Freddy Vs Jason (Peter Briggs)

## Peter BriggsFreddy vs Jason

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.

## 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

## References

1. ↑ The 5 Most Insane ‘Freddy vs. Jason’ Ideas That Never Came To Be