Vampires, Werewovles, and Crap Nobody Wants to Read: Fiction.

Before I Start a quick note on the Geek Pit, Assuming I still name it that. The writing is going well, I’m finally working on the last story. I might sneak one more story in, but only time will tell. The last story is going to be a bit longer than the others, I’ve been listening to a lot of True Crime podcasts lately and that has really influenced the as of yet un named final story. Once that’s done, it’s time to start editing. Editing is going to take a bit because I have a couple of stories that really need some love to become useable. It’s going good, and I think I should have it done “Soon”. Soon being a purposely vague word designed to obscure when it will actually finish.

Anyway, on to business.

I was cleaning out my closet the other day and I came across an old notebook. I love coming across those weathered pages of writing from days gone by. At the risk of sounding like “that guy”, it saddens me that the modern equivalent is coming across a computer file on a forgotten folder. The thing is, you’re never going to find a piece of prose you wrote twenty years ago on your computer, because you don’t have that computer any more.

I don’t think enough writers share their process. All we ever see is the finished product. That’s why, every so often, I like to put up some dead writing so you can see my process warts and all.  Two weeks ago I shared the first part of a piece that needs some major rework from my next book Called the Mermaids Pleasure. This week I’m just going to takes some bits and pieces and share them from the notebook I just found.

I’m going to do my best to not edit anything as I put it up, but I make no promises. I think this was part of a gothic vampire story I wanted to write, but it never panned out.

Enjoy.

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“He waited. Malcom sat there and waited. There wasn’t much else he could do. Oh, occasionally he scrammed or laughed, he even wet himself once or twice. But not really much else. He couldn’t watch tv, nor could he read a book. It was another boring Sunday, and The straight jacked restricted and discouraged movement.

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The tortured mist s of the night swirl up around me. I can feel the darkness tugging, pulling, pushing at me. The mists consume me. I feel my heart race.

“He’s here, I know he is, he has to be, he promised.”

My head turns, my mind spins. I hear him, his heart beating its savage cry. He’s there, in the night, waiting, Waiting for only me.

I run to him. Through the mists swirl, there he is, in the mists. The mists push at me. Enter me. My robe galls back, buttons unbutton, zippers un zip. The mist push at me surrounds me. I feel the mist slip in, deep inside me. I moan, as the mist gently kiss my neck, my cheek, my breasts.

My mouth parts, a single tear slips down my cheek. I try to breath. I cough on the mists. NO! Wait, this isn’t wat I wanted! The mists keep pressing. I try to struggle but I can’t. The mist is inside me. Swirling in my mind. It’s ripping away my pride and my dignity. My very life spills upon the ground.

As it slips away and my dying gasp comes. The mist withdrawal and the shape. Before me he stands. Tale and pale, deep and thin. Long blond hair on either side of his long feral face. A long black jacket now draped across his shoulders. An old black suit, and a parchment white shirt.

He reaches out with his long thing fingers and removes the round glasses hiding his eyes.

His eyes shit a bright red in the black night. He speaks to me as I lay dead before him. He runs his fingers through my hair trying to ease my pain, trying to ease my sorrow.

“Pretty child,” he speaks to the darkness. “I expected so much more.”

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Outside the wind whipped and howled, a storm was blowing in, a storm from the east. Rosemary sighed as she took off her glasses and rubbed the bridge of her nose. Lighting flashed and momentarily lit up the small dark room.

From her angle, she couldn’t see the man watching her from the darkness.

Rosemary closed her notebook and stood up to leave. Why has she thought tonight would be different? Why would the poor crippled girl in front of her talk tonight of all nights.

As Rosemary opened the door, the low voice behind her startled her. She turned quickly as Jessica began to speak softly. She spoke harsh and disjointed, her words spilled forth in a litany of pain, a chorus of death.

Rosemary stood, transfixed by the beauty and the horror of the poor girls broken words.

Jessica told her it all. She started with the waitress, the one from before, and she ended with her sister being pulled from their bedroom window. She spoke of his cunning, the hunter in the night. She spoke of his power and his pain. She spoke about his beauty.

She described a ruthless coldblooded killer, a man without conscious. She described him. She described the man that Rosemary had seen countless times her entire life, the man from her dreams, the man from the darkness.

***                                        ***                                        ***

The city lights glowed in a silent litany of sorrow and loneliness. All was quiet, the rain continued to beat down in a never ending rampage as rosemary pulled her long black car into the drive way of her house.

She slid out of the car and moved towards the looming house It was quiet. Her husband’s mustang was gone. Must still be working she thought, must still be at work. She opened her umbrella as she stood, struggling for her keys with her other hand.

Her hands still shook with the memory of night.

She slid the keys into the lock and opened up the door. As she walked in she shook the rain off her umbrella and stepped inside her home.

Off in the distance she a heard an animal howl into the darkness, maybe willing the rain to stop. The noise made Rosemary jump, and she almost dropped her umbrella. She smiled at herself, laughed at how jumpy she still was.

After putting everything away she took a quick show and put on a pair of jeans, and a t shirt. She went down stairs to get some food and watch some tv while she waited for her husband to come home. In her head though, she could still hear Malcom’s voice in her head, warning her. Telling her about the monster that was coming for her.

***                                        ***                                        ***

Audrey fought with the key to Slade’s apartment, she could almost feel it’s breath on the back of her neck. When the key finally slid into place and turned, her whole body shuddered with relief. She pushed the door open and called out to Dave as she slammed it shut, locking it behind her.

She kept calling for him, but no answer came. She could feel it moving outside the door.

Night was just beginning to roll in.

She nervously looked around the small apartment. Her heartbeat was finally slowing down. The danger locked safely outside. She turned on as many lights as she could, to keep the coming darkness away.

David better be back soon, she thought as she dropped onto the couch, nervously trying to blend in with the safety of his room.

A loud ban rang out and violently wrenched Audrey from the deep sleep she didn’t even realize she had entered. She rubbed her stiff neck as she stood up to look at the clock.

237 am.

Audrey shivered as a cold night breeze ran playfully through her hair. She turned and saw the windows both were open.  She carefully walked towards them, a sense of dread began to build inside her. They were closed. She knew they were closed. They had to have been closed.

Suddenly, she stopped. No, she wasn’t going to go near them. She backed up, instead she would go into David’s room. He had a gun. She could hide their. She’d be safe. She hurried across to his room and clutched his door handle. It was cold.

She shook as she turned the knob and pushed the door open. As the she pushed the door forward it let out a creaky sigh from the hinges that didn’t want to open.

Her knees suddenly began to shake and she grabbed the door frame. She was passing out. She was trying her best to stop it She closed her eyes tightly and bit the inside of her lip. When she finally felt she could stand again, she turned and ran.

Behind her David laid in the center of the bed. Someone had tied him to the bed, and opened his body up like an autopsy. Pieces of him sat all around the room, displayed with little notes and tags to show everyone what they were.

His Heart sat on the dresser.

As she ran she saw him. The thin man standing by the window. Watching her. He smiled as licked the blood off of his finger nails on his right hand. The nails of the right hand had been filed to a point.

With a smile, he was gone. Out the window. Leaving Audrey alone.

She fell to her knees, crying.

***                                        ***                                        ***

Wrap up:

So yea. That is just a taste of over ninety pages of writing. I don’t see any dates, but I’m pretty sure it’s a pre Y2K notebook. So it’s possible that it could be literally 20 years old. It looks like it’s a vampire tale full of Vampires, werewolves, Warlocks, and at least one immortal 1920’s detective named Malcolm Slade and his gay lover David. As you can see, David didn’t make it through the story, but if I remember correctly, Malcolm did alright.

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The Mermaids Pleasure: Fiction.

This is the beginning of a twist on a mermaid story that i first wrote years ago. The original draft very much showcased my lack of nautical knowledge so i reworte it. On the rewrite the story became a little bigger and more bloated then i wanted it to be. I’m in the process of streamlining it and reworking it for my next collection but thought i’d share the first part of the second draft.

Be warned, this will be rough and unpolished and will not represent the final work. This version can be broken up into three separate sections so i may eventually put up the other two parts if anyone is interested in reading them.

Enjoy.

The Mermaids Pleasure.

— A short story by Joseph L Zbiegien.

Part 1.

When I was a kid, my father told me a story, a story he promised was true. It was the same story his father told him and one day I was to tell my sons and daughters. Sadly, that will never happen, I will never get to tell my children. I will be dead before my son breathes his first breath. It is for him and his children that I do what must be done. The chain will break with me. I will be last.

Even though I die, the story must still be told. It must be passed on. I write this know so my wife can pass these words down to my son and the children of my brother who died before he could do what must be done.

The story must be told, until the story stops being true.

It started, so my father’s father told him, when our name was new, and we still fished under the Nordic sun. Legends have a way of saying things, that take the truth and cover it perfume and mystery. That’s how the story starts. The first part is legend, coated in perfume and mystery. Before we can pull back the hyperbole and see the truth that lies underneath, we need to start with the legend.

The story is a story in three parts. Hopefully, when my child and my son’s children tell the story, it will be in four parts, and the fourth part will an ending. Then someday, the story can fade away and be forgotten.  It’s strange to live long enough to see your own life become legend.

Simply put, we are a fishing family. We have been ever since we first drew breath. My earliest ancestors prayed to Nordic gods as they pulled cod from the seas off Norway. It’s an antiquated notion, we no longer live in a society where a man was a carpenter just because his father was, but that’s the way it used to happen and that’s the way it still happened in my family.

I don’t know who the first one to cast a net into the water was, but what I do know is that My father was a fisherman, my grandfather was a fisherman, my Uncles and my brother were all fisherman. You’ll note I said were. As far as I know, they are all dead. Disappeared at sea.

Or in the case of my brother…

No. I’m not to that part of the story yet. I can’t start there, I know. It doesn’t make a lot of sense. How can my dead brother fit into a story that my fathers have been telling themselves for as long as they’ve had sons. But as I said, as I meant to start, this story doesn’t’ start out as a story, it starts as legend.

It starts simple, as all great stories do, it starts with a storm and two young boys. I don’t know his name, it’s been lost at this point. But for sake of storytelling, legend telling, I’m going to call him… Simon. It was my father’s name, and it was the name I was going to give to my son, I now leave that decision to my wife.

I hope after she reads this, she still uses that name.

As you may have probably guessed at this point, Simon was a fisherman. He was the middle child out of three boys. His eldest brother, whom we will call Thomas, after my Uncle, was in all ways the leader of the family. He was strong, proud and an excellent fisherman. Someday, he would probably replace their father as their tribe’s leader.

Now Simon’s younger brother, whom I will call Richard, after my own brother Rick, was the exact opposite of Thomas. He was lazy, and uninspired. He was more concerned with attracting the eye of a pretty little red haired girl in the village.

Simon, being the middle child was very much the axis point between the two of them. He would never be the hardest worker or best fisherman in the village, but he’d always be faithful and get the job. His father called him a dog. Not out of disrespect though, it was an apt description. Simon was a faithful companion who would always be there for you, but would never over step his bounds.

Now that introductions are complete, this part of the story starts on a boat, in the middle of the sea.

Or rather, I guess the story begins the evening before with a bet. Yes, that is the proper beginning. It starts with a bet and a pretty little red haired girl. It seemed the pretty little red girl that had so caught Richards’s eye had also caught Brother Thomas’s eyes. Whilst Richard just wanted to bed her and saw only a play thing, Thomas saw his future. This was the woman he wanted to grow old with, she would bear his children.

Unbeknownst to both of them she had already secretly chosen Simon as the brother she wanted to marry. As all true tragedies go though, Simon had no interest in her. Instead he longed for a girl he met several moons ago on the shore. She was dark haired and pale skinned and green eyes that almost seemed to glow with the night. They had only met once, but he instantly fell in love with her.

It was during a storm. Simon had been out alone and was caught unprepared and spent the night in a cave along the shore. He said he saw her walking along the beach and invited her to warm herself by her fire. From that moment on, all he could think of was her.

He described her as if she were a dream made flesh.

To him, the pretty red haired girl did not exist so she did everything she could to win his attention. She flirted with her brothers and played them like toys trying to get him to look at her. Finally, she came up with the idea of the challenge. She informed the brothers that she could not choose between the two of them. Knowing that Richard could never out fish his two older brothers and that it would come down to Simon and Thomas, she agreed to marry which ever one of them caught the most fish. She knew that while her heart belonged to Simon, either one of them would be able to give her a good life.

They left before the sun broke the horizon the following morning, but not before she gave each and every one of them a kiss for luck. As he kissed Simon good bye she whispered in his ear, please let it be you. If it is your brother, so be it, but I will think only of you.

The words haunted Simon as he watched the land drift away behind them. He didn’t want her. HE wanted the girl with the green eyes. She had promised him they’d be together again. So when it came time to fish, Richard and Thomas were like maniacs, each pulling in as much fish as they could while Simon dreamed of eyes of green and a voice smooth as an ocean breeze.

They slipped farther and farther out to see trying to catch bigger and bigger fish. Without trying Simon was indeed winning and his brothers knew it. So intent were they on their prize none of them saw the clouds growing in the distance.      By the time the storm came, they were farther out then they had ever been. Land was nowhere in sight.

When they first saw it in the distance, they thought they had come across some strange new land at the boundaries of their oceans. The storm was so great it looked like a great grey cliff slowly crawling towards them.

Still though, even as the rains came closer and even though they should have turned back towards home they kept casting their nets. The fish seemed to be swarming the boats. They were actually jumping in themselves as if trying to out run the great storm that was coming. It was if the fish were afraid.

Surprisingly, it was Richard who decided they should turn back. He called out to the brothers that no women, even a pretty one with red hair, was worth his life. He would gladly share his pile with his brothers so that one of them would win rather than face the foreboding grey wall that was rapidly approaching them.

Simon quickly saw his chance and agreed. Yes he said, I will slid my pile half my pile to you brother and Richard as well and you shall be the winner brother Thomas, now let us turn home before we all die. But Thomas scoffed at them, refusing. The gods favor the bold he told them, and as much he loved her, he did not wish to marry her knowing she should be her brother’s wife. No he said, I will win this and will win this fair.

Both Simon and Richard had given up and began preparing the boat for the approaching storm, but Thomas kept pulling fish in, yelling at the storm that he would not be denied. His love for her, mostly unspoken till now, had grown almost maniac. He would have her hand, and he would deserve it. He was after all the oldest. He wasn’t used to losing, he had fought for everything, and this would be no different.

It was the lightening that hit first, striking the water around them, making the sea seem to glow with life. Dozens off strikes all around them. The brothers watched slack jawed. They had never seen anything like it before.

Then the rain and the winds came. It was impossible to tell where the ocean ended and the rain began. It would take more than a miracle to survive the night.

Still though, they managed to survive. For hours the boat battled the winds and the endless barrage of rain. Three times Simon thought the boat would go under, three times he was wrong. When the storm finally stopped, they were left alone, broken and beaten barely afloat a thick fog crawling over every inch of the ship.

As the fog moved over them, Thomas put his hand out in front of him, and it disappeared into the fog. Then the fog over took them. Even though they were all huddled together, the brothers could not see each other.  They could hear them though. They could hear each other breathing in the empty void.

The winds had left them. Every so often the fog would thin just enough so they could see the waters again. The waters were flat and still, and if they looked at it for too long they imagined they could walk across the sea and find their way back to their home.

Knowing that the sails were useless, the brothers decided to drop oar and row for home. Finally, wordlessly the insane bet had been left behind and seeing tomorrow was all any of them cared about.

It would be a hard trip back, but for the three of them, still young and strong, it was possible. Or at least it was in theory. In reality, the water didn’t seem to act right. Instead of propelling the boat forward it was like they were moving through air. No resistance and but the boat just sat in the water, not creating a ripple…

Or the boat was flying through the waters at impossible speeds. The fog and the stillness of the water made it impossible to tell. They floated lost for four days, or so they thought. It could have been minutes. The fog made telling time possible. There was light, but it was pale green and seemed to be coming from the sea beneath them.

They needed to come up with a plan before the sea came up with a plan for them.

It was Thomas who first realized they weren’t alone anymore. It started with two sparks of green light in the fog around them. Then there were more. They came from all angles, above and below. A song in the nonexistent waves sung out softly, singing to them like a lullaby from their mother’s voice. Whatever was there, swam beneath them and pushed at the side of the boats. It shook them from beneath and pulled them forward.

And then, they saw her. A beautiful pale skinned woman with brilliant green eyes and black hair sitting at the bow of the ship. Simon stood, slack jawed and approached the woman, but his brothers tried to stop him. She smiled at him and beckoned him forward. She whispered words of love that only he could hear.

The other brothers tried to stop him, but something in the dark held them back. Hands from the sea rocked the boats and held them in place. Their breath was death on the brother’s necks, and they feared for the life of Simon.

It was the last time any of them saw Simon. He reached the girl and slipped his arms around her, embracing in a kiss. Wordlessly, she wrapped herself around him, and as the invisible hands started to shake the boat harder and harder. Simone and the girl slipped from the boat and floated off into the sea.

Something, if the brothers saw what, they never said, came from the sea and tore the boat in two. Thomas managed to pull his Richard onto a piece of the mast as the rest of the boat was pulled under. As it drifted away the ocean beneath them lit up as if was the summer son.

Thomas thought he could see forever.

It can see me, it can see me! Thomas began to yell over and over at the top of his lungs. The fear of it all drove him into a sort of shock. He tried to pitch himself forward into the ocean, he wanted to drown before whatever it was took him, but Richard would let him. He held him down and tied him to the pieces of wood they floated on.

As the rains began again, Richard held his screaming brother sure that they would die.

Somehow though, they didn’t die. When the morning came the fog had left and the rains had stopped. They washed up on shore almost a full week after they left. Thomas was half crazed and was never the same man who had left. They both kept their mouth shut about what they had seen until they held they broke down and told their children what had happened.

Neither of them married the pretty red haired girl. She drowned while the brothers were lost at sea. Not in the storm though, the storm never reached land.

Thomas though had been broken, he was eventually able to marry, but he only ever went in the ocean one more time. When he had kids and it seemed obvious they were going into the family business he told them from the safety of the shore.

The brothers eventually married, even though neither were ever the same. They continued to fish, because that was all they ever knew, but they never went out as far, and they always fled even the lightest of rain falls.

One day, Thomas woke up with a bit of the man he used to be gleaming in his eyes. He kissed his wife good bye and told her he was off to find his brother, for he knew he was still alive. He took a boat out onto the sea by himself and was never seen from again. Pieces of the boat washed up for months and even years after. Some of them seemed to be covered in claw marks.

Before he left, he sat on the edge of his son’s bed and whispered this story to him.

And that is the first part of my story. That is the part of the story that became legend. Ever since those first sons took breath, we’ve passed it down. What really happened, no one can say. That’s the thing about legends, you don’t know if any of it is true. More than likely none of it is true, at some point, some mother afraid of losing her son on the sea like she had lost her husband and father, and she would have been willing to tell that son anything. Whatever it took to save the life of the last thing she had left in this world.

A lie begat a story which creates a legend that ends in tradition. Such is the art of storytelling.  All that aside though, while I don’t know which parts are true, I think this legend is more true than most. I’ve seen things that you wouldn’t believe. I’ve seen things that well… I’m getting ahead of myself. I can’t tell you that part of the story yet. We just finished the beginning so I it’s time we moved on, because our story doesn’t end in legend.

Movie: Halloween 4 and Five.

Halloween 4 & 5.

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Be warned, I don’t review movies, I talk about movies. And when I talk about a movie, I like to talk about the whole movie and do tend to use Spoilers.

Halloween did not by and stretch of the imagination create the Slasher Genre. Psycho, Peeping Tom, Black Christmas, even Texas Chain Saw massacre all came before it and helped to lay the ground work of what the genre was to become. That being said, while it didn’t create the genre, without a doubt it helped to popularize it and point it towards the future.

Without Halloween and the slew of imitators to follow, Slasher films would have been a fruit that withered and died on the vine. We wouldn’t have Friday the 13th, The Prowler, or My Bloody Valentine. Halloween came out strong and set the bar for all the others to try and reach.

When Halloween 2 came out Friday the 13th had already steeped up to help push the genre forward and H2 was without a doubt a response to its and other like it’s success. Full discloser here, when it comes to slasher films, Friday the 13th will always have my heart, so if I sound a little biased, forgive me.

Halloween 2, while a weaker film then its predecessor still managed to expand on the mythos and pull off a strong entry in the series. I’ve always maintained that in my mind the only thing that kept the First Halloween from being the greatest slasher movie ever made was the sequels. Explaining away the mysteries always hurt the power of the ending of the first movie. But, if we had to have sequels, Halloween 2 was a good way to go. It expanded on the series and had some really great memorable scenes.

Michael walking through the glass door will always be my favorite Michael Myers moment ever.

As we all know, at that point having killed off Michael Myers, the only way that John Carpenter would stay involved in the series is if it went in a totally different direction which lead to the third in the series, Seasons of the Witch. Opinions on the third movie vary, but I for one am glad that history seems to be finally seeing the film for the classic it is.

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By the time we get around to the fourth installment of the Halloween series, its 1988 and the Slasher boom is in full swing. We’ve had Six Friday the 13ths, Three Nightmare on Elm Streets, Multiple Silent Night Deadly Nights, we’ve been to two Slumber Party Massacres, visited the House on Sorority Row, we’ve been initiated…. The list really could go on forever. Once a leader in the genre the Halloween series finds itself in the position of trying to compete with what has come before and attempts to put itself back on top again.

The title of the fourth film sends out a bold statement and a declaration of War from Moustapha Akkad. The RETURN of Michael Myers. The return of what made the series great, the return of the series that helped create the genre. The return of one of the first great slashers, the powerhouse that is Michael Myers.

It starts off with a completely different feel from the films that came before it. It’s glossier then the films that came before it and feels just as much a product of its times and its predecessors felt of theirs. Halloween four and five ooze eighties horror from its very pours.  Also gone though, is the low budget charm that the earlier movies had. The first one feels like it was made for a song and a prayer, but in these you can feel every cent that was spent on the movie.

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Four does a lot more right than it does wrong. I don’t think it does what they set out to do, reestablish Michael as the king, but I still think it’s a strong and enjoyable Slasher film. It brings Michael back well and it treats the series with respect. It even has what I think is my favorite kill in the series. The Thumb in the forehead. It’s quick and logistically brutal. I love to think what it would take to jab your thumb into some ones skull like that.

One of the biggest things it does right though is in the characters. The characters in the original weren’t well fleshed out, but they all had an easy realistic charm. We don’t focus on a lot of characters, but the ones we do focus on are well done and likable. Like the first movie they feel like real people having real conversations. Not great conversations mind you, but real one.

They also do a great job expanding Loomis into even more of an Ahab character. Early on we get a beautiful scene in which a preacher picks Loomis up and they converse on the nature of evil and portray him as a holy warrior tracking evil through the darkness. It really adds a beautiful mystique to the character.

The main addition to the lore is through Danielle Harris and the character of Jamie. Jamie is the niece of Michael and daughter of Laurie from the first two films, who has conveniently died off camera. Her character is protected by her Step Sister Rachel, who I will talk about in more detail later.

Danielle Harris is so good in this. You like her and you want to protect her. You really don’t’ want to see anything bad happen to her, and you don’t 100% trust that nothing bad will happen to her. She does feel like she’s in danger, and that’s at least in part because of how hard Rachel fights to protect her. Had Elle Corenll, the actress playing Rachel done a lesser job, you wouldn’t have been so willing to accept the danger that Jamie was in.

And it helps that Danielle herself is no slouch and does truly seem terrified throughout the movie.

The movie has some good kills and while it doesn’t reinvent the genre or anything, it’s a very solid entry and does everything we expect a slasher movie to do. It moves the series out of the 70’s and helps firmly establish it as a mainstay of the 80’s slasher scene. Michael Myers is again the boogey man.

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And then we move to part five. To me, part five is problematic from the get go and my second least favorite film in the series behind Resurrection.

The problems with part five are typified in the character of Rachel. In four, she is an amazing character. Jamie is not her blood sister, but that doesn’t stop her from putting herself in harm’s way and putting her very life on the line to protect her. She almost dies so many times in that movie but keeps going in an attempt to save her step sister whom she’s grown to love. She is truly heroic and a strong female character that anyone can look up to.

In the fifth movie though, they wash all that away and turn her into just another body for the pile. They treat her character with nothing but disrespect from moment one. Her character is dead twenty two minutes into the movie and she spends most of her screen time either naked or in a towel. In my mind she is the hero of the fourth movie and they don’t even let her die with her pants on. A strong female character turned into pointless eye candy. Her death is quick, and she is forgotten and left to be nothing more than a gut punch for Jamie when she finds the body unceremoniously dumped in a corner towards the end of the movie.

Her treatment shows not only their lack of respect for her character, but a lack of respect for everything that came before. I’m not naïve, I know Hollywood is a business, and the whole point is to make money, but at least before this they were trying to make a good movie along they way, part five feels like a cheap heartless cash grab.

I said earlier how the characters in the last one felt realistic, nothing about the characters in this one feel real. They are caricatures of what adults think teens are really like. Every character is loud and obnoxious and so annoying. The fifth movie is full of typical unlikeable teens and it plays everything for laughs. One we first meet the two cops they play annoying comedic sound effects over them so we know that they serve no purpose other than comic relief….  Rachel is outside in a towel in the scene by the way.

I don’t think the film has one likeable character. Even the character building for Doctor Loomis is gone and he turns into an unlikeable asshat who by all appearances has been psychologically abusing Jamie for the past year. Instead of Ahab hunting his white whale we have an evil old main whining at a little girl as he shakes her in her bed.

Jamie is not even a great character this time, because they take away her voice and make her lay around thrashing in bed the first half of the movie.

You know what, let me step back a moment. There are two likeable characters in the fifth movie. One is the cop who tries to cheer Jamie up as they are using her for bait against an unstoppable killing machine. The other is the nurse who with such sorrow in her voice tells Loomis to leave Jamie alone as he lays on her and whines at her in the hospital bed.

Hell, I don’t even like the dog in this one. He’s loud annoying and barks at everything.

I don’t’ typically like to write about movies I don’t like, but I think it’s the juxtaposition between these two movies that makes them so interesting and makes me want to talk about them together. The fourth one is good, but the fifth one falls so short. There is a one year difference between the two movies and they mess it up so badly. They destroy the goodwill and the hope for the future the fourth one gave us and produced such a flawed piece.

It took six years before we got a follow up to this, and by all accounts the sixth film is a mess. It’s history is legendary thanks to the producers cuts, but both cuts of that films are so much better than five because with all its fault, it’s actually trying to give some respect to what came before and trying to makes something of the mess of an ending five left us with.

The funny thing is, that ten years after five came out, history repeats itself with H20 and Resurrection. H20 comes out and actually tries to make a good movie, and then resurrection throws that all away and gives us the only sequel worse than part five.

They didn’t learn their lesson from part Five and instead just tried to bank on the success of H20 and make a little bit more money. Granted….  Still doesn’t stop me from watching part five every year or so now does it.

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The Attic Door: Book Review!!

So, if these Reviews i found online for my Book, The Attic Door, 13 Tales of Terror don’t sell you on my book, I don’t know what will!!!!

 

James Hubbard:
Book is usually written, printed, or created for everything. You can understand everything you want by a reserve. Book has a different type. We all know that that book is important thing to bring us around the world. Adjacent to that you can your reading expertise was fluently. A book The Attic Door: 13 Tales of Terror will make you to be smarter. You can feel much more confidence if you can know about anything. But some of you think that open or reading the book make you bored. It is not make you fun. Why they might be thought like that? Have you searching for best book or suitable book with you?
Lynn Hardie:
In this 21st centuries, people become competitive in each way. By being competitive at this point, people have do something to make these survives, being in the middle of the crowded place and notice through surrounding. One thing that often many people have underestimated the idea for a while is reading. Yep, by reading a book your ability to survive increase then having chance to remain than other is high. For you who want to start reading a new book, we give you that The Attic Door: 13 Tales of Terror book as nice and daily reading publication. Why, because this book is usually more than just a book.
Barbera Champ:
The experience that you get from The Attic Door: 13 Tales of Terror is the more deep you excavating the information that hide into the words the more you get enthusiastic about reading it. It doesn’t mean that this book is hard to recognise but The Attic Door: 13 Tales of Terror giving you buzz feeling of reading. The writer conveys their point in particular way that can be understood simply by anyone who read the idea because the author of this book is well-known enough. This book also makes your own personal vocabulary increase well. Therefore it is easy to understand then can go together with you, both in printed or e-book style are available. We propose you for having this kind of The Attic Door: 13 Tales of Terror instantly.
Jose Hackler:
Many people spending their moment by playing outside having friends, fun activity with family or just watching TV all day every day. You can have new activity to spend your whole day by reading through a book. Ugh, think reading a book can actually hard because you have to use the book everywhere? It fine you can have the e-book,  delivering everywhere you want in your Smartphone. Like The Attic Door: 13 Tales of
Terror which is getting the e-book version. So , why not try out this book? Let’s view.

Seriously though, pretty sure the the Links offering free copies of my book that were attached to these reviews were virus ridden. Just a guest. Honestly though, i LOVE reading bad computer AI comments like this. Always cracks me up. Back in the day when i had a website, i had a whole page dedicated to stuff like this i found on the internet. Just kind of getting a kick out of the fact that it’s about me.

So, if you want to read my book, instead of going to these guys, try one of the following links!!

http://www.lulu.com/shop/joseph-l-zbiegien/the-attic-door-13-tales-of-terror/ebook/product-22597779.html

https://www.barnesandnoble.com/w/the-attic-door-joseph-l-zbiegien/1121285602?ean=9781312903944

https://books.google.com/books/about/The_Attic_Door_13_Tales_of_Terror.html?id=OXZaCAAAQBAJ

Ooo…. Amazon automatically makes a link!!!

 

and my Good Reads Page…..

https://www.goodreads.com/author/show/13605290.Joseph_L_Zbiegien

I’m really bad at self promotion, so buy lots of copies of my book so i don’t have to!!!

Movie: Last House on The Left (1972)

Last House on the Left.

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I was nine years old when A Nightmare on Elm Street came to theaters and I had no idea who Wes Craven was. I was just beginning to pay attention to the names on the posters and the boxes for the movies I loved, and Wes Craven was one of the first names to really catch my attention.

I didn’t get to see Nightmare in the theaters when it came out, I was only nine after all. When I finally saw it on VHS I already knew every beat of the movie. If I found someone who had seen the film I’d grill them to get every piece of information I could on the movie. I annoyed my sister over it for days and days after she saw it.

I was going to an amusement park with a friend and his brother who was one or two years older than us and had seen the movie. He was bit of a tough guy, on the wrestling team and kind of liked to push the younger kids around a bit, but not too bad. On the car trip to the park I annoyed him asking everything I could think of about the movie, trying to get every last detail.

On the way home, he wouldn’t let me ask him any more questions. Once it was dark, he no longer wanted to talk about A Nightmare on Elm Street. Even at nine, I knew it was because he was scared. Even though he was older and tougher than the rest of us, he was so scared that he couldn’t talk about the movie in the dark.

Freddy Krueger and A Nightmare on Elm Street had that much of an effect on him

It was a long ride home and he kept falling asleep. Whenever he started to go out, me or his brother would whisper “Whatever you do, don’t fall asleep”. Each time he sat up yelling and his mom would scold us. Being that kid, I had to do it one more time. I leaned in, and in the lowest voice so that his mother wouldn’t hear, I whispered it into his ear.

He whimpered. I pulled back a little surprised, and he continued to make these whimpering noises. At that moment I realized I made him cry. He was so scared that he was actually sitting in the car crying because I had whispered something in his ear.

That was one of the moments in my life that made me realize I wanted to scare people for a living. I’m still working towards that dream, but maybe someday.

Needless to say, when I finally saw A Nightmare on Elm Street it did not disappoint.

I looked at that name on the box, Wes Craven. I started flipping over box after box and renting anything with his name on it. The Hills Have Eyes, Swamp Thing, eventually Shocker, People Under the Stairs, Serpent and the Rainbow….  One thing that all of his films seemed to have in common, the phrase “From the Director of Last House on the Left”.

It’s funny though, you know what I didn’t find on any of those shelfs? Last House on the Left. None of the local mom and pops carried it. I became obsessed with finding it. I couldn’t find the movie anywhere. People would talk about it in hushed town like it was this dark reel of perversion that would corrupt me beyond belief.

The movie was almost mythical when I finally laid my grubby little horror loving fans on it. Worry not though fair reader, I was in my earlier twenties at the time, so not the nine year old that first started the quest.

Just like Nightmare so many years earlier, Last House on the Left did not disappoint.

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Now, I do want to warn anyone reading this, that from this point forward I am going to get into some heavy spoilers for the film. If you’ve never seen Last House it is a Rape Revenge of sorts and some of the specific things I wish to talk about are very spoiler heavy. So if you don’t want spoilers, you should stop reading.

The film is shot with a documentary aesthetic that draws the viewer in and makes them feel as if they are watching something real, and not a movie at all. Even though it’s a lie, the movie opens with a warning that the events we are about to see have been changed. It’s a quick and effective way to help us look at our female leads Mari and Phyllis as real people.

The film opens with the mailman pulling up to the house and kibitzing with himself over all the cards young Mari has received for her birthday, he smiles as he playfully remarks that “It’s not like she’s the only girl to ever turn 17”. His voice then turns as he looks up towards the house calls her “About the Prettiest Piece I’ve ever seen”. His comments tear down this young girl we haven’t even met yet and turns her into a piece of meat, foreshadowing the darkness that is to come.

The theme continues as we cut inside and see Mari preparing to leave, talking to her parents. Her dad, who is a doctor, Remarks “No Bra?” And a short conversation is spurred about freedom of the 60’s and 70’s against the uptight generation that came before.  I think it’s important to note that while he pointed out she wasn’t wearing a bra, it wasn’t done in an accusing manner. At no point in the conversation does he tell her to go change. He just points out the potential for trouble and sits back and lets her make her own decision.

In the woods before leaving for the city we have a small scene with Phyllis and Mari talking back and forth. Mari mentions that her breasts are filling out and that she finally feels like a women. They play Mari as an innocent, new to the world and unprepared for the darkness it holds. She has always had the support of her parents hasn’t been in any situation like the one that is to come.

Phyllis, her best friend, come from a less open family and it’s obvious she has an edge to her character that Mari does not. She tells Mari’s parents that her parents are in Iron and steel, meaning her mom Irons for a living and her Dad steals.  Phyllis admires Mari’s innocence and early on sets out to protect, even putting herself in danger to try and save her later in the film.

Our antagonists are introduced as the girls drive into the city, the radio is playing and it describes each character one by one. The establishing shots of our bad guys is cut between shots of the Girls in the city showing us again how innocent and undeserving of the violence the two girls are.

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Our lead is Krug Stillo, an amoral monster who carries himself as if he were a high school bully that just never stopped. His Side Kick Weasel, comes off as sexual deviant who worships Krug. Krugs girlfriend is named Sadie and they establish that she is really just hanging around with Krug for the fun.

The last member of the quartet is Junior, Krugs son. Junior is obviously mentally abused and doesn’t want his father around. In one scene he and Sadie have a conversation about who they would be if they could be anyone in the world, and he comments that he wishes he was a frog so he could just sit on his lily pad and not be bothered. He is not the monster his father is, Junior is just a junkie caught in a bad situation.

It’s Junior though who lures the girls into the house with a promise of weed. When things turn violent it’s also junior that steps in trying to stop his father to no avail. The scene is interesting, Mari is cast to the side almost forgotten as Krug deals with Phyllis first. When things finally break down and Krug, Sadie and Weasel take turns with Phyllis, we don’t see the violence. Instead we focus on Mari’s face as she stands in the corner watching at these horrible things happen to her friend.

In this instance it’s so much more powerful to show Mari’s reaction and mounting horror towards what is about to happen. In scenes that follow this, Phyllis is still shown as a fighter, she bites Weasel two scenes later showing that the act didn’t break her. She’s still strong, and she still wants nothing more than to protect Mari.

This is shown so well a few scenes later, again back in the woods.

After the initial rape sequence Krug and co load Mari and Phyllis into the trunk of their car and ride out into the woods. The driving scene, which includes a sequence with Krug and Sadie having sex as they drive down the street, is played mostly for laughs. This scene doesn’t show us how the group really is. It shows us how they think of themselves. They see themselves as a group of old west outlaw antiheroes. The weird almost bluegrass upbeat music that plays during these sequences help support that illusion.

This is an illusion that will be shattered to great effect later on in the movie.

The group’s car breaks down on a tree covered road seemingly in the middle of nowhere. Instead of going for help, our antagonists decide to take the girls out into the woods to have some more “fun” with them. As they leave the car Mari looks up at sees the Mailbox to the house they broke down in front of. In the movies most improbably moment, we recognize the Mailbox from the establishing shot at the beginning of the movie as belonging to Mari and her family.

She is then taken out to the woods knowing the whole time she is mere feet from the imagined safety of her own home.

Now in the woods, bored with their two hostages they begin humiliating them. They start by forcing Phyllis urinate in her pants while they watch. This leads to an interesting moment where Junior shows that he is not on board with the violence around him when he breaks it up by yelling “stop, you’re going to kill someone”. For just a moment Junior shows his strength as he stands up to his father, but it quickly fades away as he turns and instead suggests that they make the girls make out with each other. The shame of his weakness shows on his face.

The scene is shocking it’s in realism. We watch as the girls are forced to strip. There is nothing sexy about the showing, there is nothing done for titillation. It is a dark act. As this moment, still trying to save her friend, Phyllis looks into Mari’s eyes tells her it’s okay, it’s only the two of them. Even at that moment, even after all that has happened to her Phyllis is still trying to protect her friend. This scene is made even more poignant after listening to the commentary and hearing Wes Craven remark that the line was an adlib. The actress said it to the other girl because she was having such a hard time doing the scene. It was a genuine moment of one person reaching out to another in a dark situation. It’s a moment of beauty in a sea of darkness.

As all this is happening, it’s intercut with scenes alternating between the local police force and the parents. After the car breaks down we get a moment where the local Sherriff and his deputy are in the house trying to calm the concerned parents telling them that every things all right. I think it’s important to note that while he is talking to them the Sherriff is actually eating a piece of the Birthday cake the mother had earlier made for Mari. In my mind this shows a lack of concern from the Sherriff, maybe even a lack of empthy for the girl. He hears their story and much like the rape culture this movie helps to expose through the casual comments of the Mail man earlier in the movie, he just sees another girl run off doing god knows what.

Later though, concern does begin to show on the Sherriff’s face and he does eventually spur to action when a report comes over the radio that the city police are looking for a car that matches the description of the car he saw broke down in front of Mari’s house. Finally our police force is moved to action, but we quickly realize that they will be no help. They are shown to be impotent and buffoons. One moment running out of gas in their police car and another riding attempting to get a ride from a women hauling chickens.

They even play a comedic song over the police to show that they are pointless and will not make it in time. The Sheriff and his Deputy, played by Kobra Kai leader Martin Cove, exist only to show us that help will not come. The destiny of Mari and Phyllis was written in stone as soon as they entered that apartment and the movie makes sure we know it.

After the forced Lesbian scene we see that Krug has grown bored. He tells Weasel to watch the girls while he goes to get something to chop some wood so they can start a fire. A knowing glance is exchanged between the two of them and we see that Phyllis understands the true meaning.

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Knowing what is to come, and knowing their only chance of escape hinges on Krugs absence, she commits her last act of self-sacrifice. She whispers to Mari that she is going to run off so the others chase her, thus opening the door for Mari to escape in the other direction. At this point Mari is frantic and shaky, she is barely hanging on but she accepts.

Phyllis runs off to the woods and continues to taunt the pursuing Weasel and Sadie. This ultimately leads to her death. She almost makes it to the road when Krug steps out with a machete, stopping her. We have a little cat and mouse before Weasel first stabs her in the back. As soon as he does it he looks towards Krug, his eyes asking for approval.

At this moment, Sadie looks down at the girl and as Krug finally kills her a horrifying look crosses her face. She takes part in the violence, but for the first time we get the feeling that Sadie may have a line, and that murder may be on the other side. It’s hinted that maybe if she wasn’t with Krug she would be a different person. A better person. This scene shows Krug as more of a Manson or Koresh figure. Holding these people together and turning them to monsters through full force of will.

Soon after this sequence we enter the most shocking and important sequence of the films. The destruction of Mari’s Innocence and her eventual Murder.

When the group returns to Junior and Mari, they’ve changed. The murder they just committed hands silently between them, even though it’s not the first time Weasel and Krug have killed someone, some thing about this one is different, it has shaken them.

Spurred by his violence Krug rapes Mari. We do not cut away, we do not focus on something else. We aren’t shown the details of the rape, but again, we focus on Mari’s face. She looks directly into the camera asking us for help, knowing it isn’t coming. It’s an ugly act made all the more ugly by Krugs facing pressing into the side of her and his saliva dripping from his mouth and sticking to her face. He is finally the unfettered monster that has been hinted at the entire movie. He is nothing more than an animal. It’s a horrifying sequence and it feels like a true sequence.

The direct aftermath of that movie is the reason I love Last House on the Left.

Krug stands up and looks at the people around him. The films three monsters exchange glances among them. As Mari gets up and begins to pull herself together, Krug looks at her, and possibly for the first time in his entire life Krug realizes who he is. All pretense of the old west outlaw falls away as the illusion he has lived his life by shatters. He realizes he is not the good guy in his story. He is the villain and nothing will ever change that.

For the first time in his life Krug is lost.

He is not the only one who shares in this moment. Weasel looks at him, the veneer finally stripped away and he realizes that maybe the person standing in front of him was not worth the hero worship he had putting on his shoulders all these years. He wonders if this is what Krug is, and in a moment of retrospect he wonders what that makes him.

The biggest damage done though is in the eyes of Sadie. They all look at the blood on themselves as they realize who they really are, but Sadie actually tries to wipe the blood off. She starts rubbing the palm of her hands into her pants to try and make herself clean again. She finally realizes once and for all that it’s a monster standing in front of her and he’s turned her into the same thing. The look on her face says that everything has just changed and will never be the same.

The only one of the group to not take part in this scene is Junior. He is separated from the scene because he did not take part in the violence, and because he already knew what Krug was.

The three exchange a glance between each other as Mari walks away in the background. They are at a turning point in their lives, even if they don’t realize it. Realizing who they are for the briefest of moments they have the ability to change, but they don’t. The moment passes and in a moment of self-awareness Krug decides to accept the person he has become and He walks away a now and forever a monster.

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When he kills Mari it’s cold and impersonal. We don’t even see the killing blow. Instead of the stabbing her he pulls out a gun and shoots her as she stands in the pond trying to make herself clean again. He shoots her once and she goes down. He lines up to shoots her again, we cut to Mari’s home and her dog. We hear the gunshot in the distance signaling her end.

From this point on, they are the same people, but something is different. There is a tension between them that didn’t exist before. We no longer get the weird comedic banter between them. For what it is, it’s an oddly beautiful sequence that shows humanity in such a stark and real manner.

After this we enter into the final act of the movie.

The group goes to the nearby house, which was Mari’s parents’ house, and seeks refuge for the night since their car is broken down. The parents have shown themselves to be good people throughout the movie and this trend continues. Even though under the circumstances no one could blame them from turning the strangers away, they allow them into the house. Offering them shelter for the night until they can get the car towed in the morning.

They even go as far as giving Krug and Sadie their missing daughter Mari’s bedroom. As the night progresses the parents begin to put two and two together and realize that these people are not what they seem. They go out into the woods and find their daughter dead in the pond. From this point on we watch as the parents civility gets stripped away and they take out vengeance on the group.

It’s fun to point out that we get shades of Elm Street to come as we watch the father foreshadow Nancy preparing the house for Freddy by setting up traps for Krug while the mother seduces Weasel and takes him out into the night.

Weasel is the first to die. The mother literally bites his manhood off. He dies screaming bleeding to death as the mother washes her mouth out in a river. We then cut to Krug and Sadie coming away after hearing the screams from outside. They find the father standing over them, shot gun in hand. Krug kills the lights and the father fires into the darkness. A fight ensues. It is insinuated that Sadie may have been hurt because we don’t see her for several beats.

The fight comes to crescendo with the father chasing down krug with a chainsaw. Krug still thinking he is on top, momentarily regains the upper hand but before he could do anything Junior shows back up, armed with Krugs handgun. The same gun he killed Mari with. Now Junior points the gun at Krug.

Krug shows no fear though. He knows his son won’t shoot him. Instead Krug stands face to face with Junior and begins bullies him into taking his own life. As Junior lays dead a look of disappointment crossed Krugs face. He is losing control and he knows it. It all slips out of his hands as Sadie shows up, alive with a knife in her hand. He turns to her for help against the man coming at him with a Chainsaw, but instead she finally sees her chance for freedom. She cuts at him with the night hoping to run off into the better life she talked about with Junior at the beginning of the film.

Krug faced with emanate death, does what all bullies do. He turns coward and tries to run, but he can’t get away. One of the traps the father set for hum is sprung and Krug goes down. As this happens we see the mother on the outside of the house run up to the Sadie who has fallen into the swimming pool in the dark and ruthlessly slit her throat.

As the father moves in for the kill the police, impotent to stop the violence up to this point, arrive. They try to stop the father, but their attempts are halfhearted at best. Again we don’t see the violence, we see the faces react to the violence as the father proceeds to cut Krug to pieces with the chainsaw.

The movie ends in a scene that mirrors the earlier scene when Krug and Crew look at each other, realizing who they are. The Parents sit in the middle of the room holding each other. Their heads are hung and their hearts are sad over what they have just done. The Deputy steps up and attempts to remove the chainsaw the father is still holding.

He lets it go.

He lets it go because unlike Krug, they are not monsters. They are just two people who found themselves in a horrible situation and didn’t know how to react in anything but violence. They are not violent people, but at the end they found it to be the only solution. The film freeze frames on them showing that they are going to live the rest of their lives haunted by the ghosts of their daughter and the deeds they committed that day.

It also hints at hope. Because while they will never get over it, they are holding each other showing that they will always be there for each other.

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And thus ends Last House on the Left. It is not Wes Craven’s most remembered work, but to me I think it’s his most powerful and most meaningful. Its an important work that deserves to be seen.

I met David Hess, the actor who played Krug, once at a convention. I walked up to him and was struck instantly about how nice he was and how different he was from his character. We chatted about Last House and a Christmas horror movie he had done for about twenty minutes. He was very much that guy who pleasant voice who sang the songs in the movie and not the monster he was on the screen. We joked back and forth and afterwards he shook my hand as he handed me the autographed picture I had purchased.

As his hand closed around mine and my hand took the picture, his face changed and he gave me that Krug Stillo smirk and said “Now Blow your Brains Out”. We both laughed, him genuine and friendly, me uncomfortable and shaken. I had to sit down for a moment afterwards it had affected me so strongly. That moment scared me ALMOST as badly as years earlier when I made that boy cry whispering “what ever you do, don’t fall asleep” in his ear.

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Movie: Transformers: The Movie (1986)

Transformers: The Movie

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On the 17th of September in the year 1984, the first episode of The Transformers aired. The title of the episode was More Than meets the eyes. It was a three part episode that introduced us to a rag tag group of freedom fighters called the Autobots who were locked in an eternal struggle with a vile group of tyrants called the Decepticons who wanted to rule the world. The crux of the show was that the Robots could transform from robots into other forms.  The good guys mostly transformed into cars and the bag guys mostly into types of jets and guns, with some exceptions. They spent their time fighting over cubes of energy called Energon so that they could return home. The Autobots to free their home world, the Decepticons to further enslave.

I was Nine when transformers first appeared. Needless to say, I ate it up.

One day shy of a year later on the 16th of September in the year 1985, the cartoon GIJOE: A real American Hero appeared. This show followed a diverse multicultural group of soldiers as they defended the freedom of the entire world against an evil terrorist organization called Cobra.

I was ten. Again, Needless to say, I ate this up as well.

These shows existed for one reason and one reason only. Hasbro wanted to sell toys and they figured what better way to do it then through brightly colored cartoons flooding into our living rooms every day after school. I’ll tell you right now, it worked. I have my Optimus Prime and Unicron on my shelf watching me as I type this, and I had hundreds of GIJOE’s in my youth.

In 1986, in order to sell more toys, and bring in new characters into the mix, Hasbro decided to do bring the Transformers onto the big screen. A year later, they followed suit by bringing GIJOE to the big screen, but in my opinion it didn’t work nearly as well as the Transformers movie.

Again, the purpose of these movies were to sell toys. Lots and lots of toys, and they did. Action figure sales aside, Transformers The Movie did something very unique that had a profound effect on me and the people my age that watched it. I’ll get to that in a minute though. I want to talk about the movie a little bit first.

So if you haven’t seen it, and I don’t blame you if you haven’t, Transformers the movie begins with 20 years into the future. The war between the Autobots and Decepticons has escalated and seems to finally be coming to a head. The movie begins with the Autobots pulling together supplies for what will be their final attack. Before they launch the attack though, the Decepticons hijack their supply ship and use it to slip by the defenses of the Autobots and attack their base on earth directly.

The battle is quick, brutal and both sides suffer major casualties with no clear winner. The Decepticons flee back into space, jettison their wounded before returning to Cybertron to set up their next attack and crown a new ruler. All does not go as planned though, as a new force in the universe steps up and makes his presence known. The Mighty Unicron, a world eater who fears only one thing, the Matrix of Leadership that marks the leadership of the Autobots.

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Unicron rebuilds the fallen Decepticons and tasks them with finding and destroying the Matrix before it can be used against him.  Galvatron, the upgraded leader of the Decepticons starts out on a mission to destroy that Autobots and scatters them across the galaxy before they can regroup to fight the Decepticons and the evil Unicron.

I was eleven. Oh my GOD did I eat it up. It was bright, it was pretty, and it has a soundtrack that still gets my heart racing to this day. I defy anyone to not get pumped when Stan Bush comes on the radio.

Now, as I said, the point of these shows and the point of these movies were to do one thing. Make money selling toys to little kids like me. You have a couple of ways you can do it. You can just start making countless different versions of the existing characters, or you could introduce new characters for us to buy. In order to introduce characters though…….

And that brings us to why I want to talk about Transformers the Movie.

GIJOE was a paramilitary group with an unlimited budget, but even as an Eleven year old, I found it hilarious that they seemingly couldn’t hit the broad side of the barn. In Teenage Mutant Ninja Turtles, Leonardo carried a sword and unless he was fighting a Foot soldier robot, he would punch someone with the sword in his hand.

Yes, these shows were violent, yes we would see people shoot at each other and hit each other and fight countless battles, but ultimately no one got hurt. In the end there was no real consequences to the violence. These cartoons were safe and fantasy. When thought you that yes, bad people are out there, but as long as you were a good person and as long as you fought on the side of goodness, nothing bad was going to happen to you.

No one was going to get hurt. We were protected, no one was going to die.

That all changed 7 minutes and 30 seconds into Transformers the movie.

7 minutes and 30 seconds into Transformers the movie Megatron stepped into an Autobots supply shuttle and brutally executed many of the Autobots we grew to love in the first two seasons of the series.

He started by shooting Brawn in the shoulder. Brawns body flips to the side and falls to the ground. Maybe not dead. Maybe just injured. Any thoughts that maybe Brawn was alive, were torn away when Megatron stepped forward and shot Jazz in the chest. Jazz’s body fell back and we literally watched as the lights went out in his eyes and he died in front of us. Then, absentmindedly, the battle is over, a wounded Ironside lays at Megatrons feet begging for mercy. With a sneer on his face, Megatron executes him in front of our eyes.

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At this point in my life, I has already seen countless horror movies and in real life lost love ones. Violence and death were nothing new to me. That being said, up to that point this was one of the most brutal and violent things I had ever seen.

And they didn’t stop there.

We watched as Megatron and Optimus Prime fought to the death. We watched the light color drain away from Optimus Prime as the spark of life left him. Prime, the hero of all heroes. It was like watching one of your parents die.

And still, they didn’t stop there. That wasn’t the end. They didn’t even just take the heroes from us. We watched as they showed that both sides can die, or worse. At one point, the Decepticons toss the wounded Megatron until space with the other wounded warriors so that they will die alone in space. When he comes back as Galvatron we watch as he takes fan favorite villain Starscream and brutally murder him to take his place back as leader of the Decepticons.

Suddenly, that warm safe place that these cartoons provided us was torn away. Suddenly, without any thought or warning, we watched as our Heroes died brutal violent deaths. Executed before our eyes. That safety was gone, and when the show started back up those scars hasn’t healed and those characters were still ripped away from us.

And if it wasn’t enough, were reminded of that lose when they brought back Starscreams ghost and reanimated the corpse of Optimus Prime. It wasn’t the same show, and a lot of us weren’t the same person after that. We were a little darker, we were a little more jaded.

I know this may seem like a strong reaction, but imagine what your reaction would be if at the beginning of the Spongebob Square Pants movie Patrick was murdered. Or if at the beginning of Rugrats the movie, Lil fell down the steps and died and leaving Phil an only child. Or if the Teen Titans cartoon followed the comic books and actually had the Joker beat Robin to death with a crowbar in front of our eyes.

It wouldn’t happen. You wouldn’t see that because it would be out of place in those cartoons, and it was out of place here. Yes, this was a violent cartoon filled with violent acts, but there was no death, there was no pain, there was only action and adventure and excitement.

But we sold that safety to Hasbro so they could make more money introducing new action figures for us to buy.

Image result for Transformers the movie

Now, I don’t want to make it sound like I’m bitter, because I’m not. I’m grateful to Hasbro, they taught me an important lesion at an age I probably needed to learn it.

I loved the movie, and still do. I think it still holds up and looks great. By far the Animated Transformers movie is the best Transformer movie ever made and my eyes still get wet whenever Optimus Prime says “One Shall Stand, One Shall Fall”. It’s a fun movie and it really gets your blood moving.

But I think it’s an odd choice to make killing them off. Look at GIJOE that came out only a year later. It existed for the same reason, to sell action figures. Instead of killing everyone, they just introduced new groups. No need to kill anyone.

No, for Transformers the Movie they made the choice to brutally murder our heroes before our eyes. To force a generation of children to grow up a little bit and open their eyes to a darker world. I wonder if anything came afterwards that served this function for generations after mine. Anything that forced them to look at the world a different way and accept that heroes can die.

In Memory of Brawn, first Casualty of the great Transformer war of 2005.

Image result

 

Script: Friday the 13th Part X

So, a little something different this time. I’m sharing the opening of a script I wrote over three months 17 years ago. I had been reading a lot of books on screen writing and wanted to try my hand at it. I didn’t want to ruin an original story so instead i decided to essentially write a fan script to what would have been the 10th Friday the 13th film. The story picks up at the end of Jason Goes to Hell and follows the story of a psychiatrist who brings a group of survivors and family members back to Crystal Lake to confront the ghost of their past, to help them move on from what happened to them.

I’d like to say it was good, but i way over reached. I tossed in everything and the kitchen sink. I worked in references to every movie and tried to build it all into a concise and believable time line. I had returning survivors, i had Vera’s parents from part 3 in it dealing with the guilt over not stopping her from going, Jason’s Dad, At one point after Jason X came out, i even went back into it and tried to include the future home of the Crystal Lake Scientific research center. At one point one of the drafts even took place in the winter. I don’t remember if that was the final draft or  not.

All in total it was a 123 page script that i had a lot of fun with, and have the ability to look back and laugh at where appropriate.

So With out any further adieu, The opening to Friday the 13th Part X.

Enjoy…..  And feel free to laugh.

 

 

 

 

 

 

 

 

 

 

FRIDAY THE 13TH   PART X

 

 

 

 

 

 

 

 

 

 

 

FRIDAY THE 13TH Part X 6th Draft

A SCRIPT WRITTEN BY JOSEPH L ZBIEGIEN

10 DECEMBER 1999 TO 22 FEBRUARY, 2000

 

 

FRIDAY THE 13TH Part X  6TH DRAFT

A SCRIPT WRITTEN BY JOSEPH L ZBIEGIEN

10 DECEMBER 1999 TO 22 FEBRUARY, 2000

 

INT: VOORHEES HOUSE

 

WE ARE PEERING OVER THE SHOULDER OF A MAN AS HE WATCHES TWO FIGURES HURRY AWAY ACROSS THE DILAPIDATED YARD AND DOWN THE DRIVEWAY, THEY ARE CARRYING SOMETHING. WE CAN HEAR LABORED BREATHING AS THE WATCHER TRIES TO STEADY HIMSELF. OUR FIRST IMPRESSION IS THAT MAYBE THIS IS JASON. BUT THEN THE CAMERA FLASHES A QUICK STILL OF HIM BEING DRAGGED INTO THE EARTH AT THE END OF JASON GOES TO HELL AND, WE REMEMBER THAT HE IS DEAD.

 

WE SEE A SHOT OF A BABY IN THE MANS HANDS. IT IS  STEVEN AND JESSICA FROM JASON GOES TO HELL. THE FIGURE WATCHES THEM AND THEIR BABY WALK DOWN THE DRIVEWAY AND OUT OF THE MOVIE.

 

VOICE: GOOD, GO THEN. I NEVER NEEDED YOUR HELP ANYWAY. I’LL FINISH THIS BY MYSELF.

 

WE CAN HEAR THE BITTER EDGE IN HIS VOICE AS HE STARTS TO TURN AWAY. BUT THEN HE STOPS AND LOOKS BACK.

 

VOICE: GOOD LUCK…

 

HIS VOICE IS NOW SOFTER AND MORE THEN A LITTLE HOPEFUL.

 

INT: VOORHEES LIVING ROOM.

 

THE VOICE SLUMPS BACK AND BEGINS TO LIMP ACROSS THE VOORHEES LIVING ROOM. AS HE SLUMPS TOWARDS THE CAMERA HE LOOKS UP INTO IT. HIS FACE IS COVERED IN BLOOD, BUT WE STILL RECOGNIZE CREIGHTON DUKE FROM THE LAST MOVEMENT. HE IS LIMPING AND MOVING VERY SLOWLY, HE IS IN A GREAT DEAL OF PAIN AND LOOKS AS IF HE WILL BE DEAD SOON.

 

CREIGHTON: STUPID BASTARD… WHERE DOES HE GET OFF TRYING TO KILL ME… I’M HARDER TO GET RID OF THEN THAT…

 

FLASH BACK: WE SEE CREIGHTON GETTING KILLED IN A SLICK GREASY SLOW MOTION FLASHBACK.  WITH EACH FLASHBACK WE GET A SMALL PORTION OF THE PRE-TITLE SEQUENCE CREDITS.

 

EXT: FRONT YARD VOORHEES HOUSE.

 

CREIGHTON GRUNTS TO HIMSELF AS HE FALLS FOREWORD ONTO HIS KNEES AND THEN ALMOST FACE FIRST INTO THE DUST. HIS HANDS START TO PUSH THROUGH THE DUST, HE’S LOOKING FOR SOMETHING.

 

DUKE: COME ON DAMNIT, I KNOW YOU’RE THERE.

 

DUKE SMILES AND STOPS AS THE CAMERA FIRST SHOWS US HIM, THEN WHAT HE HAS FOUND. IT IS A BRUISED, BATTERED, AND BROKEN VERSION OF JASON’S MASK. ITS BRUTAL HISTORY IS DISPLAYED IN ITS MANY BATTLE SCARS.

 

DUKES FINGERS SLIP INTO THE EYE HOLES AS HE STUMBLES TO HIS FEET, THE MASK HANGING AT HIS SIDE. WE NOTICE FOR THE FIRST TIME THAT HIS ABDOMEN IS SOAKED WITH BLOOD. HIS OTHER HAND SEEMS TO HANG PROTECTIVELY OVER THE SOFT WOUNDED FLESH.

 

DUKE: NOW WE CAN FINISH THIS THING RIGHT…..

 

HE BEGINS TO COUGH, A BLOOD BUBBLE BREAKS UPON HIS LIPS AS HE MOVES FOREWORD. THE PAIN IS EVIDENT IN EVERY MOVE HE MAKES.

 

FLASHBACK: A MONTAGE OF JASON DYING. FIRST FROM JASON GOES TO HELL, THEN FROM JASON GOES TO MANHATTAN, THEN FINALLY FROM THE NEW BLOOD.

 

NOTE: THESE THREE DEATHS ARE VERY IMPORTANT, THEY SET THE STAGE TO BRING JASON BACK TO LIFE, AND ALSO TO EXPLAIN THE CONTINUITY ERRORS IN THE LAST THREE FILMS.

 

INT:  TRUCK CAB

 

CREIGHTON CHUCKLES TO HIMSELF AS HE CLIMBS INTO THE CAB OF A LIGHT BLUE PICKUP TRUCK. BLOOD DRIBBLES DOWN HIS FACE. HE TOSSES THE MASK ONTO THE SEAT NEXT TO HIM, IT LANDS FACE UP AND ALMOST SEEMS TO LEER AT US. A SHIVER RUNS UP CREIGHTON SPINE AS HE LOOKS DOWN ON IT.  HE TAKES HIS SIGNATURE COWBOY HAT OFF AND SETS IT OVER THE MASK.

 

FLASHBACK: PART SIX, A NEW BLOOD. WE SEE TINA FREEING JASON. IMPORTANT FLASHBACK. AGAIN, A SLOW MOTION BLACK AND WHITE FLASHBACK.

 

EXT: BEACH AT CRYSTAL LAKE

 

CREIGHTON STUMBLES FROM THE CAB OF THE TRUCK LEAVING THE ENGINE RUNNING AND THE HEAD LIGHTS GLOWING ACROSS THE CALM SURFACE OF CRYSTAL LAKE. AS HE LIMPS TOWARD THE BEACH, THUNDER CRACKLES OUT IN THE CLEAR SKY AND LIGHTNING CAN BE SEEN IN THE DISTANCE. THE STARS DANCE JUST BEYOND THEM.

 

DUKE: WHAT THE FUCK…

 

HE HOLDS OUT HIS HAND, BLACK RAIN HITS IT. RAIN FALLING FROM NO WHERE.

 

DUKE: OKAY, I MADE IT THIS FAR, NO BACKING DOWN DUKE….

 

HE SLOWLY WALKS TO THE VERY EDGE OF THE LAKE, SO CLOSE THAT THE WAVES CRASH AROUND HIS BOOTS. HE WINDS HIS ARM BACK, LIGHTNING FLASHES MOMENTARILY AS WE SEE JASON’S MASK FROZEN IN THE CENTER OF THE SCREEN, THE MOON VISIBLE THROUGH ONE OF THE EYE SOCKETS.

 

CREIGHTON SCREAMS AS HE HURLS IT INTO THE LAKE. THE MASK BREAKS THE SURFACE OF THE LAKE SENDING RIPPLES SPREADING ACROSS AT A DIZZYING PACE. THE SKY BEGINS TO RUMBLE AS STEAM SUDDENLY JET OUT OF THE WATER AND FINALLY CONCEAL THE STARS AND THE MOON.

 

DUKE: OKAY BOY, NOW IT’S TIME TO PLAY.

 

HE STANDS THERE TENSED. READY. HE RESEMBLES A WOUNDED AND DESPERATE ANIMAL PREPARING TO STRIKE. AS THE CLOUDS SETTLE AND THE THUNDER STRIKES WE THINK WE CAN HEAR THE SOUND OF CHAINS FAILING TO THE GROUND. CHAINS LIKE THE ONES COVERING JASON THE LAST TIME HE WENT INTO THE LAKE.

 

DUKE: I KNOW YOUR’E STILL OUT THERE. (YELLING) COME ON OUT AND PLAY YOU BASTARD!!

 

WE HERE BUBBLING WATER AS HIS HAND REACHES INTO AN INSIDE POCKET OF HIS JACKET. WE SEE THAT HE IS NOW HOLDING THE SOUL DAGGER FROM THE LAST MOVIE. A SMALL SMIRK CROSSES HIS LIPS AS HE WATCHES THE WATER.

 

FLASHBACK: AGAIN WE SEE TINA STANDING BY THE LAKE CONCENTRATING AS THE WATER BUBBLES.

 

THE WATER IS BUBBLING AND CHURNING RAPIDLY. IT SHOULD TAKE THE VIEWER A SECOND TO REALIZE WE HAVE FALLEN OUT OF FLASHBACK. DUKE CLOSES HIS EYES AND UTTERS A SILENT PRAYER.

 

A GUN SHOT RINGS OUT ACROSS THE LAKE, DUKES EYES BULGE OUTWARDS AS HE SLUMPS FOREWORD TO ONE KNEE. BLOOD SEEPS DOWN HIS SHOULDER AS HE TURNS TOWARDS HIS TRUCKS, SLOWLY RAISING THE DAGGER IN A DEFENSIVE POSTURE.

 

WE SEE SOMETHING STANDING IN FRONT OF THE TRUCK. THE HEADLIGHTS KEEP US FROM SEEING EXACTLY WHO, OR WHAT IT IS. IT IS SAFE TO ASSUME THAT IT IS NOT JASON, SINCE JASON CANNOT OPERATE A GUN. FOR NOW WE SHALL CALL THIS PERSON THE FIGURE. WE CAN SEE THE GUN IN HIS HAND TRAINED ON CREIGHTON.

 

ANOTHER GUNSHOT RINGS OUT AS THE DAGGER FLIES FROM HIS HAND AND SKITTERS ACROSS THE BEACH. A SCREAM ESCAPES HIS LIPS AS HE FALLS BACK ONTO THE BEACH, HIS EYES FOLLOW THE ARC OF THE DAGGER, NOW LYING JUST OUT OF REACH.

 

HE STARTS TOO CRAWLY FOR IT. ANOTHER GUNSHOT HITS THE DIRT NEXT TO HIM, AS HIS FINGERS BRUSH THE HILT, THE BEACH SEEMS TO OPEN UP LIKE SAND DRAINING FROM AN HOUR GLASS. THE DAGGER FOLLOWS THE SAND DOWNWARD, DISAPPEARING FROM SIGHT. ONCE GONE THE BEACH CLOSES BACK UP AS IF NOTHING HAPPENED.

 

DUKE: (COUGHING) FINE WITH ME, I DON’T NEED IT, THAT WAS A LIE TOO, JUST LIKE THE REST OF THAT SHIT.

 

SUDDENLY A HAND GRABS HIS HAIR FROM BEHIND AND FORCES HIS HEAD BACK. SHOCK REGISTERS ON DUKES FACE, BOTH FOR THE SPEED AT WITCH HE WAS CAUGHT OF GUARD, AND FOR WHAT HE SEES BY THE LAKE. THE FIGURE SEEMS TO BE HOLDING HIM THEIR MAKING HIM WATCH.

 

DUKE: NO!!  (SCREAMS) NOT LIKE THIS…  I HAVE TO STOP HIM…

 

BEFORE WE CAN TURN TO SEE WHAT HE’S LOOKING, THE FIGURES OTHER HAND COMES DOWN, AND A LARGE HUNTING KNIFE SITS NESTLED IN THE CROOK OF THE BLACK GLOVED HAND. THE KNIFE GLINTS IN THE MOON BRIEFLY BEFORE SLASHING OUT ACROSS DUKES NECK. BLOOD BEGINS TO POUR DOWN ONLY TO MIX WITH THE RAIN. DUKES EYES ROLL BACK IN HIS HEAD AS THE FIGURE LETS HIM FALL TO THE GROUND, DEAD.

 

LAUGHTER FILLS THE AIR AS THE CAMERA RISES UP LEAVING DUKES BODY LYING IN THE RAIN, WE SEE THE FIGURE TURN AND WALK AWAY. WE ARE GREETED WITH ONE LAST SHOT OF DUKES FACE, BEFORE:

 

THE CAMERA TURNS AND FINALLY SHOWS US WHAT IT WAS THAT DUKE WAS LOOKING AT.  JASON STANDS AT THE EDGE OF THE LAKE, WATER DRIPS DOWN FROM HIS BODY AS HIS CHEST HEAVES, TAKING IN AIR FOR THE FIRST TIME IN YEARS.  THE MUSIC THUNDERS THROUGH THE THEATER, BUILDING TO ALMOST DEFINING TEMPO AS THE CAMERA FLIES IN ON HIM. HE LOOKS UP AT US, STARING DIRECTLY INTO THE CENTER OF THE CAMERA AS IT RUSHES TOWARDS HIM. WHEN THE CAMERA REACHES THE POINT THAT HIS MASK FILLS THE SCREEN EVERYTHING STOPS AND THEN QUICKLY FADES TO TOTAL DARKNESS.

 

A FEW SECOND PAUSE, SILENCE FILLS THE THEATER, THEN, WE HERE THE FAMILIAR FRIDAY THE 13TH THEME. FOR THE FIRST FEW SECONDS WE HEAR ONLY THE MUSIC AND SEE ONLY DARKNESS: THEN,

 

TITTLE SEQUENCE.

 

FRIDAY THE 13 KILLER THEME PLAYS OVER THE OPENING CREDITS. THE OPENING WILL BE THE ONLY TIME OTHER THEN AFTER THE END CREDITS THAT THIS THEME PLAYS.

 

TITTLE CARD READS

 

FRIDAY THE 13TH

 

IN THE DISTANCE WE SEE AN X RUSHING TOWARDS THE SCREEN. WHEN IT REACHES THE TITTLE IT SUDDENLY SEEMS AS IF THE TITLE IS WRITTEN ON A PAIN OF GLASS. THAT PAIN SHATTERS, FILLING THE SCREEN WITH A GIANT MONSTROUS BLACK X, BLOOD SPLATTERS ACROSS IT.

 

BEGIN CREDITS

 

OPENING CREDITS RUN OVER A MONTAGE OF BLACK AND WHITE FEW FRAME SHOTS OF KILLS FROM EARLIER MOVIES.

 

END CREDITS

 

INT: CABIN

 

WE ARE MOVING ACROSS THE FLOOR OF A CABIN AT A RATHER BRISK PACE. THE CABIN IS OLD AND DECREPIT. THERE IS DUST AND COB WEBS COVERING EVERYTHING. AS A RAT STEPS FOREWORD IN FRONT OF THE CAMERA THE SCREEN READS:

 

WEDNESDAY THE 11TH, JUNE 2001

 

 

 

 

 

 

 

 

 

 

FRIDAY THE 13TH   PART X

 

 

 

 

 

 

 

 

 

 

 

FRIDAY THE 13TH Part X 6th Draft

A SCRIPT WRITTEN BY JOSEPH L ZBIEGIEN

10 DECEMBER 1999 TO 22 FEBRUARY, 2000

 

 

FRIDAY THE 13TH Part X  6TH DRAFT

A SCRIPT WRITTEN BY JOSEPH L ZBIEGIEN

10 DECEMBER 1999 TO 22 FEBRUARY, 2000

 

INT: VOORHEES HOUSE

 

WE ARE PEERING OVER THE SHOULDER OF A MAN AS HE WATCHES TWO FIGURES HURRY AWAY ACROSS THE DILAPIDATED YARD AND DOWN THE DRIVEWAY, THEY ARE CARRYING SOMETHING. WE CAN HEAR LABORED BREATHING AS THE WATCHER TRIES TO STEADY HIMSELF. OUR FIRST IMPRESSION IS THAT MAYBE THIS IS JASON. BUT THEN THE CAMERA FLASHES A QUICK STILL OF HIM BEING DRAGGED INTO THE EARTH AT THE END OF JASON GOES TO HELL AND, WE REMEMBER THAT HE IS DEAD.

 

WE SEE A SHOT OF A BABY IN THE MANS HANDS. IT IS  STEVEN AND JESSICA FROM JASON GOES TO HELL. THE FIGURE WATCHES THEM AND THEIR BABY WALK DOWN THE DRIVEWAY AND OUT OF THE MOVIE.

 

VOICE: GOOD, GO THEN. I NEVER NEEDED YOUR HELP ANYWAY. I’LL FINISH THIS BY MYSELF.

 

WE CAN HEAR THE BITTER EDGE IN HIS VOICE AS HE STARTS TO TURN AWAY. BUT THEN HE STOPS AND LOOKS BACK.

 

VOICE: GOOD LUCK…

 

HIS VOICE IS NOW SOFTER AND MORE THEN A LITTLE HOPEFUL.

 

INT: VOORHEES LIVING ROOM.

 

THE VOICE SLUMPS BACK AND BEGINS TO LIMP ACROSS THE VOORHEES LIVING ROOM. AS HE SLUMPS TOWARDS THE CAMERA HE LOOKS UP INTO IT. HIS FACE IS COVERED IN BLOOD, BUT WE STILL RECOGNIZE CREIGHTON DUKE FROM THE LAST MOVEMENT. HE IS LIMPING AND MOVING VERY SLOWLY, HE IS IN A GREAT DEAL OF PAIN AND LOOKS AS IF HE WILL BE DEAD SOON.

 

CREIGHTON: STUPID BASTARD… WHERE DOES HE GET OFF TRYING TO KILL ME… I’M HARDER TO GET RID OF THEN THAT…

 

FLASH BACK: WE SEE CREIGHTON GETTING KILLED IN A SLICK GREASY SLOW MOTION FLASHBACK.  WITH EACH FLASHBACK WE GET A SMALL PORTION OF THE PRE-TITLE SEQUENCE CREDITS.

 

EXT: FRONT YARD VOORHEES HOUSE.

 

CREIGHTON GRUNTS TO HIMSELF AS HE FALLS FOREWORD ONTO HIS KNEES AND THEN ALMOST FACE FIRST INTO THE DUST. HIS HANDS START TO PUSH THROUGH THE DUST, HE’S LOOKING FOR SOMETHING.

 

DUKE: COME ON DAMNIT, I KNOW YOU’RE THERE.

 

DUKE SMILES AND STOPS AS THE CAMERA FIRST SHOWS US HIM, THEN WHAT HE HAS FOUND. IT IS A BRUISED, BATTERED, AND BROKEN VERSION OF JASON’S MASK. ITS BRUTAL HISTORY IS DISPLAYED IN ITS MANY BATTLE SCARS.

 

DUKES FINGERS SLIP INTO THE EYE HOLES AS HE STUMBLES TO HIS FEET, THE MASK HANGING AT HIS SIDE. WE NOTICE FOR THE FIRST TIME THAT HIS ABDOMEN IS SOAKED WITH BLOOD. HIS OTHER HAND SEEMS TO HANG PROTECTIVELY OVER THE SOFT WOUNDED FLESH.

 

DUKE: NOW WE CAN FINISH THIS THING RIGHT…..

 

HE BEGINS TO COUGH, A BLOOD BUBBLE BREAKS UPON HIS LIPS AS HE MOVES FOREWORD. THE PAIN IS EVIDENT IN EVERY MOVE HE MAKES.

 

FLASHBACK: A MONTAGE OF JASON DYING. FIRST FROM JASON GOES TO HELL, THEN FROM JASON GOES TO MANHATTAN, THEN FINALLY FROM THE NEW BLOOD.

 

NOTE: THESE THREE DEATHS ARE VERY IMPORTANT, THEY SET THE STAGE TO BRING JASON BACK TO LIFE, AND ALSO TO EXPLAIN THE CONTINUITY ERRORS IN THE LAST THREE FILMS.

 

INT:  TRUCK CAB

 

CREIGHTON CHUCKLES TO HIMSELF AS HE CLIMBS INTO THE CAB OF A LIGHT BLUE PICKUP TRUCK. BLOOD DRIBBLES DOWN HIS FACE. HE TOSSES THE MASK ONTO THE SEAT NEXT TO HIM, IT LANDS FACE UP AND ALMOST SEEMS TO LEER AT US. A SHIVER RUNS UP CREIGHTON SPINE AS HE LOOKS DOWN ON IT.  HE TAKES HIS SIGNATURE COWBOY HAT OFF AND SETS IT OVER THE MASK.

 

FLASHBACK: PART SIX, A NEW BLOOD. WE SEE TINA FREEING JASON. IMPORTANT FLASHBACK. AGAIN, A SLOW MOTION BLACK AND WHITE FLASHBACK.

 

EXT: BEACH AT CRYSTAL LAKE

 

CREIGHTON STUMBLES FROM THE CAB OF THE TRUCK LEAVING THE ENGINE RUNNING AND THE HEAD LIGHTS GLOWING ACROSS THE CALM SURFACE OF CRYSTAL LAKE. AS HE LIMPS TOWARD THE BEACH, THUNDER CRACKLES OUT IN THE CLEAR SKY AND LIGHTNING CAN BE SEEN IN THE DISTANCE. THE STARS DANCE JUST BEYOND THEM.

 

DUKE: WHAT THE FUCK…

 

HE HOLDS OUT HIS HAND, BLACK RAIN HITS IT. RAIN FALLING FROM NO WHERE.

 

DUKE: OKAY, I MADE IT THIS FAR, NO BACKING DOWN DUKE….

 

HE SLOWLY WALKS TO THE VERY EDGE OF THE LAKE, SO CLOSE THAT THE WAVES CRASH AROUND HIS BOOTS. HE WINDS HIS ARM BACK, LIGHTNING FLASHES MOMENTARILY AS WE SEE JASON’S MASK FROZEN IN THE CENTER OF THE SCREEN, THE MOON VISIBLE THROUGH ONE OF THE EYE SOCKETS.

 

CREIGHTON SCREAMS AS HE HURLS IT INTO THE LAKE. THE MASK BREAKS THE SURFACE OF THE LAKE SENDING RIPPLES SPREADING ACROSS AT A DIZZYING PACE. THE SKY BEGINS TO RUMBLE AS STEAM SUDDENLY JET OUT OF THE WATER AND FINALLY CONCEAL THE STARS AND THE MOON.

 

DUKE: OKAY BOY, NOW IT’S TIME TO PLAY.

 

HE STANDS THERE TENSED. READY. HE RESEMBLES A WOUNDED AND DESPERATE ANIMAL PREPARING TO STRIKE. AS THE CLOUDS SETTLE AND THE THUNDER STRIKES WE THINK WE CAN HEAR THE SOUND OF CHAINS FAILING TO THE GROUND. CHAINS LIKE THE ONES COVERING JASON THE LAST TIME HE WENT INTO THE LAKE.

 

DUKE: I KNOW YOUR’E STILL OUT THERE. (YELLING) COME ON OUT AND PLAY YOU BASTARD!!

 

WE HERE BUBBLING WATER AS HIS HAND REACHES INTO AN INSIDE POCKET OF HIS JACKET. WE SEE THAT HE IS NOW HOLDING THE SOUL DAGGER FROM THE LAST MOVIE. A SMALL SMIRK CROSSES HIS LIPS AS HE WATCHES THE WATER.

 

FLASHBACK: AGAIN WE SEE TINA STANDING BY THE LAKE CONCENTRATING AS THE WATER BUBBLES.

 

THE WATER IS BUBBLING AND CHURNING RAPIDLY. IT SHOULD TAKE THE VIEWER A SECOND TO REALIZE WE HAVE FALLEN OUT OF FLASHBACK. DUKE CLOSES HIS EYES AND UTTERS A SILENT PRAYER.

 

A GUN SHOT RINGS OUT ACROSS THE LAKE, DUKES EYES BULGE OUTWARDS AS HE SLUMPS FOREWORD TO ONE KNEE. BLOOD SEEPS DOWN HIS SHOULDER AS HE TURNS TOWARDS HIS TRUCKS, SLOWLY RAISING THE DAGGER IN A DEFENSIVE POSTURE.

 

WE SEE SOMETHING STANDING IN FRONT OF THE TRUCK. THE HEADLIGHTS KEEP US FROM SEEING EXACTLY WHO, OR WHAT IT IS. IT IS SAFE TO ASSUME THAT IT IS NOT JASON, SINCE JASON CANNOT OPERATE A GUN. FOR NOW WE SHALL CALL THIS PERSON THE FIGURE. WE CAN SEE THE GUN IN HIS HAND TRAINED ON CREIGHTON.

 

ANOTHER GUNSHOT RINGS OUT AS THE DAGGER FLIES FROM HIS HAND AND SKITTERS ACROSS THE BEACH. A SCREAM ESCAPES HIS LIPS AS HE FALLS BACK ONTO THE BEACH, HIS EYES FOLLOW THE ARC OF THE DAGGER, NOW LYING JUST OUT OF REACH.

 

HE STARTS TOO CRAWLY FOR IT. ANOTHER GUNSHOT HITS THE DIRT NEXT TO HIM, AS HIS FINGERS BRUSH THE HILT, THE BEACH SEEMS TO OPEN UP LIKE SAND DRAINING FROM AN HOUR GLASS. THE DAGGER FOLLOWS THE SAND DOWNWARD, DISAPPEARING FROM SIGHT. ONCE GONE THE BEACH CLOSES BACK UP AS IF NOTHING HAPPENED.

 

DUKE: (COUGHING) FINE WITH ME, I DON’T NEED IT, THAT WAS A LIE TOO, JUST LIKE THE REST OF THAT SHIT.

 

SUDDENLY A HAND GRABS HIS HAIR FROM BEHIND AND FORCES HIS HEAD BACK. SHOCK REGISTERS ON DUKES FACE, BOTH FOR THE SPEED AT WITCH HE WAS CAUGHT OF GUARD, AND FOR WHAT HE SEES BY THE LAKE. THE FIGURE SEEMS TO BE HOLDING HIM THEIR MAKING HIM WATCH.

 

DUKE: NO!!  (SCREAMS) NOT LIKE THIS…  I HAVE TO STOP HIM…

 

BEFORE WE CAN TURN TO SEE WHAT HE’S LOOKING, THE FIGURES OTHER HAND COMES DOWN, AND A LARGE HUNTING KNIFE SITS NESTLED IN THE CROOK OF THE BLACK GLOVED HAND. THE KNIFE GLINTS IN THE MOON BRIEFLY BEFORE SLASHING OUT ACROSS DUKES NECK. BLOOD BEGINS TO POUR DOWN ONLY TO MIX WITH THE RAIN. DUKES EYES ROLL BACK IN HIS HEAD AS THE FIGURE LETS HIM FALL TO THE GROUND, DEAD.

 

LAUGHTER FILLS THE AIR AS THE CAMERA RISES UP LEAVING DUKES BODY LYING IN THE RAIN, WE SEE THE FIGURE TURN AND WALK AWAY. WE ARE GREETED WITH ONE LAST SHOT OF DUKES FACE, BEFORE:

 

THE CAMERA TURNS AND FINALLY SHOWS US WHAT IT WAS THAT DUKE WAS LOOKING AT.  JASON STANDS AT THE EDGE OF THE LAKE, WATER DRIPS DOWN FROM HIS BODY AS HIS CHEST HEAVES, TAKING IN AIR FOR THE FIRST TIME IN YEARS.  THE MUSIC THUNDERS THROUGH THE THEATER, BUILDING TO ALMOST DEFINING TEMPO AS THE CAMERA FLIES IN ON HIM. HE LOOKS UP AT US, STARING DIRECTLY INTO THE CENTER OF THE CAMERA AS IT RUSHES TOWARDS HIM. WHEN THE CAMERA REACHES THE POINT THAT HIS MASK FILLS THE SCREEN EVERYTHING STOPS AND THEN QUICKLY FADES TO TOTAL DARKNESS.

 

A FEW SECOND PAUSE, SILENCE FILLS THE THEATER, THEN, WE HERE THE FAMILIAR FRIDAY THE 13TH THEME. FOR THE FIRST FEW SECONDS WE HEAR ONLY THE MUSIC AND SEE ONLY DARKNESS: THEN,

 

TITTLE SEQUENCE.

 

FRIDAY THE 13 KILLER THEME PLAYS OVER THE OPENING CREDITS. THE OPENING WILL BE THE ONLY TIME OTHER THEN AFTER THE END CREDITS THAT THIS THEME PLAYS.

 

TITTLE CARD READS

 

FRIDAY THE 13TH

 

IN THE DISTANCE WE SEE AN X RUSHING TOWARDS THE SCREEN. WHEN IT REACHES THE TITTLE IT SUDDENLY SEEMS AS IF THE TITLE IS WRITTEN ON A PAIN OF GLASS. THAT PAIN SHATTERS, FILLING THE SCREEN WITH A GIANT MONSTROUS BLACK X, BLOOD SPLATTERS ACROSS IT.

 

BEGIN CREDITS

 

OPENING CREDITS RUN OVER A MONTAGE OF BLACK AND WHITE FEW FRAME SHOTS OF KILLS FROM EARLIER MOVIES.

 

END CREDITS

 

INT: CABIN

 

WE ARE MOVING ACROSS THE FLOOR OF A CABIN AT A RATHER BRISK PACE. THE CABIN IS OLD AND DECREPIT. THERE IS DUST AND COB WEBS COVERING EVERYTHING. AS A RAT STEPS FOREWORD IN FRONT OF THE CAMERA THE SCREEN READS:

 

WEDNESDAY THE 11TH, JUNE 2001