SCRIPT

JASON VS. FREDDY
by
Brannon Braga and Ronald D. Moore

	FADE IN:

	EXT. CAMP CRYSTAL LAKE - DAY

	A beautiful mountain landscape. Pine trees, snow-capped 
	mountains and a clear blue, lovely lake nestled amidst it 
	all. CAMERA PANS down to reveal an old wooden sign that 
	says "CAMP CRYSTAL LAKE."

				VOICE (O.S.)
		The first thing we're gonna do is 
		change that fucking name.

	MOVE TO REVEAL a man and a woman. The man is KEN BILLER -- 
	early forties, slick clothing, a lot of money. The woman, 
	JANET DAVENPORT, is in her twenties and wears a chic 
	business suit. She's a Realtor and is holding an armful 
	of papers and documents. She looks dubious at Biller's 
	idea.

				JANET
		I don't think the people who live 
		around here would like that very 
		much...

				BILLER
		Do you think they like the fact that 
		tourism has dropped ninety-eight 
		percent in the last ten years?

				JANET
		No, but...

				BILLER
		And do you think they like the fact 
		that half the country thinks Crystal 
		Lake is filled with corpses?

				JANET
		That's not true...

				BILLER
		We're not talking about truth, we're 
		talking about perception. 
		And the perception is that Crystal 
		Lake means inbred psychopaths running 
		around the hills with axes and hockey 
		masks chopping up teenagers.
			(beat)
		That, my dear, is what we call an 
		_image problem_.

	The woman can't argue with this -- it's a familiar story. 
	Biller starts strolling down the dirt road.

				BILLER
		You're lucky I'm up here at all. Most 
		of my investors think I'm crazy.

	As she moves to catch up to him...

								 CUT TO:

	EXT. FOREST - DAY

	Biller and Janet walking through the deep woods. She's 
	checking the map, trying to keep track of where they are, 
	while Biller strides forth confidently.

				BILLER
		Beautiful trees... sturdy trunks... 
		lots of branches...
			(beat)
		We can do some great logging up here.

				JANET
		Logging? We'll need an environmental 
		impact study for that...

				BILLER
		I don't think you're getting in the 
		spirit of things, Janet. We'll buy 
		whatever studies we need --

	Suddenly a DEER bolts from the brush and takes off in the 
	forest. It's a jarring moment and Biller nearly jumps out 
	of his shoes.

				BILLER
		Jesus Christ!

				JANET
		Just a deer, Mister Biller. Part of 
		the local wildlife.

				BILLER
			(stern)
		Get rid of them.

	Janet looks dubious -- isn't sure what to say. Biller 
	glances around.

				BILLER
		I've seen enough. It's getting dark... 
		let's head back.

	Janet looks at the map with a little anxiety... she's not 
	quite sure where they are but doesn't want to admit it.

				JANET
		Okay... well... I think it's this 
		way...

				BILLER
		Great.

	He takes off and she follows...

								 CUT TO:

	EXT. ANOTHER PART OF THE FOREST - DUSK

	It's now nearly DARK. Biller is striding through the 
	forest, Janet trying to consult the map in the fading 
	light.

				BILLER
		You people wouldn't have this image 
		problem if you didn't let all those 
		Hollywood types come up here and film 
		slasher movies.
			(beat)
		Homicidal maniacs may sell movie 
		tickets, but they don't sell vacation 
		getaways.

	Janet finally stops.

				JANET
		Mister Biller?

				BILLER
		Yeah?

				JANET
		I think we're lost.

				BILLER
		You have a map.

				JANET
		I know... but we left the main 
		trail... and I can't find any 
		landmarks around here... I've been 
		trying to figure it out but...

	Biller seems unfazed by this.

				BILLER
		Why don't we ask _them_?

	He points to something over Janet's shoulder. She turns 
	to follow his gaze, and in the distance we can see what 
	looks like an old, run-down HOUSE. It's covered with 
	vines, bushes, tall grass -- the building is only barely 
	discernable through the forest. Janet frowns at the 
	sight.

				JANET
		I didn't think there were any houses 
		up here...

				BILLER
		You learn something new every day. 
		Let's go.

	They head toward the house...

								 CUT TO:

	EXT. JASON'S HOUSE - DUSK

	The house was obviously nice at one time, but has been 
	abandoned for many years. 
	The forest has crept in on the grounds and has almost 
	reclaimed the house itself -- trees, shrubs, weeds are 
	everywhere. Biller and Janet walk up to the front porch. 
	Janet looks over the house with some concern.

				JANET
		Doesn't look like anyone's lived here 
		for years...

	Biller turns around and glances back at the way they 
	came.

				BILLER
		Wow... look at that view.

	ANGLE ON LAKE

	revealing that from this vantage, a vista of Crystal Lake 
	is visible with the setting sun glistening across it.

	RESUME BILLER AND JANET

				BILLER
		This is prime real estate. I want it. 
		Who owns the house?

	Janet is shuffling papers.

				JANET
		I don't know... there's no listing of 
		a private residence in this area.

	Biller is inspecting the house with interest.

				BILLER
		Structure might be salvageable... 
		let's see what the interior looks 
		like.

				JANET
		Mister Biller... now that we can see 
		the lake, I think we should follow the 
		shoreline to --

				BILLER
		Help me with this.

	Biller is trying to pull off one of the boards that's 
	nailed across the front door. Janet reluctantly helps 
	him, and the two of them wrench the board off with a 
	great effort. Biller tries the door -- it's unlocked but 
	the door is swollen with age. He kicks at it to force it 
	open...

	INT. JASON'S HOUSE 

	The front door crashes OPEN, letting in the soft, golden 
	light of dusk. Biller and Janet enter and peer around 
	what was once the living room of the house. The windows 
	are all boarded shut, letting in only a few random 
	streams of light from outside. The only pieces of 
	furniture visible are a single upholstered CHAIR sitting 
	in the middle of the room. Both are covered with grime 
	and dirt.

				BILLER
		Whew! What's that smell?

	Biller walks up to a wall, thumps it soundly.

				BILLER
		Walls are in good shape.

	Janet hesitates at the doorway, not wanting to come 
	inside.

				BILLER
		There doesn't seem to be any water 
		damage. Kind of cozy, actually.

				JANET
		I really think we should go back...

				BILLER
		I want to look at the rest of the 
		house.

	Biller moves off into another room. Janet pushes her 
	fears aside and walks slowly into the living room, almost 
	afraid to touch anything. She swipes a finger across the 
	mantle, leaving a trail through a thick layer of dust. 
	She glances down at the chair... there is an IMPRINT of a 
	person in the layer of dust, as though someone was 
	recently sitting there.

	Janet frowns, curious... then walks into a nearby 
	HALLWAY...

	INT. KITCHEN

	Biller is looking around the room. It's dirty, and 
	obviously hasn't been used in a long time, but on one 
	countertop we see a large WHITESTONE -- a sharpening 
	stone for knives. He eyes it curiously... reaches up and 
	opens a large cupboard directly above the countertop. 
	Inside is a vast collection of KNIVES, which gleam 
	brightly in the dim light -- everything from bowie knives 
	to steaks knives to machetes.

				BILLER
		Wow.

	He carefully takes out a large BUTCHER KNIFE. The blade 
	is pristine and razor sharp. He eyes it and is about to 
	test the sharpness of the edge with his thumb, when 
	suddenly there is a loud CHIRPING SOUND. Biller is 
	startled and slices the ball of his thumb on the edge.

				BILLER
		_Shit_!

	Biller quickly realizes it's just his CELLULAR PHONE 
	ringing. He sucks on his thumb and jams the knife down 
	into a butcher block. Biller then pulls the cell phone 
	out of his jacket pocket.

				BILLER
			(into phone)
		Hello?

				BRUCE'S VOICE
		Ken, it's Bruce. Listen, we've got a 
		nibble on the Pendleton financing.

				BILLER
		Really? How much?

	Over this dialogue, Biller continues to look around the 
	kitchen. He opens a walk-in clost -- inside is a 
	collection of MEAT HOOKS, all neatly arranged.

				BRUCE'S VOICE
		Fifty.

				BILLER
		Fifty? We need seventy-five.

				BRUCE'S VOICE
		Ken, we've been through this...

	Biller slides out a large cutting board that's inset into 
	the counter. It's stained with a deep, dark reddish color 
	-- what might be blood. Biller barely notices, slides it 
	shut.

	INT. BEDROOM

	Janet enters and looks around the eerie room. Everything 
	has been perfectly preserved -- the bed is neatly made, 
	photographs are neatly arranged on tabletops, etc. The 
	DUST all over is thick -- it doesn't look like anything's 
	been touched for years.

	She walks up to a night table next to the bed... sees an 
	old black-and-white photograph sitting there. She picks 
	it up...

	CLOSE ON PHOTO

	It shows a YOUNG BOY, about eleven years-old, sitting on 
	the front steps of the house. The boy is staring directly 
	into the camera with a vacant, haunted look.

	JANET

	who for reasons she cannot name is a little disturbed by 
	the photo. She sets it down and turns away...

	She continues to walk around the room... stops at a 
	dresser, which is cluttered with junk and things that 
	look like they've been shoved aside. As she cautiously 
	starts to sort through the clutter...

	INT. KITCHEN

	As before, Biller snooping around, on the cell phone.

				BILLER
			(into phone)
		You tell them if they come up to 
		seventy-five, I'll cut them in on the 
		Crystal Lake package.

				BRUCE'S VOICE
		Don't tell me you're still thinking of 
		buying Casa de Psycho...

				BILLER
		Hey, smart-ass, I'm up here right now 
		in a... luxury alpine retreat, with a 
		two million dollar view of the lake.

	As he speaks, he opens the door to a broom closet, 
	glances inside and closes it... then does a double-take 
	and looks inside again.

				BILLER
		All we have to do is put in...

	There are FOUR CHAIN SAWS of various sizes hanging in the 
	closet. He reacts.

				BILLER
		Chain saws.

				BRUCE'S VOICE
		You want to put in chain saws?

				BILLER
		No, no... listen, when I get back to 
		New York we'll meet with the Board.

	He walks up to the door of a PANTRY... grabs hold of the 
	handle...

				BILLER
		Tell Pendleton to wait until we've had 
		the meeting. They'll give us seventy-
		five...

	He opens the pantry door and steps inside...

				BILLER
		But I'm telling you, this lake is a 
		gold mine waiting to --

	Hanging on a wall hook is a dirty pair of coveralls... 
	and a _HOCKEY MASK_. He reacts to the sight.

				BILLER
		-- happen.

	INT. BEDROOM

	Janet is poking through the junk on the dresser, when she 
	sees a pile of yellowed newspaper clippings lying on the 
	floor. She bends down to examine them...

	HEADLINES: "Boy Drowns at Crystal Lake." "Mother Blames 
	Counselors for Death of Son." "Teenaged Counselors 
	Murdered at Crystal Lake." "Hollywood Plans Movie About 
	Crystal Lake Slayings - City Council Hopes for Economic 
	Boom."

	Janet shuffles through the clippings for a few moments, 
	then suddenly hears a series of loud THUMPS from 
	somewhere in the house. She drops the clippings, stands 
	up.

				JANET
		Mister Biller?

	Silence. Worried, she exits...

	INT. LIVING ROOM - NIGHT

	It's DARK now. Janet enters and looks around.

				JANET
		Mister Biller...?

	We hear a small, faint voice:

				VOICE
			(faint)
		Hello? Can anyone hear me? Hello?

	She heads toward the kitchen...

	INT. KITCHEN

	Janet walks in, finds the source of the voice -- it's 
	Biller's cell phone lying on the floor.

				BRUCE'S VOICE
		Is anybody there?

	She picks up the phone.

				JANET
			(into phone)
		Hello?

				BRUCE'S VOICE
		Who is this? What's going on?

				JANET
		This is Janet Davenport -- I'm the 
		Realtor.

				BRUCE'S VOICE
		Where's Ken? Is he all right?

	Janet is definitely getting nervous now. She glances 
	around the kitchen.

				JANET
		I don't know...

				BRUCE'S VOICE
		What about that other guy?

				JANET
			(freezes)
		Other guy?

				BRUCE'S VOICE
		Yeah. Ken said there was another guy 
		there... _big_ guy... then he dropped 
		the phone. What's going on?

	Her breath is coming faster now. She grabs the butcher 
	knife seen earlier out of the butcher block for 
	protection.

				JANET
		I don't know, but I'm outta here.

	She opens what she thinks is the back door, but it's 
	actually the walk-in closet. She screams at what she sees 
	inside --

	Biller is HANGING FROM A MEAT HOOK -- DEAD.

	Janet bolts for the Living Room...

	INT. LIVING ROOM  

	Janet races to the front door, which is now _closed_. She 
	tries to open it but it's locked. She pounds, pulls on it 
	with all her strength but it's no use. She turns around 
	wild-eyed, then freezes at something she sees.

	NEW ANGLE

	Sitting calmly in the chair in the middle of the living 
	room is a large, hulking figure of a man. It's _JASON 
	VOORHEES_. He's wearing the hockey mask and seems to be 
	watching her in the dim light. Janet stares at him, 
	frozen in shock.

				BRUCE'S VOICE
		Janet, are you okay? Are you there?

				JANET
			(barely able to talk)
		He... he's here...

				BRUCE'S VOICE
		Who's there?

	Janet lifts the knife as if to ward off Jason.

				JANET
		Oh my god... this is his house... 
		_we're in his fucking house_...

				BRUCE'S VOICE
		Janet, goddamnit, what's going on?

				JANET
		Jas... Jason Voorhees... he's here...

	Jason calmly watches her. After a few seconds, he slowly 
	and deliberately rises up out of the chair... and as he 
	does, the following happens in the blink of an eye:

	-- Janet hurls the knife at Jason in desperation...

	-- The knife flashes through the air...

	-- Jason's hands whips up, plucks the knife out of the 
	air and _flings it straight back at Janet in one single 
	motion_.

	-- The knife flashes back across the room, the blade 
	gleaming in the light. It PLUNGES deep into Janet's 
	forehead and KNOCKS her off her feet.

	THE CELL PHONE

	hits the floor with a spray of blood. The impact closes 
	the flip phone and it comes to a rest against the wall. 
	The display screen says the word "END."

	But the phone is still active. A small, green light 
	continues to blink on and off. As we PUSH IN on the tiny 
	green light, we hear the sound of a TELEPHONE 
	CONVERSATION, starting with the ringing of a phone. 
	Someone picks up:

				OPERATOR'S VOICE
		Nine-One-One Emergency. How can I help 
		you?

				BRUCE'S VOICE
		Uh, yeah... my name's Bruce Kelly. 
		Listen, I think two people may have 
		been killed up at Crystal Lake.

				OPERATOR'S VOICE
		What makes you say that, sir?

								 CUT TO:

	INT. CRYSTAL LAKE SHERIFF'S STATION - NIGHT

	TIGHT ON a rack of shotguns. As we continue to listen to 
	the VOICEOVERS, we see someone unlocking the weapons 
	locker and DEPUTIES start grabbing shotguns two at a 
	time...

				SHERIFF'S DISPATCH VOICE
		This is Nine-One-One dispatch to 
		Crystal Lake Sheriff's Department. We 
		have a Code Red in progress, location 
		unknown. Recommend tracking cellular 
		phone which we believe to be still 
		active. Cell phone number is...

	NEW IMAGE - SHERIFF'S VAN

	Several DEPUTIES loading weapons, duffel bags, and 
	assault equipment into the back of the van.

				FBI VOICE
		Hello? FBI Tactical Response Team.

				HAYES' VOICE
		Yeah, this is Sheriff Hayes up at 
		Crystal Lake. I think you boys better 
		get up here. We got him this time.

	EXT. JASON'S HOUSE - NIGHT

	All is quiet. No signs of activity. Suddenly, TEN MEN IN 
	DARK CLOTHING carrying assault weapons appear out of the 
	forest like phantoms and creep toward the house. Their 
	moves are efficient, quick -- men trained in military 
	tactics. We FOLLOW ONE AGENT all the way to the front 
	door, where he pauses, listens to his radio earpiece for 
	a moment, then touches his throat-mike.

				FBI AGENT
		This is Charlie-One. We've reaced 
		Center-ice.

	He checks his weapon, glances to his teammates, who each 
	give him a nod. HE KICKS OPEN THE DOOR --

								HARD CUT TO:

	INT. BEDROOM - CLOSE ON A TELEPHONE

	A standard phone, ringing loudly. A woman sits up in bed 
	and grabs the phone out of its cradle. Her name is RUBY 
	JARVIS -- mid-twenties, pretty, out on her own for the 
	first time since law school.

				RUBY
			(groggy)
		I'm awake.

	The voice on the phone -- KEITH HARDING -- is excited, 
	borderline hysterical, a torrent of words:

				HARDING'S VOICE
		Ruby, it's Keith Harding from the 
		D.A.'s office. You have to get down 
		here. We need a public defender right 
		away.

	She glances at a clock nearby -- it says 3:07 am.

				RUBY
		What... now?

				HARDING'S VOICE
		Look, the Sheriff's department just 
		brought him in ten minutes ago, and I 
		want this one to go by the numbers. I 
		don't want any Miranda problems on 
		appeal.

				RUBY
		All right... all right. I'll be there 
		in twenty minutes.

				HARDING'S VOICE
		Make it ten. Bye.

	Ruby stumbles out of bed.

				RUBY
		Wait a minute... who's the defendant? 
		Who am I defending?

	A beat.

				HARDING'S VOICE
		_Jason Voorhees_.

	OFF Ruby's shocked reaction...

								 CUT TO:

	EXT. CRYSTAL LAKE SHERIFF'S STATION - NIGHT

	A small-town Sheriff's Station that has become the scene 
	of tremendous activity. A dozen squad cars in the parking 
	lot... a van that says "FBI Tactical Response Team" on 
	the side... some sheriff's deputies milling about in SWAT 
	gear... an ambulance nearby. Some deputies with serious 
	injuries are being attended to by medics. 

	Ruby pulls up in her car just as a news van comes to a 
	screeching halt nearby. A FEMALE REPORTER and a CAMERAMAN 
	jump out -- the reporter also looks like she just got out 
	of bed.

				REPORTER
			(to cameraman)
		Banks says we're going to CNN live in 
		less than five minutes. We'll do a 
		stand-up here in front of the 
		station... get the sat-link on- 
		line...

	Ruby walks through the scene of chaos... at the front 
	door there are TWO OFFICERS in SWAT gear guarding the 
	door. They stop her.

				SWAT OFFICER #1
		I'm sorry, Ma'am.

				RUBY
		I'm Ruby Jarvis. Counsel for the 
		Defense.

	The officers exchange an amused look.

				SWAT OFFICER #1
		_You_... are going to defend _him_?

	They chuckle.

				SWAT OFFICER #2
		I hope you're good.

	Ruby brushes past them in annoyance and goes inside...

								 CUT TO:

	INT. SHERIFF'S OFFICE - NIGHT

	There's an air of excitement in the small office. Through 
	a window partition, we can see Deputies in the b.g, 
	typing out reports, talking on the phone, moving 
	equipment and coordinating various tasks. In the office 
	itself, SHERIFF HAYES is sitting behind his desk, facing 
	an FBI AGENT and KEITH HARDING, the District Attorney. 
	The mood is tense.

				HAYES
			(to FBI Agent)
		I don't care if he's on the FBI's most 
		wanted List. I don't care if he's been 
		on "America's Most Wanted."

				HARDING
			(to Agent)
		He's committed dozens of murders in 
		this County, and we're going to 
		prosecute him here first.

				AGENT PARSONS
		This is ridiculous. I can have a 
		Federal writ down here by morning 
		superseding all --

	There's a knock at the door. They all turn as Ruby walks 
	in. There is an easy familiarity around the room -- this 
	is a small town and everyone here knows each other and 
	works together often.

				RUBY
			(to Hayes)
		Hey, Bill.

	Hayes stands.

				HAYES
		Sorry to pull you out of bed, Ruby. 
		Let me introduce Agent Parsons of the 
		FBI... he'll be handling the Federal 
		part of the case.

	Ruby shakes	his hand.

				RUBY
		Ruby	Jarvis -- Public Defender's 
		Office. 

	Keith Harding, the D.A. and her adversary in this case, 
	smiles.

				HARDING
		She _is_ the office. She's the only 
		P.D. within fifty miles.

				AGENT PARSONS
		Handled a murder case before?

				RUBY
		Two.

				HARDING
			(chuckles)
		I'm not sure I'd call them murder 
		exactly. More like a couple of bar 
		fights that got out of hand.

				RUBY
		I seem to recall arguing the same 
		thing in court while you were trying 
		to file murder-one charges.

				HARDING
			(shrugs)
		That's my job.

	The FBI Agent turns to Ruby.

				AGENT PARSONS
		Counselor, this case is going to be 
		tried in Federal Court. 
		I'll have a writ here in the morning 
		to that effect, so I wouldn't lose too 
		much sleep worrying about your 
		defense. The Federal court will 
		appoint a Federal attorney for Mister 
		Voorhees.

	Ruby smiles, smooth as silk. She's ready for this... 
	hands him a legal document.

				RUBY
		Well, I was looking over your arrest 
		warrant... and I noticed it was signed 
		by Judge Gillan.

				AGENT PARSONS 
		I guess... I didn't handle that.

				RUBY
		Maybe you should have. You see, Judge 
		Gillan is the Superior Court 
		Magistrate. This is a _Federal_ 
		warrant.

	The FBI agent looks a little disturbed.

				RUBY
			(continuing)
		This arrest warrant is completely 
		invalid. You'll have to get a new 
		warrant signed by a Federal circuit 
		court Judge.

	As the FBI Agent looks over the document, Harding moves 
	over to Ruby.

				HARDING
			(to Ruby)
		I'd just like to point out that my 
		arrest warrant is properly signed and 
		dated... so Voorhees is _not_ walking 
		free.

	The Agent looks up at Ruby.

				AGENT PARSONS
		Fine. Who's the circuit court judge 
		for this district?

				RUBY
		That would be Judge Hobson. And he 
		just left on a two week fishing trip.

	Ruby smiles at him pleasantly. The FBI Agent gets red- 
	faced with anger and frustration.

				AGENT PARSONS
		Hot shot, huh? If you're so good, what 
		are you doing here in Mayberry?

				HAYES
			(sarcastic)
		Same thing the rest of us are doing. 
		Going down to Floyd's barber shop for 
		a trim... fucking farm animals... the 
		usual.	

	The FBI Agent looks disgusted.

				AGENT PARSONS
		You haven't heard the last of this.

	He exits. Hayes and Harding smile at Ruby.

				HAYES
		That was fun to watch.

				HARDING
		Were you one of those girls that 
		always had her homework done two days 
		before the teacher asked for it?

				RUBY
		Three.
			(beat)
		Where's my client?

				HAYES
		Your... client is being booked right 
		now. He'll be in cell five.

				RUBY
		What are the charges?

				HAYES
		Shit. We're still putting the victim 
		list together. You'll need a forklift 
		for the case file. I suggest you hire 
		some help, and don't expect to get a 
		lot of sleep for the next few months.
			(beat) 
		You're about to defend the most 
		notorious serial killer in American 
		history.

				RUBY
			(lightly)
		I thought that was Ted Bundy.

				HAYES
			(smiles)
		Compared to this guy... amateur.

								 CUT TO:

	INT. JAIL CELL - CORRIDOR - NIGHT

	A small town jail facility with five cells total. Ruby 
	and Sheriff Hayes are walking toward the end of the tiny 
	cell block. At the very end of the hall there are TWO 
	DEPUTIES armed with shotguns, wearing bullet-proof vests, 
	standing nervously by a cell. Ruby is keeping a neutral, 
	even expression on her face -- but it hides a genuine 
	nervousness.

				RUBY
		A house?

				HAYES
		That's right. Wasn't on any of the 
		maps... we could barely see it through 
		the underbrush. Place must've been 
		abandoned for twenty years. 

	They come to the cell at the end of the hall, and Ruby 
	gets her first glimpse of her client.

	ANGLE ON JASON

	who is sitting on a prison bed, wearing jail house 
	clothes. 
	His arms and legs have been shackled and he looks like he 
	couldn't move even if he wanted to. Jason's head is bowed 
	and he's staring at the floor, most of his features 
	obscured by shadow, but we can tell that his head and 
	face are disfigured by numerous scars.

	(NOTE: This is not the hideously deformed mutant seen in 
	the other Jason movies, but a real man. He's no less 
	frightening, however, and he bears the scars of countless 
	fights and wounds.) 

	RUBY 

	takes in a breath, a little disturbed just by being this 
	close to him. Hayes takes note of her reaction, but keeps 
	his eyes on Jason.

				HAYES
		Yeah... everyone feels that way when 
		they see him... something's not right 
		about this guy. 

	Ruby gives him a sharp look.

				RUBY
		He's just a man, Sheriff. A man that 
		needs to talk to his attorney... 
		alone.

	The Deputies exchange a look -- is she crazy?

				HAYES
		Ruby... this guy almost took out an 
		entire Tactical Response Team. You 
		can't expect me to just leave you --

				RUBY
		He doesn't look like he's going 
		anywhere, Bill. And if necessary, I 
		can get a judicial order reaffirming 
		the right of my client to speak to his 
		attorney in private.

	Hayes gives her a disgusted look.

				HAYES
		Fine. Have a pleasant conversation... 
		but I wouldn't get too close if I were 
		you. 

	Hayes nods to the Deputies, who open the jail cell door 
	for Ruby. She takes a confident step inside and then they 
	SLAM the door closed behind her.

				HAYES
			(dry)
		Scream if you need anything.

	Hayes and the Deputies go down the hall and exit to the 
	Sheriff's Station, leaving Ruby alone. Once they are 
	gone, some of the bravado leaves her countenance. She's 
	standing four feet away from the one and only _Jason_. 
	There's a tense beat and then she opens her file folder 
	and tries to proceed normally.

				RUBY
		Mister Voorhees... my name is Ruby 
		Jarvis. I've been appointed by the 
		court to act as your defense counsel. 
		Is that acceptable to you?

	Jason never even stirs. Throughout the scene he remains 
	motionless, staring down at the floor. Ruby is frightened 
	of this man... repelled by his appearance and his 
	chilling demeanor.

	She tries to do her job, but it isn't easy.

				RUBY
		Unless you object, I'm going to take 
		that as a yes.
			(beat)
		All right. Mister Voorhees, you're 
		going to be charged with multiple 
		homicides, which under laws of this 
		state make you eligible for the death 
		penalty. Do you understand?

	No response. She takes a beat, then sits across from him 
	on the cot, and takes another tack.

				RUBY
		Look... there's a lot of evidence 
		against you... and there's a lot of 
		people who would like to see you get 
		the chair. But I'm not one of them. My 
		job is to help you. That means, right 
		now, I'm your only friend.
			(beat)
		It's going to be very hard to defend 
		you if you won't talk to me.

	Jason just sits there. Ruby takes a nervous breath -- 
	this clearly isn't getting anywhere.

				RUBY
		There will be an arraignment in three 
		days.

				RUBY (CONT'D)
		You'll have to enter a plea. Guilty or 
		not guilty.
			(beat)
		Unless you object... I'm going to 
		enter a plea on your behalf. After the 
		arraignment, we'll have to plan our -- 

	Jason suddenly MOVES his arm and the chains RATTLE 
	loudly. Ruby bolts up off the bed in terror and leans up 
	against the bars.

				RUBY
		Guard!

	An anxious beat... then we see that Jason was only 
	lifting his arm to scratch his other hand. The two 
	Deputies come racing in with shotguns at-the-ready. Ruby 
	stands there for a moment, heart pounding... then she 
	picks up her files as if nothing's wrong and turns toward 
	the door.

				RUBY
			(trying to sound calm)
		I'm... ready to leave.

	One of the Deputies looks at her, not sure what happened 
	but satisfied that Jason isn't doing anything at the 
	moment. He unlocks the door. As Ruby exits...

								 CUT TO:

	INT. RUBY'S OFFICE - NIGHT

	A small office overflowing with paperwork, files, the 
	general clutter of an overworked civil servant. Ruby is 
	pacing while her assistant, DANNY KWAN, an eager man in 
	his early 20's, with a ponytail, furiously scribbles 
	notes on a yellow legal pad as Ruby talks.

				RUBY
		I want to file a motion for a
		change of venue, and sequestration of 
		the jury. And I want to try _habeas 
		corpus_. I know we don't have much of 
		a chance for that, but let's give it a 
		shot anyway. 

	Kwan scribbles a few notes.

				KWAN
		Are you going to plead insanity?

				RUBY
		I think it's our best bet. They're 
		taking apart his house right now... 
		they found weapons, blood, a mountain 
		of evidence. We can't say he was 
		framed.

	She thinks furiously. It's obvious that this is an 
	impossible case to defend.

				KWAH
		This.is kind of a nightmare case, 
		isn't it? If there's anyone who 
		deserves to get the chair, it's Jason.

	She whirls on him, her voice suddenly harsh. Kwan has 
	accidently struck an emotional chord in Ruby.

				RUBY
			(hard)
		Don't say that around me ever again. 
		We're his attorneys. We have a duty to 
		defend him -- not judge him. Remember 
		that, Danny, or you won't be on this 
		case much longer. 

	Kwan is taken aback... he didn't expect this kind of 
	reaction.

				KWAN
		Sorry.

				RUBY
			(softening a little)
		It's all right.
			(beat)
		Now... we're going to need a really 
		good head-doctor for this. Someone who 
		can get up on the stand and tell the 
		jury that our client is mentally 
		insane and has been for years...
			(beat)
		We'll go through a dozen doctors 
		before we find one who's willing to 
		testify for us. 

	She gets a thought.

				RUBY
			(continuing)
		Maybe... we should call Joe Sena.

	Kwan gives her a look.

				RUBY
		Yeah, I know... he's a little wacky, 
		but he's the best psycho-neurologist 
		in the state.
			(beat)
		Get him down here by morning. I want 
		him to interview Jason tomorrow 
		afternoon.

	Kwan nods, flips the page on his notepad to a clean one. 
	Ruby glances at her watch.

				RUBY
		Now... I think the video store's open 
		for another couple of hours. Let's go.

				KWAN
		Video store?

	OFF his puzzled look...

								 CUT TO:

	EXT. VIDEO STORE - NIGHT

	A local place. Ruby's car is parked out front.

								 CUT TO:

	INT. VIDEO STORE - NIGHT

	Ruby and Kwan enter the store at a brisk pace.

				RUBY
		We have to argue every possible 
		defense in this case. Insanity... 
		incompetence... and the fact that 
		Jason can't get a fair trial anywhere 
		in the country, much less this state.
			(beat)
		Where's the horror section? 

	Kwan points and they head in that direction...

	NEW ANGLE

	as they round the corner and head into the Horror 
	section.

				RUBY
		So... why can't Jason get a fair 
		trial?

				KWAN
		Because everyone knows he's guilty...

				RUBY
		Wrong. Jason can't get a fair trial 
		because of _these_.

	She indicates the wall of videotapes boxes. The covers 
	are all lurid -- lots of images of killers with knives, 
	axes and chain saws chasing scantily-clad women.

				RUBY
		For the past fifteen years, Jason 
		Voorhees has been portrayed as a
		brutal, remorseless killer.
		People have a preconceived notion of 
		his guilt based on these movies.
			(beat)
		So I intend to enter these films into 
		evidence... and argue that media 
		saturation has prejudiced my client's 
		right to a fair trial.

	 Kwan gives her a sidelong look.

				KWAN
		You think that's going to work?

				RUBY
		I don't know if anything's going to 
		work in this case. Therefore, we have 
		to try everything. 

	She eyes the countless movies.

				RUBY
		I don't even know where to begin...

	Kwan pipes in, revealing himself to be the quintessential 
	horror film buff.

				KWAN
		Well, I'd start with "Friday The 
		Thirteenth." 1980. Director: Sean 
		Cunningham. A breakthrough picture 
		that set the standard for the movies 
		to follow. The gore and high body 
		count made this slasher film an 
		instant classic.

	Ruby looks at him.

				RUBY
		You watch this garbage?

				KWAN
		This is a legitimate cinematic genre. 
		Just like Westerns, Comedies, Film 
		Noire, Science Fiction...

	She picks out a title at random, reads it:

				RUBY
		"Zombie Sluts From Beyond the Grave."

				KWAN
		A seminal film. First ever depiction 
		of a fully nude triple impalement.

	Ruby sighs, starts grabbing tapes off the shelf...

								 CUT TO:

	EXT. RUBY'S HOUSE - NIGHT

	A modest house on a tree-lined suburban street.

	INT. RUBY'S BEDROOM - NIGHT

	CLOSE ON A TELEVISION SCREEN which is showing a horror 
	movie. A young TEENAGE GIRL wearing a transparent 
	negligee is walking down a staircase in a dark, spooky 
	house. She looks frightened.

				TEENAGE GIRL
		Johnny... Johnny, is that you? 

	No answer. She walks into the living room...

	INCLUDE RUBY

	who is lying in bed wearing a bathrobe, legal documents 
	scattered on the bed and stacks of videos nearby.

	She's trying to take notes on a legal pad, but she's 
	having trouble getting into these movies.

				RUBY
			(to TV)
		No, it's not Johnny. 
		It's Jason, and he's going to put a 
		fucking axe in your skull, so turn on 
		the fucking _lights_.

	On the TV, we see the girl reach the bottom of the 
	stairs... look around the darkened living room... 

				TEENAGE GIRL
		Where is everybody? Johnny, this isn't 
		funny...

	She hears a NOISE from behind a closet door. She heads 
	toward it. Ruby looks exasperated.

				RUBY
		Don't go in there. Why are you going 
		in there?

	The girl slowly opens the creaky door... suddenly a CAT 
	jumps out! It startles the girl, who screams. But then 
	she realizes it was only the cat.

				TEENAGE GIRL
		Fluffy!

				RUBY
			(predicting, bored)
		He's behind the door...

	The girl onscreen relaxes, smiles, nothing to worry 
	about. She swings the door closed and behind the door is 
	a huge man in a hockey mask. Jason! He swings a giant axe 
	toward the girl. Ruby grabs the remote control and fast-
	forwards through the action -- Jason chopping up the girl 
	at triple speed.

				RUBY
		Yeah, yeah... he chops you up... but 
		you know what? You deserved it.

	She ejects the movie, tosses it aside and grabs another 
	title. She pops it in the VCR and hits play. On the TV, 
	we see the title of the movie appear -- "Friday the 
	Thirteenth, Part 10 -- Jason's Greatest Hits and Chops." 
	Ruby shakes her head, leans back on the bed and begins 
	writing on the pad... We hear a THUMP somewhere in the 
	house.

	Ruby pauses and looks up... did she imagine it? Silence. 
	There's a second THUMP. This time she sits up -- that was 
	definitely something. She hits pause on the remote, 
	stands up and walks out of the bedroom into...

	INT. RUBY'S LIVING ROOM - NIGHT

	Ruby walks into the shadowy room.

				RUBY
		Hello...	is somebody there?

	She walks through the house a moment... play the tension 
	for a few beats... and suddenly the PHONE RINGS. Ruby 
	almost jumps out of her skin. She snaps up the phone.

				RUBY
		Hello?

	On the other end, we hear a panicked Sheriff Hayes.

				HAYES' VOICE
		Ruby, he's gone. He got out.

				RUBY
		What... who?

				HAYES' VOICE
		Jason. Jason's gone. He broke out of 
		jail about an hour ago. 

	Ruby reacts.

				RUBY
		Well... what are you going to do?

				HAYES' VOICE
		I've got deputies combing the area. 
		But he was last seen heading in your 
		general direction. I want you to --

	The phone clicks off and goes dead.

				RUBY
		Hello... Sheriff? Hello?

	She starts punching buttons on the phone -- no effect. 
	Suddenly there's another THUMP! somewhere in the room. 
	Ruby backs up and drops the phone, breathing faster now. 
	She steels herself, then takes a quiet step towards the 
	closet...

				RUBY
		Who's there?

	A rattle...

				RUBY
		Danny, goddamnit, if this is your idea 
		of a joke...

	She slowly moves towards the closet... opens the door... 

	There's a loud MEOW. A CAT is sitting on the floor in the 
	closet. Ruby takes a breath of relief, picks up the cat.

				RUBY
		Fluffy.

	She hesitates...	then frowns.

				RUBY
		Wait a minute... _I don't have a cat_.

	We hear the TAP, TAP, TAP of a walking stick on 
	cobblestones. Ruby turns --

	NEW ANGLE

	Ruby's living room is now filled with FOG. Surreal 
	moonlight filters in. In the distance we can hear the 
	deep CHIMING of a clock tower; and an old, gaslamp street 
	light is sitting in the middle of the room. It almost 
	looks like old LONDON. Her furniture is still present, 
	but instead of carpet there are cobblestones on the 
	floor. 

	The cat HISSES at something off camera and runs away. 
	Ruby watches in astonishment as the figure of a MAN 
	wearing a hat and cloak appears out of the mist. He has a 
	walking CANE, which he taps on the stones as he 
	approaches... 
	She watches him as he steps into the street lamp's glow. 
	His face is ghastly pale, eyes dark and murderous. We 
	should recognize him as JACK THE RIPPER.

				JACK
			(British accent)
		Hello, my dear. How about a tumble 
		with old Jack?

	He whips off the top of the cane, revealing a razor- 
	sharp stiletto blade hidden inside. He jumps toward her 
	and she recoils. She stumbles backward, goes through the 
	door to the bathroom, slams it behind her --

	INT. BATHROOM/PRISON CELL

	The room is a bizarre cross between a bathroom and a 
	bleak cement PRISON CELL. There's a BUZZING SOUND. Ruby 
	looks down to see a MAN etching a Swastika onto her shin 
	with an electric tattoo gun. The man looks up at her, and 
	we can see from his long, stringy hair, beard and 
	distinctive Swastika in the middle of his forehead, that 
	this must be CHARLES MANSON. 

	He smiles up at her. She pulls away. He comes at her, 
	laughing that maniacal laugh. She turns, and as she 
	does...

								 CUT TO:

	INT. RUBY'S KITCHEN - NIGHT

	She's standing in front of her own stove. There's 
	something bubbling in a large pot. She lifts the lid to 
	find HUMAN BODY PARTS boiling in the cauldron -- a hand, 
	an eye, a foot. 

	She drops the lid in horror. A MAN GRABS her from behind. 
	He's a tall, lanky man with short blonde hair and wire-
	frame glasses. It's JEFFREY DAHMER. He has a butcher 
	knife in his hand. 

	She pulls away -- runs right into ANOTHER MAN. This one 
	is dressed as a CIRCUS CLOWN. JOHN WAYNE GACEY. He gives 
	her a hideous smile, grabs her by the arms and throws her 
	down onto the kitchen counter. He leans over her... 

	RUBY'S POV 

	Dahmer, the Ripper, Gacey, Manson all closing in on her. 
	Suddenly they stop, turn... look behind them... and part 
	to allow someone else to step forward... 

	JASON VOORHEES steps directly towards Ruby, wearing the 
	hockey mask, carrying a machete.

	RUBY

	watches in terror.

				RUBY 
		Jason, no... please... NO! 

	Jason pulls the hockey mask away, revealing the shocking 
	face of _FREDDY KRUEGER_. She freezes at the sight of 
	him, surprised.

				FREDDY
		Jason?
			(sneers)
		_Amateur_.

	He raises his hand, which now has the familiar finger 
	blades on it... 

	The blades gleam in the moonlight, and as his hand swoops 
	toward her face we...

								 CUT TO:

	INT. RUBY'S BEDROOM - NIGHT

	As Ruby _wakes up_ with a scream on her couch. The legal 
	pad is still in her lap... the first movie still playing 
	on the TV. It shows Jason stalking a young victim. 

	She looks startled and frightened by the nightmare. After 
	a beat, she picks up the remote and turns off the TV. As 
	she lays back on the bed, catching her breath...

								 CUT TO:

	EXT. CRYSTAL LAKE COURTHOUSE - DAY

	A couple of days later. Crowds have gathered... media 
	vans and satellite dishes in place... sheriff's deputies 
	trying to keep the crowd contained... people with signs 
	proclaiming, "Jason Must Die!"... others that say, "Free 
	Jason!"... Journalists and camera crews jockeying for 
	position. A few people selling tee-shirts. It's the Trial 
	of the Century.

	INT. COURTROOM - DAY

	In contrast to the pandemonium outside, the courtroom is 
	relatively subdued. The visitor's gallery is packed, but 
	everyone is keeping their voices low, speaking in hushed 
	tones.

	Ruby and Kwan are at the Defense table, going over her 
	legal briefs, as Harding enters through a side door. He's 
	dressed like something out of GQ -- very snappy. He moves 
	to the prosecutor's table, puts his briefcase down, then 
	moves over to have a few words with Ruby.

				HARDING
			(sotto)
		CNN... all five networks... Court 
		TV... two Japanese networks... three 
		from the UK... and one guy who swears 
		he's from Zimbabwe.

	Ruby gives an absent nod, concentrates on the file in 
	front of her.

				RUBY
		Quite a circus.

				HARDING 
		And we're in the center ring.
			(beat)
		You sure you want to wear that blazer?

	She looks up.

				RUBY
		What?

				HARDING
		You're about to be a media darling -- 
		you might want to dress the part.

	She rolls her eyes at him. Harding goes over to his side 
	of the table. A man comes through the crowd and sits 
	himself on the edge of the table in front of Ruby. This 
	is JOE SENA, the psychiatrist/neurologist. Early 30's, 
	good-looking, smart and he knows it. His complete 
	confidence in himself is sometimes perceived as 
	arrogance. Ruby looks up, and we can tell she knows him -- 
	and is a little wary of him.

				RUBY
		Doctor Sena... did you complete your 
		examination of Jason? 

	Sena nods.

				RUBY
		Well?

				SENA
			(matter-of-fact)
		He's fucking nuts.

				RUBY
		Great. Is that what you're going to 
		say when I put you on the stand?

				SENA
		No. When you put me on the stand, I'll 
		say your client is catatonic and 
		exhibits classic symptoms of a 
		schizophrenic, sociopathic 
		personality.
			(beat)
		And he doesn't sleep.

				RUBY
		Doesnit sleep?

				SENA
		Insomnia. Not unusual for someone in 
		his situation.
			(beat)
		Not to mention he's a bed-wetter.

				RUBY
		He wets the bed?

				SENA
		I always throw that in. It makes the 
		jury feel sorry for the defendant.

	Ruby looks annoyed.

				KWAN
		Can we prove any of this?

				SENA
		Prove it? Come on, the guy's an 
		avocado. He doesn't say a word, he 
		doesn't move, he doesn't respond to 
		any external stimuli... You can say 
		anything you want about him, but you 
		can't prove it one way or another.
			(beat)
		But the outlook's not entirely grim.

				RUBY
		Oh?

				SENA
		One of the deputies is pretty cute. I 
		think she likes me.

	Ruby ignores this -- she's familiar with Sena's 
	escapades. She sits back in the chair, a little 
	frustrated.

				RUBY
		This is bad, Joe. The Prosecution is 
		already putting together a team of 
		psychiatric specialists. They'll argue 
		exactly the opposite. They'll say he's 
		just pretending to be catatonic and 
		he's completely sane.

				SENA
			(shrugs)
		Great. Battling head doctors. We'll 
		confuse the jury enough to create a 
		reasonable doubt. Hung jury.

				RUBY
		This is Jason Voorhees. They'll be 
		looking for an excuse to send him to 
		the chair.
			(beat)
		If we're going to argue insanity, 
		we're going to need something a little 
		more concrete.

	Sena thinks.

				SENA
		Well... we can look for earlier 
		evidence of psychotic or sociopathic 
		behavior in his childhood, but I'll 
		need access to his medical--

	Suddenly there's a gasp that goes around the room and 
	everyone stops talking. Ruby looks up to see so being led 
	in by six deputies, heavily armed. Jason is shackled and 
	shuffles across the courtroom, finally being seated at 
	the defense table. In the harsh light of day, Jason's 
	scarred and twisted features are shocking -- it looks 
	like he's been through a meat-grinder. Again, Jason seems 
	passive, staring off into middle-distance, completely 
	disconnected from the world around him.

				BAILIFF
		All rise. The Superior Court for the 
		city and county of Crystal Lake is now 
		in session. Honorable Judge Gillan 
		presiding.

	Everyone stands as the JUDGE enters.

				JUDGE
		Be seated.

	Everyone sits down.

				BAILIFF
		Only one case on the docket, Your 
		Honor. "The People versus Jason 
		Voorhees."

				JUDGE
		Will the defendant please rise
		during the reading of the charges. 

	Ruby stands and hesitates, afraid to touch Jason, who 
	isn't moving a muscle.

				RUBY
		Your Honor, my client... prefers to 
		remain seated.

	The Judge peers at Jason in curiosity, then decides not 
	to press the matter.

				JUDGE
		Very well.
			(to Harding)
		Are the People ready to proceed?

	Harding stands, holding a thick legal document the size 
	of a phone book.

				HARDING
		Yes, Your Honor. The People make the 
		following charges against the 
		defendant Jason no-middle-initial 
		Voorhees...
			(reads)
		On Friday, May thirteenth, 1980, the 
		defendant did with malice and 
		forethought murder Annie Wolfe with a 
		bowie knife. The People further charge 
		on that same date, defendant did 
		murder Dorothy Dartland with an axe. 
		On the following morning, the 
		defendant murdered Jack Hayes with a 
		bow and arrow... 

	As Harding continues to talk, reading off what seems an 
	endless series of victims, we...

								DISSOLVE TO:

	INT. COURTROOM - DAY

	Later.	Harding still reading from the endless victims 
	list, people shifting a little restlessly in their seats.

				HARDING
		Defendant did then murder Robert Smith 
		with a tent pole on February twelfth, 
		1984... defendant is further charged 
		with the murder of Lynn Kaplan with a 
		pitchfork...

								DISSOLVE TO:

	INT. COURTROOM - DAY

	Much later, Harding finishes up the list.

				HARDING
		And finally, most recently Federal 
		Agent Sam McNulty, a law enforcement 
		officer for the Federal Bureau of 
		Investigation, strangled by the 
		defendant while	resisting arrest.

	Harding closes the massive file. Relief around the 
	courtroom.

				HARDING
		That concludes the State's charges, 
		Your Honor.

	The Judge takes a long breath... looks to Ruby.

				JUDGE
		Is the Defense ready to enter a plea?

				RUBY
		We are, Your Honor.
			(beat)
		The Defense pleads... _not guilty_.

	Reactions of disbelief around the courtroom, snickers and 
	outright laughter, it sounds so ridiculous. The Judge 
	raps his gavel with disapproval.

				JUDGE
		Order... order.

				RUBY
		The Defense would like to move for a 
		change of venue. We feel that it will 
		be impossible to find an impartial 
		jury in Crystal Lake County or --

	Suddenly a MAN stands up in the courtroom -- his face 
	contorted with rage and anger.

				ANGRY MAN
		You killed my sister, you son of a 
		bitch! You _fucking monster_!

	He pulls out a handgun and FIRES at Jason. People dive 
	for cover.

	ANGLE ON JASON

	as the BULLETS catch him full in the chest, knocking him 
	out of his chair. The spectators are screaming and 
	crying. The Judge ducks behind his bench. Sheriff's 
	deputies finally wrestle the man to the ground. Ruby 
	crawls over to Jason, who is lying motionless on the 
	floor, blood pooling nearby. He's conscious, his eyes- 
	staring around the room with a stunned look.

				RUBY
		We need an ambulance, _now_!

								 CUT TO:

	INT. EMERGENCY ROOM - DAY

	A swirl of activity as an ER DOCTOR and NURSES wheel the 
	bloody form of Jason into the room. Two nurses rip open 
	Jason's shirt, revealing five ghastly BULLET WOUNDS to 
	his chest.

				ER DOCTOR
		Vitals! Get me four units of O- neg 
		blood and start IV infusion!

	Nurses start hooking Jason to IV tubes. The doctor 
	examines Jason's bloody chest.

				ER DOCTOR
		We need chest, spine and abdominal X-
		rays -- now!

				NURSE
			(off instruments)
		Blood pressure -- ninety over sixty 
		and falling!

				ER DOCTOR
		Okay... get an arterial line going... 
		and set up a dopamine drip -- four 
		hundred milligrams. This guy's going 
		to surgery.

								 CUT TO:

	INT. SURGERY - DAY

	A short time later. Jason on the operating table, a 
	SURGEON, an ASSISTANT, an ANESTHESIOLOGIST and various 
	NURSES are working furiously. Jason is still hooked to IV-
	tubes.

				SURGEON
			(looking over Jason)
		I can't believe this guy's still 
		breathing. Multiple gunshot wounds to 
		the upper thorax... massive tissue 
		injury...
			(to anesthesiologist)
		Let's put him under. 

	The anesthesiologist takes a syringe full of fluid and 
	INJECTS it into a port in the IV tubing.

				ANESTHESIOLOGIST
			(to Jason)
		It's okay, Buddy. Just start counting 
		backwards from a hundred. One 
		hundred... ninety-nine... ninety-
		eight...

	The surgeon is strapping on gloves... the assistant and 
	nurse are wheeling in carts of scalpels, clamps, surgical 
	gauze. 
	The surgeon is ready to go -- but Jason's eyes are still 
	open and he's wide awake, watching him. It's a creepy 
	sight.

				SURGEON
			(to anesthesiologist)
		What's the matter? Get him under!

	The anesthesiologist looks baffled -- injects a _second 
	dose_ of the fluid into Jason's IV. But Jason doesn't 
	flinch.

				ANESTHESIOLOGIST
		I'm trying, Doctor... but if I give 
		this guy any more barbiturates, it's 
		gonna kill him.

				SURGEON
		If we don't go in now, he's going to 
		bleed to death. Do what it takes. 

	The anesthesiologist grabs a nearby GAS MASK and puts it 
	over Jason's mouth. He spins the wheel on a tank labeled 
	NITROUS OXIDE -- we see the level indicator on the tank 
	rise... rise... all the way to a _hundred percent_.

				ANESTHESIOLOGIST
			(to Jason)
		Come	on, damn you... close your 
		eyes... _go to sleep_...

	As he says this, we CLOSE IN on Jason's face... and 
	finally, his eyelids begin to droop... and slowly
		_close_. At that moment...

							  FADE TO BLACK. 

	Over the blackness of the screen, we hear the sound of 
	THUNDER. A FLASH of LIGHTNING jolts across the blackness, 
	and we realize that we're in --

	JASON'S DREAM

	as a jagged bolt of LIGHTNING crashes'across the angry 
	heavens. CAMERA TILTS DOWN to find a YOUNG BOY, age 
	eleven, running through a DARK FOREST in terror. 

	THIS IS JASON VOORHEES AS A BOY. Something's chasing him, 
	and he keeps glancing back. The boy is covered with 
	bruises and nasty looking scratches on his face. He 
	stumbles, falls, hits the ground hard.

	FLASHCUTS

	-- JASON'S MOTHER laughing, her face bathed in soft 
	candlelight.

	-- A HAND massaging a woman's breast.

	THE BOY

	Stumbles to his feet in the forest, continues his flight. 
	Tree branches and bushes slap at his face as he runs 
	through the forest, scratching him, tearing at his 
	clothes.

	FLASHCUTS

	-- A bedroom door slowly opening. 

	-- Jason's mother's face looking up in surprise.

	THE BOY

	Leans up against a tree, tries to catch his breath. 
	Suddenly we hear a deep and terrible VOICE calling out 
	across the forest. FREDDY KRUEGER'S VOICE:

				FREDDY'S VOICE
		There are you, little man!

	The boy runs harder, loses his footing and falls down an 
	embankment. As he falls through the air...

	FLASHCUTS

	-- The boy standing in a room'as a man's hand reaches 
	down for him. 

	-- Jason's mother laughing. 

	-- The boy being slammed against a wall. 

	-- Lightening crashing against the sky. 

	-- Lightening on the _unburned_ face of Freddy Krueger, 
	smiling.

	THE BOY

	HITS the bottom of the embankment hard, knocking the wind 
	out of him. He gets to his hands and knees, tries to draw 
	in a breath, but it's impossible. Again Freddy's voice 
	booms out:

				FREDDY'S VOICE
		You've been a very naughty boy!

	INT. SURGERY

	The operation is under way. Jason's chest is OPEN and the 
	surgeon is removing a large caliber bullet with a pair of 
	forceps.

				SURGEON
			(re: bullet)
		Looks like a .45 to me.

	He drops the bullet in a pan.

				SURGEON
		All right... this one's lodged near 
		the spinal column...

	The Surgeon glances up at a FLUOROSCOPIC MONITOR which 
	shows a black and white image of the surgeon's tools and 
	the interior of Jason's chest -- it looks like a real-
	time X-ray image.

				SURGEON
		I need a clamp... retract the lung...

	On the monitor, we can see the progress as the forceps 
	and clamps get closer to a bullet. The surgeon probes for 
	the bullet...

				SURGEON
			(watching monitor)
		Easy... almost got it... 

	The surgeon's concentrating... everyone's being very 
	still... 

	Jason's HAND flies up and grabs the doctor by the neck! 
	Everyone reacts in shock.

				SURGEON
		_Jesus_!

	Jason's eyes are still closed, but he's stirring as 
	though having a nightmare and trying to wake up.

				NURSE
		His heart rate's jumped to one-ninety-
		nine!

				SURGEON
			(strangled)
		Sedative!

	A nurse injects Jason with a hypo. He stops struggling 
	and his hand drops away from the doctor.

	JASON'S DREAM

	CRYSTAL LAKE. The sky is dark with storm clouds. The boy 
	comes tearing out of the forest, scratched, bedraggled, 
	terrified. He stops at the SHORE to the lake, looks 
	around in desperation. He's trapped.

				FREDDY'S VOICE
		I'm coming!

	The boy spots a METAL CANOE a ways down the shoreline. He 
	runs to it, jumps inside, shoves off onto the water and 
	begins paddling like mad to get away from the beach. 

	He glances back at the shore... nothing. It looks like he 
	got away. He stops paddling for a moment, tries to catch 
	his breath. 

	There is the SLITHERING SCRAPE of metal under the boat. 
	The boy freezes and looks around. _Something is under the 
	boat_. The scratching gets LOUDER, as if someone were 
	trying to claw their way through. Suddenly, it stops. 
	Silence. 

	The CANOE CAPSIZES -- the boy is thrown into the cold 
	water. He flails in panic... he can't swim... 
	tries to clutch onto the overturned boat... finally 
	manages to hang on and keep himself from going under.

	But then, without warning... something PULLS HIM DOWN.

	UNDERWATER 

	The boy is thrashing to get back to the surface, but he 
	just keeps going deeper... deeper into the murk... 

	The boy looks up and reacts to something -- 

	The sudden flash of. FREDDY'S METAL FINGER BLADES flies 
	toward the boy's face.

	INT. SURGERY

	Jason starts to convulse on the table. The surgeon is in 
	the middle of closing the wounds... Jason jumps a little 
	and the Surgeon accidentally STABS his own hand with the 
	needle.

				SURGEON
		Stabilize him, goddamnit!

				ANESTHESIOLOGIST
		Blood pressure rising!

				NURSE
		He's going into epileptic convulsions!

	Jason is thrashing on the table, knocking over equipment. 
	He lashes out at a Nurse, connecting with her chest and 
	sending her FLYING across the room. The doctors and 
	nurses struggle to hold him down.

	Suddenly one of the nurses glancing up at the 
	fluoroscopic monitor...

	ANGLE ON MONITOR

	The fluoroscopic scanner still shows the interior of 
	Jason's chest, but for a moment the silhouette of 
	_FREDDY'S FINGER BLADES_ pass across the screen as if 
	moving through Jason's chest cavity.

	RESUME NURSE

	who reacts with stunned surprise.

	JASON 

	his eyes fly OPEN and he's awake. At that moment, he 
	stops struggling and simply lies	calmly on the operating 
	table. A long beat as everyone in the room stands back 
	and watches him, not knowing what to expect next. Off the 
	shocking moment...

								 CUT TO:

	INT. HOSPITAL WAITING ROOM - NIGHT

	Ruby, Sena, Kwan, Harding, and Sheriff Hayes are all 
	waiting for word. The surgeon comes into the room with a 
	shell-shocked and bewildered look on his face.

				SURGEON
		He's... going to make a full recovery.

	Surprised looks go around the room.

				HARDING
		You're kidding. The guy took five 
		shots.

				SURGEON
		It was touch and go there for a while. 
		He suffered convulsions at one 
		point... and then he went into cardiac 
		arrest.
			(beat)
		Frankly, some things happened in that 
		operating room that I just don't know 
		how to explain.

				HAYES
		Like what?

				SURGEON
		Well, to start with the man has an 
		incredible metabolism. His heart rate 
		is about one-eighty -- and that seems 
		to be normal for him.
			(beat)
		And I don't even want to talk about 
		his EEG. It's so bizarre I'm thinking 
		of sending it to Johns Hopkins for 
		analysis.

	Sena points to the clipboard the surgeon's holding.

				SENA
		Is that his file?

				SURGEON
		Part of it. When I've completed my 
		post-op report, I'll add it to the 
		rest of his file.

				RUBY
		What do you mean, the rest of his 
		file?

				SURGEON
		According to our records, we have 
		medical files on Jason... his 
		mother... his whole family.
			(beat)
		They haven't been added to the 
		computer database yet, but they're 
		still down in the basement. 

	As Ruby and Sena exchange a look...

								 CUT TO:

	INT. MEDICAL RECORDS ROOM - NIGHT

	Ruby and Sena are walking through the rows and rows of 
	shelves of medical records. An attractive NURSE is 
	leading them to a specific shelf.

				NURSE
		Voorhees... Voorhees... right here.

	She pulls out three file folders.

				NURSE
		Pamela Voorhees... Elias Voorhees... 
		here we are... _Jason_.
			(flipping through folder)
		There's not much. Birth Certificate... 
		a few office visits. Nothing after 
		1967.

				RUBY
		Mind if I take a look?

	The nurse hands her the files, hands the other half to 
	Sena.

				NURSE
		I'll be up front if you need me.

	Sena stares after the nurse with an appreciative leer. As 
	they flip through the file folders...

				SENA
		Nurses. That's why I went into 
		medicine.

				RUBY
		This sexual obsession of yours. Have 
		you considered going into therapy 
		yourself?

				SENA
		No need. I'm self-diagnosed. I have 
		severe nympholepsy...
			(beat)
		And I'm a bed-wetter.

				RUBY
		Well, I definitely feel sorry for you.
			(reading from case file)
		August fourteenth, 1956... Jason was 
		brought in by his mother, who said the 
		boy hadn't slept for two weeks. Doctor 
		prescribed Valium...

	She flips to another page.

				SENA
			(reading, shocked)
		I don't believe it. Jason's mother 
		died of ovarian cancer in 1969.

				RUBY
		So?

				SENA
		I thought she was a killer, too. You 
		know... that she chopped up a bunch of 
		teenage camp counselors... before she 
		was decapitated.

	Ruby is annoyed.

				RUBY
		That's the problem with this case. 
		Everyone thinks they know Jason's life 
		story. But they don't. What you're 
		remembering is a _movie_. Fiction.	In 
		the movie, Jason's mother runs around, 
		killing people after Jason drowns in 
		Crystal Lake

				SENA
		None of that's true?

				RUBY
		Well, Jason _was_ in a canoe accident 
		in 1967 and presumed drowned. His 
		mother died a few years later after a 
		long bout with cancer. Some time in 
		the early eighties, there were a 
		string of murders out by Crystal 
		Lake...
			(spooky voice)
		People started saying it was Jason... 
		back from the dead.

				SENA
		So, what are you saying... that he 
		didn't kill all those people?

				RUBY
		My job is not to determine his guilt 
		or innocence. That's up to the jury. 
		My job is defend him. 

	Sena gives her a look.

				SENA
		That's a nice bit of lawyer-speak. Why 
		don't you just say it -- your client's 
		a psychotic killer who's murdered 
		dozens of people, and you're trying to 
		set him free. Right?

	She gives him a dirty look.

				SENA
			(continuing, casual)
		Don't get me wrong. I don't care. But 
		the professional part of me is 
		interested in how you rationalize what 
		you do.

				RUBY
		I don't "rationalize" anything. I'm 
		his lawyer -- he's my client. That's 
		all.

				SENA
		That didn't sound very convincing.

	Ruby looks at him squarely.

				RUBY 
		What do you want -- a tidy 
		psychological profile? You want to 
		hear that I was falsely accused of a 
		crime I didn't commit... and that's 
		driven me to defend others? Or maybe 
		you want to me to get in touch with my 
		feelings... talk about my childhood...

				SENA
		No. You've told me all I need to know.

				RUBY
		Oh?

				SENA
		You're obviously going through a 
		critical moral dilemma. And you're 
		putting up barriers against anyone who 
		tries to probe your conscience.
			(beat)
		But it is heartening to know that you 
		do have a conscience. 

	There's a beat. She looks at him.

				RUBY
		Are you charging me your hourly rate 
		right now?

	He smiles.

				SENA
		No. That was a freebie. 

	She looks at the file again.

				RUBY
		Not much here. Jason was brought in a 
		couple more times for insomnia... 
		that's about it.

				SENA
		Wait a minute. Let me see that. She 
		hands him the file.

				SENA
			(off file)
		The mother said the boy hadn't slept 
		for over three _months_. A physical 
		examination showed dilated pupils, 
		temperature of one-oh-two, blood 
		chemistry highly imbalanced...

				RUBY
		That's pretty weird. Is it possible 
		for someone to not sleep for months?

				SENA
		It's rare... but there are cases where 
		people go for years without sleep.
			(reads)
		They diagnosed Jason with simple 
		insomnia... but that's not what it 
		looks like to me. He has every 
		indication of having _insomnolesence_.

				RUBY
		Insomnolesence...

				SENA
		It's a neurological disorder affecting 
		the hypothalamus. The part of the 
		brain that causes sleepiness is 
		inactive. They didn't know about it 
		back in the sixties. Even now, it's 
		not understood very well.

	Ruby considers, intrigued by this new revelation.

				RUBY
		So Jason doesn't sleep... how does 
		that help us?

				SENA
		Insomnolesence has been known to cause 
		psychotic episodes... delusions...

				RUBY
		If we could prove that Jason suffers 
		from this disorder... and that his 
		homicidal behavior has been a direct 
		result of a medical condition...

				SENA
		Not guilty by reason of insanity. Case 
		closed.

				RUBY
		How do we prove it?

				SENA
		Simple. We sedate him, induce a 
		somnolesent state, and study his REM 
		patterns when he's unconscious.
			(beat)
		If he has the disorder, his REMS will 
		be highly abnormal. Ruby smiles.

				RUBY
		Then I'd say it's bedtime for Jason.

								 CUT TO:

	INT. JASON'S HOSPITAL ROOM - NIGHT

	Jason is lying on a bed, strapped down and shackled to 
	the bed frame. Various pieces of medical equipment are 
	nearby. An IV is hooked to Jason's arm. There are bars on 
	the window and an armed DEPUTY stands by the door. Jason 
	is conscious and staring at the ceiling with his usual 
	stark gaze. 

	Ruby and Kwan look on as Sena attaches sensor pads to 
	Jason's forehead. The pads have long electrical cords 
	which are connected in turn to a CONSOLE which has been 
	wheeled into the room. The console has monitors and 
	controls on it.

	Sena's assistant, LAYTON, is running various tests on the 
	equipment. Sena puts the last sensor pad in place.

				SENA
		All right... that'll do it. All of the 
		contacts are in place.
			(to Layton)
		Begin recording.

	Layton taps a few controls on the console, looks at a 
	monitor which displays various GRAPHS and BRAIN PATTERN 
	schematics.

				LAYTON
			(off console)
		Everything looks good. I'm getting 
		EEG... encephalitic levels... neuro-
		electrical readings...
			(beat)
		Start recording-at twenty-thirty 
		hours. 

	He taps a control.

				RUBY
		How long will he need to be asleep?

				SENA
		We're going to need at least two full 
		REM cycles to get a clear neurological 
		profile. Three hours minimum, six 
		hours ideal.

	Ruby moves to the bed, looks down at Jason. She's still 
	nervous around him, her feelings mixed about this brutal 
	serial killer. But she does her best to put on a 
	professional face.

				RUBY
		Jason... we're going to put you to 
		sleep now. We're going to run some 
		tests. But it's going to be all right. 
		Just trust me.

	No response from Jason. Ruby looks at Sena, nods. Sena 
	takes a syringe from an adjacent table... then hooks it 
	into the IV. Kwan is noting everything on a legal pad.

				KWAN
		For the record, what kind of sedative 
		are you using?

				SENA
		Forty-seven CC's Valium.

	Sena's assistant looks up in surprise.

				LAYTON
		Forty-seven CC's?

				SENA
		Yeah, I know, but believe me -- this 
		guy doesn't go under very easily.

	Sena injects the full syringe into the IV. They step 
	back.

				SENA
			(to Ruby)
		Well, that's it. He'll be asleep in a 
		few minutes, but his first REM-cycle 
		probably won't kick in for another 
		hour or so.
			(beat)
		Is there a place we can get something 
		to eat in this town?

				RUBY
		There's a pizza place over on Market.

				SENA
		Cute waitresses?

				RUBY
		That's open to debate.

				SENA
		I'll take my chances. Come on, I'm 
		buying.

	She shakes her head, pulls up a chair.

				SENA
		There's nothing to see here. He 
		sleeps... we record it. That's all 
		that happens.

				RUBY
		He's my client, and this is important. 
		Enjoy your waitresses. 

	Sena shrugs and then exits.

				RUBY
			(to Kwan)
		Take note of everything that happens, 
		no matter how insignificant. I want a 
		complete record of this for the court. 

	Kwan nods, sits, taking his job very seriously. Layton 
	looks over at them and yawns.

				LAYTON
		If we're lucky, maybe he'll fart in 
		his sleep.

	Kwan smiles, but then sees Ruby isn't amused. She keeps 
	her eyes on Jason. OFF the image of Jason's face -- his 
	eyes are drooping and he's-starting to fall asleep... 

	EXT. HOSPITAL - NIGHT

	A few cars in the parking lot, and some extra sheriff's 
	deputies providing security -- but otherwise, all is 
	quiet.

	INT. JASON'S HOSPITAL ROOM - NIGHT

	A while later. Layton is sitting at the console, watching 
	the monitor with a bored look. Kwan is doodling on the 
	legal pad. The Deputy is slouching against the wall. 
	Jason is sleeping. Only Ruby seems still interested in 
	Jason -- she watches him closely. A quiet moment, then 
	Ruby looks up, catching something out of the corner of 
	her eye...

	JASON'S HAND

	His finger twitches slightly.

	JASON'S EYES

	His eyes begin to move back and forth beneath his 
	eyelids...

	RESUME

	Layton reacts as his console sends out a BEEP.

				LAYTON
			(off console)
		There he goes. REM sleep began at 
		twenty-two fifteen hours.
			(beat)
		Sweet dreams, you psycho. 

	On the monitor, we see the distinctive EEG of REM SLEEP -- 
	a single squiggly line. There's also a hard copy print-
	out being generated off to the side on a long, narrow 
	sheet of paper piling up on the floor.

	JASON'S FACE

	Eyes shifting under closed lids -- Rapid Eye Movement. 
	PUSH IN ON Jason's eyes... closer, until they fill the 
	frame...

	Suddenly his eyes fly open, and we PULL BACK to reveal 
	that we are actually looking at eyes of the YOUNG JASON 
	seen in the earlier dream sequence. _WE ARE IN JASON'S 
	DREAM_. The boy is lying wide awake on his bed, staring 
	up at the bedroom ceiling, unable to sleep. 

	The boy hears a distant screaming noise... the moans of a 
	woman's voice. It sounds like she's in pain. The boy 
	frowns, climbs off his bed and follows the sound into the 
	nearby hallway...

	INT. JASON'S HOUSE - HALLWAY

	Instead of the dilapidated, abandoned house seen earlier, 
	the house is in fine condition, filled with normal 
	furniture and has a lived-in look. We're in Jason's house 
	as it appeared over twenty years ago. The young boy, 
	scared, worried, is walking toward the bedroom door at 
	the end of the hall. The moans and screams grow louder. 
	He finally reaches the door and slowly opens it...

	INT. MOTHER'S BEDROOM

	The bedroom seen earlier, but as it appeared over twenty 
	years ago. A woman is tied to the bed with leather straps 
	and she's screaming in ecstasy. A man is on top of her, 
	fucking her hard enough to make the bed slam against the 
	wall. 

	Young Jason stands in the doorway, wide-eyed, not sure 
	what to think.

				BOY
		Mommy?

	The woman looks over, sees him.

				MOTHER
			(angry)
		Jesus Christ, Jason... what are you 
		doing? Get out of here!

	The man turns his head to the boy in anger -- it's FREDDY 
	KRUEGER as he appeared when he was mortal -- no burns. 
	He's naked but the distinctive fedora sits on a nearby 
	chair.

				FREDDY
			(to mother)
		I didn't know you had a son...	I just 
		_love_ kids.

	Freddy gets up off the bed... moves toward the door.

				FREDDY
		Come here, little man... want to play 
		with Freddy...?

	But the boy backs off at the sight of Freddy moving 
	toward him and the boy takes off running...

	INT. LIVING ROOM

	The boy heads for the door... opens it but KRUEGER is 
	standing in the doorway, fully clothed now in his 
	distinctive garb and with burns on his face -- this is 
	the familiar nightmare image of Krueger. Freddy grabs the 
	boy by the shirt, hoists him up to eye-level with one 
	hand.

				FREDDY
		It's been a while, little man. I 
		thought you were dead.

	He runs one of his finger-blades across the boy's cheek, 
	not hard enough to draw any blood.

				FREDDY
		You got away once... but not this 
		time.

	He spreads the blades wide... lifts his arm to strike... 
	and as his hand flashes toward his face, the blades 
	suddenly hit a _HOCKEY MASK_ which has appeared over 
	young Jason's face. Freddy stops, confused.

				FREDDY
		What...

	He drops the boy, who falls heavily on the floor. And as 
	Freddy watches in shock, the boy stands up... and as he 
	gets to his feet, his body starts to TRANSFORM into ADULT 
	JASON. An ARM, a LEG, TORSO, his HEAD -- FEATURES 
	MORPHING incredibly one by one until the towering figure 
	of JASON stands before him. Freddy's eyes narrow, forced 
	to suddenly reevaluate the situation.

				FREDDY
		So.... all grown up, I see.

	A tense moment as the two circle each other warily. There 
	is clearly a prior relationship between the two men -- 
	and there is a deep hatred between them

	Jason edges towards the fireplace, where there is an AXE 
	leaning against some firewood. He lunges, grabs the axe 
	and swings it toward Freddy. It CONNECTS -- biting deep 
	into Freddy's chest. Freddy roars in pain. Jason advances 
	on him, chopping and hacking at Freddy, who staggers back 
	at the vicious blows...

	INT. JASON'S HOSPITAL ROOM - NIGHT

	As before. The console starts beeping and Jason's REM 
	pattern starts jumping erratically.

				LAYTON
		What the hell... 

	Ruby moves to him.

				RUBY
		What's going on?

				LAYTON
		I don't know. I've never seen anything 
		like it.

	On the bed, Jason's hand twitches more violently. His arm 
	jumps slightly.

				LAYTON
		He must be having one hell of a dream. 
		His REMS are all over the place.

	JASON'S DREAM - LIVING ROOM (CONTINUOUS)

	Jason is literally HACKING Freddy to pieces. Blood 
	spraying around the living room. Freddy's limbs have been 
	severed -- arms and legs chopped clean off. 

	Jason lifts the axe and DECAPITATES Freddy's head. The 
	head rolls a few feet away. 

	But Freddy isn't dead. The severed head _smiles_, and 
	looks up at Jason.

				FREDDY
		Nice try.

	Without warning, Freddy's disembodied ARM grabs Jason by 
	the ankle, pulling him off his feet. Jason CRASHES hard 
	onto the floor. One of Freddy's dismembered LEGS kicks 
	him in the side. Another LEG puts its foot on Jason's 
	throat, pinning him to the ground. FREDDY'S HEAD rolls 
	like ball onto his bloody torso, reconnects itself. The 
	torso leaps up and in the flash of an eye his entire, 
	body starts to REASSEMBLE itself.

	INT. JASON'S HOSPITAL ROOM

	Jason starts thrashing violently on the bed. Kwan is on 
	his feet now, standing a safe distance away.

				LAYTON
		Something's wrong. I'm bringing him 
		out.
			(to Deputy)
		Give me a hand.

	Layton and the Deputy move to Jason's bedside. Layton 
	grabs a hypodermic off a medical tray, starts filling it 
	with a solution. Kwan quickly takes notes, trying to 
	capture every detail. The Deputy moves to the opposite 
	side of the bed, tries to hold Jason still while Layton 
	prepares the hypodermic.

	JASON'S DREAM - LIVING ROOM

	Freddy is now whole again, and he is standing with his 
	foot on Jason's throat, pinning the man to the ground.

				FREDDY
		I make the rules around here. And rule 
		number one is: _Freddy Always Wins_.

	He plunges his FINGER BLADES straight down INTO Jason's 
	chest.

	INT. JASON'S HOSPITAL ROOM

	The assistant pricks the needle into Jason's arm... he 
	starts to press the plunger on the hypo...

	_FREDDY'S ENTIRE FOREARM BURSTS STRAIGHT OUT OF JASON'S 
	CHEST_. There is no blood. It's an otherworldly effect -- 
	as though Freddy is BREACHING INTO OUR REALITY. 

	Everyone freezes in shock at the image. Freddy's hand 
	moves like lightening and SLASHES the Deputy and Layton 
	in one fluid move. They collapse, BLOOD SQUIRTING from 
	the razor cuts in their necks. 

	The syringe is still deep in Jason's arm -- but the drug 
	has not yet been injected.

	JASON'S DREAM - LIVING ROOM

	Freddy is digging his arm deeper into Jason's chest. 
	Jason is writhing in pain, his hockey-clad face inches 
	away from Freddy's now. Freddy frowns... digs his arm in 
	_deeper_...

				FREDDY
		There's more to you than meets the 
		eye.

	He plunges his arm yet DEEPER --

	INT. JASON'S HOSPITAL ROOM

	-- where we see Freddy's entire arm and part of his 
	shoulder BURSTING out of Jason. Freddy's hand whips 
	around, searching for something to grab onto... blades 
	scraping against the wall... ripping at bedsheets... 

	Ruby opens the door and yells out --

				RUBY
		We need help in here! NOW!

	Kwan turns to avoid the thrashing finger blades... but a 
	BLADE SNAGS in Kwan's ponytail. He yells out... tries to 
	untangle the blade but it's too late. Freddy knows he has 
	somebody. The hand grabs hold and yanks him up onto. 
	the bed. Kwan struggles, but it's too late -- Freddy 
	PULLS KWAN DOWN INTO JASON'S CHEST...

	JASON'S DREAM - LIVING ROOM

	Freddy's pulls Kwan's head OUT OF JASON'S CHEST, INTO THE 
	DREAM. Kwan blinks and looks around in abject terror. 
	Freddy looks amazed at the sight.

				FREDDY
		You're not from around here, are you?
			(realizing)
		You're from the _other side_.

	INT. JASON'S HOSPITAL ROOM

	Where Ruby has grabbed onto Kwan, trying desperately to 
	pull him out of Jason's chest. Jason thrashes, BREAKS an 
	arm restraint.

	CLOSE ON JASON'S ARM

	As Ruby and Ewan struggle, Kwan's body presses up against 
	the plunger on the syringe -- and inadvertently INJECTS 
	Jason with the drug...

	JASON'S DREAM - LIVING ROOM

	Freddy is laughing now. He RIPS at Kwan's face with the 
	blades, then SHOVES Kwan's head straight down --

	INT. JASON'S HOSPITAL ROOM

	-- Kwan is catapulted out of Jason's chest, knocking Ruby 
	down and he SLAMS into the far wall. He slumps to the 
	floor, covered in blood and gore, _dead_. Ruby sits up 
	with a dazed look.

	JASON'S DREAM - LIVING ROOM

	Freddy smiles, leans down as though to enter Jason's body 
	head-first... when suddenly the SCENE DRAINS OF COLOR. 
	Freddy's head snaps up, looks around.

				FREDDY
		No... not yet!

	The ENTIRE SCENE DISTORTS and FRAGMENTS, Jason's dream 
	breaking up. Finally DISSOLVING TO:

	INT. JASON'S HOSPITAL ROOM - CLOSE ON HIS FACE

	as his eyes fly open -- he's _awake_.

	WIDE ON THE ROOM

	A bloody mess. But everything is quiet. Ruby sits on the 
	floor in shock. The doors burst open and a team of 
	doctors and nurses rush in and react to the sight. OFF 
	the moment...

								 CUT TO:

	EXT. CRYSTAL LAKE SHERIFF'S STATION - DAY

	Ruby, escorted by two sheriff's deputies, is pushing her 
	way through a media circus. Reporters thrusting 
	microphones, cameras and tape recorders at her as she 
	tries to make her way to the Sheriff's Station doors.

				VARIOUS REPORTERS
			(overlapping)
		Is it true Jason killed three more 
		people? Your own assistant was 
		murdered, how do you feel about that? 
		Do you still intend to plead not 
		guilty? How does this affect your 
		defense strategy? etc. 

	Ruby looks shell-shocked -- she's changed and cleaned- 
	up, but she doesn't answer.

								 CUT TO:

	INT. SHERIFF'S STATION - INTERROGATION ROOM - DAY

	Sheriff Hayes is questioning Ruby. There's a tape 
	recorder on the table in front of them. A two-way mirror 
	dominates the room. The D.A. Harding is there, with a 
	skeptical look on his face.

				HAYES
		A hand?

	Ruby runs a hand through her hair, tries to talk calmly.

				RUBY
		That's right... it... it came right 
		out of his chest...

				HAYES
		Who's chest?

				RUBY
		Jason's. It came out of his
		chest... a hand with long blades on 
		the fingers...

	She tries to stay calm...

				RUBY
			(continuing)
		And this hand... it... it slashed 
		Doctor Layton's throat... and the 
		Deputy. Then it grabbed Danny by the 
		head...
			(getting emotional)
		And it pulled his head right down into 
		his chest... I couldn't... Hayes lays 
		a hand his shoulder.

				HAYES
		Take it easy, Ruby...	it's all right.
			(beat)
		Now, try to think clearly... don't you 
		mean _Jason's_ hand... don't you mean 
		he grabbed a scalpel and slashed 
		Doctor Layton's throat?

				RUBY
			(a challenge)
		Did you find a scalpel? Did you find a 
		murder weapon?

	An awkward beat. Harding reaches over and turns off the 
	tape recorder. He's trying to help her.

				HARDING
		Ruby, come on. You witnessed a brutal 
		triple murder and you're having 
		trouble accepting it.
			(beat)
		Think about what you're saying. You 
		really expect a jury to believe that 
		Jason has a mystery killer living in 
		his tummy?

				RUBY
		I know how this sounds, but that's 
		what happened.

	Her voice is cracked slightly. It's clear she's having 
	trouble dealing with all this. Harding and Hayes exchange 
	a look.

				HAYES
		Look... Ruby... maybe you should hand 
		this case over to someone else. Take a 
		few weeks off. 

	Ruby stands, adamant.

				RUBY
		I don't need time off. What we need to 
		do is find out who killed those men. 
		Where did that hand come from?

	A tense beat.

				HAYES
		We're still checking the crime 
		scene... but I can almost guarantee 
		we'll be filing three more murder 
		charges against your client within a 
		day.
			(beat)
		And we're moving him back to his jail 
		cell...	 where he belongs.

	Harding and Hayes exit, leaving Ruby alone for a moment. 
	She looks at her reflection in the two-way mirror, trying 
	to get a hold of herself...

								 CUT TO:

	INT. JAIL CELL - CORRIDOR - NIGHT

	Security is noticeably tighter. Four Deputies stand 
	outside the jail cell, shotguns at-the-ready. 
	Jason has been manacled and shackled with even heavier 
	irons. Ruby is standing outside the cell, watching her 
	client. Jason is again staring off into middle-distance.

				RUBY
		What's going on in that head of yours, 
		Jason? What are you thinking?
			(beat)
		I wish there was some way you could 
		make me understand what I saw in that 
		hospital room. 

	A long moment.

				RUBY
		Well... at least I know you're 
		innocent of something. As she turns to 
		go...

								 CUT TO:

	INT. RUBY'S HOUSE - LIVING ROOM - NIGHT

	Ruby is sitting at a desk in front of her PERSONAL 
	COMPUTER. She has case files all around her. 

	She shuffles through the papers until she finds a POLICE 
	SKETCH showing a drawing of a hand with the glove and 
	blades. On the single sheet there are top, side and 
	bottom views. 

	And on the top we can see print that says "Artists 
	Conception of Murder Weapon Based on Eyewitness 
	Description." 

	Ruby looks at the sketch for a moment, then reaches over 
	and opens a small OPTICAL IMAGING SCANNER. She places the 
	drawing in the scanner, closes the lid, then taps a few 
	controls of the computer keypad. The scanners starts 
	working... and on the computer screen we see a digitized 
	image of the artist's drawing as it fills the frame. 

	Ruby works the keypad -- on the screen the computer says 
	"Save as: MURDER WEAPON." She reaches over turns on a 
	MODEM. We hear the familiar dial tone. Ruby taps in a 
	telephone number on the computer, and we hear the modem 
	start dialing a number. We hear a computer tone answer on 
	the other end. 
	On the screen, a window appears which says "Welcome to 
	FBI Bureau of Criminal Statistics. Enter Request." 

	Ruby taps in "Homicide File Search." The computer answers 
	back: "Choose Category: Victim, Suspect, Location, 
	Method, Murder Weapon, Date, Investigators, etc." Ruby 
	types in "MURDER WEAPON." 

	The computer answers: "Search Murder Weapon by: Graphic 
	or Text." Ruby types in "GRAPHIC." 

	Computer: "Enter Graphic." Ruby taps another command, and 
	we see the digitized picture of the FINGER BLADES appear 
	again as the computer sends it to the FBI center. A 
	window comes up on the computer that says: "Graphic 
	received. Searching records..." 

	A beat goes by... then the screen says "Match Found." 
	Ruby types in "DISPLAY RECORD." The computer goes blank 
	for a moment, then is filled with a police file. There's 
	a fuzzy photo of Freddy Krueger (without burns) wearing 
	his distinctive fedora hat... and there is a police photo 
	of a glove with blades lying on the ground. The glove is 
	singed and scorched. Ruby leans forward.

				RUBY
		There it is...

	The photo is labeled at the bottom: "Crime scene photo 
	147. Date: 1968. Suspect name: KRUEGER, FRED."

				RUBY
			(reads)
		Fred Krueger...

	She taps a few controls. The screen now fills with a case 
	file -- City of Springwood Police department. Ruby reads 
	the screen with growing excitement...

				RUBY
			(reads)
		Janitor at Springwood Junior High 
		School. Suspected of multiple child 
		murders. Was found burned to death in 
		boiler room...

	Ruby thinks. She sees something on the screen and leans 
	forward. 
	At the very bottom of the page we can see the words: "SEE 
	ALSO: UNSOLVED TEEN MURDERS, SPRINGWOOD, 1984."

	OFF her curious reaction...

								 CUT TO:

	EXT. MOTEL - NIGHT

	A local place -- modest and a little run-down.

	INT. MOTEL ROOM - NIGHT

	Sena is sitting at a cheap plywood desk, with a bottle of 
	scotch and a glass sitting in front of him. He's been 
	drinking, and we can see on his face that he's been 
	shocked by the recent events. The REM print-outs are 
	spread in front of him, along with other papers. 

	There's a knock at the door. Sena gets up, a little 
	unsteady, opens the door. Ruby steps in carrying papers 
	and computer print-outs -- she looks determined.

				RUBY
		I think I'm onto something, Joe.

				SENA
		Me too. I'm drunk.

				RUBY
		Well, I'm onto something more useful.
			(beat)
		You ever hear of a man named Fred 
		Krueger?

	Sena sits down on the bed.

				SENA
		Krueger... doesn't ring a bell.

				RUBY
		He was a child killer in the late 
		sixties... in a town called Springwood 
		about eight miles from here.
			(beat)
		Guess what his murder weapon was?
		A glove with six-inch blades.

				SENA
			(dry)
		Fascinating.

				RUBY
		Now.... according to the file, Krueger 
		was burned to death in a fire in 1968. 
		But get this -- beginning in 1984, 
		there was _another_ series of murders 
		in Springwood. All teenagers... all 
		killed in their sleep... all killed 
		with finger blades just like 
		Krueger's.

	Sena takes this in.

				SENA
		I thought you said Krueger burned to 
		death.

				RUBY
		That's right. The murders in the 
		eighties were never solved.
			(with import)
		But... there were teenaged witnesses 
		who said Krueger had the ability to 
		appear in your dreams... and that if 
		he killed you in a dream, it would 
		kill you in the real world.

				SENA
		Uh-huh...

				RUBY
		Don't you see? Jason was _asleep_. And 
		he was dreaming -- the REM patterns 
		prove that. And I saw finger blades 
		just like Krueger's come out of 
		Jason's chest. There has to be a 
		connection.

				SENA
		Yeah... I think I understand...
			(beat)
		You're drunk, too.

	She throws the computer print-outs at him.

				RUBY
		It's all right here, damnit!

	She starts pacing the room, frustrated.

				SENA
		Look... I know how upset you are. I'm 
		upset, too. Tom Layton was my 
		assistant for five years. We both lost 
		somebody in there. 

	Ruby calms down a little.

				RUBY
		I'm sorry... but I know what I saw...

	She grabs the drawing of Krueger's finger blades.

				RUBY
			(re: drawing)
		And I saw this hand kill three people. 
		I'm telling you... there's a 
		connection between Jason and Freddy.

	Sena takes a deep breath, tries to clear his mind.

				SENA
		Okay... set that aside for a moment... 
		because I have something, too, and I'm 
		not quite sure what to make of it...

	He stands and moves to the desk, indicates the REM print-
	outs. We can see the long computer strip has a squiggly 
	line running down the center of it... but at one point a 
	SECOND REM LINE appears above it and the two lines run 
	parallel for most of the tape. Sena points to the print-
	out's second line.

				SENA
		See this?

				RUBY
		Yeah, what is it?

				SENA
		_It's a second REM pattern_.

	He points to the first squiggly line.

				SENA
		I know what this is... this is Jason's 
		REM pattern. It runs through the 
		entire record of the session.
			(re: second pattern)
		But this _second pattern_ appears	 out 
		of nowhere and runs concurrent with 
		Jason's for the last five minutes of 
		his dream.

	Ruby studies the tape.

				SENA
		It's as though there were two people 
		in that room... both of them asleep... 
		both of them dreaming.

				RUBY
		That doesn't make sense.

				SENA
		Add it to the list.

				RUBY
		So what do we do? 

	Sena considers.

				SENA
		I don't suppose I can go back to the 
		University and chase young coeds 
		again... pretend this whole thing 
		never happened...

				RUBY
		Not yet.

				SENA
		Then I'd say we should put Jason under 
		again... run another tape on him and 
		see what happens. We'll get extra data 
		this time. Video... infrared... the 
		works.

				RUBY
		Great.	When can you do it?

				SENA
		Tomorrow. If you can clear it with the 
		Sheriff's department.

				RUBY
		I'll have to lean on them pretty hard 
		after what happened last night... but 
		I think I can do it.
			(beat)
		Let me know what happens.

				SENA
		You're not going to be there?

				RUBY
		I was there once... that was enough. 
		Besides... I have to go out to Jason's 
		house tomorrow. 
			(grim)
		They're... digging up some new 
		evidence.

								 CUT TO:

	CLOSE ON THE GROUND

	as a shovel digs out a spade-full of dirt, then bites 
	back into the ground, but this time instead of sinking 
	into the dirt, the blade clanks against something solid. 
	A hand reaches down, brushes aside some of the dirt to 
	reveal the top of a HUMAN SKULL. WIDEN to include --

	EXT. JASON'S HOUSE - DAY

	The man digging is a SHERIFF'S DEPUTY. We are on the 
	hillside behind Jason's house. Scattered along the hill 
	are a dozen or so deputies and forensics experts digging 
	up the hillside, looking for bodies.

				DEPUTY
			(calls out)
		I got another one here!

	A forensics expert moves to him. Ruby, Sheriff Hayes and 
	Harding stand off to one side, watching grimly.

	Hayes makes a note on a clipboard.

				HAYES
		Tag that one victim number forty- 
		seven.

	Another team of deputies and forensics experts carry a 
	body bag past them. The scene is depressing Ruby. Harding 
	has a smirk on his face. 

				HARDING
			(to Ruby)
		I can't wait to hear your opening 
		argument.	"Ladies and Gentlemen	of the 
		Jury... the Defense will prove that 
		Jason Voorhees did not kill all of 
		these people. They, in fact, committed 
		mass suicide and then buried 
		themselves in his back yard..."

				RUBY
		Fuck you.

	She walks off. Hayes looks at Harding, annoyed with the 
	man's casual attitude.

				HAYES
		That's a legal term. It means "fuck 
		you."

	Hayes walks off.

	NEW ANGLE - JASON'S FRONT PORCH - DAY

	Ruby watches the parade of bodies being dug up, carried, 
	tagged and loaded onto a flatbed truck. It's stacked high 
	with BODY BAGS. It sickens her. She turns away from the 
	scene, decides to go into the house. She ducks under the 
	crime scene tape surrounding the house... walks up the 
	creaky stairs to the front door...

	INT. JASON'S HOUSE - CONTINUOUS - DAY

	Ruby enters, looks around -- this is her first time in 
	the house and she's curious. In contrast to the last time 
	we saw the house, it is lit by various standing lights 
	that the deputies have brought in. Furniture, possessions 
	and artifacts have all been numbered and tagged as 
	evidence. Otherwise, the house is largely intact. There 
	is plastic matting on the floor.

	The harsh white light gives the house a cold, eerie 
	quality. 

	Ruby walks over to the lone upholstered chair... runs a 
	hand over the top. She pulls her hand away and folds her 
	arms around her chest, suddenly chilled. She walks to a 
	wall and examines it... the wallpaper is old and torn... 
	and there are dark blotches of what might be dried blood. 
	Each blotch has been circled with marker pens and have 
	identifying numbers next to them. 

	Ruby glances at the nearby hallway, heads for it...

	INT. HALLWAY 

	Ruby walking toward Jason's mother's bedroom. She 
	enters...

	INT. MOTHER'S BEDROOM

	The room appears as it did at the top of the film -- 
	everything in its place, covered with a layer of dust. 
	Tags on everything. Ruby walks over to the night table 
	seen earlier, where she examines the photograph of Jason 
	as a boy. He stares back at her with that haunted look.

	She turns away from the photo, lets her eyes roam over 
	the room... notices a closet. She moves to it, carefully 
	opens the door... 

	Inside we find clothes and artifacts that have not been 
	disturbed in decades. Women's clothes circa 1960 hang 
	neatly on the rack. Some are moth-eaten. Shoes, coats and 
	other clothing are also there -- all women's. 
	She moves to close the door, but stops when she notices 
	that hanging on the inside of the door on a peg is a 
	man's brown FEDORA HAT -- identical to the one she saw in 
	the photo of Freddy Krueger. She reacts... takes the hat 
	off of the peg, holds it in her hand... looks inside the 
	hat brim. 

	Embossed in gold inside the brim are the initials 
	"_F.K._"

				RUBY
		Krueger...

	OFF her reaction as she realizes she's found an important 
	connection...

								 CUT TO:

	INT. JASON'S CELL - DAY

	Jason is lying on a gurney. TWO DEPUTIES are shackling 
	him securely to the rails by the arms and legs. While 
	they do this another two deputies stand in the cell with 
	shotguns, keeping a close eye on him. But Jason, as 
	always, is not struggling and is eerily still. Sena is 
	outside the cell, making final adjustments to the console 
	seen earlier -- his neural scanning equipment. 

	The Deputies finish securing Jason. There is a thick of 
	atmosphere of paranoia and hostility in the room.

				DEPUTY #1
		That	should hold him.

				DEPUTY #2
		That's what they said the last time. 
		And the son of a bitch got loose.

	The Deputies back out of the cell cautionsly. Sena walks 
	in with a flip, nonchalant attitude making a show of how 
	unconcerned he is as he approaches Jason and attaches 
	electrodes to his forehead.

				SENA
		Here	we go, Jason...
			(beat)
		Would you like a bedtime story?

	Jason's eyes flick over to Sena for a moment, and it's 
	enough to wipe the smile off Sena's face and send a chill 
	through his body. Sena quickly heads for a tray where a 
	syringe and a bottle of sedative are waiting. As he fills 
	the syringe...

	INT. JASON'S HOUSE - MOTHER'S BEDROOM

	As before. Ruby is now rummaging through the closet, 
	looking for other clues. She finally gives up -- nothing 
	here. She turns and goes to a chest of drawers, starts 
	opening the drawers... reacts in disgust at a drawer 
	swarming with INSECTS and mold... keeps looking...

	INT. JAIL CELL - CORRIDOR - DAY

	As before. The Deputies standing by, Sena sitting at the 
	console, activating the equipment. There are also video 
	cameras and other high-tech monitoring equipment -- 
	whatever happens this time, it's going to be recorded. 

	Jason is on the bed, his eyes closed.

	After a beat, we can see his eyes begin to move 
	underneath his eyelids as he begins dreaming. On Sena's 
	monitor, a computer message comes up: "REM SLEEP 
	ESTABLISHED." Sena notes the time on his clipboard...

	INT. JASON'S HOUSE - MOTHER'S BEDROOM

	As before. Ruby is now on all fours, looking underneath 
	the bed...

	INT. JASON'S CELL - CLOSE ON HIS FACE

	as-his head twitches in his sleep -- he's obviously in 
	the middle of a nightmare... 

	INT. JASON'S HOUSE - MOTHER'S BEDROOM

	Ruby in part-way under the bed, rummaging through 
	clothing and other debris... when suddenly there is a 
	SQUEAK from the bed above her. She freezes... then it 
	happens again. We see the springs of the bed EASE DOWN 
	toward her, as if someone just sat down on the bed.

				RUBY
		Hello?

	No answer. She starts to crawl out from under the bed, 
	when suddenly the bed starts to JUMP VIOLENTLY, as if 
	someone were standing on the bed jumping up and down. 
	Ruby is being pounded by the action of the springs... she 
	struggles to get out... the metal springs scrape and tear 
	at her, cutting her in places. She screams, panicked.

				RUBY
		Let me out! Let me out, stop it!

	She finally manages to free herself, stands and looks at 
	the bed. There's no one there, but on the bed we can see 
	the IMPRINT OF TWO BODIES which have disturbed the dust 
	and are DISTORTING the sheets. It's as if two INVISIBLE 
	PEOPLE are in the bed fucking violently. The bed jumps up 
	and down under their unseen bodies. Ruby backs up in 
	shock, terrified and confused.

	INT. JAIL CELL - CORRIDOR

	Sena tenses, leans forward. Jason's REM pattern is 
	getting highly erratic. On the bed, Jason is now 
	thrashing in his sleep against the manacles.

	The Deputies are getting uneasy. One of them chambers a 
	round into the shotgun, finger on the trigger...

	INT. JASON'S HOUSE - MOTHER'S BEDROOM

	The movement on the bed _stops_. Dead quiet. Ruby tries 
	to catch her breath, runs a trembling hand through her 
	hair. There is the creak of a door behind her. She turns, 
	and is surprised to see --

	A YOUNG BOY  

	standing in the doorway (it's young Jason, the same boy 
	seen in Jason's dreams). The boy is staring at the bed, 
	not at Ruby. But before she can say anything, the door. 
	slams shut in the boy's face.

				RUBY
		Wait	wait! 

	She rushes to the door, opens it --- there's no one 
	there.

	INT. JAIL CELL - CORRIDOR

	Sena watching in amazement as the readings on the 
	monitors get more and more erratic. On the bed, Jason is 
	now trembling violently. The Deputies shift nervously 
	from foot to foot. Suddenly a SECOND REM PATTERN emerges 
	on the monitor. Sena leans forward.

				SENA
		There it is... the second REM 
		pattern...

	INT. JASON'S HOUSE - LIVING ROOM

	Ruby looking around for the boy -- who is he?

				RUBY
			(calls out)
		Where are you? It's all right, I won't 
		hurt you... what are you doing here?

	Nothing.	Only silence. She glances out the window, sees 
	the boy running through the forest. He looks afraid. She 
	bolts for the front door...

	INT. JAIL CELL - CORRIDOR  

	Sena is tapping commands, trying to analyze the REM 
	signals.

				SENA
		Where is this coming from? It doesn't 
		make any sense. It's like there's 
		someone else in there with him...

	Jason jolts violently. The lights FLICKER in the room. An 
	ominous RUMBLING SOUND can be heard -- almost like an 
	approaching freight train. The Deputies are definitely 
	getting nervous at this point, glancing around, wondering 
	what the hell is going on. 

	EXT. FOREST - DAY

	Ruby running through the dense trees, trying to find the 
	boy... but he's nowhere in sight. She comes up to the 
	LAKESHORE, looks around. No one there. She's about to 
	give up and go back to the house, when a flash of 
	sunlight on metal can be seen nearby. She looks. There 
	appears to be something metal hidden in the bushes about 
	fifty yards away from her. She heads for it...

	INT. JAIL CELL - CORRIDOR

	Sena working his console and equipment, trying 
	desperately to figure out what's going on. Suddenly the 
	monitors EXPLODE one by one in bursts of sparks and 
	glass. Sena throws up his arms to protect himself and 
	hits the floor.

	EXT. FOREST/LAKESHORE - DAY

	Ruby is pulling brush away from the metal object... and 
	reveals the METAL CANOE we saw in Jason's dreams. The 
	canoe is rusted and covered with dirt and grime. She 
	pulls it over on its side and discovers FIVE LONG SLASHES 
	on the metal bottom. OFF her reaction...

	INT. JAIL CELL - CORRIDOR - DAY

	Sena is picking himself up off the floor... the room is 
	quiet now, and the smoke from the crackling consoles is 
	swirling about.

				SENA
		Fuck me...

	He approaches the open jail cell door, peers inside. 

	SENA'S POV 

	The smoke eddies through the cell... and we get a 
	fleeting glimpse of Freddy Krueger standing on Jason's 
	bed -- Krueger is just _pulling his left leg out of 
	Jason's chest_. The smoke swirls about and quickly 
	obscures the scene.

	SENA

	Reacts in shock. Blinks a couple of times -- did he 
	really see that?

				SENA
		Who's that? Who's in there?

	A _figure_ steps forward out of the smoke... it's FREDDY 
	KRUEGER. He looks exhilarated. Freddy has broken into our 
	reality and it's a big moment for him. Sena eyes the man 
	with shock.

				SENA
		Who are you?

				FREDDY
		Everyone's worst nightmare.

	Freddy steps forward to strike Sena but stops when he 
	hears the sound of weapons being cocked. He turns to 
	see...

	THE FOUR DEPUTIES

	who bring their weapons up, ready to pump Freddy full of 
	shells. Freddy smiles at them. 

	Suddenly their eyes lose focus as if seeing some other 
	scene. Sena frowns, puzzled. The Deputies seem to be 
	experiencing some kind of waking nightmare that only they 
	can see -- some are sweating, trembling, muttering, 
	frightened. Finally, the Deputies all turn their weapons 
	_on themselves_, putting the barrels in their mouths and 
	to their own temples. There's a quick beat.

				FREDDY
		Take a load off your mind, boys.

	The Deputies all pull the triggers and BLOW THEIR HEADS 
	OFF. Blood splatters across the room.

	Sena recoils against the wall in horror. Freddy sniffs 
	the air.

				FREDDY
		Ah... the smell of _real_ blood. It's 
		been a long time.

	There are shouts from down the hall and the door to the 
	Sheriff's Station swings open, revealing other deputies 
	racing into the cell area, with their guns out. Freddy 
	smiles at them in anticipation.

	EXT. JASON'S HOUSE - DUSK

	As Ruby comes running up through the darkening forest. 
	The deputies are scrambling to their cars and roaring 
	away, sirens wailing. Ruby runs up to Harding, who is 
	heading for his own car. 

				RUBY
			(to Harding)
		What's going on?

				HARDING
		Some kind of emergency back at the 
		Sheriff's Station. Four deputies 
		shot... some kind of explosion... I 
		don't know what's going on, but 
		they're panicking back there.

	Ruby jumps in the car with Harding and they take off to 
	follow the Sheriff's deputies.

								 CUT TO:

	EXT. CRYSTAL LAKE - NIGHT

	Ruby and Harding drive past the "Welcome to Crystal Lake" 
	sign, and slow as they enter the MAIN STREET. The small 
	thoroughfare seems deserted. But there are a dozen or so 
	DEAD BODIES lying on the street. People on the sidewalks, 
	on the street, in their cars, on park benches... it's as 
	if a neutron bomb went off, killing everyone and leaving 
	the buildings intact. Harding stops the car and they both 
	get out, shocked at the scene of death.

				HARDING
		What the hell happened here...?

	Suddenly the sound of GUNFIRE draws their attention. They 
	take off at a run down the street, turn the corner and 
	stop in surprise at what they see...

	ANGLE 

	A little street lined with shops. Sheriff Hayes and a 
	five Deputies are engaged in a fierce FIREFIGHT -- with 
	_nobody_. The Deputies are firing wildly at enemies only 
	they can see. But Ruby and Harding can see no enemy. It's 
	a bizarre sight as the Deputies fire at and retreat from 
	nothing...

	ANGLE - HAYES

	as he retreats down the street, firing his pistol from 
	the hip -- he's clearly terrified of something that only 
	he can see advancing on him.

				HAYES
			(to Deputies)
		Fall	back! Fall back! 

	Hayes turns and tries to run, then is knocked to the 
	ground by some unseen force and a SPRAY of BLOOD as his  
	back is riddled and ripped apart by hundreds of INVISIBLE 
	BULLETS. There is no sound of gunfire at all -- giving it 
	an eerie, surreal quality.

	RUBY AND HARDING

	take in the strange sight.

				HARDING
		There's no one there... who are they 
		fighting?

	Ruby watches in disbelief as the five Deputies are PUMPED 
	FULL OF BULLETS that seem to come from out of thin air.

				RUBY
		They're seeing something that we 
		don't...
			(beat)
		Let's get out of here.

	They take off running...

								 CUT TO:

	EXT. CRYSTAL LAKE SHERIFF'S STATION - NIGHT

	Minutes later. It's a scene of death and destruction. The 
	BODIES of reporters, pedestrians and sheriff's deputies 
	are strewn across the Sheriff's Station lawn. 

	Ruby and Harding pull up in Harding's car and get out.

	Harding puts a hand to his mouth, sickened by the sight. 
	Ruby steadies him and they head toward the steps... but 
	even Ruby can't avoid looking down at the bodies 
	surrounding her. One of them is a female news reporter, 
	and next to her a dead news cameraman. His VIDEO CAMERA 
	is lying a few feet away. Ruby grimaces, is about to turn 
	away when she notices the LIGHT on the camera is still 
	flashing.

				RUBY
		It's still on.

				HARDING
		What?

				RUBY
		His camera... it's still recording.

	She bends down to the camera, picks it up and fiddles 
	with the camera controls for a moment... hits "rewind" 
	and starts rewinding the tape. Harding stares down at the 
	cameraman -- he was obviously badly beaten before he 
	died.

				HARDING
		Maybe we shouldn't be here... I mean, 
		what if the people who did this are 
		still around? 

	Ruby grabs a small earphone out of the dead cameraman's 
	ear... wipes the blood of it... puts it in her own ear... 
	hits PLAY on the camera. She brings the VIEWFINDER to her 
	eye watch the action...

	CAMERA IMAGE - RUBY'S POV

	A BLACK AND WHITE VIDEO IMAGE of the female reporter. 
	She's standing in front of the Sheriff's Station with her 
	microphone, beginning a routine stand-up piece.

				REPORTER
			(to camera)
		So far the Sheriff's Department have 
		refused to give an exact count of the 
		bodies found at Jason Voorhees's 
		house. But inside sources have told 
		Channel Nine News that the body count 
		is currently at forty-seven and 
		climbing.
			(beat)
		Judge Gillan will be hearing motions 
		on --

	She suddenly breaks off and turns around, as if hearing 
	something behind her. During the following sequence, the 
	reporter and cameraman will be reacting to scenes that 
	_only they can see_, while the videotape clearly shows 
	that _nothing is actually there_.

				REPORTER
			(shocked)
		We just heard gunshots coming from 
		within the Sheriff's Station. I don't 
		know what's going on but something's 
		clearly wrong... 
			(an aside, to camera)
		Jerry, keep me in frame, but shoot 
		over my shoulder. 

	The cameraman focuses on the front of the Sheriff's 
	Station, keeping the reporter in frame.

				REPORTER
		More gunshots... there was a scream... 
		and what sounds like voices 
		shouting... 

	But again, as the reporter narrates this action we see 
	and hear _nothing_. The Sheriff's Station is peaceful. 
	She reacts in shock.

				REPORTER
		Oh my God... it looks like a prison 
		break... I'd say there are least fifty 
		prisoners bursting out onto the 
		Sheriff's Station lawn... 

	The cameraman is moving the camera frantically, as if 
	trying "capture the action" -- but there is no action to 
	capture. The reporter is starting to panic.

				REPORTER
		I... I can't believe this... my God, 
		they're attacking people... it's 
		turned into a riot!

	The camera image is knocked around and FRITZES as the two 
	run for cover. Suddenly the reporter _screams_.

				REPORTER
		No, no! Let me go, please! Don't hurt 
		me!

	The cameraman instinctively whirls the camera onto her. 
	She is writhing on the ground, screaming furiously, as if 
	to throw off INVISIBLE ASSAILANTS. Her dress is RIPPED 
	OPEN, her legs spread, her breasts exposed.

	She screams and wrestles, tries to get away -- she's 
	being _RAPED BY UNSEEN FORCES_. We hear the cameraman 
	breathing heavily, panicking.

				CAMERAMAN'S VOICE
		Oh my God... oh my God... no... no, 
		please, leave me alone! NO!

	A strangled cry of agony and the camera image SMASHES to 
	the ground. We hear the cameraman screaming in pain. And 
	then the screams stop. There's a quiet beat... 

	and then the camera is picked up off the ground and we 
	see the face of FREDDY KRUEGER leering into the camera 
	lens.

				FREDDY 
		This is Freddy Krueger reporting! 

	The image FRITZES TO BLACK.

	RUBY

	drops the camera in shock, as if there was a snake in her 
	hand..

				HARDING
		What happened?

				RUBY
		_Krueger_...

				HARDING
		Who?

				RUBY
		Come on.

	Harding hesitates -- he's scared.

				HARDING
		I've had enough. You're on your own, 
		Ruby. Sorry.

	Harding heads for his car, gets in and drives off. As 
	Ruby pounds up the steps of the Sheriff's Station...

	INT. JAIL CELL - CORRIDOR - NIGHT

	The hall leading to Jason's cell is littered with the 
	bloodied and ravaged BODIES of several dead deputies. A 
	smokey haze still hangs in the air.

	Jason's cell door is standing open as Ruby approaches. 
	She steps into the cell...

	INT. JASON'S CELL

	Ruby enters and looks around. Jason can be seen 
	_sleeping_ on his bed, still in shackles. The four 
	deputies who shot themselves are all lying on the floor. 
	Ruby moves toward Jason to check on him.

				SENA
		I wouldn't do that, if I were you.

	Ruby nearly jumps out of her shoes. She turns to see 
	Sena, who is sitting calmly on the floor in a dark corner 
	of the cell with his back against the wall.	 He looks 
	shell-shocked, his clothes slightly torn and a few 
	scratches on his face.

				RUBY
		Joe...

	She rushes to him.

				RUBY
		Are. you all right? What happened? 

	He looks up at her dully, takes a moment for his eyes to 
	focus on her.

				SENA
		I'm thinking of writing a paper... and 
		I can't quite decide on a title...

	He trails off. Ruby shakes him.

				RUBY
		_Joe_.

				SERA
		How about "Mass Narcosis Induced by 
		Transdimensional Paranormal 
		Sociopathic Entity."
			(beat)
		Not very catchy, is it?

				RUBY
		Joe, listen to me...

				SENA
			(calm, analytical)
		It's all right. I'm simply in shock... 
		this is what happens to people when 
		they experience events they can't 
		understand or comprehend. The mind 
		shuts down temporarily and tries to 
		shield itself from the horrific 
		imagery it's been exposed to.
			(beat)
		I'm going to need a lot of therapy.

				RUBY
		It was Krueger, wasn't it?

	Sena looks up sharply.

				SENA
		You saw him?

				RUBY
		A cameraman caught him on videotape. 
		Joe, I saw an entire sheriff's squad 
		fighting and losing against an enemy 
		that wasn't there...

	Joe nods gravely.

				SENA
		Fascinating, isn't it? Krueger has the 
		ability to induce some sort of _Mass 
		Narcosis_. People see things that 
		aren't there... waking nightmares... 
		and these nightmares can kill you. 

	Ruby thinks, putting it all together.

				RUBY
		He's out. Krueger's crossed from the 
		dreamworld into ours. And now... 
		instead of just killing you in your 
		sleep... he can kill you while you're 
		_awake_.
			(beat)
		But how did he get here?

	Sena smiles, runs a hand through his hair.

				SENA
		He came out of Jason's dreams.

	He puts his hands to his temples as if trying to hold his 
	brain together as he says these things aloud.

				SENA
		Actually, to be more precise, he came 
		out of Jason's chest. He just... 
		stepped right out of his body like 
		stepping out of a doorway.

	Ruby looks over at the sleeping Jason, who has no damage 
	to his chest. Sena's breath comes faster, he's almost 
	hyperventilating.

				SENA
		In fact, I think that maybe an apt 
		description of our friend Mister 
		Voorhees. I think he'a a doorway 
		between our world and Krueger's.
			(beat)
		Either that... or I'm completely 
		insane.

	His voice begins to tremble. Ruby grabs hold of him, 
	shakes him hard.

				RUBY
		No... you're not insane. We've got to 
		hold on to each other, Joe. If we can 
		do that, maybe we find a way out of 
		this. 

	Sena slows his breathing... tries to calm himself.. his 
	hands are shaking.

				SENA
		Okay... okay...

	Ruby looks at Jason with a mixture of curiosity and fear. 
	Something catches her eye. She looks under the cot... and 
	we see TWO FEET wearing tennis shoes under the cot. 
	_There is someone huddled underneath the bed_.

				RUBY
		Holy shit... there's someone under 
		here.

	Ruby and Sena get to their feet... and there is a tense 
	moment as they look anxiously toward the cot. Ruby 
	cautiously bends down to look under the cot... and is 
	surprised to see the _young boy_ seen in Jason's dreams 
	is now here.

	He is hiding under the bed in fear. Off Ruby's stunned 
	reaction...

								 CUT TO:

	EXT. COUNTRY ROAD - NIGHT

	Harding's car zooming along the road. It passes a sign 
	that says "INTERSTATE 77 - 1/4 mile."

	INT. HARDING'S CAR - NIGHT

	Harding behind the wheel. He breathes a sigh of relief -- 
	he's starting to feel better. He turns the radio on, 
	tunes it to a classical station. 

	EXT. HIGHWAY = NIGHT 

	A bustling, busy thoroughfare -- cars whizzing-back and 
	forth. Harding's car merges into the traffic.

	INT. HARDING'S CAR - NIGHT

	As before. Harding is approaching an overpass directly 
	ahead with a lighted billboard that displays mileage on 
	it: "SPRINGWOOD - 8 MILES" Harding watches the road... 
	then just as he passes underneath the overpass, he 
	glances up again and sees --

	HARDING'S POV

	_Freddy Krueger_ is standing in front of the billboard, 
	the floodlights casting a large shadow on the board 
	behind him. It now reads "_HELL - O MILES_." But the 
	image is only fleeting, as the car zips under the 
	overpass.

	HARDING

	The image was so quick he isn't even sure if he really 
	saw it. The classical music STOPS. And Freddy's VOICE can 
	be heard on the radio:

				FREDDY'S VOICE
		We interrupt this program to make an 
		important announcement.

	INT. ANOTHER CAR

	A woman and her husband driving along the highway, 
	reacting to the same voice.

				FREDDY'S VOICE
			(continuing)
		We regret to inform you that because 
		of circumstances beyond our control...

	INT. ANOTHER CAR

	A family of four, two children, listening to the same 
	announcement.

				FREDDY'S VOICE
		Interstate Seventy-Seven is about to 
		reach... a _dead-end_.

	INT. HARDING'S CAR

	He's trying to change the radio channel, but Freddy's 
	voice is on every station.

				FREDDY'S VOICE
		And now... a golden oldie. 

	We suddenly hear the hauntingly familiar nursery rhyme 
	sung by young girls coming over the radio.

				GIRLS' VOICES
			(singing)
		One, two -- Freddy's coming for you! 
		Three, four -- Better lock your door! 
		Five, six -- Get your Crucifix! 

	Harding doesn't know what to make of it. Suddenly he sees 
	something on the road ahead of him.

				HARDING
		What the hell...

	HARDING'S POV

	directly ahead of him on the freeway, a group of YOUNG 
	GIRLS wearing white dresses are SKIPPING ROPE. It's a 
	strange and oddly frightening sight here in the middle of 
	the freeway.

	HARDING

	Reacts in surprise, then suddenly SWERVES to avoid 
	hitting the girls.

	INT. ANOTHER CAR

	The woman and her husband, as before. They see the girls, 
	too -- and swerve to miss them.

	INT. ANOTHER CAR

	The family of four reacting to the girls and hitting the 
	BRAKES.

	EXT. HIGHWAY - NIGHT

	Car after car PLOWING into each other -- causing a 
	cascade effect: Dozens of cars SLAMMING together, rolling 
	over, careening off the highway into light stanchions. 

	_The girls skipping rope are nowhere in sight_. 

	Some cars JUMP the barrier, CRASHING into cars driving in 
	the opposite direction. IT'S A NIGHTMARE PILE-UP.

	CLOSE ON FREDDY

	who is standing on the freeway overpass next to the 
	railing looking.down. We MOVE TO REVEAL --

	WIDE ANGLE - HIGHWAY

	All of the cars on the freeway have come to a dead 
	stop... lights on... engines running. BUT NONE OF THE 
	CARS ARE DAMAGED. It's like the cars have simply rolled 
	to a stop. As far as the eye can see there are nothing 
	but parked cars.

	INT. HARDING'S CAR

	Harding is lying twisted and mangled in the front seat, 
	still strapped neatly behind the wheel. His neck is 
	broken at an impossible angle, arms flung back and face 
	shredded. The radio is on, playing classical music and 
	the engine is running. A peaceful scene, except for the 
	corpse.

	QUICK CUTS:

	-- The family of four dead, bloodied in a car that has 
	been untouched. 

	-- The woman and her husband, both dead. The man's head 
	lying on the car seat next to his wife. The car is 
	running, the radio playing. 

	-- Inside a few other cars on the highway, all with 
	similar images. Undamaged cars filled with broken bodies.

	ON FREDDY	 

	Looking out over the seemingly peaceful scene.

				FREDDY
		Next time remember... "Don't Dream and 
		Drive."

								 CUT TO:

	INT. JASON'S CELL - NIGHT

	Ruby and Sena have coaxed the young boy out from under 
	the cot. The boy is sitting with his back to the cell 
	bars, his knees drawn up to his chest and his arms 
	wrapped tightly around him. Sena is working at his 
	damaged console, checking readings. Jason is still in a 
	deep, troubled sleep. Ruby is kneeling next to the boy, 
	trying to get though to him.

				RUBY
		I saw you up at the house. What were 
		you doing there?

	The boy's voice is small and flat. There is something 
	haunting about this boy.

				BOY
		I live there... with my mommy.

				RUBY
		Your mommy... where is she?

	The boy shakes his head -- doesn't know. Sena comes over, 
	crouches down. He's holding two sensor pads with wire-
	leads in his hand.

				RUBY
		What are you doing?

				SENA
		Checking out a theory. Just keep 
		talking to him. 

	Ruby focuses on the boy.

				RUBY
		What's your name?

				BOY
		Jason.

	Ruby reacts in surprise.

				SENA
		I think he's telling the truth.

	Ruby looks over in surprise, and Sena motions her over to 
	the console. He's looking over some neural patterns and 
	technical read-outs on a monitor. There are TWO NEURAL 
	PATTERNS on the monitor side by side, and they're 
	identical.

				SENA
			(off monitor)
		This is Jason's REM pattern... and 
		this is the boy's REM pattern. They're 
		identical.

				RUBY
		How's that possible?

				SENA
		Jason's asleep... maybe he's dreaming 
		of himself as a young boy... and that 
		boy is sitting right here.
			(beat)
		I think he's some kind of projection 
		from Jason's subconscious.

	She looks at the boy with renewed intent.

				RUBY
		So in essence... that boy _is_ Jason.

	Sena nods. Ruby moves to the boy, kneels down.

				RUBY
		Jason... do you know a man named Fred 
		Krueger?

	The boy suddenly looks terrified, retreats against the 
	cell bars. Ruby speaks gently.

				RUBY
		You do... and you're afraid of him.

	The boy nods.

				RUBY
		He tried to hurt you, didn't he? In 
		the canoe... on the lake...

	The boy starts to panic at the memory.

				BOY
			(yells)
		Get away from me! Help me! Mommy!	

	The boy cringes and	 cries out as FOUR LONG LACERATIONS 
	appear on his forehead. FOUR MORE CUTS appear on his arms 
	and TEAR at his clothes, then another set on his NECK. 
	The boy is bleeding, crying. It's a terrifying sight. 
	Jason is tossing and turning on the bed. Ruby isn't sure 
	what to do next -- follows her instincts.

				RUBY
			(to boy)
		It's okay, Jason... he can't hurt 
		you... I won't let him hurt you...

	She takes off her coat, tries to use it to staunch the 
	flow of blood, but stops as the lacerations suddenly HEAL 
	before her eyes and turn into nasty SCARS. The blood 
	disappears. A breathless moment as the boy calms down... 
	and a stricken look comes across his face.

				RUBY
		He attacked you in the canoe... you 
		fell in the lake... and then what 
		happened?

	The boy speaks in a flat voice.

				BOY
		I was under the water... the water 
		came into my mouth...
			(beat)
		I couldn't breathe anymore... 
		everything got dark.

	The boy's voice DEEPENS slightly -- older, more adult. 
	It's an eerie moment.

				BOY
		I opened my eyes... and I was lying on 
		the shore of the lake. And everything 
		was... different.

				RUBY
		Different... how?

				BOY
		It was hard to think... pain... I was 
		mad...

	The boy's voice DISTORTS and LOWERS into a frightening 
	GROWL.

				BOY
			(deep growl)
		I was _very mad_.

	Suddenly he goes limp and stares blankly as we've seen 
	adult Jason do previously. Ruby looks at him for a long 
	moment, then stands and joins Sena.

				RUBY
		So Krueger thinks Jason's dead... 
		leaves him in the lake... but the boy 
		actually wakes up on the shore... 
		crawls off into the woods... where he 
		lives the rest of his life alone.

				SENA
		Alone... but with a murderous fury 
		inside him... which led him to kill 
		dozens of people. 

	Ruby thinks.

				RUBY
		If I'm right, this happened before the 
		Krueger murders in Springwood.
			(beat)
		That means that Jason might've been 
		Krueger's first victim.

				SENA
		Except this victim got away. I wonder 
		if --

	Suddenly the boy leaps to his feet with a guttural yell 
	and a murderous rage on his face. He grabs a NIGHTSTICK 
	off the floor and with both hands and SWINGS it at Sena.

	Sena throws up both arms to protect his face and but his 
	arm BREAKS with a sickening crunch. The boy hits him 
	again in the shoulder and Sena crumples to the ground.

	The boy turns to Ruby, moves to attack. Ruby grabs both 
	his arms, but it's difficult to hold on the wildly 
	flailing boy who is growling and screaming like a crazed 
	animal.

				RUBY
		Jason, no! We're not your enemies! 
		Listen to me! _Listen_!

	On the bed, Jason struggles in his sleep, and one arm 
	BREAKS a shackle, taking part of the bed railing with it. 
	Ruby manages to pin the boy against the wall. The boy is 
	still struggling, eyes-wide, spittle drooling out of his 
	mouth. It's a terrifying moment, but Ruby holds firm.

				RUBY
		Jason, no! The man who hurt you is 
		Fred Krueger. He's the one who did 
		this to you. 

	The boy stops screaming for a moment... looks at her with 
	a look of disbelief and fear on his face. Ruby realizes 
	she might be getting through to him.

				RUBY
		Krueger's still out there. He's 
		killing innocent people... just like 
		he tried to kill you.
			(beat)
		He's the one you want. Not us. Not 
		anyone else.

	The boy looks uncertain, scared. Ruby can't help but feel 
	sorry for this damaged little boy.

				RUBY
			(quiet)
		Come here, Jason. I'll take care of 
		you. Everything's going to be all 
		right.

	She holds out her arms... and after a long moment, the 
	boy drops the baton, tears well up in his eyes.

				BOY
		Mommy...

	He moves into her arms holds on tight. She hugs him, 
	strokes his hair for a moment.

				RUBY
		It's okay, Jason... it's okay...

	She holds him for a second, and then the boy slowly FADES 
	AWAY until he's gone... and Ruby is holding nothing.

	JASON ON THE BED

	His eyes open and he sits straight up on the bed in one 
	quick motion. A tense moment as Sena and Ruby wonder what 
	he's going to do next. Jason BREAKS the remaining 
	shackles one by one... swings his legs off the bed... 
	stands up. 

	He towers over Sena and Ruby, who look at him in fear. 
	Jason's eyes flicker from Sena, then to Ruby. 

	He stares at her with a neutral expression for a long 
	moment. She returns his gaze, staring up at the horribly 
	scarred face. 

	Finally, Jason turns away from her and walks out of his 
	cell with an even, deliberate gait. Sena and Ruby 
	exchange a look.

	QUICK CUTS:

	-- Jason bursts into the Sheriff's Office. Deputies 
	bodies all around. 

	-- CLOSE ON a desk with plastic evidence bags strewn 
	across it. Jason's hand grabs one of the bags -- inside 
	is the familiar _hockey mask_. 

	-- An emergency fire box with a fire extinguisher and a 
	FIRE AXE inside it. Jason's arm SMASHES the glass and 
	yanks out the axe.

	EXT. CRYSTAL LAKE SHERIFF'S STATION - NIGHT

	The front door is KICKED OPEN. Jason steps out into the 
	night. He's wearing the hockey mask and he's got the axe 
	in his hand. _Jason is back_. 

	He stands there a moment, looks around, then runs off -- 
	a hulking shadowy figure disappearing into the night.

	ANGLE - RUBY AND SENA

	step into the doorway.

				SENA
		Where's he going?

				RUBY
		I don't know... but I think he's 
		pissed.

				SENA
		Great. Now there's _two_ serial 
		killers on the loose.

				RUBY
		Krueger's the greater danger right 
		now. We have to stop him.
			(beat)
		_Springwood_. That's where he'll go. 
		That's where he's always gone.	But 
		Springwood's not like Crystal Lake. 
		There's a couple hundred thousand 
		people there. He could be anywhere.

				SERA
		You said Krueger kills teenagers...

				RUBY
		That's right.

				SENA
		So, where would you go to find a lot 
		of teenagers?

								 CUT TO:

	EXT. SHOPPING MALL - NIGHT

	A modern, three-story complex with underground parking 
	structure. A sign over the entrance reads, "ELM STREET 
	SHOPPING PLAZA."

	WIDEN TO REVEAL

	the darkened silhouette of FREDDY KRUEGER standing 
	outside. He clicks his finger blades in anticipation, 
	then begins walking toward the entrance...

								 CUT TO:

	INT. CRYSTAL LAKE SHERIFF'S STATION - NIGHT

	Ruby is opening a rack of shotguns, choosing an 
	appropriate weapon for herself. She cocks a shotgun and 
	begins loading shells into it. Sena enters, his broken 
	arm now in a sling. He's carrying a medical case seen 
	earlier in the jail cell.

				SENA
			(re: shotgun)
		You know how to use one of those?

				RUBY
		I used to go hunting with my father 
		when I was a kid.

				SENA
		Think it'll do any good?

	Ruby stuffed shells into her pocket. 

				RUBY
		Krueger's in the real world... maybe 
		he's mortal, like us.

				SENA
		And if he's not?

				RUBY
		Then we're all in a lot of trouble.

	Ruby comes over to Sena, puts a .45 automatic pistol on 
	the table next to him.

				RUBY
		Here.

	Sena glances at it, then pulls a vial of a LIQUID DRUG 
	out of the case. He looks at the label.

				RUBY
		What's that?

				SENA
		_Neurolar_. It's a stimulant -- it's 
		also a serotonin inhibitor. It 
		suppresses all electrical activity in 
		the hippocampus... the part of the 
		brain that controls dreaming.

				RUBY
		So you think it might counteract 
		Krueger's ability to make us 
		hallucinate?

				SENA
		Ten CC's of this shit and you won't be 
		dreaming about anything.

				RUBY
		How long will the effect last?

				SENA
		About ten minutes.

				RUBY
			(worried)
		Ten minutes...

				SENA
		If I give you a bigger dose, it'll 
		give you a heart attack.

	Ruby takes a deep breath.

				RUBY
		Then we'd	better make those ten 
		minutes count.

	She picks up her shotgun and Sena pockets the vial and 
	two syringes. As they head for the door...

								 CUT TO:

	INT. ELM STREET MALL - NIGHT

	A modern suburban shopping center, THREE STORIES TALL 
	with an indoor atrium and courtyard reaching all the way 
	to the ceiling. There's a GLASS ELEVATOR... a set of 
	ESCALATORS... a KIDDIE PLAYLAND with jungle gym... a 
	large decorative WATER FOUNTAIN with a deep pool at the 
	base... plenty of OPEN STOREFRONTS. 

	There is also a multi-screened CINEPLEX on the Third 
	Level, as well as a FOOD COURT. The mall is bustling with 
	lots of shoppers and TEENAGERS.

	SERIES OF SHOTS

	-- Teenagers of all ages shopping, socializing, trying on 
	clothes, others just hanging out. One couple has found a 
	private corner and is necking. A group of teenaged boys 
	are rough-housing with each other. A group of girls are 
	eyeing the boys, obviously flirting with them.

	-- A couple of nerdy boys are standing in a SWIM WEAR 
	SHOP, trying to look casual as they eye the dressing 
	rooms, where curvaceous young girls are trying on bikini-
	wear. 

	-- A gaggle of pretty, teenaged GIRLS in a bathroom, 
	primping in front of a large mirror -- putting on make- 
	up, teasing their hair, gossiping, etc. 

	-- A group of three GRUNGE-PUNKS are on the Third Level, 
	dropping lit cigarette butts onto the crowd below, 
	snickering to themselves. This is the slightly older, 
	tattooed and pierced body-part crowd. They're here to 
	have fun at the expense of everyone else.

	ANGLE IN GLASS ELEVATOR

	A couple of	ADULT SHOPPERS in the moving	elevator. It 
	stops and the doors open... the group of three grunge-
	punks walk in. A GIRL and TWO GUYS. One of the boys has a 
	leather vest with no shirt, exposing arms and chest 
	covered with TATTOOS -- a snake, skulls, dagger, all 
	sorts of grotesque imagery. The other boy has various 
	PIERCINGS -- nose, ears, eyebrow, tongue, etc. The girl 
	is smoking heavily. One of the teens hits "P3" and the 
	elevator starts moving down to the parking level.

				SHOPPER
			(annoyed, re: cigarette)
		Do you mind?

				PUNK GIRL
		Oh. Sorry.

	She takes the cigarette out of her mouth and pretends to 
	stub it out in a decorative flower pot in the corner, but 
	as soon as the shopper turns his head away, the girl 
	tosses the burning cigarette into the man's shopping bag. 
	The other teens chuckle. 

	At that moment, the doors open, revealing FREDDY KRUEGER 
	on a lower parking level. The conversation in the 
	elevator stops, everyone reacting to his bizarre 
	appearance. The Adult Shoppers EXIT, leaving Freddy alone 
	with the youths. 

	Krueger looks at them for a moment, then calmly steps 
	into the elevator, turns and looks at the floor indicator 
	just like any other passenger. The grunge-punks get over 
	their initial shock and start snickering to each other.

				TATTOO GUY
		Nice sweater.

	Laughter.	Krueger slowly turns around to face them. The 
	punks quiet down a bit, but wait fearlessly to see what 
	he will do.

				FREDDY
		Nice tattoo.

	He looks at the Tattoo Guy's chest. The Tattoo Guy looks 
	down, and is shocked to see that the SNAKE TATTOO COMES 
	TO LIFE AND SLIPS UNDERNEATH HIS SKIN.

				TATTOO GUY
		What the fuck?

	He looks up at Freddy in surprise and pain. We can see 
	the outline of the snake SLITHERING UNDER HIS SKIN

				TATTOO GUY
			(in pain) )
		Ah, Jesus! 

	Suddenly ALL OF THE TATTOOS ON HIS BODY BEGIN TO WRITHE 
	AND MOVE. The tarantula skitters across his shoulder. The 
	skulls bleed from their eye sockets. The dagger seems to 
	SLICE HIS FLESH. The youth screams in agony and drops to 
	his knees. 

	The other two punks look down in surprise. 

	Suddenly the pierced guy's nose ring, earrings, nipple 
	rings, studs and other piercing ornaments SPROUT BARBED 
	HOOKS AND LARGE JAGGED BLADES WHICH PLUNGE THEMSELVES 
	INTO HIS BODY AND NECK. The girl backs up against the 
	glass. She screams as the two male punks collapse in 
	agony and blood. Freddy smiles.

				PUNK GIRL
		Don't hurt me... please...

	She COUGHS,	SMOKE coming out of her mouth. But she's not 
	smoking	 -- _the smoke is pouring out of her own lungs_. 
	She gasps for air, but every time she exhales more and 
	more smoke comes out, black and deadly. She collapses. 
	Freddy smiles and taps the button labeled "MALL LEVEL."

								 CUT TO:

	INT. MALL - MAIN ENTRANCE - NIGHT

	A set of LARGE PLATE GLASS WINDOWS that look out onto the 
	street level. A group of shoppers heading for the double 
	doors... but as they approach, a series of LARGE ROLL-UP 
	SECURITY GATES come crashing down, cutting off the exits.

	QUICK CUTS:

	-- As all of the other SECURITY GATES come crashing down 
	in front of the mall exits, trapping the people inside. 

	-- People begin SHAKING the gates and yelling.

				CROWD
			(various)
		Open up... come on, let's go... what's 
		going on... open the gates, etc.

	ANGLE - THIRD LEVEL

	Freddy is now standing at a rail with a view of the 
	ENTIRE MALL. From his vantage, we can see that _there are 
	no security gates in place_. People are grabbing at 
	nothing. Freddy has induced another Mass Nightmare. He 
	savors the moment.

				FREDDY
		Time to shop till you drop.

								 CUT TO:

	INT. UNDERGROUND PARKING STRUCTURE - NIGHT

	As Ruby and Sena pull into a parking spot. As they get 
	out, Ruby drapes a coat over her shotgun and Sena stuffs 
	his pistol into his waistband. 

	They run to the elevator, press a button. The buttons are 
	dark, inactive.

				RUBY
		It's not working. Let's take the 
		stairs.

	They head off...

	INT. MALL - MAIN ENTRANCE - NIGHT

	Security Guards have come to the Main Entrance and are 
	trying to unlock the (supposed) security gates. A large 
	crowd has gathered, people wanting to get out. A GUARD 
	struggling with the gate without success sees something 
	outside the glass doors.

	A PAIR OF HEADLIGHTS is coming closer and closer at high 
	speed. The Guard looks a little worried, then realizes 
	that it's a SEMI-TRUCK, and it isn't going to stop.

				GUARD
			(yells)
		Look out! 

	He turns but the crowd is blocking his way.	

				GUARD
		Get out of the way! Go, go, go!

	Too late. The SEMI-TRUCK CRASHES THROUGH THE PLATE GLASS 
	WINDOW, SMASHING THROUGH THE CROWD. Bodies go flying, 
	glass showering across the mall. A horrific sight.

	NEW ANGLE - PET SHOP

	TWO GIRLS are standing at the pet shop windows, looking 
	down at some puppies and eating frozen yogurt. They turn 
	at the sound of SCREAMS. From their vantage, they have a 
	perfect view of the main entrance. People are falling to 
	the ground, screaming in agony, some are thrown through 
	the air, others running away. But the doors are intact 
	and _there is no semi-truck_. It's another Mass 
	Nightmare. 

	The girls are puzzled.

				GIRL #1
		What are they doing?

	There's a low GROWL. They turn to the pet shop window and 
	see that the puppies have been replaced by several 
	snarling, growling ROTTWEILERS. The dogs are poised to 
	strike.

				GIRL #2
		Nice... doggie...

	The Rottweilers CRASH through the window on top on the 
	girls and begin TEARING THEM APART. CAMERA MOVES OFF the 
	girls... PANS TO the two NERDY BOYS seen earlier. They 
	are standing outside the beachwear shop.

	Directly behind them, flanking the storefront are two 
	bald female MANIKINS wearing skimpy thong-type bikinis. 
	The boys are reacting to the sight of the girls shrieking 
	in front of the pet store. 

	CAMERA MOVES BACK to reveal what the Boys see -- which is 
	nothing more than the girls twisting on the ground, 
	screaming. There are no dogs and the windows are intact. 
	A pair of puppies is watching through the window, 
	barking. CAMERA PANS back to the boys.

				BOY
		Chicks are weird, man.

	The MANIKINS standing behind them have _changed 
	position_. Their arms are outstretched and their fingers 
	inches from the boy's necks. As the CAMERA	MOVES AWAY, we 
	hear the Boy's anguished cries of strangulation... 

	CAMERA CONTINUES SWEEPING DOWN THE PROMENADE. People are 
	starting to react in concern. There is a growing sense of 
	panic spreading through the mall. 

	CAMERA MOVES PAST a series of Mass Nightmares in 
	progress: 

	-- A storefront with the name "Happy Tooth Dental 
	Clinic." Inside, we can hear the sound of DRILLS and 
	people screaming in agony. The noises of ghastly dental 
	mishaps 

	-- "Kiddie Playland." Parents watch in terror as the 
	JUNGLE GYM BARS TWIST around their children like pythons, 
	crushing them to death. In a pit filled with multi-
	colored plastic balls children are SUCKED BENEATH the 
	surface, vanishing from sight. 

	-- FOLLOW two girls into the BATHROOM, where the girls 
	seen earlier are still putting on make-up and preening. 
	One vain girl is popping a pimple... when suddenly a 
	horde of white WORMS COME SLITHERING OUT OF THE PIMPLE. 
	She screams. Another girl is putting aerosol hair spray 
	on her "mall-do" -- when the can SPITS OUT A JET OF 
	FLAME, CHARRING HER FACE AND HAIR.

	NEW ANGLE - BATHROOM DOOR

	The girl who has been burned comes running out, 
	screaming, frantically clawing at her face and head -- 
	but she looks perfectly fine, no burns at all. 

	CAMERA MOVES to a crowded ESCALATOR, which is going up. 
	FOLLOW the TEEN COUPLE who were necking. 

	They are clutching onto to each other with worried looks, 
	not sure what's going on around them. 

	They reach the top of the escalator where there is a 
	small sign reading "Watch Your Step." They look down to 
	see a POOL OF BLOOD where the steps disappear into the 
	floor. 

	They react. They try to step over the pool of blood, but 
	are shocked to find that their _feet are stuck to the 
	metal step_, as if glued there. 

				BOYFRIEND
		I can't move! I can't move!

	As their step reaches the top, THEIR FEET ARE PULLED 
	DIRECTLY DOWN INTO THE MECHANISM, SHREDDING THEIR ANKLES 
	AND LEGS. As their bodies are MUNCHED into the 
	escalator...

	INT. MALL - FOOD COURT

	A group of shoppers are gathered around the rotisserie 
	chicken restaurant. Chickens on large skewers roasting 
	over a flaming pit. Suddenly the FLAMES BLAST OUT ACROSS 
	THE ENTIRE FOOD COURT -- engulfing tables and diners in a 
	HELLISH BLAZE. People scream as they're burned alive.

	NEW ANGLE

	Showing people writhing on the ground, burning alive -- 
	but _there are no flames_. One of the burn victims 
	working behind the counter at the chicken place falls 
	over in agony, and as he does so knocks over the 
	rotisserie stand itself -- sending BURNING GREASE AND OIL 
	ACROSS THE FLOOR. _A REAL FIRE NOW BREAKS OUT_.

	ANGLE ON CEILING

	As the automatic sprinkler system kicks in...

	CLOSE ON CIRCUIT BOX

	A large power box which supplies electricity to the 
	entire building. Krueger's hand comes into frame and his 
	blades slice the conduits, cutting off power to the 
	building in a shower of SPARKS.

	EXT. ELM STREET MALL - STREET LEVEL - NIGHT

	Ruby and Sena come running up to Main Entrance and look 
	through the plate glass windows just as lights and power 
	inside the mall start GOING OUT.

	INT. MALL - NIGHT

	The sprinkler system SHUTS OFF along with.the power. The 
	FIRE continues to spread from the Food Court to other 
	shops. (NOTE: This fire will continue to build through 
	the rest of the mall sequence.)

	EXT. ELM STREET MALL - STREET LEVEL - NIGHT

	Ruby and Sena peering through the Main Entrance. From- 
	their viewpoint, it's a bizarre sight. People are 
	running, screaming, collapsing in pain. 
	FIRE is spreading through the mall. But none of the 
	nightmare imagery is visible.

				RUBY
		Krueger's here.

	She drops the jacket from her shotgun and chambers a 
	round as Sena pulls out a syringe. He finds a vein in his 
	arm and injects himself. He then takes Ruby's arm and 
	uses the second syringe to inject her. She winces as the 
	needle sinks into her flesh.

				SENA
		Remember -- ten minutes.

	Ruby grabs the door, swings it open and they enter...

	INT. MALL - MAIN ENTRANCE - NIGHT

	As they rush inside the now darkened mall.

				SENA
		Everyone out! Get out! The doors are 
		open, get out!

	People start making a mad dash for the doors, but some 
	are still paralyzed by the nightmare imagery.

	(NOTE: From this point on, the mall will be essentially 
	deserted unless specifically called for in the script.)

				RUBY
		Where is he?

	They start walking through the scene of madness. They 
	have to step over bodies... dodge running shoppers in the 
	throes of waking nightmare images. They enter the middle 
	of the courtyard... glance around. 

	Finally, Ruby sees something.

	RUBY'S POV

	Standing on the Third Level surveying his handiwork is 
	FREDDY.

	RESUME RUBY

	She freezes, then quickly shoulders the shotgun and FIRES 
	OFF a round -- 

	The BLAST misses, hitting an espresso stand next to 
	Freddy. Hot coffee SPRAYS all around, catching Freddy 
	full in the face. He yells out as the scalding coffee 
	burns him. He disappears into the shadows. 

	Ruby and Sena run to the escalator and start making their 
	way up it. At the top of the stairs they have to step 
	over SEVERAL DEAD BODIES -- victims of the escalator 
	nightmare.

	NEW ANGLE - THIRD LEVEL

	As Ruby and Sena reach the Third Level. They look through 
	the dim light... smoke is hanging in the air from various 
	fires.

				SENA
			(glances at watch)
		We're down to seven minutes.

				RUBY
		Let's split up. You take the left 
		side, I'll take the right. We'll meet 
		in front of the Cineplex. 

	They split off and walk along opposite sides of the mall, 
	the open-air courtyard separating the two of them.

	ON RUBY

	walking carefully past storefronts, searching...

	ON SENA

	doing the same. An eight-old GIRL staggers out of a toy 
	store, scared out her wits. She stumbles, falls to the 
	ground, struggling against an unseen attacker. 

	Sena rushes to her aid, glances up at the toy store. The 
	display window is filled with porcelain DOLLS, the 
	emergency lights giving them an eerie appearance. 
	The girl must think the dolls are attacking her. Sena 
	grabs her by the shoulders.

				SENA
		It's not real! _It's not real_!

	We see tiny BITE MARKS appear on the girl's arms and neck 
	-- as though from doll-sized teeth. The girl screams 
	louder. Sena sets his pistol down, pulls out a syringe 
	and fills it with the rest of the dream-inhibitor drug. 
	He grabs the struggling girl and INJECTS her with a small 
	amount of the drug. 

	After a moment, she settles down. She glances at the 
	dolls in the window, confused.

				SENA
		It's all right, honey. They can't hurt 
		you now.

	FINGER BLADES SLASH into the scene, ripping into Sena's 
	shoulder. The girl squeals and runs off as Sena collapses 
	onto the ground. 

	The syringe with the remaining dream-inhibitor falls from 
	his grasp and TUMBLES off the edge and DOWN TWO LEVELS. 
	It falls into the decorative water fountain with a 
	splash. 

	Sena tries to scramble for his pistol, but Freddy is 
	standing on it.

				FREDDY
		Nurse -- this man needs attention!

	SENA'S POV

	Happy Tooth Dental Clinic. Out walks a gorgeous, buxom 
	NURSE in a too-tight and too-short uniform. She steps 
	toward Sena, unbuttoning her top. She leans down toward 
	him, opens her shirt to reveal a healthy set of BREASTS.

	Sena is momentarily transfixed by the sight, until he 
	sees that instead of nipples there are LITTLE MOUTHS WITH 
	RAZOR-SHARP TEETH IN THEM. The mouths snap ferociously, 
	like piranhas. She grabs the back of his head and pulls 
	his face toward the flashing teeth. Sena closes his eyes, 
	shakes his head... 
	and when he opens them the nurse FADES AWAY, VANISHING. 
	The inhibitor is working. Freddy frowns in puzzlement.

				FREDDY
		I see I'll have to do this myself.

	He grabs Sena by the hair to expose his throat, raises 
	his finger blades to strike --

	_BLAM_! A shotgun blast CATCHES Freddy in the shoulder, 
	knocks him off his feet.

	NEW ANGLE

	revealing Ruby standing across the open courtyard against 
	the rail, aiming the shotgun. Freddy has fallen out of 
	her view.

	Sena and Freddy are both on the floor. Freddy looks down 
	in shock at his shoulder -- IT HAS A GAPING GUNSHOT 
	WOUND. (NOTE: Freddy's wound will _not_ heal itself -- he 
	can be hurt now that he's mortal.)

				SERA
			(ragged)
		Reality sucks, doesn't it?

	Freddy leaps to his feet. Another SHOTGUN BLAST hits the 
	wall next to him. He runs off down the mall, toward the 
	Cineplex. Sena is badly hurt, leans against the rail.

				RUBY
			(calls to Sena)
		Are you all right?

				SENA
		For the moment! You've only got about 
		two minutes left! Hurry! Ruby takes 
		off towards the Cineplex...

	INT. CINEPLEX - LOBBY - NIGHT

	Ruby enters the darkened lobby, stops. No one in sight. 
	Freddy could be anywhere. She chambers a round into the 
	shotgun... begins to carefully walk around... passes the 
	concession stand, where a teenager for some reason is 
	crammed INSIDE the popcorn machine, his eyes bulging, 
	clearly dead. 

	Ruby looks behind the counter -- no Freddy. She walks 
	past the velvet rope that cordons off the theaters 
	themselves...

	INT. CINEPLEX - HALL OF THEATERS

	Ruby walks into the long hallway. From this spot, we can 
	see SIX DOORS, three on either side.	Each door has a one-
	sheet poster next to it for the movie playing inside. 
	There are a couple of dead ushers lying in the corridor. 
	The red emergency lighting gives the hall a sinister, 
	nightmarish quality.

	Ruby proceeds carefully.. kicks open the door to the 
	first theater, looks inside... 

	INSIDE THE THEATER are a couple of dead moviegoers 
	sitting in their seats, no sign of Freddy. 

	Ruby keeps moving down the hall... kicks open the second 
	door... nothing. She glances down at her watch nervously, 
	time is running out. She looks up and is shocked to see -- 

	_Jason_ is standing not five feet away from her! She 
	freezes, then relaxes. It's just a life-sized CARDBOARD 
	STANDEE of Jason promoting the latest movie: "_Jason: 
	2010_." Jason is in a dramatic pose, with a futuristic 
	weapon resembling a steel pipe raised high. This is a 
	strange, robotic, Terminator-like Jason with a steel 
	hockey mask and glowing electronic eyes. It's Robo-Jason. 

	Ruby takes a breath, moves past the standee to the third 
	door... 

	She looks inside -- empty. She comes back into the hall, 
	starts to cross the hall to the other set of doors... 
	then stops, freezes, turns around and looks at the 
	standee. 

	The picture of Robo-Jason is _gone_, leaving only the 
	background of the image. Ruby stares at this for a 
	moment, then we hear the distant LAUGHTER of Freddy. Ruby 
	tries to steady herself and locate the sound of the 
	laughter...

	...then at the end of the hall she sees ROBO-JASON 
	dressed exactly as he was on the standee, holding the 
	weapon. 

	Robo-Jason taps a control in the weapon and an array of 
	terrible BLADES and SPIKES jut out of the pipe -- the 
	ultimate chopping machine. 

	He starts walking toward her with that slow, deliberate 
	walk, made more frightening by the whirr and click of his 
	mechanized body.

				RUBY
		This isn't real...

	She closes her eyes, tries to shake off the image... 
	opens her eyes again. The image of Robo-Jason FADES and 
	WAVERS for a moment, as if it's going to disappear...

	But then the image SOLIDIFIES.

				RUBY
		Oh shit... it's wearing off...

	Robo-Jason is coming closer... she's cornered... there's 
	no way out of this hallway. Robo-Jason raises the bladed 
	weapon to strike. Ruby takes aim and FIRES at the 
	nightmare image. 

	The shotgun BLAST seems to pass right through his chest, 
	not fazing him. Ruby continues backing up, terrified.

				RUBY
		No...

	Freddy steps out from behind a standee for a movie called 
	"My Favorite Unicorn," a treacly children's classic.

				FREDDY
			(to Ruby)
		Counselor... I think your client's 
		unhappy with his representation. 

	Ruby turns, tries to level the shotgun at Freddy but it's 
	too late. Robo-Jason is on top her. 
	He SWINGS the weapon and she is barely able to deflect 
	the blades with the barrel of the shotgun. She loses it 
	in the process and the gun clatters to the floor. 

	Robo-Jason swings at her again, catching her in the KNEE 
	with a blade. She goes down, scrambles away on her back 
	until she hits a wall. Robo-Jason continues to advance on 
	her...

	Freddy watches with a smile on his face. His back is to 
	the entrance to the hall which leads out to the lobby.

				FREDDY
		Verdict's in, bitch. You're guilty of 
		fucking with the wrong guy.

	At this moment we see a SHAPE creeping up behind Freddy. 
	He senses it and whirls around to see --

	THE REAL JASON

	has arrived. He's holding the fire axe, and stops a few 
	feet away. Freddy smiles.

				FREDDY
		Well, well... the little man in the 
		mask is back for more.

	ANGLE ON RUBY

	The nightmare image of Robo-Jason FADES AWAY. She sits 
	up, watching the two men face off.

	JASON AND FREDDY

	Jason watches Freddy for a moment, murderous rage in his 
	eyes behind the hockey mask. His fist clenches around the 
	axe handle.

				FREDDY
		What's wrong? Waiting for Mommy to 
		tell you what to do?
			(beat)
		I'd like you to meet a friend of mine  
		-- someone you're very familiar with. 

	The NIGHTMARE IMAGE OF ROBO-JASON suddenly appears next 
	to Freddy. The real Jason hesitates, looks at himself for 
	a moment. Then Robo-Jason ATTACKS. 

	Real Jason swings the axe at the image of himself, and 
	for a bizarre moment the TWO JASONS FIGHT A VICIOUS 
	AXE/FUTURISTIC WEAPON BATTLE in the hall. 

	Clanking weapons, sparks flying -- real Jason collects a 
	couple of wounds along the way.

	Ruby watches. From her point of view, Jason is struggling 
	against nothing. She looks around, sees the shotgun 
	nearby. She crawls over to it. Freddy's attention is on 
	Jason. She picks up the shotgun, points it at Freddy and 
	pulls the trigger -- 

	Click.	The gun is empty. Freddy turns at the sound. 

	He holds up the finger blades, moves for Ruby. She takes 
	the shotgun, swings it like a club, hits Freddy in the 
	knees, taking him down. As he falls, Robo-Jason seems to 
	falter and stumble in response. 

	The real Jason PLANTS THE AXE directly in Robo-Jason's 
	head, dropping him to the ground, _dead_. 

	Freddy rolls off the carpet, and speeds out into the 
	lobby and disappears into the mall before Jason can get 
	to him.

	Jason looks over at Ruby. She's holding her bloodied leg 
	in pain. Their eyes meet for a moment. 

	Jason turns and runs out into the mall...

	INT. MALL - THIRD LEVEL - NIGHT

	Jason steps onto the darkened promenade, looks around. We 
	hear Freddy's LAUGHTER. He turns., Freddy is standing at 
	the far end of the mall across the open-air courtyard 
	from Jason. He's also on the Third Level, standing on the-
	opposing rail. At this distance, we can only see his 
	silhouette against firelight. 

	Jason's eyes harden and he starts striding down the 
	promenade towards Freddy, utterly determined to destroy 
	him. 

	But he stops. Lined along the promenade are literally 
	FIFTY BODY BAGS which are standing up and leaning against 
	the wall. Some are behind Jason too, trapping him in the 
	middle.

				FREDDY
		Some old friends of yours would like 
		to see you.

	The body bags start UNZIPPING by themselves one by one. 
	And the CORPSES OF ALL OF JASON'S VICTIMS step out onto 
	the promenade. It's a ghastly sight. Some are badly 
	decomposed, others looks freshly mutilated.

	Among them we also see Biller and Janet from the 
	beginning of the movie, both with gaping wounds from when 
	they were killed. 

	The victims turn toward Jason and start converging on him 
	with vengeful expressions.

				FREDDY
		It's a regular family reunion.

	Jason is momentarily frozen to the spot. He's not sure 
	what to do when confronted with these specters from his 
	past. Biller is the first one to attack Jason -- he leaps 
	at Jason with his bare hands. Jason THROWS him off. Then 
	Janet's on top of him. He slams her to the ground. Then 
	another victim... and another. Fifty of them swarming 
	over Jason like ants...

	Jason is almost smothered by the crush of bodies. But 
	Jason's strength is unbelievable -- he keeps pressing 
	forward, HACKING AND FIGHTING his way through the crowd 
	of frenzied victims trying to tear at his body. 

	But the victims are taking their toll. He throws victims 
	through plate-glass windows... hacking others to 
	pieces... but they just keep coming. The fight is 
	destroying the mall in the process -- merchandise 
	crashing to the floor, windows shattering, columns of 
	plaster crumbling. 

	Jason has made it halfway to Freddy at this point, but it 
	doesn't look like he'll make it all the way. The crowd is 
	pressing him back against the railing and toward the 
	steep drop below. There's no way out... it's a panicky 
	moment... 

	Jason manages to raise his axe and swings it down hard 
	and CONNECTS with the rail itself. The rail is SPLIT IN 
	TWO. The entire RAIL GIVES WAY and Jason and the crowd of 
	victims FALL OVER THE EDGE! 

	Jason's hand grabs a metal strut and he holds on as the 
	victims PLUMMET to the First Level. BODIES smash and pile 
	up on the ground below. 

	Jason hangs there for a moment... then is forced to drop 
	the axe and grab the edge of the promenade. He's about to 
	pull himself back up when suddenly FINGER BLADES move 
	into view. 

	He looks up to see Freddy leaning down, finger blades 
	pointed directly at his face. He scrapes the blades along 
	the hockey mask, toying with him. 

	The tip of two blades stop inches Jason's eyeballs.

	With the tiniest flick of his wrist, Freddy could put the 
	blades into Jason's eyes.

	ANGLE ON RUBY

	who has dragged herself to the far railing, where she can 
	see Jason and Freddy down the promenade...

	FREDDY AND JASON

	Freddy poised to kill his long-lost victim.	

				FREDDY
		I should've finished you off a
		long time ago. But then again... maybe 
		fate has brought us	 together.

	Freddy leans in close, face-to-face with Jason keeping 
	the finger blades pointed at his eyes.

				FREDDY
		You're my creation, Jason. All that 
		you are you owe to me. 
			(beat)
		We're stronger together than we are 
		apart. Join me. And this world will be 
		ours. 

	Jason's eyes never leave Freddy's. A long, tense beat... 
	then Jason's eyes widen at something he sees: 

	Freddy has become JASON'S MOTHER, still wearing the 
	finger blades aimed at Jason.

				MOTHER
			(sweetly)
		Trust me, Jason. Momma's going to take 
		care of you. Everything's going to be 
		all right. 

	She smiles gently at him. Jason drops his eyes slightly, 
	as if considering... then in a lightning move he takes a 
	hand off the ledge and GRABS Freddy's finger blades and 
	STABS THEM INTO his mother's throat.

	NEW ANGLE

	as Freddy stands up, the blades buried deep in his neck, 
	blood squirting from the deadly wound... he claws 
	desperately at the blades... gurgling... and stumbles off 
	down the promenade...

	JASON

	heaves himself up over the railing and onto the Third 
	Level. Freddy is gone. He glances around, then Jason 
	CRASHES his arm through the window of a sporting goods 
	shop, grabs a BASEBALL BAT out of the hands of a manikin 
	and begins looking for Freddy...

	RUBY

	watches Jason for a beat... thinks.. gets an idea... 
	looks down to the First Level...

	HER POV: The syringe and the medicine	bottle can be seen 
	floating in the large water fountain. Ruby heads off...

	JASON

	is walking along the Promenade. Suddenly he hears Ruby's 
	Voice coming from inside, the Dental Clinic.

				RUBY'S VOICE
		Jason, help me! Jason!

	Jason rushes inside the clinic.

	INT. DENTAL CLINIC

	The office is dark as Jason ENTERS. He peers into a 
	treatment room, where Ruby has now been strapped to a 
	dental chair, hoses in her mouth, and a dentist's drill 
	buzzing inches away from her face. Jason moves to help 
	her. The expression on Ruby's face changes... she smirks 
	at him in contempt, and when she speaks, it's in Freddy's 
	voice.

				RUBY
			(Freddy's voice)
		You're getting soft in your old age. 

	Suddenly, Jason's grabbed from behind! Freddy POUNCES on 
	him, knocking him against a wall. 

	Freddy has a small, portable GAS CYLINDER -- on the side 
	it says NITROUS OXIDE. He aims the tank at Jason's face, 
	presses a nozzle and a BLAST OF GAS comes out.

				FREDDY
		Sweet dreams!

	Jason struggles, but it's a few seconds before he can get 
	Freddy off of him and knock aside the gas tank. (The 
	image of Ruby in the chair is now _gone_.)

	INT. MALL - THIRD LEVEL - NIGHT

	Jason stumbles out onto the promenade, trying to hold 
	onto consciousness, but it's a losing battle. He took in 
	too much gas. Freddy, who's bleeding profusely and is 
	dying, stumbles after him... 

	The FIRE has now consumed most of the ground floor, and 
	is spreading to the Second and Third Levels, threatening.-
	to engulf the entire building. 

	Freddy chases Jason down the promenade. Jason's steps are 
	getting slower -- the effects of the gas taking its toll. 
	He's seconds away from losing conscious. Finally, Freddy 
	makes a desperate LUNGE at him, catching him off guard.	 

	The two men TUMBLE OVER THE RAIL -- 

	-- and THROUGH THE AIR DOWN, DOWN INTO THE WATER 
	FOUNTAIN, on the First Level, with a tremendous SPLASH. 

	There's a beat. The bodies of the two men float in the 
	water for a moment... then Freddy lifts his head and 
	pulls the form of Jason over to him. Jason's eyes are 
	fluttering... he's falling asleep.

				FREDDY
		Once I'm back in your dreams... I'll 
		be whole again. Then you're mine...

	Jason's eyes close. He's _asleep_. Freddy takes a hand 
	and PUSHES IT INTO JASON'S CHEST (the same effect seen 
	before) -- HE'S ESCAPING BACK INTO THE DREAMWORLD. 

	Freddy manages to get his arm... and then his shoulder 
	into Jason's chest. He smiles -- victory is at hand. 

	Suddenly, a HAND flies into frame from off camera and 
	PLUNGES a needle into Jason's neck. It's _Ruby_. She 
	INJECTS Jason with the dream inhibitor.

				RUBY
		Time to face reality, Krueger.

	Suddenly, Jason's eyes fly open. He's awake and Freddy's 
	doorway between reality and the dreamworld has been 
	_closed_, TRAPPING HIM IN-BETWEEN THE TWO REALITIES. 

	The effect of this is startling: 

	Freddy's arm, shoulder and part of his torso are HALF-IN, 
	HALF-OUT OF JASON'S CHEST. THE TWO MEN HAVE BEEN FUSED 
	TOGETHER IN A HORRIFIC IMAGE. Freddy roars in pain and 
	outrage. 

	Ruby recoils at the sight as the creature that is now 
	FREDDY/JASON heaves itself up out of the water with a 
	superhuman effort, carrying them out of the fountain and 
	onto the floor. Jason and Freddy continue to struggle and 
	claw at each other like wild animals. 

	But the FLAMES in the mall are getting higher... support 
	beams and material from the upper floors catching fire 
	and CRASHING down below. Jason, in his agony, looks over 
	at Ruby and for a moment their eyes meet.	Jason speaks, 
	his voice low and hoarse.

				JASON
		_Get out_. 

	This surprising statement brings Ruby back to the reality 
	of her situation. 

	She heads off through the thickening smoke and flames, 
	leaving Freddy/Jason struggling in the Hell-like cauldron 
	of the burning mall.

	ON SENA

	who's collapsed near a stairwell, overcome by the smoke. 
	Ruby, coughing and struggling, picks him up in a 
	fireman's carry and heads off.

	EXT. ELM STREET MALL - NIGHT

	The mall is engulfed in flames. Fire trucks and police 
	are everywhere, but the blaze is clearly out of control.

	RUBY

	Comes staggering out of the mall with Sena. She drops him 
	to the pavement as two paramedics rush up to help him.

	We see that many of the Shoppers in the Mall seen earlier 
	are being tended to by rescue teams in the park parking 
	lot in the b.g. 

	Ruby tries to catch her breath and looks back up at the 
	burning mall.

	INT. MALL - GROUND FLOOR - WIDE SHOT

	The building is now completely filled with flames. On the 
	ground floor, we see the writhing form of Freddy/Jason.

	CLOSER ON FREDDY/JASON

	Jason tries to strangle the hideous	form of Freddy, who 
	is slashing at him in fury.

				FREDDY
		Let me go, you freak! 

	Jason staggers a few more feet, falls into the entrance 
	of a store called CAMPING WORLD. He glances off to the 
	side... sees a stack of PROPANE TANKS, meant to fuel 
	outdoor gas stoves. 

	He takes his hand off Freddy's neck... reaches out for 
	the tanks... 

	Freddy STABS his finger blades again and again into Jason 
	-- desperate to kill him. 

	Jason gets his hand around one of the tanks... brings it 
	close. Freddy's eyes widen as he realizes what Jason's 
	about to do.

				FREDDY
		_NO_!

	With a quick move, Jason snaps off the safety nozzle. The 
	tank lets out a JET STREAM of PROPANE from the tank --

	THE TANK AND THE ADJACENT TANKS OF PROPANE _EXPLODE_. THE 
	FLAMES RIP THROUGH FREDDY/JASON. THE TWO MEN ARE 
	_SEVERED_ AND BLASTED TO SHREDS.

	EXT. ELM STREET MALL - NIGHT

	The Mall is ROCKED by a TITANIC EXPLOSION. Every window 
	blowing out... people knocked off their feet... others 
	diving for cover...

	RUBY

	covers her head from the blast, then cautiously looks up 
	at the mall. She stares at the awesome sight.

	INCLUDE SENA

	He sits up, regaining conscious, coughing and groggy. A 
	paramedic tries to put a mask on his face, but he pushes 
	it away. He turns to Ruby.

				SENA
		What happened? Where's Jason?

				RUBY
		My client... is dead.
			(beat)
		But I think he's a free man.

	Off her face as she stares at the flaming building...

								DISSOLVE TO:

	EXT. JASON'S HOUSE - DAY

	The house is quiet... a crisp spring day at Crystal Lake. 
	A "Condemned" sign hangs on the front door. We hear a 
	MAN'S VOICE from O.S.

				MAN'S VOICE
		Okay, we're ready. Everyone stand 
		clear.

	WIDER

	Revealing that the Man is part of a wrecking crew that is 
	here to demolish the house. There are numerous 
	construction workers with BULLDOZERS and other heavy 
	equipment nearby. Someone STARTS UP a bulldozer...

								DISSOLVE TO:

	INT. MOTHER'S BEDROOM - DAY

	Exactly as we saw it last -- everything in its place. We 
	can hear the SOUND of the. bulldozer getting closer. 
	CAMERA MOVES to the dresser and PUSHES IN on the black 
	and white photo of young Jason seen earlier. But the 
	picture seems to have changed.

	Instead of the look on the boy's face being haunted... 
	he's now _smiling_ with the carefree innocence of youth. 

	The bulldozer blade CRASHES through the wall and as the 
	building collapses, we...

							 CUT TO BLACK.

				_THE END_