cubicle. Closes the door behind him and 
	TURNS --
	To find himself in a CHURCH CONFESSIONAL BOX. The latch SCHNICKS 
	into place 	of its own volition. Manfredini recoils, sits down 
	heavily. The walls are panelled wood...startles as SICKLY GREEN 
	LIGHT BLASTS through the latticework separator.
				DARK VOICE
			(O.S., deep and resonant)
		Father...it's five billi8on years since my
		last confession --
	Manfredini looks around in panic as the walls compress quickly 
	inward, and --
	THE FLOOR DROPS AWAY! He pitches forward, palms pressing aginst 
	the walls as MALEVOLENT LAUGHTER echoes. Flames LICK up from a 
	BOTTOMLESS PIT, SEARING at his legs like a flamethrower as --
	The RED-AND-GREEN PEW - his only leverage - TILTS away beneath 
	him! He falls awkwardly, SCREAMING --
	INT. PASSAGEWAY - DC10 - NIGHT
	AND ROCKETS BACK THROUGH THE TOILET DOOR, SLAMMING HARD against 
	the passageway wall. He slumps, staring at the swaying door for a 
	moment...listening to the CREAKY HINGES.
	His head JERKS AROUND at a FAINT SOUND further down the 
	compartment. A CHILDREN'S NURSERY RHYME. HE HEARS an OILY SQUEAK 
	some way down the rear of the plane. Stares 50 feet back to 
	see --	
	A 5 year-old GIRL in a white dress cycles into the aisleway on a 
	three-wheeled trike. Looks directly at Manfredini. GIGGLES 
	mischievously.
				PONTIFF MANFREDINI
		Hey...hey!
				GIRL ON PLANE
			(singsong)
		"One, Two...Freddy's coming for you --"
	She turns the trike's wheel and cycles rapidly off.
				PONTIFF MANFREDINI
		No...wait -- !
	As Manfredini makes to follow, we notice the SHADOW of FOUR GIANT 
	CLAWS moving on the wall behind him --
	INT. 2ND PASSENGER COMPARTMENT - DC10 - NIGHT
	Manfredini enters the next compartment...stops in horror. Crosses 
	himself. The occupied seats contain FRAZZLED SKELETAL PASSENGERS, 
	their clothes and bones STEAMING SLIGHTLY.
				PONTIFF MANFREDINI
		God have mercy --
				GIRL ON PLANE
			(O.S., singsong)
		"Three, Four...better lock your door --"
	Manfredini summons up his resolve. As he hurries towards the 
	source of the sound --
	ANOTHER ANGLE, behind Manfredini. MASSIVE LEGS ENTER OVER CAMERA, 
	gunfighter style. FOUR ENORMOUS BLADES idle into FRAME. 
	Intricately etched - but shot-through with rust and corrosive 
	pitting - the tarnished chrome catches the light...
	INT. 3RD PASSENGER COMPARTMENT - DC10 - NIGHT
	Manfredini's face registers bewilderment as he enters this 
	compartment. The seats have changed into WOODEN PEWS, each of the 
	window portals a small square of stained glass, autumnal leaves 
	gusting around. The trike lies overturned on the floor, a spoked 
	rear wheel still spinning. As the Pontiff crouches to halt it --
	A SPORADIC STROBE-FLASH from the front of the aircraft backlights 
	a HULKING FIGURE someway behind him. An ENORMOUS TORSO, filling 
	the passageway and then some...24 INCH SCIMITAR-LIKE CLAWS curving 
	down from its right hand.
				PONTIFF MANFREDINI
			(unawares)
		Where are you?
	Manfredini STARTLES as the INFLIGHT MOVIE PROJECTOR starts up. 
	(Conveniently, SCENE 67 of "Wes Craven's New Nightmare.")
				WES CRAVEN
			(O.S., on screen)
		" -- It's old, very old. And it's taken 
		different forms in different ages. The 
		only thing that stays the same about it, 
		is what it lives for."
				JACOB
			(O.S.)
		You shouldn't be here --! 
	Manfredini looks around. Sees Jacob standing accross the aisle, 
	looking at him with puzzlement.
				HEATHER LANGENKAMP
			(O.S., on screen)
		"What's that?"
				PONTIFF MANFREDINI
		How...where is this place? The girl...?
	We hear the Dream Girl's GIGGLES from somewhere, O.S.
				GIRL ON PLANE
			(O.S.)
		"Five, Six...grab your crucifix --"
				JACOB
			(ugently)
		Quick! Get away...you have to wake up!
				PONTIFF MANFREDINI
		Wake...up?
	AN ENORMOUS RIPPING SOUND fills the air as HUGE FREDDY CLAWS GASH 
	cross-sectionally through the hull between them --
				WES CRAVEN
			(O.S., on screen)
		"Slaughtering innocence."
	The aircraft hull RENDS APART, SLICED in half --
	EXT. AIRSPACE - NIGHT (OPTICAL - CONTINUING)
	The DC10's tail SHEARS away as Manfredini PLUNGES HUNDREDS OF FEET 
	towards CAMERA and certain death, the trike TUMBLING alongside --
				PONTIFF MANFREDINI
		Noooooo -- !
	EXT. APEX OF PILLAR - HELL - ZERO HOUR (CONTINUING)
	
	WHAM! Manfredini SLAMS RIGHT THROUGH a BARBED STAKE,impaling him 
	brutally. (The trike kicks up a DUSTCLOUD as it hits ground in 
	F.G.)
	A REVERSE ANGLE as the Pontiff MOANS, grasping feebly at the 
	bloody spike. A GRIM-REAPERESQUE FIGURE with a SCYTHE LOOMING 
	over him...beyond, we see the VAST ENERGY TORNADO towering over 
	all as it approaches inexorably --
	INT. CLUB CLASS COMPARTMENT - DC10 - NIGHT (BACK TO REALITY)
	An AGITATED PASSENGER tries to hold a BUCKING and STRAINING 
	Manfredini. Blood seeps around the edge of his attache as the 
	Stewardess makes to prize it away. The Pontiff's face is bright 
	purple, his eyes bulging. VARIOUS PASSENGERS crowd around, 
	ghoulishly watching. It's almost as if he were being dragged into 
	the air.
				STEWARDESS
		Hold him down...keep him down!
				AGITATED PASSENGER
		I'm trying -- !
	A SECOND STEWARDESS stands behind, grinding tablets against 
	Manfredini's clenched teeth. A SECOND PASSENGER comes into SHOT, 
	waving a plastic spoon.
				SECOND PASSENGER
		Get this between his teeth --!
	As the Stewardess YANKS the case away, we hear a CRUNCH --
	AND A BLOSSOM OF BLOOD ERUPTS from Manfredini's chest!
								 	JUMP CUT TO:
	EXT. ROAD - BLACKTOP MOTEL - NIGHT
	The "Voorhees Motors" truck is parked at the roadside, Alice's 
	Lexus up on the back ramps. The garish neon of a nearby motel 
	SIZZLES in the sheet rain.
	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT
	The wipers SCHNICK-SCHNICK as Steven stares out through the 
	drizzle-speckled 	windshield. Stephanie is next to him, tearing 
	pieces of orange peel and aiming them at Jacob's sleeping face in 
	the rear. He turns, catches her in the act.
				STEVEN
		C'mon - knock it off, Steph. Kid's beat --
	Stephanie complies...at least until Steven looks away. She rips 
	another piece, FLICKS it at Jacob's cheek --
	AND JACOB BOLTS AWAKE, SCREAMING LIKE A BANSHEE! Stephanie 
	SCREECHES back, caught unawares. Steven GALVANIZES into action, 
	stretching over the seat to Jacob.
				JACOB
		It's him!
				STEVEN
		Whoa, hey...hold the phone --!
		
				JACOB
		He killed the man --!
				STEVEN
		You had a nightmare...
			
				JACOB
		No, I saw him! With his claws -- !
				STEVEN
		Claws?
	The sudden CLUNK of the passenger side door unlocking makes them 
	jump. Stephanie budges over as Alice leaps in, soaked.
				ALICE
		I don't believe it! This is beginning to 
		feel like nailing jello to a door.
				STEVEN
		No luck?
	
				ALICE
		"No room at the inn." Again.
	She pauses. Recognizes an intense atmosphere in the cab.
				ALICE (cont'd)
		Is everything okay?
	
				JACOB
		Mom, it's the Sandman!
				ALICE
		What?
				JACOB
		It's Freddy. Freddy Krueger...
	Alice goes still, feels a sudden chill at the name...
								 CUT TO:
	CLOSE ON MANFREDINI'S FACE. A zipper comes up over it...
		
				AIRPORT COP
			(O.S.)
		It's the damnedest thing...
	WIDER NOW:
	EXT. "APRON" - DULLES INTERNATIONAL - NIGHT
	The rain has stopped. Blue ambulance strobes light the scene. 
	Prominently displaying his F.B.I. clip-tag, Cobain stands with an 
	AIRPORT COP watching the gurney containing the Pontiff's bodybag 
	being loaded into an ambulance.
				AIRPORT COP (cont'd)
		Paramedics say they've never seen anything
		like it. Massive internal hemorrhaging, 
		punched right through his ribcage. No 
		apparent cause. Vatican's already laying
		on a special flight back for the body.
	Cobain shakes his head. Glances over at the SOBBING Stewardess 
	telling her story to some MORE COPS.
				COBAIN
		How're the cabin staff?
				AIRPORT COP
		If brown trousers and bug-eyes are Airline
		regs, I'd hazard they're peachy.
	He reads the china-pencil writing on a big handled polybag 
	containing 	Manfredini's case and a number of loose personal 
	effects. Hands it over to Cobain.
				AIRPORT COP (cont'd)
		"Manfredini." What'd this goombah do?
				COBAIN
		Pope's Special Envoy.
				AIRPORT COP
			(impressed)
		No shit. Anyhow...it's all there. Tagged 
		and bagged. Expect you boys'll settle the 
		pencil-pushing.
				COBAIN
			(wryly)
		Yea. Story of my life...
	INT. COBAIN'S CAR - AIRPORT - NIGHT
	The polybag lies on the passenger's side, the attache on top. 
	Cobain opens a brown leather pouch in his hands. Gingerly pulls 
	out a plastic exhibition sheath. Inside is a worn, edge-burnt 
	piece of parchment. The Freddy glove and Jason mask illustration 
	from the ITALIAN PROLOGUE.
				COBAIN
		What the...Sam Hill...is this about?
	Cobain's cellphone WARBLES for attention. He flips it open.
				COBAIN (cont'd)
		Yup...Cobain -- ?
								 CUT TO:
	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT
	Jacob seems troubled, staring out of the window. The radio plays 
	some MUSIC 	at LOW VOLUME. Steven drives Alice in silence while 
	the kids are bonding in the back.
				STEVEN
		Nice car.
				ALICE	
		Thanks. Company.
				STEVEN
		Yea? Whaddya do?
				ALICE
		I'm, uh, a legal rep. For a record 
		company.
				STEVEN
		Ever meet any stars?
				ALICE
		No...long hours, you keep your head down.
		Though Alice Cooper once held a lift door
		open for me.
				STEVEN
		Cool. So what's your husband think of it?
				ALICE
			(touching a nerve)
		No. Dan...died, before Jake was born.
				STEVEN
		Oh. Sorry.
	In the rear, Stephanie flips through Jacob's Superhero trading 
	cards.
				STEPHANIE
		Wow..."Spawn"! Who'd you reckon'd win if 
		"Spawn" fought "The Mask"?
				JACOB
		I dunno..."Spawn", I guess. But it'd be 
		dumb i it was done wrong, 'cause they're
		from different Universes and you gotta 
		have a proper story to make it work --
	Steven hears the conversation. Grins slightly. Alice catches his 
	eye. Smiles, then looks away.
				ALICE
		Kids.
				STEVEN
		I know.
	Alice tries hard. Thinks of some conversation.
				ALICE
		So. "Voorhees Motors." This is you?
				STEVEN
		Not exactly. My wife started up the 
		business with some money we came into a 	
		while back. We work it together.
		"Voorhees Motors...We'll Slash Your
		Prices."
	Stephanie LAUGHS OUT LOUD in the rear. Alice looks on in 
	bewilderment.
				ALICE
		I'm sorry, I don't -- ?
				STEVEN
		Oh, it's, uh...kind of a family joke.
				ALICE
		Ah.
	Another silence. Steven breaks it next.
				STEVEN
		Listen. I don't wanna pry, but...this 
		"Freddy Crew-cut" -- ?
				ALICE
			(interrupting quickly)
		"Krueger." It's nothing. Just an...old, 
		bad dream.
				STEVEN
		A dream?
	Jacob catches Alice's quick look in the rear-view.
				ALICE
		It's not something we talk about anymore.
				STEVEN
		Ah. Okay.
	EXT. DRIVEWAY - FREEMAN HOUSE - NIGHT
	The pickup backs into the driveway, stops. A sloping ramp leads 
	down to the door of the basement autoshop. Everybody climbs down 
	from the cab.
				STEVEN	
		Last stop. Chateau Freeman.
	Pools of YELLOW LIGHT illuminate the forecourt.
				STEVEN (cont'd)
		Security lights. Never be too careful.
	Jacob stares delightedly at the big Christmas tree.
				JACOB
		Mom, look. They've got a real tree!
				ALICE
		Pretty neat.
			(to Steven)
		This is really generous. I don't wanna be 
		a burden?
				STEVEN
		Ah, don't worry. Jessica's pretty much
		the understanding type...
	INT. KITCHEN - FREEMAN HOUSE - NIGHT
	Jessica's dressed in awhite oversized man's flannel robe, pinched 
	from a hotel somewhere. She HISSES at Steen, clearly unhappy.
				JESSICA
		Are you nuts?! What were you thinking!?
				STEVEN
		Jess, the motels were all full --
				JESSICA
		She could be some crazed child molester...
		axe murderer --
	JESSICA'S P.O.V., THE LIVING ROOM. Jacob looks around as Alice 
	hefts a chunky Samsonite case.
				STEVEN
		-- Charlie Manson's secret love-child?
		She's a lawyer, or something.
				JESSICA
		Figures. The worst type.
				STEVEN
		Be reasonable, Jess. What was I supposed
		to do? Leave 'em stranded on the 
		Interstate?
				JESSICA
		Yes!
	Steven tries to be placating. Cups her hips with his hands.
				STEVEN
		Her car needs work. Think of it as an 
		investment. Money in the bank. Just one
		night.
				JESSICA
		One night?
				STEVEN
		One night. I promise.
	Her arms come up. Slide around his neck.
				JESSICA
		I swear, my karma sucks. I get myself 
		married to Crystal Lake's last Boy Scout.
	He grins. Alice appears at the kitchen door, a little embarrassed 
	at interrupting.
				ALICE
		I'm sorry, I --
				JESSICA
			(breaking away)
		Oh --
				ALICE
		Sorry, hi --
				JESSICA
		Hi.
				ALICE
		Alice Johnson.
	Jessica sticks her hand out. Shakes it.
				JESSICA
		Jessica Freeman.
				ALICE
		I, uh...just wanted to say thanks...you
		know? There's not a lot of people about
		who'd do something like this for a 
		complete stranger.
				JESSICA
		No, that's...really. The least we could
		do.
				ALICE
		You might think I was, y'know...an axe
		maniac or something.
	She catches a look from Steven. Doesn't comment.
				JESSICA
			(blithely)
		No...no. Never even entered my mind.
				STEVEN
		I'll help you with the bags. Show you and 
		Jake downstairs.
				ALICE
		Great.
	She smiles at Jessica. Leaves. Jessica looks after her.
				JESSICA
		Terrific.
								 CUT TO:
	INT. POLICE HELICOPTER - NIGHT
	TIGHT ON A THERMOGRAPH SCREEN, an AREIAL VIEW of cars and 
	buildings reduced to "Hot-And-Cold" colors. The CHATER of ROTOR-
	BLADES O.S.
	WIDER NOW. A POLICE THERMOGRAPH OPERATOR peers at the monitor 
	alongside the PILOT.
				THERMOGRAPH OPERATOR
		3-David-15...two blocks West off Miller,
		we have an unresolved anomaly your
		vicinity...warehouse alleyway. Over.
								 CUT TO:
	INT. POLICE CRUISER - NIGHT
	A police Cruiser with two cops on patrol, REESE and FOLEY. Reese 
	clicks his 	radio handset. Swivels the doorlamp towards an 
	alleyway ahead.
				REESE
		Aerial...we're on it. Give us some 
		aircover.
				THERMOGRAPH OPERATOR
			(O.S. on radio)
		Affirmative.
	EXT. ALLEYWAY - NIGHT
	Reese is backlit by the cruiser lamp at the mouth of the alleyway, 
	Baretta 9mm drawn. He ventures forth, passes the overhang of a 
	fire exit. Swings his own flashlight across the trash-strewn 
	floor. The CHOPPER CLATTERS O.S., AN INTENSE CONE OF LIGHT 
	stabbing down. Reese startles.
				REESE
		Aw, crap!
	INSERT, CLOSE ON THE FLOOR. DOZENS of RATS swaring aound his 
	agitated feet.
				REESE (cont'd)
			(thumbs his walkie-talkie)
		Aerial, you might wanna inform Pest
		Control. Other than that, it's a negative
		on your perp. OVer.
				THERMOGRAPH OPERATOR
			(O.S., on walkie talkie)
		Roger that, we'll keep on lookin. Out.
	The chopper spotlight SWEEPS ON OVER, and as it does --
	WE SEE JASON VOORHEES standing in the shadows, SLATS OF LIGHT 
	GLIMMERING through the fire-exit onto the chrome mask just inches 
	behind Reese! The Aztec machete raises inexorably to deliver a 
	killing blow --
	-- But Reese simply walks back to the Police Cruiser, cheating 
	death by seconds.
	DIFFERENT ANGLE, CLOSE ON JASON. The steel mask turns to TRACK 
	the Cop. A stray shaft of light reveals its edge FIZZING 
	slightly. TINY BLOBS OF MOLTEN CHROME dripping away, as if the 
	mask were corroding...
								 CUT TO:
	INT. BASEMENT BEDROOM - FREEMAN HOUSE - NIGHT.
	A stepladder, a bunch of boxes, and numerous odds-and-ends clutter 
	up a small 	utility room. Jacob sits on the edge of the single 
	bed, arguing with Alice as she unpacks.
				JACOB
		Mom, I can take the chair --
				ALICE
		Forget it, squirt. You need your sleep.
			(a beat)
		This isn't about that dream?
				JACOB
		I'm just not tired...
				ALICE
		Jake, he isn't coming after us again.
		Fred Krueger's no threat to anybody, I 
		cancelled his tickt a long time ago...
				JACOB
		I saw him! On the airplane. He was just
		like the stories the kids tell at 
		school...with the claws, only --
				ALICE
		What?
				JACOB
		He was bigger, Mom. Real, real bigger...
								 CUT TO:
	EXT. FRONT OF STORE - "SAMHAIN BOOKS" - SUNRISE
	Reznor sits atop a gurney, swatting away the attention of a 
	PARAMEDIC. His arm in a splint, he smokes a cigarette with his 
	free hand. We see TREAD MARKS of FRESH BLOOD on the concrete 
	sidewalk left by those leaving the store.
	EMERGENCY VEHICLES are parked haphazardly out front. Yellow-and-
	black OSHA tape sections the area off from the ONLOOKERS who are 
	beginning to gather. Cobain ducks under it clutching his F.B.I. 
	files, flashes his badge to a DUTY 	COP. A T.V. CREW on the 
	sidelines tries to grab his attention --
				T.V. REPORTER
		C'mon, Officer! Last chance for Primetime
		this Century...!
	He ducks them. Heads for Reznor, juggling his cellular with one 
	hand while smoking with the other.
				REZNOR
			(into phone)
		Paula, I'm fine. A noggin' bump, I'll
		survive.
	He has a COUGHING fit as Cobain reaches him.
				COBAIN
		You know, those things'll kill ya...
				REZNOR
			(to Cobain)
		You're hilarious.
			(into phone)
		No...Jack. He just got here. Yeah, bye.
			(back to Cobain)
		What took you?
	Reznor lowers the phone. Dabs at his forehead, eases himself up. 
	Cobain stares up at the soldering turret.
				COBAIN
		Long story. Jeez, what'd you do? Pull a 
		bazooka?
	Another gurney is carried out from the building, a black dodybag 
	atop it.
				PARAMEDIC LEADER
			(loudly to all)
		Anyone I.D.'d these wackos?
	Cobain passes him, tosses the file on top of the bodybag.
				COBAIN
		Here. Mix'n'match.
	They reach the store's front door. A black-outfitted SWAT LEADER 
	storms over, waving a paper sheet in Cobain's face.
				SWAT LEADER
		Cobain...hey! You know anything 'bout
		this?
				COBAIN
		Hi, Lee.
				SWAT LEADER
		Some asshole faked my signature on a rec.
		form! Myguys were dragged out of bed at
		one in the morning!
				COBAIN
		Yeah...you did a great job, by the way.
		Hate to think what'd've happened if you 
		hadn't made it --
	INT. MAIN STORE - "SAMHAIN BOOKS" - SUNRISE (CONTINUING)
	Dawn filters through the shattered window as they pass amoungst 
	the bookshelves.
				COBAIN
		Interpol came up aces on the photographs.
		Guy called Karswell from England, Fulci
		from Italy...etcetera, etcetera. Turned 
		out these guys were some sort of...
		Millenarian, Nihilistic sect.
	Reznor shucks-off the splint, casts it aside.
				REZNOR
		Let's hear it for the forces of irony.
	INT. SACRIFICIAL CHAMBER. - "SAMHAIN BOOKS" - SUNRISE
	WHAM! A POLICE PHOTOGRAPHERS FLASH GUN goes off. Victim chalk 
	marks are all around..one has an irregular puddle where the head 
	should be, another has its heat drawn yards from the body.
				COBAIN
		Holy Frejole...
				REZNOR
		Yeah. Invite a few pals 'round for a 
		little harmless human sacrifice, look what
		happens.
	Cobain takes a look around, notices the room. Sees the 
	"Penticon".
				REZNOR (cont'd)
		I'm telling you, Jack...whoever he is, 
		this guy's an elemental force of nature.
		Iced eight of 'em, all told. I pumped a
		half-clip into him. Zip effect.
	Cobain pauses at the Cross. Runs his finger through some ashes 
	there (the flaky remains of the Goth sacrifice).
				COBAIN
		Kevlar, most likely. Any leads?
				REZNOR
			(shakes his head)
		Spotters all over. Running operations
		outta Bethlehem P.D.
				COBAIN
		Good. Have the locals roll up the red 
		tape, put it in a drawer till this is 
		over --
	Cobain looks around at the shattered roof. Spots a TECHNICIAN 
	placing the Cults' camcorder into an evidence bag.
				COBAIN
		We actually get a recording?
				REZNOR
		Grandstand seats.
			(beat)
		The name "Jason Voorhees" jog any grey
		cells?
				COBAIN
		Sure. "Required reading' at the Academy.
		Bundy...Dahmer...Myers. Up there in the 
		Pantheon of "All-Time Sickos." Our guys 
		DX'd him...what? Years back.
				REZNOR
		I think we got us a copycat. Our perp had 
		the same M.O. Machete...hockey mask...the 
		works.
	Cobain freezes on Reznor's words.
				COBAIN
		"Hockey mask."
				REZNOR
		Yeah. What?
	Cobain looks carefully around. Drops his voice.
				COBAIN
		Let's talk somewhere. There's some very
		disturbing synchronicity shit going down
		here --
								 CUT TO:
	INT. BASEMENT BEDROOM - FREEMAN HOUSE - MORNING
	Morning light filters in. Alice sits in the chair, a blanket 
	across her legs. Dark rings circle her eyes. As she watches 
	Jacob on the bed, he gives a gentle snore. She picks up her 
	travel clock from the side. IT reads "7:20".
				ALICE
		Finally.
	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORNING
	Shelves line the walls, filled with auto parts. An old Pontiac 
	raised on a ramp above the grease pit. An engine block dangles 
	from chains nearby. Jessica has her head under the Lexus hood, 
	hands buried deep within the engine bowels. A boom-box on the 
	workbench plays ENERGETIC, THUMPING ROCK.
				JESSICA
		Now...what have we here -- ?
	HANDHELD, moving in towards Jessica's back. THreatening. We get 
	the feeling she's about to meet an untimely end, as --
	WHAM! Steven swipes her fanny with an automap. Jessica jumps, 
	YELPS. Her head BANGING on the hood.
				STEVEN
		Gotcha!
	He swipes the oilrag from her back pocket. THWAPS it jokily at 
	her.
				JESSICA
		Ow...goddamn! That isn't funny!
	He puts his hands on her hips. Kisses behind her ear.
				STEVEN
		Y'know - first time I ever saw you, you 
		were bending over a crate of Gatorade at 
		Joey B's. Know what I thought?
	She twists around to face him. Drapes her arms around his neck. 
	Slow smile.
				JESSICA
		Tell.
				STEVEN
		You'd prob'ly blow it when you turned
		around --
	She THUMPS him. Playfully affronted.
				JESSICA
		Pinhead. I hate you.
				STEVEN
		That so?
				JESSICA
		No.
			(they kiss)
		You heading off?
	Steven crosses to the exit. Takes his coat from a hook.
				STEVEN
		Yeah. I wanna hit Pittsburg quick, beat
		that Millennial gridlock.
				JESICA
		Well, watch yourself. Be a lot of rush-
		hour Rambos about.
				STEVEN
			(flip, quickly)
		I'll be sure to pack a machete.
			(catches himself, realizes)
		Sorry. You gonna do that church thing
		later?
				JESSICA
		I promised Father Shaye already. If you
		miss me, I'll drop Stephy over with Rachel.
				STEVEN	
		Right. You know, you really should secure 
		this --
	The greasepit hydraulic controls hang loosely overhead on the end 
	of a 	cable. Steven grabs it, stows it on a wallclip.
				JESSICA
		Steven?
				STEVEN
		Uh-huh?
				JESSICA
		I do love you. I know it'll work out okay.
	Steven winks at her. Throws the oilrag back. Jessica catches it 
	deftly.
				STEVEN
		Never doubted it at all. Hey...be a good
		girl, I'll take you to the firework
		didplay tonight.
				JESSICA
		Oooh. Promises, promises --
	INT. KITCHEN - FREEMAN HOUSE - MORNING
	A boiling kettle steams up teh window. Alice stands in a robe, 
	stares outside. An air of loneliness about her.
	HER P.O.V. Jesica kisses Steven goodbye at the pick-up's open 
	door.
	INT. BATHROOM - FREEMAN HOUSE - MORNING
	The bathroom is tiled, cramped. Old-fashioned. A Heath-Robinson 
	plumbed shower against the wall, a cream-colored plastic curtain 
	hangs on the rail.
	In FAST-CUTS, Alice - tastefully - loses her robe. Steps into the 
	shower, turns on the faucet. (Perhaps teasing our audience by 
	emulating the "Psycho" 	showere scene). We END on a fatigued 
	Alice, resting her forehead against a pipe.
	THE EDGE OF THE SHOWER CURTAIN MOVES SUDDENLY, as if caught in a 
	breeze. TIGHT ON an ANGLEon oe part of the material as it 
	UNDULATES...DIMPLES --
	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORING
	Alice's Lexus is up on low portable ramps now. Jessica lies on a 
	mechanic's trolley beneath. She forces something with a wrench - 
	it SLIPS, clattering out from her grip.
	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORNING
	Alice's Lexus is up on low portable ramps now. Jessica lies on a 
	mechanic's 	trolley beneath. She forces something with a wrech - 
	it SLIPS, clattering out from her grip.
				JESSICA
		Ow! Dammit!
	She leans her head back, closes her eyes briefly...
								 CUT TO:
	INT. BATHROOM - FREEMAN HOUSE - MORNING (RESUME)
	Alice's breathing is shallow. Head bowed, eyes closed. Water 
	cascades across her naked shoulders. the material of the shower 
	curtain behind her STRETCHES, into one of the --
	"NEW" FREDDY CLAWS...MORPHING to a full length of 18 inches. A 
	SECOND emerges...a THIRD, a FOURTH. Flexes --
	CLOSE ON ALICE...same position, still oblivious --
	AS A BUMP THE SIZE OF A PUMPKIN BULGES like a vac-form mold, high-
	up on the curtain. A HEAD --
	AN ANGLE CLOSE ON ALICE, a great mass rising behind her --
	A VERTICAL ANGLE, looking straight down. A HULKING FORM SWELLING 
	IMPOSSIBLY OUT OF NOWHERE from the curtain --
	A FAST CIRCULAR DOLLY from one side of the shower to the other as 
	MIGHTY-THEWED ARMS STRETCH OUT to encompass Alice --
	TIGHT ON ALICE'S HEAD, the claws enveloping it. A TINY 
	MOVEMENT...preparation to CRUSHING HER SKULL, and --
	WHUMPWHUMPWHUMPWHUMP! The shower plumbing RATTLES NOISILY, the 
	water flow drying-up...JOUNCING Alice back to consciousness. The 
	ERSATZ PLASTIC FORM behind her COLLAPSES back into nothingness --
	And Alice turns to see...A PLAIN PLASTIC SHOWER CURTAIN, billowing 
	slightly in an unnerving fashion. She takes a breath, a little 
	unsure. Tiny water droplets PLINK-PLINK away down into the 
	drain...
								 CUT TO:
	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORNING (RESUME)
	TIGHT ON OIL DROPLETS PLOPPING on the floor. Jessica's still 
	under the Lexus, struggling with the protesting nut.
				JESSICA
		Damnation --
	Oil SPECKLES her face as she shifts position to gain better 
	purchase. Jessica brushes her cheek...it comes off, a BLACK 
	SMUDGE. The SPATTERING increases as she pulls harder on the 
	wrench. She swats in annoyance at it --
	-- STREAKING her hand in a LONG RED SMEAR.
				JESSICA (cont'd)
		What the -- ?
	A VIBRATION starts up, the car JUDDERING atop the ramps a sif in 
	an earthquake. Jessica panics --
				JESSICA (cont'd)
		Shit!
	She KICKS the trolley RAPIDLY away as -- 
	-- ONE OF THE RAMPS COLLAPSES, the Lexus part-rolling/part-
	collapsing back down onto her thights, pinning her to the floor. 
	She SCREAMS IN PAIN, pulling at her trapped leg. We see BLOOD 
	TRICKLE OUT from beneath the vehicle (at this stage, perhaps we 
	even think it's Jessica's own).
	VAPOR BILLOWS AROUND the edge of the hood as she tries to tear her 
	limb back, the car SHAKING and RATTLING like a possessed beast. 
	(NOTE: this will be SHOT IN REVERSE, so the steam will appear to 
	flow INTO the hood from nowhere.) Jessica's leg comes free, deep 
	gouges TEARING into her coverall. She pulls herself away, 
	WHIMPERING as a SHEET OF BLOOD EMERGES...spreads. Her jaw 	working 
in disbelief --
	ANOTHER VERTICAL ANGLE, dark liquid expanding on all sides. The 
	hood ROCKS 	and JUDDERS, THICK SMOKE now. Jessica steels herself, 
	limps forward. Slips on the slick gore, her hand coming down on 
	the hood and --
	-- LOOSES AN AGONIZED CRY. The flesh of her palm SEARS as if 
	touching a griddle, a NOISE like SIZZLING BACON, and --
	THE HOOD SPRINGS UP, YANKING Jessica with it. A VACUUM ROARS 
	below, her free hand flailing as it tries to suck her down into --
	-- FREDDY'S HELLISH FURNACE! Impossibly positioned ay below where 
	the engine should be, feeder pipes BELCHING. The filthy grating 
	doors open, FLAMES ROARING. Then --
				JESSICA
		Nooooo -- !
	A BLAST of superheated air sends her flying, SPLASHING down onto 
	the floor.
	The hood SLAMS BACK DOWN...we see why. The massive "New" FREDDY 
	CLAW embedded in it, a MALFORMED HAND going OUT OF FRAME.
	There's a DEEP GROWL, O.S. A GREAT SHADOW LOOMS across Jessica. 
	She looks up. GASPS, and --
	INT. BASEMENT AUTOSHOP - MORNING (BACK TO REALITY)
	-- JOLTS AWAKE with a LOW CRY, beneath the car again. Jessica 
	gathers herself, and --
	There's A FLASH OF SILVERED METAL. Something half-lodged up in 
	the chassis swings down at her. A QUICK IMPRESSION of an edged 
	blade --
	And Jesica CRIES OUT as she propels the trolley back out into the 
	autoshop --
	And Alice is standing there, coffe mugs in her hands! Jessica 
	YELPS in suprise...Alice YELPS back, drops one of the mugs. It 
	SHATTERS on the floor.
				JESSICA
		Jesus!
				ALICE
		Oh, God...I'm sorry.
				JESSICA
		You scared the lights outta me!
				ALICE
		I, uh...brought coffee.
				JESSICA
		Normally, I take it in the cup.
	They look at each other. Both LAUGH. A bonding moment...
								 CUT TO:
	INT. BETHLEHEM POLICE DEPARTMENT - MORNING
	WIDE ON a busy and brightly-lit open-plan Precinct. Usual Cop 
	Stuff going on, the occasional CRIMINAL and HOOKER being dragged 
	off to a holding pen.
	We see Cobain and Reznor within the Captain's cubicle. Smack in 
	the middle, a perfect GLASS BUILDING-BLOCK. HEAR the SACRIFICIAL 
	INCANTATION again, O.S.
				LEAD CULTIST
			(O.S., on T.V. speaker)
		"Lord of Gehanna...keeper of the Fallen
		Spirits of Darkness -- "
	INSIDE THE CUBICLE NOW, CLOSE ON A VIDEO MONITOR. We see the Goth 
	Girl thrashing around on the Cross.
				GOTH GIRL
			(O.S., on T.V. speaker)
		"Crazy freako psycho bastards...let me go!
	The contents of Manfredini's pouch are spread across the table, 
	the men sifting through it. Reznor's turns the pages of the 
	Necronomicon. Stares at the indecipherable runes.
				REZNOR
		I can't understand didley-squat.
				COBAIN
		They could...
	Reznor picks up the sheathed Italian parchment in his hand. 
	Shakes his head.
				REZNOR
		A hockey mask. This is one big fucking 
		coincidence...you wanna turn that down?
		It's giving me a headache.
	Cobain's inspecting a somewhat plain dagger sesting in a plush 
	wood-and-velvet travel case - in fact, on of the Horvath Daggers 
	from the ITALIAN PROLOGUE. He complies, thumbs the T.V. volume 
	lower. Nods at the drawing.
				COBAIN
		Recognize that claw?
				REZNOR
		Apart from "nope"?
				COBAIN
		"The Springwood Slasher"...Frederick
		Krueger. Child killer.
				REZNOR
		Yeah, wait. I remember. Misfit with a
		Beau Brummel complex?
				COBAIN
		The same. Carved a swathe through a 
		little Ohio town a bunch of years back.
		Literally. Vigilante group torched him
		after the Cops gummed up the arrest
		papers. Our dead ecclesiast's got it all
		here in black-and-white --
	He throws a clip of shets over to Reznor.
				REZNOR
		Yeah. His mother was a...missionary, nun
		or something.
				COBAIN
			(frowns, thinks)
		Nun?
				REZNOR
		What?
				COBAIN
		Nothing. Skip it --
	Reznor's forehead knits as he studies the parchment.
				REZNOR
		You're talking about current events. This
		sucker's suposedly over 300 years old...!
	He waves it in emphasis. His attention distracts as the Cultist's 
	recording WHITES-OUT in a BURST OF STATIC. 
				REZNOR (cont'd)
		Wonder why it glitches there...?
				COBAIN
		Manfredini had the whole run-down on the
		bookstore Cult too. Lot of other weird
		stuff. "The Fatima Prophecis"..."The 
		Kali Yuga", a great conflagration meant to
		destroy the known Universe...
				REZNOR
		That case, you're gonna love this --
	He holds up another 8 x 10 for Cobain. "Before-And-After" 
	ASTRONAMICAL SHOTS, stars against velvet blackness.
				REZNOR (cont'd)
		Jet Propulsion Lab...Hubble Space
		Telescope. NASAA say the outermost stars 
		are dissappearing. No-one knows why.
	Cobain makes a face. Continues reading.
				COBAIN
		Creepy...
			(a beat)
		Something about Enochian Myth. Lucifer in
		an eternal contest for human souls. Notes 
		too 'bout what the Chippewa Indians call
		"The Great Purification." Hurricanes, 
		land upheavals. Earth's magnetic poles 
		switchin' polarity around. THis look 
		familiar to you...?
	He holds up a glossy 8 x 10. The "Penticon" shape against a jet-
	black background, surrounded by a colorful "Kirlian Aura". Reznor 
	recognizes it. Double-takes...
				REZNOR
		Hey! That's --
	Cobain flips the picture 90 percent. Reads the edge reference.
				COBAIN
		Yea. Except it's not. "Tachyon Path of 
		A Charmed Anti-Quark"...Lawrence-
		Livermore, Quantum Particle Research.
				REZNOR
		Sounds like a six-pack conversation to me.
				COBAIN
		Later. And it's your round.
				REZNOR
		YOur dreams --
	Reznor pulls out a cigarette. Just as he lights-up, a LADY 
	CAPTAIN appears at the cubicle doorway. Gets his eye.
				LADY CAPTAIN
		Hey..."Club Fed." Don't you read?
	She nods to the "No Smoking sign dangling from a string.
				REZNOR
		Shouldn't you be out on a ledge somewhere,
		Captain?
	Reznor stubs it out in annoyance.
				LADY CAPTAIN
		Metallurgy got some odd scrapings from the 
		crime scene. Running it through the lab 
		now.
				COBAIN
		Thanks, Captain.
	She nods. Leaves. Cobain continues.
				COBAIN (cont'd)
		So - summary. We've got "The Man Who Knew
		Too Much" croaking it on a plane --
				REZNOR
		Right. A store full of toasted creeps and 
		wad of "End-Of-The-World" guff right outta 
		"The Omen" --
				COBAIN
		This Voorhees character on the one hand,
		Krueger on the other --
				REZNOR
		"Freddy versus Jason."
				COBAIN
		Yeah. Who'd you lay money on...?
			(beat)
		Where's the glue that puts it together?
				REZNOR
		I don't wanna stick my titanium neck out,
		but...this is who he was flyin' over for --
	He passes over a sheet. Cobain scrutinizes it. Nods.
				COBAIN
		One's local at least.
			(beat)
		Life was so much easier in the old days.
				REZNOR
		Yeah, but nowhere as interesting.
				COBAIN
		Let's do it.
	CLOSE ON THE SHEET. One above the other, PHOTOCOPIES OF ALICE 
	JOHNSON AND JESSICA FREEMAN'S DRIVER'S LICENCES...
								 CUT TO:
	EXT. DRIVEWAY - FREEMAN HOUSE - MORNING
	Jacob leans against the garbage cans. Stephanie sits chalking a 
	hop-scotch 	grid on the driveway.
				STEPHANIE
		"Four, Five --"
				JACOB
		No, it's "Three, Four --"
				STEPHANIE
		That was the last part...
	INT/EXT. BASEMENT AUTOSHOP - FREEMAN HOUSE - MORNING
	Alice leans against the doorframe watching the kids.
				JESSICA
			(O.S.)
		I got it.
	Alice turns. Jessica slides out from the car with a triumphant 
	look, something wrapped within the oily rag in her hand.
				JESSICA (cont'd)
		Found your McGuffin.
	TIGHT ON ALICE. (In B.G. we nothice an ICE-CREAM VAN draw up to 
	the roadside, it's TINKLING MUSIC FILTERING-IN O.S.)
				ALICE
		What was it?
				JESSICA
		Real trippy. Lodged amongst the chassis
		cabling. Must've bounced up fairly hard
		from the road.
	Alice takes the soiled bundle. Opens it, and --
	SHRIEKS! Jerks it away on reflex. The contents hit the floor 
	with a DISCORDANT CLANG. Straight away we recognize TWO MANGLED 
	METAL FINGER BLADES attached to A PIECE OF TATTERED LEATHER. THE 
	REMAINS OF THE "OLD" FREDDY CLAW.
				ALICE
		Oh my God! No --
				JESSICA
		What's wrong?
	Alice takes a part-step back in absolute disbelief.
				ALICE
		No...it...he's dead...gone --
				JESSICA
		Who is?
	At that second, we realize the ICE CREAM VAN MUSIC has altered (on 
	the SOUNDTRACK, for our benefit) to THE FREDDY NURSERY RHYME 
	THEME. Alice WHIRLS --
	-- As Jacob and Stephanie SING ALONG the MATCHING LYRICS, 
	playfully argumentative over the wording.
				JACOB
		"One, Two - Freddy's coming for you."
				STEPHANIE
		It's "Jason".
				JACOB
		It's not --
				STEPHANIE
		It is. "Jason's coming for you"...
	Jessica calls past Alice, annoyed.
				JESSICA
		Stephy, I told you to quit with that dumb
		song.
	Alice turns on Jesica.
				ALICE
		You know that rhyme?!
				JESSICA
			(confused)
		Sure, it's a playground song. From Lake
		Crystal. Kids used to sing it, help keep
		away the bogeyman...what is that thing,
		anyhow?
	She nods at the mangled "Fredy fingers", glinting evilly in the 
	morning sun. We END on ALICE, visibily disturbed...
				 		 FAST TIME CUT TO:
	EXT. STREET - OUTSIDE FREEMAN HOUSE - AFTERNOON (LATER)
	LOW ANGLE, TIGHT ON a BEHLEHEM P.D. BLACK-AND-WHITE as it parks 
	smartly at the sidewalk.
	INT. LIVING ROOM - FREEMAN HOUSE - AFTERNOON
	Alice is sitting on eht couch, shell-shocked. She stares numbly 
	at the mutilated knife-fingers on the low table befor her, a 
	still-full coffee cup gone cold in her hands. The T.V. plays a 
	news report in B.G.
				T.V. REPORTER
			(O.S.)
		"The National Science Foundation at
		Antartica today reported unprecedented 
		fluctuations in the Earth's magnetic
		fields --"
	INT. KITCHEN - FREEMAN HOUSE - AFTERNOON (CONTINUING)
	Jacob and Stephanie observe Alice concernedly.
				STEPHANIE
		Is she alright?
	Jacob shakes his head, worried.
	INT. LIVING ROOM - FREEMAN HOUSE - AFTERNOON (CONTINUING)
	Alice starts as the DOORBELL RINGS, O.S.
	INT. BATHROOM - FREEMAN HOUSE - MORNING
	Jessica's under the faucet, shampoo spilling from her hair.
				JESSICA
			(shouts)
		I'm in the shower!
	EXT/INT. FRONT DOOR - FREEMAN HOUSE - AFTERNOON
	Alice cautiously opens the front door to be confronted by Cobain 
	and Reznor. Two COPS sit in a parked Cruiser behind Cobain's car 
	at the sidewalk. Expecting Jessica, the Feds register Alice and 
	DOUBLE-TAKE --
				COBAIN
		Mrs...
			(a beat, confused)
		Alice Johnson?
	Alice is equally flummoxed now.
				ALICE 
			(hesitant)
		Yes?
	Cobain and Reznor exchange a "What The Hell?" look.
				REZNOR
		This...is the residence of Mr and Mrs
		Freeman?
				ALICE
			(nods her head)
		I'm staying temporarily. Is there some
		kind of problem?
	Cobain flashes his badge.
				COBAIN
		Federal Officers, Miss Johnson. Might we 
		talk...?
	An ELDERLY WOMAN NEIGHBOR peers through a window across the 
	street, while a MAN stares fixedly at Alice from watering his 
	lawn. Alice nods, opens the door further. We see Jessica emerge 
	in B.G., towelling her hair --
								 CUT TO:
	INT. BETHLEHEM POLICE DEPARTMENT - EVENING
	Jacob and Stephanie sit at a desk scribbling colorful drawings. 
	Reznor appears with a cut-out tray of drinks.
				REZNOR
		Who gets the Sprite?
				STEPHANIE
		I do!
	Reznor places the drinks down. Glances at the drawings GARISH 
	REPRESENTATIONS of MONSTERS and FIRE.
				REZNOR
		Very colorful.
				JACOB
		We're running out of red.
				REZNOR
		I had that feeling also.
	IN THE CUBICL NOW, TIGHT on the VIDEO MONITOR. JASON'S KILLING 
	MASK on STILL-FRAME-ADVANCE.
				JESSICA
			(O.S.)
		It's similar, but...I dunno --
	WIDER. Cobain sits opposite Alice and Jessica as Reznor enters, 
	puts down the remaining cups. Alice is perusing the Vatican 
	documentation (we clearly see the parchment).
				ALICE
		Ceremonies, daggers...None of this makes
		any sense.
	We see Jessica react to "dagger".
				JESSICA
		Yeah. Why us?
				REZNOR
		Poser of the hour. Except, the only
		person can answer no longer qualifies for
		brerathing status.
				COBAIN
		The pouch and its contents were being
		delivered expressly for you. We're trying
		to contact Rome. Unfortunately, the lines
		seem to be down.
	Overhead fluorescents SPUTTER, the T.V. monitor and computer 
	terminals flicking off. The VCR clock resets to "0:00".
				REZNOR
		Brownout again.
				REZNOR
			(continuing afresh)
		Eight years ago, opposite ends of Ohio
		State. two separate spates of multiple
		homicide, bearing all the hallmarks of 
		deceased serial killers to whom you were
		both in some way connected. Apparently 
		unrelated...until now.
	Alice and Jessica's gaze falls to teh Vatican parchment. They 
	catch each other's eyes.
				ALICE
		As far as I was concerned, Freddy Krueger 
		lies dead and buried. I've a kid now I
		don't want him exposed to my demons.
	Reznor SQUEAKS the battered Freddy blade, like you might play with 
	a crab claw.
				REZNOR
		When something of this magnitude crops up,
		Miss johnson, I'd look on it as something
		more than coincidence. Frankly, this 
		story about a loony who comes after you in
		your dreams --
				COBAIN
			(interjects, placatory)
		-- It's a little far-fetched.
	He tosses it down onto the paperwork.
				JESSICA
		For all you know, this might be just one
		more sicko out to get his jollies --
				COBAIN
		-- Like the one four years back?
	Jessica shifts. Reznor reacts as she pulls out a cigarette, moves 
	forward the "No Smoking" desk notice.
				REZNOR
		Sorry...there's, uh, no smoking here.
	She shoots him a look, ignores him. Lights it. Reznor fidgets 
	uncomfortably with the sign.
				COBAIN
		The Vatican's Been compiling detailed
		files on you both for some time, yet you
		say you've never met before yesterday.
		What do you reckon the odds are on that?
				ALICE
		What do you want from us?
				COBAIN	
		Just coopereation.
				REZNOR
		Mrs Freeman, your husband's not back from
		Pittsburgh untill tonight?
				JESSICA
		That's right. Are we under arrest?
				COBAIN
		No.
				REZNOR
		We will be stationing units on block 
		perimeter around your house, though. For
		your protection. 
	EXT. BLUFF - OVERLOOKING BETHLEHEM - LATE AFTERNOON (DARK)
	A LIGHTNING BLAST, JASON'S UPTURNED MASK clearly reflecting the 
	turbulent darkness above. As he drops his gaze, we notice the 
	chrome corroded more substantially than before.
	WIDER NOW. We CRANE UP behind Jason, Bethlehem's houses spread 
	out neatly 	below...
								 CUT TO:
	EXT. FREEWAY - EN ROUTE TO BETHLEHEM - NIGHT
	Steven's pick-up speeds along a rain-slicked road.
	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT
	Steven drives along, squinting through the windshield. Pummeling 
	rain renders the wipers impotent. BURSTS of STATIC cut across the 
	radio O.S., tuned to a MUSIC CHANNEL.
				STEVEN
		Come on...come on --
	An INTENSE LIGHTNING FLASH like a H-BOMB BLAST - dwarfing 
	everything we've 	seen before - EXPLODES, blinding Steven.
				STEVEN
		Jesus!
	The car swerves, his headlight beams FLICKERING. The radio going 
	NUTS --
	EXT. FREEWAY - EN ROUTE TO BETHLEHEM - NIGHT
	Streetlights EXPLODE in SHOWERS of SPARKS, and --
	A ROAR OF THUNDER like the CRACK OF DOOM ECHOES horizon-to-
	horizon. Intermittent FLASHES within the clouds as a great RIPPLE 
	- like an ocean wave - SWEEPS across the sky.
	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT
	The pick-up spins through 180 degrees as Steven jams on the 
	brakes. He looks at the driver's compass mounted on the dash. 
	The needle is spinning madly	around. Peers back up at the sky.
				STEVEN
		What in the hell was that...?
								 CUT TO:
				COBAIN
		This curent guy's killed at least eight
		already. Genuine or not, he might be
		following an agenda.
				JESSICA
		I have to attend Mass this evening.
				COBAIN
		That's fine, as long as you stick to 
		public places. Miss Johnson, we'd 
		appreciate it at this time if you didn't
		make plans to leave.
				ALICE
		Alright.
				REZNOR
		I'll drive you back. Stay with you until
		Mr Freeman returns.
	Reznor rises, prompting everyone to follow suit.
				COBAIN
		We want to assure you of your safety.
		Anything tries to get to you, gotta go
		through us first.
	Alice opens the cubicle door.
				ALICE
		Kids...come on!
	Jessica pauses. Turns to Cobain.
				JESSICA
		Agent Cobain. If you're wrong about 
		this...then you have no idea what you're
		really dealing with.
	EXT. PARKING LOT - BETHLEHEM P.D. - LATE AFTERNOON (DARK)
	Alice and the kids pile into the rear of a Black-and-White. 
	Reznor pauses at the open passenger-side door. Looks up as the 
	clouds boil oddly.
				REZNOR
		Boy. It's shaping up a Hell of a day...
	As THUNDER BOOMS, we --
						FAST CUT TO:
	INT. "BLACK-AND-WHITE" - STREET - NIGHT
	Reese and Foley sit on night duty, bored out of their minds. 
	Reese is thumbing shells into a riot gun. Foley's eyes are 
	closed. We HEAR the THUNDERCLAP REVERB O.S.
				REESE
		What was that?
				FOLEY
		Ten more lousy cents on my paycheck.
	We see the SPARKIGN CHRISTMAS TREE across the road reflected in 
	the car's side window. Foley opens her eyes, annoyed.
				FOLEY (cont'd)
		That tree's pissing me off.
				REESE
		Why are you so irritable?
				FOLEY
		You jacking me? THe entire planet's out
		partying like it's 1999, and I pull short-
		straw with G.I. Joe. Life's unfair...
				REESE
		Hey - pardonez-moi.
			(a beat)
		Say...isn't that one of the Feds down
		there?
	Foley straightens, squints.
				FOLEY
		Yeah --
	EXT. STREET - OUTSIDE FREEMAN HOUSE - NIGHT
	The black-and-white flashes its lights at Reznor as he stops 
	outside the house. He nods back in return.
	EXT. REAR GARDEN - FREEMAN HOUSE - NIGHT
	Reznor sits on the swing in the overgrown garden. Looks up to see 
	Alice closing the living room drapes. Drops his cigarette and 
	GRINDS it underheel...
	INT. LIVING ROOM - FREEMAN HOUSE - NIGHT
	Alice turns away from the window. Jacob is messing with the T.V. 
	remote, but all the channels are fuzzy.
				JACOB
		Mom, I can't get "Destroy All Monsters" on
		the Movie Marathon!
				ALICE
		C'mon. Leave it alone, Jake.
	She sees Stephanie sitting quietly off to the side.
				ALICE
		You okay, sweetheart?
				STEPHANIE
		Alice...monsters aren't coming after us
		are they?
				ALICE
		No, sweetheart. Even if they were I'm
		here, and your mom and dad'll be back soon.
				STEPHANIE
		Jake says if they come in our sleep, you
		can kill them.
	Jacob flashes a look of alarmed betrayal.
				JACOB
		I didn't!
				ALICE
		I don't know about that, but...if you want 
		me to , I can be right there in your dreams 
		with you.
				STEPHANIE
		For real?
				ALICE
		Honest injun...
	The girl looks reassured at this. Smiles.
								 CUT TO:
	EXT. CHURCH - BETHLEHEM - NIGHT
	Bright interior lighting filters through the stained glass like a 
	beacon in the night.
	INT. CHURCH - BETHLEHEM - NIGHT
	The pews are packed, Jessica a few rows from the front. She 
	covers her mouth suppressing a yawn. An ELDERLY MAN alongside 
	glares at her. Up on the pulpit, FATHER SHAYE is delivering the 
	last Mass of the Century.
				FATHER SHAYE
		-- And though tonight is a time of
		celebration across the world, it's also
		one of great uncertainty...many evils
		stalking us into the new Millennium. I
		ask you all now, to bow your heads --
	At the corner of her vision, Jessica notices a nun staring at her. 
	We suddenly realize this is Amanda Krueger.
								 CUT TO:
	INT. CORRIDOR - BETHLEHEM P.D. - NIGHT
	Cobain is on the way out, shucking on his coat. The Captain 
	crosses him, stops.
				LADY CAPTAIN
		Cobain...the lab boys finished those metal 
		tests before they went off.
				COBAIN
		Anything?
				LADY CAPTAIN
		Only that the scrapings evaporated.
				COBAIN
		Say what?
				LADY CAPTAIN
		Yeah, like whatever it was from, was
		disintegrating at an incredible rate.
		That make any sense to you?
				COBAIN
		About as much as anything on this case
		does. Hey - if Reznor gets here, tell him
		I'm out playin' to the peanut gallery.
				LADY CAPTAIN
		You got it. Hey, Happy New Year!
								 CUT TO:
	INT. CHURCH - BETHLEHEM - NIGHT (DREAM SEQUENCE)
	Jessica's dog-tired, her chin dropping in fatigue. She catches 
	herself. Looks up at the STAINED GLASS on a nearby wall. A 
	SHEPHERD leading his flock before a HALOED SAINT. We hear Father 
	Shaye's VOICE DRONING IN-AND-OUT O.S.
				FATHER SHAYE
			(O.S.)
		The Lord...path...triumh. All...things --
	Jessica's head wilts again, her eyes springing back open --
	But the window has chaned now...a BRAZEN IMAGE of the LAMBS being 
	BUTCHERED by the gleaming blades of the "Old" Freddy and 
	Jason...actual blood seeping out from the glass wounds. Jessica 
	GASPS. Turns her head --
	-- And the man next to her is now a GRINNING DESICCATED CORPSE! 
	We go WIDER as she SCREAMS, showing her amongst a SEA of 
	SKELETONS. Her face turns to teh pulpit --
	-- Where Father Shaye has changed. A red/green "dog collar" 
	...sickly veined 	complexion, pale eyes. A nasty grin revealing 
	discolored teeth.
				FATHER SHAYE
		No more virtues! No salvation! The End
		of it All!
	As he spreads his arms wide, Freddy-claws extending from his bare 
	fingers, we --
						SLAM CUT TO:
	INT. CHURCH - BETHLEHEM - NIGHT (BACK TO REALITY)
	-- Jessica JOLTS awake as the real sermon ends.
				EVERYBODY
		Amen.
	She doubles-over, violently RETCHING.
								 CUT TO:
	INT. "BLACK-AND-WHITE" - STREET - NIGHT (DREAM SEQUENCE)
	Foley stares out at the bedecked Christmas tree. Straightens with 
	a frown as the entire tree SHAKES oddly. Abruptly, half its 
	lights extinguish --
				FLOLEY
		Reese?
				REESE
		Uh-uh?
				FOLEY
		Stay here. I'm taking a look across the 
		road.
	EXT. STREET - OUTSIDE FREEMAN HOUSE - NIGHT
	As Foley crosses the street, the tree's remaining lights SNUFF 
	OUT, plunging it into darkness. She cautiosly unclips her 
	holster, and --
	The tree EXPLODES into BRILLIANCE, alternate green/red bands 
	strobing along its length.
				FOLEY (cont'd)
		Someone pinch me.
	She nears the tree. Begins to circle it, looking up. The 
	branches RUSTLE again.
				FOLEY (cont'd)
		Okay, come on out of there...
	She squints at the DEFORMED ANGEL atop. Then --
	WHAM! A MASSIVE PINE-NEEDLED BRANCH ARCS OT from teh tree, 
	PUNCHES with PILEDRIVER FORCE into the ground immediately to 
	Foley's left...a SECOND SLAMMING DOWN to her right. She WHIPS out 
	her gun, and --
	RED TINSEL ERUPTS from the tree, hammering it from her grip. The 
	colorful vines SPROUTING barbs in mid-flight...wrapping around her 
	legs and knocking her off her feet.
 
				FOLEY (cont'd)
		No! Ahhhh -- !
	The branches curl around her, lifting her effortlessly from the 
	ground. The pine needles RIPPLE like one of those pin-sculptures, 
	forming a MONSTROUS "NEW" FREDDY FACE. Foley turns helplessly 
	towards the black-and-white, sees Reese sitting calmly inside.
				FOLEY (cont'd)
		Reese! Help me!
	Reese can't hear. The tree bends back, the "Freddy Face" PUFFING 
	OUT and FIRING A BARRAGE OF THOUSANDS OF NEEDLES which slice into 
	her flesh like flechettes --
						SLAM CUT TO:
	INT/EXT. "BLACK-AND-WHITE" - NIGHT (BACK TO REALITY)
	Foley's safety belt is YANKED all the way to maximum strain, her 
	WRITHING body levitationg to the ceiling. Resse's pump-action is 
	sent SKITTERING into the rear seat. He tries to grab at her 
	flailing arms.
				REESE
		Foley...Foley!
	Her THRASHING arm catches him, SMASHES him back against the 
	window. Lacerations SLASH right through her blue tunic.
	OUTSIDE NOW. A GREAT WASH of BLOOD SPLATTERS against the 
	windshield... a BEAT, then Foley's heavy boot PUNCHES through, 
	splintering the safety glass.
	The driver's door WHAMS open, a shellshocked blood-splattered 
	Reese half-	stumbling/half-dropping to the ground. GULPS air, 
	turns --
	-- AND A BIG PAIR OF BOOTS WALLOPS INTO FRAME! Metal "DROPLETS" 
	FIZZ to the ground, and Reese gazes right up into Jason Voorhees' 
	killing mask --
				REESE
		Shit!
	He DIVES back into the car, as --
	JASON RIPS the passenger side door off, and --
	Reece's hand falling about an inch from the shotgun next to 
	Foley's dead face. Then --
	-- WHUMP! He is YANKED back out of the vehicle by some Olympian 
	force. Looks up as the Aztec machete draws back --
				REESE
		Noooooo!
	The last thing Reese sees is the WHOOSH of a silver blade --
								 CUT TO:
	INT. BETHLEHEM POLICE HEADQUARTERS - NIGHT (DREAM SEQUENCE)
	Reznor sits at his desk going through the Vatican paperwork. We 
	see everybody going about thier business outside. Reznor glances 
	up as the Captain comes to the door.
				LADY CAPTAIN
		You still here?
				REZNOR
		Trying to make some sense from all this 
		crap. You seen Cobain?
	She pauses. Thinks. Shakes her head.
				LADY CAPTAIN
		No.
	She goes away. Reznor returns to his perusal. Occasional words 
	STAND OUT from the page: "Fatima, Portugal" ... "Megiddo" 
	..."Breaking of the Seals." He turns a page --
	"Qryjcx. Fpzlw, rx ci hmwp". Reznor blinks. Turns the other 
	pages, all 	filled with similar gibberish. Sits back, perplexed. 
	Pulls a lit cigarette from the ashtray, pops it in his mouth. The 
	"NO SMOKING" sign catches his eye. He contemplates it a moment, 
	snorts. Takes a long suck.
	He stops. The sign has changed. "CAN'T YOU READ?" He gives a 
	little COUGH, surprised. And AGAIN, getting BIGGER. The 
	cigarette falls to the floor, sizzles...
	Reznor's SPLUTTERING like a trooper now. Smoke TRICKLES from his 
	closed mouth. He opens it, and --
	Smoke GOUTS between his lips, enourmous velocity...hazing the air. 
	The open glass door SLAMS shut, the red dot on the rotary lock 
	rolling to "LOCKED" position. Reznor lurches at a glass wall, 
	BANGING on it to attract somebody's attenion...anybody. The Cops 
	continue to pass-by as if nothing's happening...
	Reznor drops to his knees, SPITTLE hitting the tiles as --
	Part of the thickening smoke in the air gains DENSITY. Becomes a 
	FORM...a SMOKE WRAITH. A "Freddy Face." Reznor stares in 
	disbelief through watery eyes.
				FREDDY
		Remember...smoking kills!
	The Wraith disperses, a GROTESQUE LAUGH hanging in the air --
	-- And Reznor COUGHS HIS GUTS UP. Literally. Purple veined LUNGS 
	SPLATTERING UP onto the hard floor.
	OUTSIDE NOW - the Cubicle a smoke-filled glass solid, people 
	LAUGHING, wandering past as if this was an everyday occurrence. A 
	BLOODY HAND SLAMS against the glazing, leaving an obscene smear as 
	we --
						SLAM CUT TO:
	EXT. REAR GARDEN - FREEMAN HOUSE - NIGHT (BACK TO REALITY)
	Reznor slips from the swing, his chin WHACKING the seat. A THIN 
	TRICKLE OF BLOOD SPILLING from his lips. He GASPS for breath, 
	then suddenly --
	WHOOMPH! He's JERKED to his geet as the chain wraps around his 
	neck...TUGGED UPWARDS until inches away from Jason's chromed mask. 
	We see his feet peddling uselessly in mid-air.
				REZNOR
			(strangled rattle)
		Hi...
	He SPITS a dappled SPRAY OF BLOOD into Jason's face.
								 CUT TO:
	INT. LIVING ROOM - FREEMAN HOUSE - NIGHT
	A handful of empty Budweiser bottles are on the low table. Alice 
	sits alone 	on the sofa, watching an INANE T.V. ANCHOR covering 
	the New Year's run-up. The reception is FUZZY, occasionally 
	BLANKING OUT in BLASTS of STATIC.
				CNN ANCHOR
			(O.S., on television)
		"As you can see, even with four hours to
		go, this has to be the New Year to end all
		New Years. Certainly the largest capacity 
		crowd I've seen...surely there isn't a 
		person on the planet tonight who isn't 
		getting on down --"
				ALICE
			(disgruntled)
		And sharks might cry...
	She gathers up the empties, heads for the kitchen --
	INT. KITCHEN - FREEMAN HOUSE - NIGHT
	Alice tosses the bottles into the trash. Opens the refrigerator. 
	Pulls out a quart of milk --
	KERSMASH! Alice JUMPS, the carton dropping to the linoleum. The 
	MUTED SOUND of SPLINTERING WOOD filters in O.S. from somewhere in 
	the house. MILK GLUGS unattended as she listens, frozen in fear. 
	Her eye spots a lug-wrench amongst the dissembled parts on the 
	kitchen table.
	INT. HALLWAY - FREEMAN HOUSE - NIGHT
	The stairs leading to the autoshop are shrouded in shadow, a 
	portal to dread. The noises have ceased. Alice FLICKS the light 
	switch several times. No joy. She strains at the edge of her 
	hearing --
	Then JUMPS as the door right by her shoulder OPNES. It's 
	Stephanie and Jacob. Alice untnses.
				JACOB
		Mom, there's something --
				ALICE
		Back inside. Keep the door closed...
	The kids comply. Alice looks about her. Spots a chunky 
	industrial flashlight atop a pair of coveralls.
	INT. STAIRWELL - FREEMAN HOUSE - NIGHT
	Alice directs the flashlight beam, cautiously descending...
	INT. STEPHANIE'S BEDROOM - FREMAN HOUSE - NIGHT
	Stephanie FLIPS the key in the lock. jacob shoves a chair up 
	under the door handle.
				STEPHANIE
		Get it in, tight...
	INT. BASEMENT AUTOSHOP - FREEMAN HOUSE - NIGHT
	Alice's flashlight picks out dangling chains and old machinery. 
	She moves forward...taut, alert. The back door leading out into 
	the garden hangs inward on one broken hinge the lock SHATTERED in 
	pieces on the floor.
	She sweeps the beam around the silent room. Nothing. Finds the 
	switch for 	the overhead fluorescents. CLICKS IT. The lightbars 
	WHINE, flicker to life --
	Jason is standing there right behind Alice, machete poised. Half 
	the chromed mask is eroded away now, the flesh beneath scabrous 
	and decomposing rapidly. She turns as Jason's Aztec blade PIERCES 
	the air...eludes decaitation by a microsecond. It SEVERS a tuft 
	of blond hair, EMBEDS itself into STROBE and FLARE chaotically.
	
	Alice's foot catches an OIL PATCH. She slips, falls heavily 
	against a workbench as ELECTRICAL CHARGES CRAKLE up along Jason's 
	arm, momentarily paralyzing him.
	The wrench falls from Alice's grip, CLATTERS just out of reach. 
	Jason TUGS 	his machete free, sways a little before locking back 
	on target. Two quick strides towards Alice as she SNATCHES up the 
	wrench...brings it up in a clumsy movement which --
	-- BARELY BLOCKS Jason's next strike. the ancient blade CLEAVES 
	OFF the wrench's grip...BASHES Alice's forehead, cutting open a 
	ragged scar. Alice SNAP-ROLLS aside, crawls for cover beneath the 
	bench. She drags her foot in quickly as the machete WHOOSHES 
	down, SPARKING on the stone floor.
	Alice crawls away for dear life. Jason closes like a heat-seeking 
	missle, a hand CLAMPING around her ankle with a vice-like grip. 
	Alice YELLS...begins to get dragged back.
	Her hand SHOOTS OUT, SNATCHES at the bolted bench leg. Knuckles 
	whiting. Jason HEAVES MIGHTILY, and --
	-- FALTERS back, Alice's empty boot clutched in his hand. He 
	LUNGES forward, powerfully WRENCHING the workbench aside...TEARING 
	the bolted legs up. Jessica's boom-box topples, starting up. 
	LOUD SLAMMING ROCK MUSIC. Jason turns over a line of freestanding 
	shelves, blocking off the exit to the garden. Alice scrambles out 
	of the way, gets to her feet. Turns to face him as he circles 
	toward her. Molten droplets fall from his mask, FIZZING on the 
	floor. She takes in his leprous countenance.
				ALICE
		What the hell are you...?
	Jason PUNCES wordlessly for Alice. She ducks beneath the 
	suspended engine block, backs toward the shadows.
	INT. STEPHANIE'S ROOM - FREEMAN HOUSE - NIGHT
	The kids have slid open the sash window, trying to force through 
	the narrow gaps in the secuity bars outside.
				JACOB
		Go...squeeze through!
				STEPHANIE
		It's too small -- !
								 CUT TO:
	EXT. STREET - OUTSIDE FREEMAN HOUSE - NIGHT
	Steven's pickup turns the corner, enters the road.
	INT. CAB - STEVEN'S PICK-UP TRUCK - NIGHT
	A bottle of champagne is on the passenger's seat next to Steven. 
	He frowns as he nears the police curiser, sees the empty cab, the 
	running-light. STROBING atop.
				STEVEN
		Hello?
	He draws parallel, passes. takes a gander in his rear view, 
	and --
				STEVEN
		Christ on a crutch -- !
	EXT. STREET - OUTSIDE FREEMAN HOUSE - NIGHT
	The pickup SQUEALS to a halt, Steven LEAPING out in a rush towards 
	the dead cops --
						CUT BACK TO:
	INT. BASEMENT AUTOSHOP - FREEMAN HOUSE - NIGH
	Jason's mask GLITTERS in the spasmodic lighting. We hear his 
	INHUMANELY STEADY BREATHING as it searches side0to-side. His foot 
	catches Alice's discarded flashlight. It rolls across the floor, 
	the beam casting erratic shadows, which --
	-- REVEALS ALICE moving at a crouch around the side of the Lexus. 
	She looks up, sees the dangling engine block. Looks down, sees an 
	oil can. Gets an idea.
	WITH JASON NOW. He hears a METALLIC CLONG, homes pitilessly 
	towards it, and --
	-- SLIPS on the THIN SHEEN of oil clogging the floor...registering 
	the dark mass of the ENGINE BLOCK as it IMPACTS his ribs, SLAMMING 
	him back into the grease pit.
	Alice punches the big red BUTTON on the hydraulic controls. Jason 
	tries to get his footing again --
				AILICE
		You're jammed, sucker!
	WHOOMP! The hydraulic ramp POWERS DOWN...the raised Pontiac 
	CRUSHING onto Jason. Alice watches with satisfaction as it 
	reaches bottom, the overstressed mechanism RISING in PITCH. She 
	shuts off the control. Takes a tire-iron from 	the shelf. Bends 
	down, turns off the boom-box --
	EXT. FRONT OF HOUSE - FREEMAN HOUSE - NIGHT
	Steven races up to the barred front door, rifling his pockets.
				STEVEN
		Keys...keys. Goddamit -- !
	Forgotten them. He races off around the side of the house --
	EXT. ALLEYWAY - ALONGSIDE FREEMAN HOUSE - NIGHT
	The garden fence RUSHES by Steven in an adrenalive blur. He hears 
	SHRILL VOICES above. Looks up to see Stephanie and Jacob 
	desperately trying for his attention --
				STEPHANIE
		Daddy...daddy -- !
				JACOB
		Help -- !
				STEVEN
		I'm coming...stay there!
	He CRASHES through the back gate --
	EXT. REAR GARDEN - FREEMAN HOUSE - NIGHT
	-- INTO THE GARDEN. The security lights SNAP ON...and Steven 
	fetches up 	short, almost drops the bottle. Reznor's CORPSE is 
	twisted up in the swing's chains ahead, wrapped tight around his 
	swollen neck. Blood spattering his shirt. Steven motivates 
	himself, heads for the house --
	INT. BASEMENT AUTOSHOP - FREEMAN HOUSE - NIGHT
	Silence reigns supreme. We hear the STEADY DRIP-DRIP of OIL as 
	Alice ceases to circle the pit. Nothing...no movement. CLOSE ON 
	HER, as --
	-- SMASH!! Alice dives for cover as the Pontiac's hood is sent 
	SPINNING up through the air, a SHOWER of piping and wires 
	following.
				ALICE
		No -- !
	She watches in horror as Jason's STEAMING FORM HAULS itself up 
	through the car's guts.
	EXT. REAR GARDEN - FREEMAN HOUSE - NIGHT
	Steven finds the shattered door leading into the autoshop blocked 
	by the fallen shelving.
				STEVEN
		Hey...hey -- !
	INT. BASEMENT AUTOSHOP - FREEMAN HOUSE - NIGHT
	Jason's coming straight for Alice like the Terminator. Steven's 
	MUFFLED VOICE unbalances him an instant as Alice's fingers coil 
	around the grip of a HANDHELD ROTARY SAW. She RAMS the unplugged 
	electrical cord into the socket as Jason bears down. Swings the 
	saw as it TRILLS to life. Razor-sharp teeth BITE through Jason's 
	coveralls...CHEW through his flesh, spilling forth MAGGOTS and 
	GREEN BILE.
	She SLICES again, once more. Jason rallies with a vengeance, 
	HACKING through 	the electrical wire. the saw SPUTTERS and DIES, 
	and Jason lunges for the kill --
	AS THE AUTOSHOP'S METAL SHUTTERS EXPLODE INWARD in a DELUGE of 
	SHREDDED METAL. Alice miraculously escapes injury as - as 
	headlamps BLAZING - STEVEN'S PICKUP ROARS through the 
	breech...makes a "Jason Sandwich" between it and the disemboweled 
	Pontiac.
	Steven blinks the grogginess from the impact away. As he pulls 
	the release on his safety-belt --
				ALICE
		Look out!
	Jason's fingers gouge like steel into the pickup's buckled hood. 
	He drags his undead body up, and --
	PUNCHES his rancid fist through the windshield. Gravs a handful 
	of Steven's shirt. YANKS his head forward against the steering 
	wheel, knocking him unconscious. Jason's head Snaps around as --
				ALICE
		You sonuvabitch!
	Alice CHARGES him wielding a tire-iron WALLOPS him viciously 
	across the side of his head. Goes for a second blow, but Jason 
	catches it with stunning disregard for inertia. Slings the iron- 
	and Alice - halfway across the room. She SCREAMS as her temple 
	catches a GLANCING BLOW against SOMETHING, SOUND and 	VISION 
	DISTORTING strangely. A FLASH FRAME of WHITE --
						DISSOLVES US THROUGH TO:
	INT BEDROOM - VOORHEES' HOUSE - DAY (DREAM SEQUENCE)
	TIGHT ON ALICE'S CLOSED EYES. We hear an INDISTINCT, BREATHY 
	BABBLE as we TRACK IN. Her eyelids POP OPEN --
	WIDER. SOFT PASTEL HUES. Sitting in a wicker-chair, Alice 
	surveys the 50's furnished bedroom, embellished with 60's style 
	boy's paraphenilia. The TUNE "Mister Sandman" plays on a radio 
	somewhere, O.S. She looks down. Sees herself wearing a blue-and-
	white "Alice in Wonderland" dress.
				ALICE
		I'm inside someone's dream...
	An ICE HOCKEY STICK mounted above the dresser, GOALIE MASKS to 
	eiter side. A POSTER showing a 1960's "Cincinnati Cyclones" 
	linup.
				ALICE (cond'd)
		What is this?
	She hears RAISED VOICES O.S. from somewhere downstairs. Goes to 
	investigate --
	INT. LANDING - VOORHEES' HOUSE - DAY (DREAM SEQUENCE)
	Alice finds herself with an uninterrupted view of the living room. 
	Crouched behind the bannisters at the top of the stairs just ahead 
	is a 10 YEAR OLD BOY, a hockey mask pushed up on his head.
				ALICE (cont'd)
		Hey there --
	Alice GASPS as he turns to her. We see his FEATURES are 
	ASYMMETRIC, RETARDED...the name "jason" picked out on the breast 
	of his boiler-suit in florid embroidery. Smiles at Alice with 
	great gentility. Puts a finger to his mouth to indcate silence.
				ALICE (cont'd)
		Oh, God...I'm in your mind.
	(The people below in heated argument below are: ELAINE and KIRK 
	PARKER; JED LANE SR; PAMELA and ELIAS VOORHEES; MARGE and her 
	Police Lieutenant husband, DONALD THOMPSON.)
				MARGE THOMPSON
		We've got to fix Fred Krueger once and for
		all!
				KIRK PARKER
		This is the 1960s for Chrissake, Marge -
		not the Middle Ages!
				ELAINE PARKER
		You're spineless, Kirk.
	Jed turns angrily on Lieutenant Thompson.
				JED LANE SR
		We wouldn't be beating our gums if your
		bogtrotter partner hadn't screwed the 
		pooch!
				DONALD THOMPSON
		It wasn't Tim's fault...the warrant wasn't 
		signed!
				JED LANE SR
		Krueger juiced my son, cop! Half the
		other kids in this town! You wanna think
		about that when he comes for your little
		Nancy?!
				PAMELA VOORHEES
			(pointedly, to Thompson)
		He ought to have checked.
				ELIAS VOORHEES
		If the police can't help, maybe the F.B.I.?
				JED LAVE SR
		Ha! Dream on, Voorhees.
	UP ON THE LANDING, Alice gazes at the retarded boy with dawning 
	comprehension.
				ALICE
			(aloud)
		Jason Voorhees was an Elm Street kid...
	DOWN BELOW AGAIN, Elias arguing vehemently --
				ELIAS VOORHEES
		If we kill that monster, we'll be no 
		better than he.
				PAMELA VOORHEES
		Elias, our Jason's scared. Retreating 
		into a world of his own, hiding behind
		that damned hockey mask --
				JED LANE SR
		Probably done us a service.
				KIRK PARKER
		Shut up, Lane.
				ELAINE PARKER
		We need to know where you sand, Donald.
				DONALD THOMMPSON
		I can't condone vigilantism, Elaine!
				JED LANE SR
		You're either in or you're out, Thompson.
		There ain't no middle ground.
	Thompson takes a deep breath. So do the others.
				DONALD THOMPSON
		Alright. I'm in...
	WE END ON ALICE'S PERPLEXED FACE as we --
								 MATCH CUT TO:
	INT. PAMELA VOORHEES' CAR - NIGHT (DREAM SEQUENCE)
	Alice is JOGGLED in the rear seat of a big 50's automobile as it 
	rides across REGULAR EXPANSION JOINTS. Young Jason sits alongside 
	Pamela Voorhees who's driving. The boy turns and smiles at Alice.
				PAMELA VOORHEES
		You stay in the car. Mommy's fixing some
		business...
	EXT. INDUSTRIAL COMPLEX - NIGHT (DREAM SEQUENCE)
	Pamela's shiny CHERRY CADILLAC (we recongnize it as Freddy's 
	burial plot from the end of "Dream Warriors") heads for the 
	functional factory buildings agead.
	ANOTHER ANGLE. The car pulls to a halt outside a corrugated iron 
	warehouse. Several other vehicles are here already.
	INT. PAMELA VOORHEES' CAR - NIGHT (DREAM SEQUENCE)
	Pamela turns to Jason.
				PAMELA VOORHEES
		If you're a good boy, we'll maybe head out
		to Lake Crystal for a little holiday...
		teach you to swim. You'd like that, 
		wouldn't you?
	Jason nods solemnly.
				PAMELA VOORHEES (cont'd)
		Alright. I won't be long.
	Pamela climbs out. SLAMS the door behind her. Young Jason 
	watches her vanish around the edge of the building. Gives Alice a 
	quick look, then opens the door on his side.
				ALICE
		Wait -- !
	Alice promptly opens her door and follows --
						 MATCH CUT AGAIN TO:
	INT. FREDDY KRUEGER'S BOILER ROOM (DREAM SEQUENCE)
	-- Straight into a RAGING INFERNO. CRUEL FLAMES lick the bare 
	concrete walls. A window overhead SMASHES, a Molotov cocktail 
	BLOSSOMING. Alice catches a quick glimpse of Jed Lane and Donald 
	thompson.
				JED LANE SR
		Burn in Hell, pervert!
	An IMMENSE BOILER lines one whole wall. A SMOLDERING FIGURE 
	crawls from the open safety gate, DROPS painfully to the floor. 
	the Iconic striped jumper, familiar chiseled presence. FREDDY 
	KRUEGER: Aflame from the waist down, his face still mostly 
	unblemished. His hat falls away as he seems to look 	straight up 
	at Alice...
				FREDDY
			(pitifully)
		Save me...help me --
				ALICE
			(incredulous)
		Help you!?
				PAMELA VOORHEES
			(O.S.)
		Jason...!
	Alice looks up. Sees Young Jason slowly DRAGGING off his hockey 
	mask, staring down into the SEA OF FIRE. Pamela appears. Tries 
	to pull the resisting boy away.
				PAMELA VOORHEES
		Come away!
	Marge Thompson appears above, face contorted with hared.
				MARGE THOMPSON
		Die...D I E !
	Another Molotov BURSTS in Freddy's face. His fingers are a rictus 
	curl of despair.
				FREDDY
		Hear me...
	GREEN ENERGY BELCHES beneath him. HIDEOUS BIOMECHANOID DREAM 
	WRAITHS SWIRL up, COILING around Freddy...lifting him from the 
	floor. IRIDESCENT ENERGY BOLTS as they pierce his torso. His 
	body SWELLS UP to Schwarzeneggerian magnitude.
				FREDDY (cont'd)
		Yes...yes!! I...am...E T E R N A L !
	His body EXPLODES in a GLOWING RED ENERGY STORM that SWEEPS 
	through Alice in a WAVE (we see Freddy's bones collapse to the 
	floor at CENTER). The BLAST 	reaches Young Jason, momentarily 
	FLARING OUT as he turns and --
						 WE MATCH CUT TO:
	EXT. JETTY - CRYSTAL LAKE - SUNSET (DRAM SEQUENCE)
	Young Jason stands on a wooden jetty protruding out onto a 
	picturesque BOATING LAKE, the sky a BEAUTIFUL PURPLE-RED. 
	-- SEE ALICE ON THE SHORELINE, watching. She SHOUTS...
				ALICE
		Stop! Wait!
	The boy doesn't hear. We see him climb down into one of the 
	boats, TUG at the mooring ropes. Alcie SCRAMBLES along the shale 
	to follow. Slows pauses at a sign which reads: "WELCOME TO 
	CRYSTAL LAKE - CAMP CRYSTAL"
	Young Jason's boat drifts away from the pier as Alice POUNDS along 
	the boardwalk. With a great RUMBLE --
	-- CLOUDS SPEED ACROSS THE SKY in TIME-LAPSE, GLOWERING THUNDER 
	ZEPHYRS forming out of nowhere. Young Jason gazes up, WHIMPERS. 
	While --
	-- the SLATS BENEATH ALICE SPLINTER and DISINTEGRATE. She treads 
	air like Wile e. Coyote, while --
	FROM YOUNG JASON'S P.O.V., the SHORELINE SPEEDS SUPERNATURALLY 
	AWAY in all directions at 100 M.P.H. In seconds, the retarded boy 
	finds his tiny boat adrift in the center of a VAST OCEAN.
	ALICE FALLS...SPLASHES into the icy cold water, arms flailing. 
	The CAMERA FLIPS THROUGH 180 degrees with her, as she --
	-- LEVITATES UP out of the water like the "Ldy Of the Lake", 
	miraculously dry. She "stands" on the surface as if treading 
	PLEXIGLASS, jsut yards from young Jason's boat.
	The boy begins to CRY, pulling the hockey mask up to his face in 
	defence. (Remember the Freddy claws menacing Nancy in the bath in 
	"Nightmare"? Well, that's just what happens now, except --)
	EACH CLAW is 6 ft LONG...towering up, unseen by Young Jason. The 
	boy turns...as the claws SUBMERGE AGAIN and disappear, lickety-
	split.
	A MOMENT'S SUSPENSE...and the boat starts to ROCK VIOLENTLY, WATER 
	SPILLING inboard. Allice CRIES OUT --
				ALICE (cont'd)
		Hold on!
	She takes a "step" forward...and sinks into the water up to her 
	knee.
				ALICE (cont'd)
		No! Somebody help!
	She takes another step. Up to her waist this time. The boat 
	OVERTURNS, Young Jason SHRIEKING with terror. We see a HIGH 
	CHERRYPICKER ANGLE, a HUGE Freddy arm undulating away into the 
	depths like a GREEN-AND-RED SQUID.
	
	Alice reaches the upturned boat, submerged up the the neck now. 
	She THUMPS on the hull repeatedly.
				ALICE (cont'd)
		Let him go...let him go!
	A SPUME of bubbles effervesces around her. A WHITE OBJECT 
	floating to the 	surface...Jason's mask. Alice takes it her 
	hand. Looks skyward. YELLS --
				ALICE (cont'd)
		No!
	ERSATZ CHRRYPICKER ANGLE AGAIN, going WIDER VERY FAST NOW into a 
	UNIVERSAL PULL-BACK revealing the BLACK POOL OF OCEAN to be one of 
	the EYEHOLES in the BATTERED JASON MASK we know and hate. 
	CONTINUING FURTHER BACK as we --
				 	 SOUND SEGUE/MATCH CUT TO:
	INT. FREDDY'S BOILER ROOM (DREAM SEQUENCE - CONTINUING)
	we PULL RIGHT BACK to reveal a BIG, FRIGHTENING VERSION of 
	Freddy's boiler room. A PERSPECTIVE TRICK of CABLING and FEEDER 
	PIPES leading to a MONSTROUS FURNACE. Young Jason is strapped 
	spread-eagled to a 'X'-shaped TORTURE CROSS, slash marks across 
	his boiler suit. We HEAR a DEEP MENACING variation of the "Freddy 
	Nursery Rhyme", O.S.
	A "HOLE IN SPACE" opens up, Alice falling from it in a DELUGE OF 
	WATER. Hits MUDDY GROUNG embedded with fragments of BROKEN 
	CHILDRENS' TOYS, face-first. Her head SNAPS UP as "Old" Freddy 
	triumphantly tears the mask from Jason's face, looks straight at 
	Alice. Places a razor sharp finger blade under Jason's chin.
				FREDDY
		How'd you like my little puppet? He's
		always done everything I say...
				ALICE
		Don't...!
	Freddy LAUGHS maliciously. RAKES his claws toward Jason...
								 
	JUMP CUT TO:
	INT. AUTOSHOP - FREEMAN HOUSE - NIGHT (END DREAM SEQUENCE)
	Alice JOLTS awake, Jessica crouching over and SLAPPING her cheeks 
	vigorously.
				JESSICA
		C'mon...c'mon - wake up, goddamit! Where 
		are they?!
				ALICE
		Wha -- ?
				JESSICA
		Steven...my kid! Turnit on, goddamit!
	Alice glances across. the pickup is gone, a great rent torn in 
	the metal shutters.
				ALICE
		Jacob?
				JESSICA
		The place looks like Godzilla trashed 
		it...what happened?!
				ALICE
		It's Jason...Freddy created him --
				JESSICA
		I don't give a fuck...where's my girl?!
	Alice gets with the program, rallies herself awake.
				ALICE
		The...bookstore --
								 CUT TO:
	EXT YARD - "SAMHAIN BOOKS" - NIGHT
	WIDE ON A WALL at the end of the yard. Like a Kabuki shadowplay, 
	we see JASON'S MONSTROUS FORM making short shrift of TWO 
	STRUGGLING COPS. HANDHELD - SAME SHOT - whe STEADICAM back over 
	the Cops' bodies, WHIP-PANNING LEFT to see a pair of legs being 
	dragged through the slashed OSHA tape remnants covering the fire 
	exit.
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	CLUNK. CLUNK! Steven is strapped to the inverted cross. Jason 
	looms over him.
	WIDER, ACROSS THE ROOM. An unconscious Jacob and Stephanie dumped 
	in the center of the "Penticon".
								 CUT TO:
	EXT. STREETS - BETHLEHEM - NIGHT
	The damaged Black-and White ZOOMS through the night, thunder 
	RUMBLING overhead.
	INT. "BLACK-AND-WHITE" - STREETS - NIGHT
	Jessica's driving madly. Alice is strapped in, holding on for 
	dear life...the door at her side nonexistent --
				JESSICA
		Bastard was after our kids all along!
				ALICE
		I felt something inside Jason's mind.
		Some...thing. Beyond him and Krueger --
				JESSICA
		Hold on!
	She pulls a hard righ...narrowly avoids an ONCOMING CAR, its horn 
	BLARING --
	EXT. "SAMHAIN BOOKS" - ELM STREET - NIGHT
	LIGHTNING arcs across the sky with a TERRIFIC BOOM, a WHIRLPOOL OF 
	CLOUDS above. A massive ENERGY BOLT - amost more PLASMA than 
	electricity - STABS down across the street from the bookstore, 
	RIVING a tree into SPLINTERS. PULSING and THROBBING - almost 
	ALIVE - it SCORCHES a path across the road toward the store, 
	BISECTING a car in twisted junk.
	INT. "BLACK-AND-WHITE" - ELM STREET - NIGHT
	Alice reacts. Grabs the wheel.
				ALICE
		Stop!
				JESSICA
		Shit!
	EXT. "SAMHAIN BOOKS" - ELM STREET - NIGHT
	Jessica SLAMS on the brakes. The Black-and-White SCREECHES to a 
	halt, the CRACKLING ENERGY VAPORIZING the front of the vehicle. A 
	lucky escape. The beam CONTINUES on...VANISHES for an 
	instant...then DRIVING down onto the bookstore turret.
	Alice and Jessica leap out of the car, run for the shop.
				JESSICA
		Come on...!
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	Alice and Jessica BURST through a torn veil of OSHA-tape. Stop 
	dead.
	Just barely alive, Steven JERKS and TWITCHES atop the Cross, his 
	skin 	WITHERING and PUTREFYING. The "Penticaon" is engulfed by 
	the SWIRLING ENERGY TYPHOON. We can about discern JASON'S DARK 
	FORM within, the esophagal-tunnel opening beneath him...
				JESSICA
		Noooo -- !
	She lunges forward. Alice restrains her
				ALICE
		Jess, don't!
	THE OTHER-WORLDLY RIFT IMPLODES...and the chamber is suddenly 
	SILENT, empty. Jessica collapses to her knees.
				JESSICA
		Steven...God - Steven! No...no --
	Alice runs to the center of the "Penticon", eyes searching madly. 
	Fingertips tracing the filmy tracery of blood...
				ALICE
		No...no --
				JESSICA
			(hysteria)
		Great...this is great~ what do we do now,
		sis - huh? Wanna tell me that?
	Alice thinks hard, frustration edging in.
				ALICE
		We've gotta go after them --
				JESSICA
		How...how?! They're gone, there's no way!
				ALICE
		Shut up! There has to be a way --
	Blood DRIPS from teh cross into the "Penticon" channels...
								 CUT TO:
	INT. TORCHY'S BAR - BETHLEHEM - NIGHT
	The place is WALL-TO-WALL with REVELLERS, jukebox CRANKED UP. 
	Cobain sits at the packed bar, takes a sip of something - probably 
	vodka - as someone jostles into him from behind. He catches the 
	BARMAID's amused glance at his predicament.
				COBAIN
		I think my double's turned to a single.
				BARMAID
		Not the best night for a quiet drink.
				COBAIN
			(looks at his watch)
		No...I'm waiting for someone.
				BARMAID
			(archly)
		Aren't we all?
	Cobain watches the television mounted up on the wall WILDLY 
	FLUCTUATING.
				COBAIN
		Brownouts still?
				BARMAID
		You didn't hear? North Pole flipped 
		around earlier. Up is down and down is
		up. Spiffy New Year prank, huh?
				COBAIN
			(quietly, to himself)
		"The Great Purification."
	A VOICE YELLS the length of the bar. Cobain looks up, sees the 
	BAROWNER holding the phone and looking at him.
				BAROWNER
		Hey! Reservoir Dog! You the cop?
				COBAIN
		F.B.I.
				BAROWNER
		Same difference. Phone --
	Cobain pushes his way through the melee. A DRUNKEN GIRL grabs 
	him halfway, kisses him.
				DRUNKEN GIRL
		Happy New Cent'ry!
	Cobain pulls free, reaches the phone. Picks it up.
				COBAIN
		Agent Cobain...?
						JUMP CUT TO:
	EXT. "SAMHAIN BOOKS" - ELM STREET - NIGHT
	Cobain's car SQUEALS to a standstill. Jessica appears, yanks his 
	door open. Alice right behind.
				JESSICA
		You bring them?
				COBAIN
			(really pissed)
		My partner's fucking mulched! I want some
		answers!
	We hear a VERY PECULIAR NOISE from the meteorology above. We 
	might SWEAR that the entire SKY seems to be CONTRACTING...
				ALICE
		No time. Shag it!
	INT. SACRIFICIAL CHAMBER - "SAMHAIN BOOKS" - NIGHT
	Alice puts down a pair of mini "multimedia" speakers. RIPS open 
	an evidence bag, casts aside Vatican documents. Tosses the WOODEN 
	DAGGER CASE to Jessica. Slides the Cultist's camcorder from 
	another bag. JACKS a lead into the side.
	Cobain stands at the breach in the turret, looking up at the 
	weirdly shrinking atmosphere. Turns back into the room.
				COBAIN
		Someone better start explainin' all this...
				ALICE
		All these clues, you haven't figured it?
		It's Zero Hour, Agent Cobain. World's 
		going out with a bang.
				COBAIN
		Wait...whoa! Reality check -- !
				JESSICA
			(abruptly)
		My husband's fucking dead! My daughter's 
		gone! You've a belief problem, shove it!
				COBAIN
		It's 100 percent gravity this zip-code,
		lady! Get off the ceiling!
	Jessica has the case open, brings out the seemingly plain "Dagger 
	of Horvath". The dagger TRANSFORMS INSTANTLY into a BIOMECHANICAL 
	MASS. the blade 	ELONGATES, runes molding into the side. Alice - 
	and especially Cobain- are taken aback.
				JESSICA
		Same as the one I killed Jason last time.
				ALICE
			(pointedly to Cobain)
		Feeling converted yet?
				COBAIN
			(a beat)
		So...you got a Game Plan?
				ALICE
		Replay the Cultists' incantations. Follow 
		them to...wherever.
				JESICA
		And if it doesn't work?!
	LIGHTNING GLARES overhead.
				ALICE
		We're out of options.
	An L.E.D. GLOWS RED as she activates the camcorder. Moves to the 
	center of the "Penticon" with Jessica. Cobain stands to one side 
	reluctantly.
				ALICE (cont'd)
		No-one's twisting your arm.
 He hesitates. Enters the "Penticon", feeling a little foolish.
				COBAIN
		Okay. Beam me down.
	CLOSE ON THE CAMCORDER. The digital frame counter ticking 
	upwards...the Cultists' CHANTING issuing forth from the builtin 
	SPEAKERS.
				CULTISTS
			(O.S.)
		"Kandar...estrata --"
	Ther settled blood in the stone channels begins to glow an 
	unearthly green. Cobain looks down dumbfounded as the light 
	ACCELERATES, delineating the symbol.
				LEAD CULTIST (cont'd)
			(O.S.)
		"By the Abramelin Mage --"
	The ancient rune FLARES. Points of energy CRACKLING the air, 
	PROBING between Alice, Jessica, and Cobain.
				LEAD CULTIST (cont'd)
			(O.S.)
		"Invoke your Holy Guardian...'Nosferatus, 
		Emontus'" --
	An IMPOSING RED/GREEN ENERGY CYCLONE materializes about them, a 
	BLAST of AIR SCATTERING the Pontiff's documents.
 				LEAD CULTIST (cond'd)
			(O.S.)
		"-- Thanos"!
	A BOLT of LIGHT consumes the FRAME, the ground beneath them 
	SHATTERING to reveal --
								 CUT TO:
	INT. "ESOPHAGUS" JOURNEY - ZERO HOUR
	A ROLLERCOASTER RIDE, their P.O.V. RUSHING LIGHT STREAMS, THX 
	QUALITY BASS WHOOSHES...what mightbe PLANETS - or ATOMS - RACING 
	BY. FAST 90 degree COURSE-CHANGES along a TUNNEL lined wiht 
	THOUSANDS of SCREAMING SOULS, and then a WHITE FLASH --
						 FAST CUTS US TO:
	EXT. APEX OF PILLAR - HELL - ZERO HOUR
	The sole arthritic tree is ROCKED by a RAGING TEMPEST. Three 
	AMOEBA-LIKE POLYPS ERUPT towards us from within the ground, 
	strewing bones. In an instan, the SKULLS formed within SHEATH 
	with TENDONS and FLESH until --
	-- THE POLYPS BURST, evaporate. Cobain and the two women fall to 
	the ground. Weaky recover.
				ALICE
		Everyone okay?
				COBAIN
			(feebly)
		Tubular. Now what?
				JESSICA
			(yells)
		Look!
	Everyone does. The LEVIATHAN SINGULARITY TORNADO bearing down, 
	almost upon the jutting pillar. A mobile Black Hole sucking the 
	three-dimensional world into it. Alice spots a "Hell Door" - a 
	riveted steel door free-floating in mid-air - behind them.
				ALICE
		I know this place!
				COBAIN
		The door...go!
	They SPRINT for it. Jessica gets there firs, HEAVES the pull-
	ring...nothing. Cobain pitches in. Still nada, as --
	THE SINGULARITY HITS the Pillar, DEVOURS it hungrily, as --
	Alice adds her weight to the door...which grinds open! The GREY 
	VACUUM inside SUCKS at them --
				ALICE
		Inside!
	They TUMBLE through the doorway, as --
	THE SINGULARITY TEARS the Pillar apart...
	EXT. "BRIDGE OF MOANS" - HELL - ZERO HOUR (CONTINUING)
	Cobain and the women JETTISON THROUGH another FLOATING DOOR, 
	identical to the 	first. It SLAMS CLOSED as they pick themselves 
	shakily up...
				COBAIN
		This is nuts.
	VERY, VERY WIDE. An impossibly-long VIADUCT-LIKE BRIDGE straddles 
	an INFINITIVE SEA OF MOLTEN LAVA, vanishing off at the horizon. A 
	(presumably infinite) number of floating doors line either side of 
	the bridge.
				JESSICA
		Now what...flip a coin?
	Conversation stops as the sky above DISTORTS, the SINGULARITY 
	VORTEX tears into the bridge. RUMBLING TOWARDS THEM at an 
	incredible rate.
				ALICE
		Run!
	They run, the Vortex hot on their heels...ENGULFING the bridge. 
	They skid to a halt -- 
				COBAIN
		This is hopeless!
				JESSICA
		Try another door!
	No time for finesse. They choose one randomly. Force it open, 
	and --
	A MASSIVE LEG drops down from inside, anchors itself on the 
	bridge...MIGHTY HANDS with SCIMITAR BLADES reaching for Alice. An 
	OLYMPIAN HEAD atop a RED-AND-GREEN-DRESSED "Richard Corben" 
	Superhero dream of a body. THE NEW FREDDY, seen in all his 
	glory --
				FREDDY
		It's my comeback Tour!
	Freddy JERKS Alice bodily back inside...but Cobain and Jessica 
	GRAB her too in a BIZARRE TUG-OF-WAR. Alice SCREAMS, and Freddy 
	draws her inside with finality. The door SLAMS shut, and --
				JESSICA
		Cobain!
	The Vortex is almost upon them. Cobain thinks fast, turns to the 
	door opposite.
				COBAIN
		This one!
	They get the door open, disappearing inside as the Vortex EATS 
	SPACE...
								 CUT TO:
	INT. MAZE OF PIPES - HELL - ZERO HOUR
	The walls are a complex labyrinth of industrial ducting. Alice 
	plummets from an overhead circular inlet, SPLASHES into fetid 
	knee-deep water. She THRASHES to the surface COUGHING bile. 
	Looks up to see --
	Freddy, ROARING down the perpendicular inlet toward her. She 
	scrambles up. Start to run as he CRASHES down, seven feet tall 
	and filling the tunnel like a body-builder. BELLOWING into 
	persuit.
				FREDDY
		Run like the wind, Alice!
	His chest works, sucking like a VACUUM BELLOWS...BLOOWS -- 
	-- LIKE A HURRICANE, tossing Alice end-over-end. She grimaces. 
	Clutches her leg. Freddy LAUGHS sardonically...
								 CUT TO:
	INT. SPHERICAL SPIKE ROOM - HELL - ZERO HOUR
	Cobain and Jessica falll through the door, land in a heap. 
	Recoup, take in their new surroundings.
				JESSICA
		This is twisted.
	They're standing on a LONG RECTANGULAR PLATFORM suspended in 
	space, a "Hell Door" defying gravity either end. The platform 
	itself is at CENTER of a SPHERICAL ROOM, rotating about it. The 
	curved walls brim with EVIL, METAL SPIKES...a DECAYED CADAVER 
	impalled on each. (In homage, we might recognize a "Rogus 
	Gallery" of MOVIE MONSTERS. Decayed GILL-MEN, PINHEADS, a HORACE 
	PINKER...you get the idea.)
				COBAIN
		This is Hell. C'mon...
	They head for the opposite door. ten feet away when...it opens. 
	JASON CHARGES THROUGH, his machete a SILVER SLASH IN MOTION. 
	Jessica moves quickly...but the tip LACERATES across her chest. 
	She falters, hitting the platform and almost going over. Her arms 
	dangles next to a LEATHERFACE CORPSE and chances upon...
	Cobain slides his pistol out. Walks it towards Jason, ROARING. 
	The unead killer reels back as Cobain discharges a full-clip, goes 
	dry. Ejects the spent mag, SLAPS in another. Jason rallies, 
	sends the gun SPINNING. Grabs Cobain by the neck, lifts him 
	GURGLING from the floor --
				JESSICA
			(O.S.)
		Hey, fucker!
	Jessica steps forward, an evil glint in her eye and her hands full 
	of TARNISHED CHAINSAW. Jason tosses Cobain aside. Examines the 
	chainsaw with healthy respect.
				JESSICA (cont'd)
		Let's finish it...
	She TUGS the actuator cord vehemently --
	-- AND THE BLADE DROPS OUT. Hits the deck with a DULL CLUNK. 
	Even Jason STOPS as if not believing her bad luck --
	-- And Jessica SOCKS HIM round the head with the handgrip! Jason 
	goes down, 	pitching over the platform edge and LANCING himself on 
	the spikes. The room ROTATES around as he thrashes like a like 
	PINNED BUTTERFLY. Cobain and Jessica bolt for the door, Jessica 
	grabbing the gun in the process.
								 CUT TO:
	INT. SEWER TUNNELS - HELL - ZERO HOUR
	2-FOOT FREDDY CLAWS GRIND along DANK STONE WALLS, SCREECHING and 
	SPARKING. Alice HOBBLES blindly, PANTING INTENSITY edging into 
	hysteria. Walls BLUR past as she SPLASHES through shallow water 
	to an intersection. Chooses a route. Freddy's IMPOSSIBLY HUGE 
	FORM fills the corridor behind. Legs pumping like STEAM 
	PISTONS --
				FREDDY
		No one to mourn you here, sweetmeat!
	Alice stumbles into...A DEAD-END. A "Hell Door" floats against 
	one wall, ANOTHER off to one side. She starts back the way she 
	came...until Freddy appears and BLOCKS her path.
				FREDDY (cont'd)
		All outta options!
	She turns tail as Freddy GUFFAWS MALEVOLENTLY, GALUMPHS toward 
	her. WRENCHES at the far door, and --
	-- A FAST IMPRESSION of SPEARS...KNIVES...DAGGERS. SLICING toward 
	her, "Tex 	Avery" style. She THROWS HERSELF FLUSH against the 
	side wall, THRUSTS the 	door CLOSED. DENTS BULGE OUT from the 
	smooth metal and --
	-- A BRACE OF WEAPONRY WHOOSHES past...strait for Freddy. A SPEAR 
	PIERCES his side, a SILVER "PHANTASM" BALL BURYING ITSELF in his 
	forehead. As he HOWLS in AGONY, Alice FORCES OPEN the second 
	door, enters. Freddy PLUCKS the Ball away, SHAMBLES in persuit --
								 CUT TO:
	INT. MAZE OF PIPES - HELL - ZERO HOUR
	Alice CAROMS against the walls of pipes either side of her, SHEET 
	FLAME scorching beyond. FLOUNDERS blindly through what looks like 
	soiled, RIPPED DRAPES - in actuality, FLAILED HUMAN FLESH - 
	hanging overhead. A HISS as Alice places her hand on a steaming 
	conduit, RECOILS.
	SOMETHING catchs at the edge of her hearing. It sounds like 
	JACOB'S VOICE. Her head SNAPS around...
	INT. BOILER ROOM - HELL - ZERO HOUR
	Alice enters the next room at a RUN...stops. The CAMERA WHIRLS 
	about Alice as she turns to take in the room, the BACKGROUND 
	BLURRING with MOTION.
	ANOTHER ANGLE. Though not large, the room has the feel of an 
	unholy cathedral. Much as Alice saw in Jason's mind-meld.
				ALICE
		Jacob!
	ANOTHER ANGLE. We HEAR (but not see) a door SLAM behind. As her 
	head whips 	around, in B.G. a GREAT FURNACE ROARS to life. Alice 
	sees it's formed from a FUSED BIOMEHANICAL MASS of HUMAN BODIES. 
	She hears an approaching RUMBLE like a FREIGHT TRAIN. The pipes - 
	which exend up into infinity - give a SEISMIC SHUDDER, and --
	-- A LARGE REEDER-PIPE TEARS RAGGEDLY OPEN. Freddy's demonic form 
	FORCES its 	way out.
				FREDDY
		To the moon, Alice...the moon!
				ALICE
		I want my son, you bastard!
				FREDDY
		I've already had him...
	
	He LUNGES, scimitar claws GASHING at Alice...missing as she 
	sidesteps. A BLAST of SUPER-HOT STEAM pours out at Alice. She 
	grabs a protruding pipe - SCREAMS in suffering...then SMITES 
	Freddy with strength borne of hate and frustration --
	-- Once...twice. Off balance, Freddy TOTTERS against the blazing 
	furnace. SCREAMS...first from the fire...again as the FURNACE 
	LIMBS GRIP and GOUGE at him. Freddy BAYS like a MYTHIC 
	BEAST...TEARS himself clear. Fixes on Alice, a SNARL splitting 
	his face. They circle...he CLOSES --
				FREDDY (cont'd)
		Draw your last breath --
	It seems like curtains for Alice, and then --
	-- the WALLS RIP APART as if made of paper, the SINGULARITY VORTEX 
	THUNDERING in. Freddy balks...and Alice seizes the opportunity, 
	DIVING HEAD FIRST through the open furnace doors into the blazing 
	conflagration beyond --
								 CUT TO:
	INT. "NIGHT GALLERY" - HELL - ZERO HOUR
	A dank "Caligari-esque" chamber with vaulted ceilings and pillars. 
	Cobain and Jessica appear from the shadows in a CLATTER of 
	FOOTSTEPS.
				JESSICA
		Didn't we come this way?
				COBAIN
			(shakes his head)
		Place is like a maze. what is this...?
	The chamber kinks angularly at the center. The walls on both 
	sides are "lined" with baroque picture frames, FLOATING just off 
	the walls (simialar to the "Hell Doors") in a staggered pattern. 
	Each one portrays a cycle of "Quicktime" "Freddy Deaths" from the 
	PREVIOUS MOVIES, DISTORTED slightly by a "WATER-RIPPLE" EFFECT.
				JESSICA
		"Greatest Hits Collection."
	They hear a EERIE GHOSTLY ECHO back the way they came.
				COBAIN
		We'd better go.
	Jessica nods her head. they start off. Cobain PAUSES as they 
	reach the "kink", Jessica going over the rise.
	A PARTICULAR CHEVAL-SIZED PICTURE holds his attention. Live a 
	window to a normal "Rockwellian" suburb: WHITE PICKET FENCES, 
	LAWNS BEING SPRINKLED. Bright and very "60's", less "shimmery" 
	than the others. His brow creases as he sees --
	-- A NUN standing at the roadside...turning toward him. Cobain 
	recognizes her from his dream: Amanda Krueger. He reaches a 
	tentative finger out to the shimmery surface...and the picture 
	sucks him in.
	OVER THE RISE, Jessica's suddenly aware of Cobain's absence.
				JESSICA
		Cobain! Cobain...?
	A DARK PROFILE detaches from a pillar behind her. Something 
	catches her sixth-sense...she pivots --
	-- And by a hair's breadth avoids decapitation by Jason, wielding 
	a HALBERD taken from the spike-room. Jesica's hand comes up 
	reflexively, the Dagger of Horvath clutched in it. Jason's blade 
	catches the occult weapon's edge, SHATTERING at the superior 
	metallurgy. Jessica DODGES past him, hotfoots 	away...
	INT. ESCHER HALL - HELL - ZERO HOUR (CONTINUING)
	Jessica emerges from a stone archway. Stops dead --
				JESSICA
		Whoa...!
	We WHIP-PAN from her to find she's looking out across --
	-- An IMMENSE ESCHER HALL, COLUMNS and STAIRS going every-which-
	way and confouning the brain. Connecting platforms here-and-
	there...a PIT OF FIRE high-up at an ANGLE, inverted.
	Jessica hears a NOISE behind. Turns around, sees a MOVING SHADOW 
	on the wall. Takes a deep breath and starts along a SPIRALLING 
	STAIRWAY into the chamber's center. Halfway down she reaches a 
	platform with an INSET METAL GRATING, her head JERKING around 
	as --
	-- A GOUT of FLAME BLOSSOMS from the "Up-Pit". Alice tumbles out, 
	flying "down" through space.
				JESSICA
		Alice!
	Alice WHOOSHES past, arms THRESHING. Jessica outstretches ... 
	catches Alice's grip with her own. Pulls her to the gravity of 
	the platgorm.
				ALICE
		Where's Cobain?
				JESSICA
		Lost him, back there...
				ALICE
		We gotta get out, this place is falling
		apart --
	CRASH! the grating EXPLODES from the floor, sending the girls 
	flying. Freddy SQUEEZES through, his claws STABBING down for 
	Alice's face. She moves her head slightly, two of the sabre 
	blades pinning her either side of the neck.
				FREDDY
		Your Doomsday's here --
	Jessica musters her resolve...VAULTS onto Freddy's muscular back, 
	anchoring an arm about his trunk-like neck. She reaches 
	around...DRIVES down with the Dagger of Horvath, PENETRATING his 
	shoulder.
	Freddy BELLOWS, shucking Jessica loos. She falls "up", lands on 
	another Escher stairway. A CRIMSON GLOW permeated his shoulder as 
	it PERIFIES to STONE, fracture lines spreading outward. Alice 
	SCURRIES for safety as Freddy withdraws his blade-arm, swats the 
	Horvath Dagger loose. It falls "horizontally", lands precariously 
	on the edge of a platform dropping bottomlessly away.
				ALICE
		The Dagger!
	Jessica sees, is closer to it. Climbs "up" a "down" staircase 
	hurriedly for it. Freddy massages his paralyzed shoulder, his 
	blade-arm's range of movement restricted.
				FREDDY
		You'll pay now, bitches!
	Jessica reaches the Dagger, As --
	Freddy SURGES at Alice like a rhino, AND --
	JASON "DROPS" DOWN FROM NOWHERE, Alice CRASHING into him! She's 
	knocked to 	the stone floor, breathless. MAXIMUM TENSION as she 
	eyes the two monsters on either side of her. Jason hesitates 
	as Freddy SNARLS at him.
				FREDDY
		The Master promised them to me...!
	Jason takes a half-step. Pauses.
				FREDDY (cont'd)
		Don't make me hurt you again...
	We get the impression that SOMETHING SNAPS behind Jason's 
	CHROMED/DEFORMED VISAGE. Alice throws her arms across her face, 
	as --
	-- The smaller Jason LAUNCHES across her at Freddy with the 
	FEROCITY of a T-REX...DRIVES him VICIOUSLY BACK against a column 
	which CRACKS and BUCKLES under the onslaught. Jason's fractured 
	halberd SLICES...SHREARS one of reddy's claws, SNAPS another. 
	Freddy grimaces as the two Titans struggle hand-to-hand.
				FREDDY
		I...made...you -- !
	We can tell from the BONE-CRUNCHING HEAD-BUTT Jason gives Freddy 
	that this fact really ticks him off. And at theat moment --
	-- ONE ENTIRE HALF OF THE CAVERNOUS ESCHER HALL SHIVERS AND 
	DISINTEGRATES. Alice reaches Jessica. they grab a handhold as 
	the Vortex POWERS IN to CONSUME REALITY...
				JESSICA
		Boy, you weren't kidding...!
				ALICE
		That way!
	The women head for a nearby spiral staircase as the two creatures 
	below CLASH SUPERHUMANLY amidst the GRUMBLING surroundings.
	INT. TURRET/THRONE CHAMBER APPROACH - HELL - ZERO HOUR
	Alice has an arm around Jessica as they emerge from a STONE 
	TURRET, beaten up and GASPING for air. They PAUSE --
				ALICE
		End of the line...
	A buttressed stone walkway stretches ahead, two STAINED GLASS 
	frames staggered at intervals along it. At the end is a circular 
	"arena", bounded by demonic sculptures curving in slightly. (If 
	we were to see this from a distance, it would resemble a 	rictus-
clenched hand.)
	Surrounding all this in place of sky or ground is a SWIRLING MASS 
	OF CHAOS. As if we were inside a GIANT IMPLODING BALOON OF 
	KALEIDOSCOPIC ENERGY...and it's shrinking.
	With the BIGGEST BOOM we can muster (that won't blow your LOCAL 
	MULTIPLEX'S SPEAKERS), the Singularity Vortex materializes beyond 
	the turret...
				JESSICA
		This does not look good.
	They hobble/run towards the structure ahead, past the first 
	stained glass window with a METALLIC CLATTER, Cobain's Baretta 
	falls to the floor.
				ALICE
		I got it.
	Alice picks it up, and --
	The stained glass window SPLINTERS into a million shards. Jason 
	LEAPS through, lands awkwardly. Alice raises the gun. Thumbs the 
	safety. Fires. 	CRACK! CRACK! CRACK! The third shot RICOCHETS 
	rom Jason's silvered mask, CRACKING it half away. The misshaped 
	child-like face beneath almost sympathetic.
				JESSICA
		Keep going...!
	They continue on, the undead killer limping in pursuit. Past the 
	second stained glass window as --
	-- THE SINGULARITY VORTEX PLOUGHS INTO the turret behind, 
	ANNIHILATING it...
	INT. THRONE CHAMBER - HELL - ZERO HOUR (CONTINUING)
	Alice and Jessica enter the structure, shrouded by SHADOWS. Atop 
	a CENTRAL RAISED DAIS is what looks like a SQUARE OF BLACK GLASS, 
	rotating in space. Besides it is a THRONE, disturbingly fashioned 
	from skulls and biomechanical fittings. The by-now familiar 
	"PENTICON" is indented into the floor, SWAYING 	CHAINS hand "up" 
	from the ground. FLAMING BRAZIERS are dotted around the 
	periphery, CUT-OUTS DROPPING TO INFINITY in the floor spelling 
	certain death for the hapless.
	Jessica stops, face registers horrified disbelief.
				JESSICA
		Oh my God...
				ALICE
		We've found them --
	CLOSE ON THE ROTATING GLASS PANE. Through two-dimensional, Jacob 
	and Stephanie can be seen, trapped within.
	JASON LOOMS SUDDENLY AT THEIR SHOULDER --
				JESSICA
		Run!
	Alice and Jessica separate as Jason's halberd SPARKS from one of 
	the chains. Alice edges toward the Penticon, while Jessica makes 
	it to the dais. Jason 	seems torn for a moment...decides who to 
	stalk. Goes for Jessica. She draws the Horvath Dagger --
				JESSICA (cont'd)
		Okay, handsome. Let's rumble...
	OVER AT THE DAIS, Alice examines the childrens' GLASS PRISON with 
	frustration. Tries to grab the edge, but it offers no purchase. 
	Pulls Cobain's gun --
				ALICE
		Hope I know what I'm doing...
	CRACK! CRACK! Not even a scratch...it might as well be titanium. 
	As the bullets RICOCHET, PINGING onto the stone --
	-- ALL THE BRAZIERS FLARE MASSIVELY. No-one notices the SHADOWS 
	moving, collecting towards one point...and the chamber becoming 
	gradually brighter.
	Jesica feints with the Horvath blade, retreating. Loses balance 
	at one point on the edge of a "cut-away". Jason follows, WHACKING 
	relentlessly with the halberd. Each time the blades make contact, 
	part of Jason's weapon FRAGMENTS. Eventually, the undead monster 
	is left with what amounts to a dagger. He tosses it ferociously 
	at Jessica. She parries the projectile...it EXPLODES in a 
	lightblast.
	BACK TOWARDS THE ENTRANCE, the SINGULARITY VORTEX has chewed apart 
	half of the bridge...the EDDYING ENERGY BUBBLE all around 
	contracted in even more...
	BACK INSIDE, Jason GRABS one of the six-inch hanging chains, 
	WHOOSHES it in an arc at her. She's SMASHED back into a brazier, 
	the Dagger of Horvath SKITTERING out of sight. Burning herself 
	as --
	-- JASON'S SHOULDER EXPLODES in a SPRAY of GREEN PUTRESCENCE. He 
	WHIRLS. Alice is standing a short distance behind with the 
	pistol. She taunts him --
				ALICE
		Hey! Wanna go for Bonus Points?
	Jason hesitates. Alice PLUGS him again for incentive. Jessica 
	begins to circle around for the dais --
				ALICE
		Hey, stupid...I meant --
	Her face falls as Jason STAMPEDES RIGHT FOR HER, but --
	-- A THIRD STAINED GLASS PANE - offses asymmetrically - BLASTS 
	APART. Freddy SPRINGS through, lands on Jason agile as a cat. 
	The two PUMMEL each other FURIOUSLY, an alley-cat fight of the 
	Underworld. Alice is sent SPRAWLING to the ground. Stumbles to 
	join Jessica at the dais...
	The battle is BRUTAL...CLASHING CLAWS and FISTS, HISSES and 
	GRUNTS. Makes W.W.F. look like a KID'S PLAYGROUND FIGHT. iN 
	b.g., we see Alice join Jessica at the dais.
				ALICE
		What are we gonna do?
				JESSICA
		Get the kids free, then get the fuck out
		of Dodge!
				ALICE
			(shakes her head)
		I already tried the gun --
	Jason GRIPS Freddy's throat...shoves his head into a brazier's 
	SEARING COALS. Freddy CRIES OUT, his CLAWS flailing out and 
	PUNCTURING Jason's stomach. They FLOUNDER to the ground, and --
	-- Are RIPPED BODILY APART by some STAGGERING PRESENCE...a GREAT 
	DARK SHAPE 	LOOMING BEHIND THEM. Jessica and Alice freeze. 
	Alice's EYES WIDEN, follow as the two behemoths are HOISTED UP and 
	UP --
	It's IMPROBABLE...IMPOSSIBLE. But nonetheless, THERE. A Titanic, 
	regal figure...we recognize him from ALICE AND MANFREDINI'S 
	DREAMS. Freddy and Jason are like Boy Scouts next to him, 
	clutched in his evil talon.
				ALICE
		What...the...Hell...is...that?!
	THANOS - Lord of the Underworld...you might even want to call him 
	Satan. TAINTED ARMOR PLATES cover a GARGANTUAN BODY. The "Grim 
	Reaper" cloak BILLOWS back in the maelstrom. Enormous-yet-elegant 
	RAM'S HORNS curl tightly either side of his elongated biomechanoid 
	head, a GREAT SCYTH slung across his back. His voice BOOMS around 
	the arena --
				THANOS
		The Father...
			(ANGLE on Freddy)
		Son...
			(ANGLE on Jason)
		Holy Ghost --
	They struggle in Tanos' grip. Thanos LAUGHS.
				THANOS (cont'd)
		Pathetic cration.
	He CASTS Jason aside with contemptuous ease, his body BOUNCING the 
	edge of the platform and toppling over the edge.
				FREDDY
			(strangled choke)
		Master...Thanos --
	Thanos CASTS Freddy casually into the Penticon, the stone 
	GRACTURING under the impact. GREEN ENERGY SPARKS ZAP around the 
	Unholy patters as it "glitches."
				THANOS
		Your purpose is served...
	Thanos turns to the women. GUFFAWS at the sight of Alice 
	levelling the pistol at him. She lowers it. the women shrink 
	back under Thanos' coolly penetrating gaze.
				THANOS
		Intruders to my realm? No matter You
		are inconsequential...
	thanos gestures a hand. Two dangling chains ANIMATE, SEIZE them 
	like TENTACLES. Hoist them aloft in a vice-grip. Thanos turns 
	back to Freddy, crawling piifully on the stone floor. Raises his 
	head painfully at the Dark Lord.
				FREDDY
		Our pact...we gave you souls! Fresh 
		innocents -- !
	Thanos stalks around Freddy...
				THANOS
		Fool...bargains forget by Hell are worth
		naught. When I kill these righteous, the 
		balance will change. A Universe born
		afresh IN MY IMAGE.
	Freddy GROWLS deep within...betrayal fuelling him. The 
	Singularity Vortex CHEWS the last of the bridge behind, begins 
	CHURNING at the platform. The whole ground SHAKES like an 
	EARTHQUAKE. Freddy rises, IMPELS HIMSELF at the towering demon. 
	Thanos' scythe WHEELS, BATS Freddy away.
				THANOS (cont'd)
		Insect. It is time to meet your Maker.
	Thanos makes a gesture with the scythe. An energy wave hits the 
	fallen dream killer, transmuting him into the "Old Freddy" from 
	"Nightmares 1-6".
				THANOS (cont'd)
		Remember what you were. Weak...puny.
	Thanos stalks toward "Old" Freddy, his form CHANGING...reducing. 
	In four steps, Thanos has himself metamorphosed into the "New 
	Freddy"...but with a difference. Thanos' malevolent eyes are 
	still there, but the "Freddy" body is DARK, OILY. BLACK WHIPLASH 
	TENTACLES EXTRUDING then SUCKING BACK. (Think of the "Carnage" 
	character in Marvel's "Spiderman".)
	"Old Freddy" crawls away...and "Thanos/Freddy" raises an arm. It 
	elongates into a GREAT OBSIDIAN SPEAR, punching through "Old 
	Freddy" and pinning him to the ground. "Old Freddy"'s finger-
	glove SCRAPES hopelessly at it.
				THANOS (cont'd)
		Now...live your own Nightmare.
	the gruesome sculptures overhead SHAKE as the Singularity Vortex 
	intrudes upon the arena. A stone chunk TOPPLES as the Universe 
	bubble closes in, FRACTURES the children's rotating glass prison 
	and BOUNCES clear. Thanos RETRACTS his spear arms and turns 
	towards it, his scythe swelling into existence --
				THANOS
		Finally. The convergence of all time...
		all space. My purgatory ends!
	The women scream as the scythe arcs back to strike --
				JESSICA
		No!
				ALICE
		You bastard -- !
	Thanos/Freddy LAUGHS, cruel and cold...then goes abruptly rigid. 
	His eyes stare wide as --
	THE ANIMATE CHAINS holding Jessica and Alice loosen, the women 
	dropping to thier freedom --
				JESSICA
		The gun -- !
	A MASSIVE BELLOW escapes Thanos/Freddy's lips. A BLAST OF POWER 
	simultaneously hits "Old Freddy", transforming him BACK to his 
	true Underworld 	form. He raises himself from the floor to see --
	-- A BATTERED JASON ATOP THANOS' BACK, the retrieved Horvath 
	Dagger butied between the Dark Lord's shoulders. Thanos REELS 
	backward as the blade GLOWS ORANGE...Jason twisting it again with 
	a GUTTURAL SNARL and--
	THE ANIMATE CHAINS CRASH limply to the ground, norrowly missing 
	the girls. Alice sneatches up the fallen Baretta --
	Thanos swells, reverting to his towering form. Crackling energy 
	LICKING across his body - TENDRILS LASHING OUT at Jason. Freddy 
	throws himself at the demon...uses his fractured blades as 
	climbing pitons, brings himself up to the Dark Lord's face --
				FREDDY
		Time to meet what you made...
	FREDDY drives the broken steel hard up, CLEAVING into Thanos' 
	neck, as --
	ALICE places the pistol's muzzle point-blank against the cracked 
	prism. BLAM! It EXPLODES into a thousand fragments, the children 
	falling in a heap to the floor.
				ALICE
		Jake!
				STEPHANIE
		Mommy!
	Thanos turns to see mothers and children embrace, reunited. 
	Statues CRUMBLE apart, masonry SHATTERING against the floor. The 
	Demon sways, arms like windmills...fighting against his two 
	creatures.
				THANOS
		Noooo...I L I V E!
				FREDDY
		Try again!
	Freddy and Jason TWIST their blades SAVAGELY, and an ECHOING CRY 
	OF PAIN fills the COSMOS, as --
	-- The women and kids throw their arms about each other in a group 
	huddle, and --
	-- THE VERY FABRIC OF THE UNIVERSE ENDS IN A TOTAL WHIT OUT.
								 CUT TO:
	EXT. HILLTOP - BETHLEHEM - NIGHT (JANUARY 1ST, 2000)
	The fabric of space PUCKERS, BULGES. DISGORGES --
	-- Alice, Jessica, Jacob and Stephanie. They CRASH in a heap atop 
	a grassy hill. the LIGHTS of a TOWN GLOW BRIGHTLY below...
				STEPHANIE
		Mommy...
	Jessica embraces Stephanie.
				JESSICA
		Oh, baby.
				ALICE
		Are we home?
	A LOW RUMBLE, and then...POINTS OF LIGHT BURSTING WIDE OPEN in the 
	sky.
				JACOB
		Fireworks!
				STEPHANIE
		The New Year's display!
	Jessica's head drops, remembers Steven's promise.
				JESSICA
		Oh, God - w made it...we actually did it.
	Alice looks soberly at Jessica. Nods.
				ALICE
		We tipped the Millennium. But what
		happened to Cobain...?
								 CUT TO:
	INT. MENS' ROOM - POLICE STATION - AFTERNOON (1960'S)
	The long mirror above a row of wash-basins BULGES, EXTENDS A 
	SILVERED POLYP. It hangs for a second, then BURSTS. Cobain falls 
	heavily to the tiled floor.
				COBAIN
			(pained)
		Ow! Jesus, Mary, and Joseph --
	He pulls himself together. Drags himself up. There's a newspaper 
	folded by the basin. He FLIPS IT OPEN, reads the masthead: "The 
	Springwood Gazzette." 	Very peiod.
				COBAIN (cont'd)
		1960s. No way...
	INT. CORRIDOR - POLICE STATION AFTERNOON (1960S)
	Cobain walks down a corridor. A COP passes him. Through the 
	slats of an office window, he spies a PLAINCLOTHED COP slugging 
	back a bottle of Wild Turkey. The man sees Cobain, drops the 
	bottle quickly into a desk drawer. Exits the office, hurries past 
	him.
	INT. OFFICE - POLICE STATION - AFTERNOON (1960S)
	Cobain peeks out through the office window. A 1960s car goes 
	past. He shakes his head.
				COBAIN
		Quantico never prepped me for this one.
	He looks at the cop paraphernalia on the walls...the mess of 
	paperwork on the desk. Sees an UNSIGHNED SEARCH WARRANT in an 
	open manilla folder. He picks it up. Reads the details.
				COBAIN (cont'd)
		Krueger...?
	Another cop - blond Irishman whose namebadge says "Blocker" - 
	appears in a hurry at the door.
				OFFICER BLOCKER
		Through with that warrant yet?
				COBAIN
		Excuse me?
				OFFICER BLOCKER
		The powerplant? "Springwod Slasher" 
		case? Don Thompson and me are going over
		to bust this guy now. You done?
	Cobain realizes the import of this moment.
				COBAIN (cont'd)
		Just about.
	He puts the warrant down. Sees another form nearby. Picks up a 
	pen...and copies a perfect signature. Hands it back.
				COBAIN
		There you go.
				OFFICER BLOCKER
		Thanks. Man, I tell you. This is turning
		out a beautiful day.
	Cobain nods slowly...
				COBAIN
		Yeah.
	EXT. STREET - AFTERNOON (1960S)
	Cobain walks down the street, looks around. It is as he saw it 
	through the mirror. Sunny...sprinklers watering lawns...dogs 
	barking. 60s automobiles, white picket fences. He nods at a pair 
	of 60s-dressed women as they pass him.
				COBAIN
		Like a dream...
	He passes a playground. Sees CHILDREN playing in an idealized 
	way. Hears a song, familiar to us.
	The lyrics are different.
				DREAM CHILDREN
			(O.S.)
		"One, Two...He's not coming for you.
		Three, Four...unlock your door --"
	A VOICE jerks him around. He sees Amanda Krueger standing off to 
	the side of the playground.
				AMANDA KRUEGER
		Alright, children. We're going now.
	The kids behin towards her.
				DREAM CHILDREN
			(O.S.)
		"Five, Six...pack your crucifix --"
	She frowns. Cobain sees a kid alone, digging at a sandpit.
				AMANDA KRUEGER
		Jason? Come along.
	The kid looks up. We see the smae misshaped face, the embroidered 
	boiler suit...it's Jason Voorhees. He reaches behind him...and 
	pulls on a cowboy hat. Races after the other kids. As Cobain 
	smiles --
				DREAM CHILDREN
			(O.S.)
		"Seven, Eight...gonna stay out late --"
	ANOTHER ANGLE. The MUSIC SCORE goes DEEP and MENACING O.S. as THE 
	SHADOW of a GREAT CLOAKED FIGURE WIELDING A SCYTHE falls across 
	Cobain. He turns --
	-- And SQUINTS up at the sun, shining through a SQUEAKY WEATHER 
	VANE of OLD FATHER TIME.
				COBAIN
		Yea. "A beautiful day."
				DREAM CHILDREN 
			(O.S.)
		"Nine, Ten...you can sleep again..."
	And we SLAM-CUT TO BLACK, as we have reached --
				 THE END
==Trivia==
==References==
Category:Scrapped Scripts