The Homecoming By Zeke Jeffries
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| Friday the 13th: The Homecoming
By Zeke Jeffries Fade in 1. Ext. The O’Brian House – Night A chilling autumn atmosphere in a dense forest slowly appears on the screen. Thick fog seems to be drifting off the nearby lake and coming into the forest. It seems damp, as if a rain storm had just hit several hours before. As we move around we see parts of the lake, still as ever, with only tiny ripples from the passing winds. Even with the relaxed scene, the lake still appears to be eerie. Just off the lake, about a hundred yards back, lies a house in the woods with one light shining through a window. The cabin appears to be fairly new, built in the style of a log cabin. It looks clean and stylish, belonging to a wealthy family. It is a large house, making the one light stand out even more above all the empty windows. Cut to 2. Int. The O’Brian House [Living room] – Night Inside the house we are immediately brought the room with the light on. Rustic furniture decorates the interior of the house, with a couch against the wall and a TV set placed alongside the adjacent wall. Three chairs lie in the middle of the room, with a coffee table in front of the couch. An immediate sound of passion is heard. The sound of lips kissing and sexual activity can be heard in the room, with no breaks in between the constant breaths of pleasure. On the couch are two people, a boy [MARK- eighteen, straight brown hair, medium height] and a girl [CANDY- eighteen, slim, blonde, medium height]. CANDY is on top of MARK kissing him and rubbing her hands up and down his legs, while he feels her torso. Although they appear to be in the middle of sex, they are both fully clothed. CANDY: Oh, this is good. CANDY stops and thinks about what she just said. Her face turns serious for a second before she smiles down at MARK. CANDY: No, wait, this is great! MARK stops touching her and tries to sit up, resisting CANDY’S urges to continue their kissing. CANDY stops after he pushes her away. CANDY: What’s wrong, is it something I did? Did I talk too much?
I just want to, you know, speed things up a little. You’re parents won’t be gone forever. Why don’t you go upstairs and get ready. Yell down to me when you want me up there. CANDY: Mark, my parents will be gone until Sunday. Today is Thursday.
But I want to get to the good stuff. CANDY: Mark…
CANDY: [Obviously Disgusted] Take a walk. MARK: [Opens his eyes with amazement] What did you just say?
I said to get out, take a walk, take a hike. Oh, wait, do I need to put it in jock talk? It means leave.
You’re kidding, right? MARK leans against the couch, trying to make himself comfortable. CANDY: God, you really are dumb, you know that Mark.
You’re a fucking bitch. What more do you want? We don’t have all night.
That’s really the only reason you came here, isn’t it? For sex. May gosh, that’s all you think about Mark, that’s all boys in general think about. Sex, sex, sex. It’s amazing you can actually spell four letter words.
Hey, I don’t want to sound like a total dick, but that’s all our relationship is good for, isn’t it Candy?
3. Ext. The O’Brian House – NIGHT Behind the leaves, a presence can be seen looking at the two teens in the window. A hand with a scar running directly down the center of it comes up to move some leaves out of the way for a better view. CANDY can be seen standing up, arguing by using a lot of hand movements. Cut to 4. Int. The O’Brian House [Living Room] – NIGHT CANDY is still yelling at MARK, who is reluctantly planted on the couch. CANDY: You are pathetic, you know that Mark. You don’t care about me, or my feelings. You just care about ‘the’ feeling.
I’ll tell you something Mark. You, my friend, are the stereotypical high school asshole who lived his glory days when he was seventeen. You’re going no where in life. MARK laughs a little and shakes his head at CANDY. MARK: So, I guess we’re not going to Homecoming tomorrow?
Oh no, I’m going, but not with you. MARK’S smile on his face suddenly turns into a hurt frown. He stares at CANDY, who has her arms crossed and a very angry look on her face. CANDY: I’m going to go take a shower, wash off the nasty germs that you put on me. When I get out, you better be gone.
5. Ext. The O’Brian’s House – NIGHT The figure watching over the house is still here, breathing heavily. From within the house, another light in a different room goes on. CANDY can be seen walking up the stairs. Cut to 6. Int. The O’Brian House [Living Room] – NIGHT MARK is still sitting on the couch, in shock. His eyes are glassed over, as if he’s about to cry. MARK: Shit, who am I going to Homecoming with?
7. Int. The O’Brian House [Candy’s Room] – NIGHT CANDY has just entered her bedroom and begins taking off her jewelry. She is placing it on the dresser just below a large, oval mirror. By her fast and furious actions, CANDY is frustrated. CANDY: What an asshole! My god, if there were one boy in the whole world who cared more about my self esteem than their penis I think I’d have to faint. CANDY unbuttons her blouse and pulls it off, revealing her smooth skin and her white bra. CANDY looks in the mirror at herself, and gives a quick smile. CANDY: Nothing a good old shower won’t settle, is it Candy.
8. Ext. The O’Brian’s House – NIGHT MARK has finally gotten up from the couch and has exited the house. He is on the front porch and shuts the door behind himself. MARK is hanging his head low, appearing to almost be in shame. From a distance a figure can be seen looking at him. The figure is not moving around a little, shifting between bushes. MARK walks down the steps of the porch onto the front lawn. He proceeds towards his car, a snazzy, red convertible with not a scratch on it. MARK: Candy, what kind of candy are you. Definitely the sour kind.
Candy? Are you there? There is no answer, just a dead silence. MARK: Look, Candy, I didn’t mean anything before. Don’t you think we can just make up, have fun tomorrow night, and possibly have fun tonight.
Hey, Mark, when I say ‘gone’ I mean ‘gone.’ So take your stupid, girly looking car and get the hell off my property.
Wait, if Candy’s up there then the hell is…
Who’s there, who the hell’s there. There is a dead silence. MARK: You better leave this place man; you better leave whoever you are. I swear to god if you hurt that girl in there I will-
9. Int. The O’Brian’s House [The Bathroom] – NIGHT CANDY, now covered only by a bathrobe, opens up the shower door and turns it on. She turns the nozzle all the way to the hot side, and tests the water. CANDY then proceeds to take off her bathrobe, revealing her entire backside. She steps into the shower, and closes the door. CANDY sprinkles the hot water on herself, and the steam begins to rise. She allows the water to flow down her body, and her blonde hair to smoothly lie across her back. From outside a loud noise is head. It is a car horn, and the noise is not moving. CANDY barely hears it, and turns off the shower to hear it more. CANDY’S face once again turns to frustrated anger as she grabs for a towel. CANDY: I can’t believe this, I just can’t believe it. What a complete asshole. How did I ever date such an asshole. Asshole, asshole, asshole…
Way to interrupt a girl’s shower. Cut to 10. Ext. The O’Brian’s House – NIGHT CANDY swings the front screen door open and walks onto the porch. She is still tying the belt on her robe around her waist. She walks over to Mark’s car and looks inside the driver’s window. There is a stick shoved between the steering wheel and the seat, pressing against the horn. CANDY opens the door and removes the stick. CANDY: Is this his idea of some kind of joke? What the heck is wrong with that boy?
The stick that CANDY threw lands at the feet of someone. The person is wearing black boots and blue jeans. CANDY walks up to the porch shaking her head, and opens the screen door. She then looks outside and yells. CANDY: Hey, Mark! Guess what, you are an asshole. That’s right, you’re the worst of the worst, and I’m glad I’m not with you anymore. Tomorrow night at Homecoming, ‘don’t’ save me a dance- I’ll greatly appreciate it!
11. Int. The O’Brian’s House [The Bathroom] – NIGHT CANDY re-enters the bathroom and walks towards the shower. As she opens the door to the shower she turns the knob, once again to the hot side. She takes her hand off the knob and goes to test the water with it. When she goes to test it she notices that her hand has blood on it. CANDY: What the hell? CANDY then looks at the shower floor and sees that the water is washing blood down the drain, and that the blood is coming from a stack of clothes in the center of the shower floor. CANDY bends down and picks them up from the floor. CANDY immediately recognizes the clothes, which are covered in blood. CANDY: Mark?
CANDY is screaming. Cut to 12. Int. The O’Brian’s House – NIGHT When she reaches the bottom of the stairs she runs for the door, but is sidetracked by a trail of blood leading into the living room. CANDY walks back into the living room and follows the trail of blood to the couch, which has MARK’S dead body on it. MARK is wearing only his boxers, and his head is positioned back against the back of the couch. CANDY slowly walks over to him and gives his shoulder a slight push. With that little force from her push MARK’S body falls foreword, with half of his head [from the lower jaw down] still connected and the rest of his falls to the floor. CANDY screams once again, this louder than the last. She panics and runs for the door. Standing at the door is JASON- a tall, bulky, brooding monster wearing a blue jumpsuit, black boots, and a white hockey mask with a crack in the upper right corner. CANDY turns and runs back up the stairs. CANDY runs up the stairs and once at the top she runs down the hall. Jason follows her, running as well. CANDY runs into her room and quickly slams the door just before JASON sticks his hand in the room. Cut to 14. Int. The O’Brian’s House [Candy’s Room] - NIGHT CANDY backs away from the door and looks around the room. JASON begins slamming on the door, pounding hard. CANDY once again screams. CANDY: Who are you, what do you want! The door seems to start becoming unhinged. JASON continues pounding with all of his might. CANDY walks over to the window opens it. She screams for help. CANDY: Help, help me! Somebody please help me! JASON’S hand comes through the door and begins searching for the knob to unlock it. CANDY sees that and begins climbing out the window. JASON unlocks the door and slams the door open. The door comes off its hinges and slams against the wall. CANDY is outside the window, placing her feet on the roof top that covers the porch. JASON rushes over towards the window and tries to grab CANDY but she lets go of the window. CANDY looses her balance and stumbles backwards. She rolls down the roof and falls off, landing on the grass in front of the porch. Cut to 15. Ext. The O’Brian’s House – NIGHT CANDY lies on the ground for a few moments before she regains consciousness. She looks up at her bedroom window to see that JASON is no longer there. CANDY sits up and looks around for JASON. Inside the O’Brian’s kitchen a cupboard opens. Inside the cupboard are knives and cleavers. The hand with the scar reaches in and grabs the longest object in there- a machete. CANDY slowly rises to her feet to discover that she has a hurt ankle. She limps her way toward MARK’S car and gets in the driver’s side. CANDY quickly shuts the door and places her hand on the ignition. There are no keys. CANDY: The keys, shit! Where are the keys? CANDY looks around the car in various places for the keys. Through the rearview mirror she sees JASON coming from the back of the car, with a machete in his hand. CANDY quickly ducks down and lies across the two front seats. JASON slowly walks by the car and looks straight ahead. He appears to have no clue where CANDY is hiding. CANDY holds her mouth, trying not to scream. She watches JASON as he walks by. When JASON is out of sight, CANDY slowly pokes her head up. Much to her surprise she cannot see anyone in the area. CANDY sits up and looks around some more. She can’t see anyone. The fog from the lake is starting to get thicker and is rolling in. CANDY quietly begins searching for the keys to the car. She leans over to open the glove compartment and looks through there. She doesn’t find any keys in there, but she finds a flashlight. She sits back up and turns on the flashlight. CANDY looks to her left and shines the flashlight to see the hockey mask looking directly at her. CANDY screams, and JASON thrusts his machete through the window and right into her chest. CANDY stops screaming and drops the flashlight. JASON pulls the machete from her body and walks away. Fade Out 18. TITLE AND CREDITS A black screen appears, and with it the “Friday the 13th” theme music starts playing. The credits come fast and furiously, each one which, just like one of the first “Friday the 13th” movies. Fade to
Cut to 20. Ext. Dirt Road – DAY CHRIS HIGGINS – 42 years old, brown hair with blonde highlights and slightly grey streaks – wakes up from a dream of the previous segment with a jolt. Her eyes are wide, and she realizes that she has been sleeping, with her head rested against the headrest of a car. She is facing the window, and is watching the constant passing of the trees. CHRIS puts her finger to her face and brushes away some of her stray hair which seems to have gotten in her face from her frightening dream. ZERNER: You had a bad dream, didn’t you Hon? CHRIS looks to her left to see DR. GREGORY ZERNER looking at her, with a slight smile on his face. He is driving the car, with both hands positioned promptly on the wheel. He is attractive for an older man, appearing to be in his mid-forties, with brown hair that is already starting to recede. He looks as if he works out some times, and is not the typical doctor. CHRIS: Oh, it was nothing, just a bump in the road that startled me. That’s all.
I didn’t feel any bump, Mom. In the back seat, sitting behind ZERNER, is KJ – an 18 year old boy with a slim and tall body, brown hair and brown eyes, and an attractive face. Sitting next to him is ANNIE – a 13 year old girl with blonde hair tied in pigtails, blue eyes, and the face of an angel. CHRIS turns her head to the back and looks at them unpleased. CHRIS: That’s because you’re in the center of the car KJ. People in the front and the back will feel the most turbulence.
Turbulence? Mom, we’re in a 1992 station wagon, not a Delta Airlines Carrier Jet.
How much longer. ZERNER: Not long at all. We just passed a sign before you woke up that said we’re in the town of Crystal Lake. ANNIE: Some town. All that I’ve seen are trees and that ratty looking old man a few miles back. It seems like the perfect place for ‘serial killer central.’
You know Annie, you didn’t have to come if you didn’t want to.
Yes I did, KJ said I did. CHRIS turns around once again at KJ with an angry look to her face. CHRIS: KJ!
KJ: What, Greg said that it would be best if we came along too.
What? It’s more therapeutic if you have someone to watch over.
I still don’t see why I couldn’t go to dad’s house for the weekend.
You’re father agreed that you should come with us. It’s best for your mom.
[Unhappily]And he just wanted to have the house to himself, that way he could have all of his whores over. CHRIS: KJ! Watch you mouth. You’re sister’s in the car.
I can see that mom. ANNIE: I’m thirteen years old, I know what a whore is.
Watch your mouth Annie. ANNIE shakes her head and looks out the window. ANNIE: [To Herself] This is going to be the longest weekend in history. The car speeds down the empty road. From within the thick forest surrounding the street, a pair of black boots walks out. They stop and face at the car as it drives away. Cut to 22. Ext. Borough Hall – DAY MAYOR MINER, a man in his late fifties with a balding head and almost complete white hair is standing outside a house like building with a large plaque on it saying “CHRISTI HALL.” It is located in the center of what seems to be the town center, with only a few shops and a coffee house to accompany it. The town seems rustic but new at the same time, with fresh paint jobs on all the houses and bright colors. He is pacing back and forth, with his hands in his pockets. ZERNER’S car drives up to the curb, and MINER rushes over to greet it. MINER: Hello, hello everyone. ZERNER gets out of the car, as do KJ and ANNIE. CHRIS sits in the car for a few second and tries to take in the new Crystal Lake. ZERNER walks in front of the car and lends out his hand to MINER. ZERNER: You must be Mayor Miner. I’m Doctor Gregory Zerner.
Nice to meet you Dr. Zerner, or is it Greg?
Whichever you prefer. MINER: Okay then, I’ll stick to a professional level and call you Doctor. I prefer to be professional. You know. CHRIS finally opens the door and gets out of the car, trying to hold back a large grin that is forming on her face. MINER: And must be Chris. Don’t mind if I call you Chris do you. The men get the surnames, but the women just- CHRIS: I love what you’ve done with the place. It looks amazing, better than I remember it.
Well, you haven’t been here in over twenty years, am I correct. CHRIS: Twenty three years actually. 1984 was the last time I was here. I never thought I’d return.
I tried to make the place happier, you know, help bring people back.
And these are my two children, KJ and Annie.
[Whispering] She’s shy around new people. MINER: Well, hopefully you won’t have any worries for you’re the weekend. It’s a beautiful day to arrive here anyway, and the weather is perfect. A great day to go down to the lake. ZERNER: We’re actually staying at a place on the lake.
Oh, really, I hope nowhere near the old Camp Crystal Lake sight.
Actually, I don’t think we’re too far from there, about a half a mile.
Is that place still there? MINER: Well, not how you remember it. The old Camp Crystal Lake was torn down years ago. Citizens didn’t see the need to keep it up after everything that had happened. So recently we built a new sight, just opened last summer. The kids loved the place. In fact the high school is holding their Homecoming Dance in the dining Hall there tonight. It should be a blast.
And it’s safe at Camp Crystal Lake? MINER: I’ll tell you this Chris- there hasn’t been any ‘non-safe’ activity in Crystal Lake for over twenty years. In fact, for the past three years we have been ranked nationally as one of the top fifty safest communities to live in.
Well, that’s great. A lot different from Boston, isn’t it Annie?
I’ll say. MINER: You drove all the way from Boston? CHRIS: Well, from a suburban town outside of Boston. The drive wasn’t that bad, we’re used to it. My ex-husband lives about an hour and a half away, so we made it.
Well, I called for that darn shuttle twenty minutes ago. CHRIS: A shuttle in Crystal Lake? Wow, this town really has modernized. MINER: Yes, I thought it could take us all up to the place where you’re staying; allow me to show you around a little, get you situated. |