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SCREAM 2 (1997)

by Kevin Williamson.
Draft script.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


EXT. MOVIE THEATRE - NIGHT
An old preserved movie theatre. The kind only found in a small town. Very picturesque.
The marquee in front reads:

SNEAK PREVIEW TONIGHT
"STAB"
Rated R

A line has formed around the block, GUYS and GIRLS--mostly college age. CLOSE on a girl,
MAUREEN, no more than 18. A friendly face with innocent eyes. She stands in line with her
boyfriend PHIL, same age. A handsome counterpart.

MAUREEN
I hate scary movies.

PHIL
It'll be okay, baby, I'll hold your hand.

MAUREEN
If we hurry, we can still catch the Sandra Bullock movie.

PHIL
We got free tickets.

He pulls her close, snuggling with her.

EXT. BOX OFFICE
Maureen and Phil reach the box office, presenting their tickets.

They pass through the front doors where an USHER stands randomly handing out GHOST MASKS.
A Hollywood variation of a most familiar one. Phil takes one.

MAUREEN
What's that?

USHER
The studio sent them.

INT. THEATRE - A MINUTE LATER
The small theatre is nearly packed to capacity. Maureen and Phil enter, moving down the
aisle searching for two seats. A YOUNG GIRL SCREAMS, whizzing by them as a GHOST MASKED GUY
chases after her. The crowd LAUGHS. Everyone is having fun.
Maureen and Phil find aisle seats down towards the screen just as the lights DIM.
People FAKE SCREAM in terror. A very lively crowd.

ON SCREEN
Credits roll as the movie begins. The studio logo appears followed by...

A ROBERT RODRIGUEZ FILM

IN THE THEATRE
Maureen turns to find a GHOST MASK in her face. Phil has slipped it on.
MAUREEN
I don't think so.

Phil gets in her face, playing with her. She swats him.

MAUREEN
Take it off.

PHIL
But...

MAUREEN
Now.
He obliges.

ON SCREEN
More credits.

BASED ON THE BOOK "THE WOODSBORO MURDERS" BY GALE WEATHERS

Maureen looks behind her, toward the rest of the audience. A sea of white ghost faces fill
the theatre. The publicity masks actually glow in the dark. A chilling sight that leaves
Maureen extremely spooked.

ON SCREEN
The movie begins. A house in the middle of nowhere. Lights burn from within.

Inside the house, a YOUNG GIRL, Alicia Silverstonish is taking a shower. The water cascades
over her nubile body. Suddenly, a FIGURE is glimpsed through the curtain. It's all very PSYCHO.

MAUREEN
Now why does she have to be naked? How does that serve the plot?

PHIL
Sssshhh.
ON SCREEN
The phone RINGS. The young girl pulls the shower curtain aside to reveal a robe hung on a hook.
She grabs it, running from the bathroom, into the living room, grabbing the phone.

GIRL
Hello?

A menacing VOICE responds.

VOICE
Hello?

GIRL
Who is this?

VOICE
You tell me.

IN THE THEATRE
Maureen is not having a good time. She's already spooked.

MAUREEN
I hate this shit.

ON SCREEN
The phone rings again.

VOICE
Why did you hang up on me?

GIRL
Who is this?

IN THE THEATRE
Maureen shifts in her seat.

MAUREEN
Why doesn't she just hang up and call the police? Stupid..

PHIL
Shush.

MAUREEN
I'm gonna pee. You want anything?

He nods. Maureen stands and moves up the aisle.

INT. LOBBY - SECONDS LATER
Maureen emerges from the theatre and into the small lobby. It is dark and shadowed.
She moves down a long hallway to a staircase. A BATHROOM sign with an arrow points downstairs.

Maureen hits the stairs to...

INT. BASEMENT LOUNGE - SAME
A small lounge leads to two bathroom doors. Very low lighting. Maureen descends the stairs,
heading for the...

INT. GIRL'S RESTROOM - SAME
A large bathroom. Five stalls line one wall. The door CREAKS open. Maureen enters and shoots
for a stall.

INSIDE THE STALL - MOMENTS LATER
Maureen finishes up, fastening her pants. Suddenly, the bathroom door CREAKS open. Maureen
listens. FOOTSTEPS are heard. Loud and heavy.

Maureen eyes the crack in the stall door. Not much is visible. Suddenly, a SHADOW sweeps by.
The footsteps stop.

Maureen finishes up quickly. She flushes, throws the stall door open and rushes out to find...

THE BATHROOM EMPTY.

The stall doors are all closed. Maureen shoots for the door. She rips the door open as a
FIGURE rushes her...

A YOUNG GIRL followed by her FRIEND, both perky and loud. They hurl past Maureen, LAUGHING and
carrying on.

GIRL #l
I got so scared my bladder rolled.

GIRL #2
You chicken shit. It's just a movie.

GIRL # l
No, it really happened. It's a true story.

Maureen is out the door. Now thoroughly spooked.

INT. BASEMENT LOBBY - SAME
Alone, Maureen moves for the stairs when a FIGURE emerges from the shadows. A GHOST MASKED
SHAPE appearing behind her...

LUNGING FOR HER, grabbing her, spinning her around. She SCREAMS MADLY as the Ghost starts
LAUGHING. The mask comes off. It's Phil.

MAUREEN
You ass.

PHIL
I'm sorry, I'm sorry but I had to. It was too easy.

MAUREEN
You are so not funny.

Phil takes her in his arms.

PHIL
Come on, baby. Lighten up a little, will ya?

MAUREEN
I get scared really easy, okay.

PHIL
You gotta go with it. Scary movies are great foreplay.

He's sincere. He leans down and plants a kiss on her. She caves, kissing him back. Sweet and
sensual.

MAUREEN
I just have a hard time with insipid, sexist violence.

PHIL
(nibbling her neck) We can still Sandra Bullock it.

MAUREEN
 (nibbling back) Sandra started without us. We can stay.
He kisses her again, then breaks away.

PHIL.
Yeah? Okay. I gotta whizz. Meet me upstairs?

MAUREEN
Want some popcorn?

PHIL
Butter.

Maureen moves up the stairs out of sight. Phil turns, reaching for the bathroom door just
as a...

GHOST MASKED FIGURE appears in his path. Phil steps back, surprised. Suddenly, a flash of
silver shoots forth as Phil is pierced with a long sharp knife. Quick and silent. He bellies
over just as the Ghost Shape strikes again. Phil goes down without a scream.

CUT TO:

INT. LOBBY - SECONDS LATER
Maureen is at the concession. A GIRL at the counter hands her change and Maureen is off with
soda and a tub of popcorn.

INT. DARK THEATER - SECONDS LATER
SCREAMS and GASPS from the audience as the movie plays on.

ON SCREEN
A patio chair comes flying through a glass door. The young girl in the movie tears off running,
SCREAMING, flying through the room.

IN THE THEATER
The crowd is really with the movie. Some even talk to the screen. "You dumb bitch. Get out of
the house." etc.

Maureen makes her way back to her aisle seat. She sits down next to...

PHIL

who sits with the mask on. The reflection from the movie bouncing against it in the darkness.

MAUREEN
Give it up.

She sits down, with the popcorn.

MAUREEN
How many stabs did I miss?

ON SCREEN
The young girl slips out a side door, completely terrified. In her hand, she holds a portable
phone.

IN THE THEATER
Maureen offers Phil popcorn.

MAUREEN
Why doesn't she run?

Phil turns to her, bringing his finger to his masked lips, SSSHHING her.

ON SCREEN
The young girl runs by a window. She looks in. A GHOST MASKED KILLER stares back. The Figure
CRASHES through the window attacking her. She fights him off, getting away, running...

IN THE THEATER
Everyone in the theater is SCREAMING. Maureen tries her best to detach herself from the movie.
She eats her popcorn.

MAUREEN
This is so tired.

She turns her attention to Phil.

MAUREEN
Hey, you...pasty face...

Phil ignores her. She reaches over in the darkness putting her hand on his knee. She inches it
up. The Ghost-masked Phil just stares ahead.

MAUREEN
Whatsa the matter? Can't I get your ghost?

ON SCREEN
The young girl is running through the yard. The Ghost Killer is right behind her, chasing
her...she SCREAMS....

IN THE THEATER
Maureen pretends to watch the movie while her hand continues to move between Phil's legs. She
stares ahead, WINCING at what's about to happen to the girl on screen.
She doesn't notice as Phil pulls a long sharp hunting knife from inside his coat jacket.
Maureen's hand moves up Phil's jacket...something stops her. She feels something on her
fingers...something wet. She pulls her hand back, the reflected movie illuminating bloody
fingers.

Maureen stares at her hand...

ON SCREEN
The Ghost advances on the young girl, grabbing her, pulling her to him, raising high a long,
hunting knife. The young girl is helpless...

IN THE THEATER
Maureen looks at Phil, confused...as if seeing for the first time...IT'S NOT PHIL. She pulls
away when, the Ghost-masked Figure grabs her with one hand, the other one clutching the
hunting knife.
Maureen sees it, her mouth billowing forth a LOUD SCREAM
That is matched by the entire audience as they SCREAM at the screen.

ON SCREAM
The young girl is stabbed in the heart.

IN THE THEATER
Maureen is helpless. The knife comes fast and furious, striking her in the stomach.
She falls forward, into the aisle as...

ON SCREEN
The young girl, clutching her bloody chest...drags herself, crawling across wet grass...the
killer behind her...raising his knife again.

IN THE THEATER
Popcorn flies as Maureen falls forward, into the aisle, clutching her bloody stomach.
She's speechless, unable to SCREAM. She holds her bloody hand out for all to see, begging for
help. She stumbles down the aisle. Someone YELLS "Sit down." Maureen turns to several
PEOPLE who begin to react. She turns behind her to see the Ghost Face coming at her
again...knife raised.

ON SCREEN
The young girl is slashed again.

IN THE THEATER
The knife slices into Maureen again...then again. The theatre audience is starting to take
note as the Ghost keeps slashing at her repeatedly with the knife. A horrifying,
sickening sight.

Maureen stumbles forward, her bloody body moving down to the front of the theater. Suddenly,
the entire audience begins...

APPLAUD AND CHEER
Maureen, swaying from side to side,
turns to the crowd and emits a HORRENDOUS BLOOD CURDLING SCREAM as...

ON SCREEN
The young girl lets out an enormous EAR SCREECHING SCREAM that mirrors Maureen's as the killer
attacks one last time, stabbing her, silencing her forever.

IN THE THEATER
The Ghost slashes out one last time, direct and fierce. Maureen falls back against the movie
screen...very much dead. Her arms flail across the screen...smearing blood over the wide screen
image of the GHOST MASK.

SMASH CUT TO BLACK.
SMASH CUT TO BLACK.

TITLE CARD              "SCREAM 2"
FADE IN:

INT. DORM ROOM - MORNING

A typical college dorm room. Industrial strength furniture. There's two of everything.

A RINGING phone stirs a YOUNG GIRL in bed, asleep under a mound of blankets and pillows.
The girl starts to rise as the phone is answered. A VOICE is heard. Brass and sassy.

VOICE
(o.c.) Hello...uh-huh... Who is this? Well, we identify ourselves around here. No, you can't.
Uh-huh...yeah, right...

The girl rolls out of bed, her hair falls away to reveal her face--It's SIDNEY PRESCOTT.
Two years older has brought a maturity to this beautiful young woman. Her face posses a
survivor's edge. Stronger and more determined, she appears to have weathered the storm.

SIDNEY
I got it.
She stands and moves to...

HALLIE

her roommate and friend. An attractive young black woman. Twenty at most. Brazen. Fun.
Full of life. She hands the phone to Sidney.

HALLIE
Knock yourself out.

SIDNEY
Hello?
  (silence)
Hello?

VOICE
Hello Sidney.

A VOICE spits out of the phone. Deep and haunting. Sidney doesn't flinch.

SIDNEY
Yes?

VOICE
What's your favorite scary movie?

SIDNEY
Who is this?

VOICE
You tell me.

Sidney grabs a small device hooked to the phone. She takes a look at its display.

SIDNEY
Cory Gillis. 442-8730.
Silence.

SIDNEY (cont'd)
Hot flash, Cory--prank phone calls are a criminal offense prosecuted under penal code 653M...

CLICK! The phone goes dead.

SIDNEY (CONT'D)
Enjoy the movie.

She hangs the phone up, turning to Hallie.

HALLIE
Time to change numbers again?

SIDNEY
Nah...I think it'll die off. It's opening weekend. Let's see how it goes.

Sidney grabs her robe and shower bucket as Hallie channel surfs. Various morning news programs
are on their small TV. Snippets are heard.

REPORTER
(from TV) "..The two victims, Maureen Evans and Phil Stevens..."

The channel switches. A YOUNG MAN is being interviewed. Attractive, sullen. Sad.

YOUNG MAN (from TV)
Please, I just wanna be left alone.

His voice stops Sidney cold. She turns to the television.

HALLIE
He sure gives a lot of interviews for someone who wants to be left alone.

Hallie hits the remote. The man's image disappears as the TV goes off. Hallie turns, all smiles.

HALLIE
Get your ass in gear. You're late. Don't forget we've got rush at the Deltas tonight. Don't
wear anything you don't want trashed. Sid? Sid?

Sidney turns from the television. Momentarily lost. Recovery is immediate.

SIDNEY
I can't believe I let you talk me into going Greek.

Sid moves to the door and throws it open. A GHOST FIGURE LEAPS at her. She SCREAMS but then
stops herself.

It's just a costume hung from her doorframe. Preset, to scare. Another prank. Sidney rips it
down, turns to Hallie, throwing the costume at her.

SIDNEY
Pumps. Nice handbag. Whaddya think?

Sid is surprisingly cool. She exits out the door, leaving Hallie staring at the Ghost Mask
in her hands.

CUT TO:

EXT. DORMITORY - MORNING - LITTLE LATER
Sid steps outside of her dorm. The morning sun shines down as Sid breathes in, taking in the
day just as FIFTY NEWS REPORTERS NOB HER.

REPORTER #2
Sidney, did you know the victims?

REPORTER #1
Do you feel responsible for the murders?

SIDNEY
What murders?

Microphones are shoved in her face as Sidney is seiged upon by journalists and TV cameras.
She starts to panic.

REPORTER  #3
Do you think there will be more murders?

Sidney is mortified. She pushes and shoves but there is no escape. The questions come at  her
like lightning. She sees a whole in the crowd and goes for it as a REPORTER, a
flashy woman--all hair and teeth, thick sunglasses, moves in her way.

FLASHY REPORTER
Did you kill them last night, Sid? Has it gotten to you? Have you finally snapped?

Sidney's eyes flare. Her fist starts to clench when...
BAM! Someone beats her to it. A fist flies out from the crowd, connecting with the flashy
woman's face. She drops. Sid spins around to find...

GALE WEATHERS

standing, tight-fisted. Their eyes meet. A quick moment. Sidney is happy to see her.

The onslaught continues. Cameras flash, reporters shove. Gale moves in front of Sid, holding
the crowd at bay. The reporters begin to throw questions at Gale.

GALE (to Sid)
Quick, get outta here.
SIDNEY
What's going on?
GALE
Just go. l'll find you later.

Sid wastes no time. She takes off, running around the side of the building. She stops, takes a
breath, but the reporters are on her tail. She looks up to see a...

SMALL CAMPUS SECURITY VEHICLE

appear, moving towards her. It slows down.

MAN'S VOICE (from the vehicle)
Hop on, Sid.

Sid goes for it as two hands reach out to help her. One smooth move and Sidney is in the arms
of...

DEWEY RILEY

She looks at him. Her face a book of questions.

SIDNEY
What's going on, Dewey?

He smiles at her. A safe, warm smile. His face as cute as ever.

DEWEY
It'll be alright.

CUT TO:

EXT. SECURITY CART - MINUTES LATER
The security cart trots along, passing STUDENTS coming and going. Dressed smartly in a campus
security outfit, Dewey maneuvers the cart across the campus grounds. Sidney rides beside him,
horrified as she listens to him.

SIDNEY
Three hundred people watched? Nobody did anything?

DEWEY
They thought it was a publicity stunt.

SIDNEY
Oh my God. How could it happen?

DEWEY
They don't know. It was carefully planned. Earlier in the day the victims received anonymous
passes to the movie.

SIDNEY
It's a copycat killer I knew this would happen. That fucking movie.

The cart comes to a stop in front of a building.

DEWEY
As of now, they don't see any relation. But they're checking it out. The state, Special Task
Force, FBI--they're all here. They'll find the guy.

SIDNEY
Yeah, right.

DEWEY
Look, Sid, why don't you take off? Disappear for a few days. I'll come with you.

SIDNEY
No. I will not crawl under a rock. This is a fucked-up world and people kill people all the
time. I'll just get used to it.

Dewey steps down off the security cart and helps Sid off.

DEWEY
Nothing will happen to you. I promise.
Sid's tough demeanor is cracking. She takes a deep breath.

DEWEY
That's why I'm here, right? We take care of each other. C'mon, I'll walk you to class.

He starts off, for the first time, a severe limp is visible as his left leg drags behind him.

SIDNEY
You go, it's all stairs, I can take it from here.

DEWEY
Don't worry...

SIDNEY
Dewey, I'm completely equipped with mace, alarm whistle, keyring, knife, a degree in
defensive combat...

DEWEY
Just in case...

SIDNEY
No. This is nothing, Dewey. I'll be okay. Go back to work and let me get back to my quasi
pseudo-happy existence.

Sidney reaches up and gives her pseudo-brother a kiss, then takes off for the building.
Dewey watches until she disappears inside, then limps back to his security cart.

CUT TO:

EXT. STUDENT UNION PARKING LOT - MINUTES LATER
A newsvan pulls up and parks next to a trough of other newsvans and REPORTERS. Some are doing
live remotes, others ready themselves for the next onslaught.

Gale gets out of the newsvan, her cellular affixed to her ear.

GALE
I don't know...no one's talking. What's the studio's position? Never happen. They'd be stupid
to pull the movie. With all this free press--they're gonna have huge numbers this weekend.
It'll break box office records. Of course I have bumps.

Gale's CAMERAMAN can be seen behind her, in the van fussing with equipment.

GALE (cont'd)
I need two minutes at six o'clock.
I wanna do a piece on the slain kids--no sympathy shit--let's stick with the movie angle.
I wanna pull a clip from an old film...

Gale turns to her cameraman, snapping her fingers.

GALE (cont'd)
Hey, what was the name of that movie?

The guy looks up at her. It's RANDY. Two years older but still the charming jokester.

RANDY
HE KNOWS YOU'RE ALONE. MGN/UA. 1980. Tom Hanks' first film.

GALE (cont'd)
(into phone)
HE KNOWS YOU'RE ALONE. Yeah, find it. Don't worry, I've got it covered...I have a plan.
Yeah, I'll get it. Give it a rest--I said I'll get it. Later.

She hangs up, turning to Randy.

GALE (cont'd)
Pressure's on. You ready for this?

RANDY
I'm there, man. No worries. I got ya covered. I'm so there. That's why I'm here--because
I'm there.

Randy holds up his camera--stoked.

CUT TO:

INT. SCHOOL OF FILM - LATER
Sidney moves down a hallway. Not your typical school building. Through open doorways, film
equipment is glimpsed. Editing bays and the like. She's in the Film Department.
She comes upon an open door and peers in. A large room, a class is in progress.
She slips in quietly.

INT. CLASSROOM - SAME
Sidney takes a seat at the back of the room. A handful of FILM STUDENTS sit around on torn
couches heavy in discussion. Sid goes unnoticed as she watches a whirlwind debate.
A SNOTTY GUY is pontificating a point.

SNOTTY GUY
Sequels are too handicapped. By definition alone, they're inferior films.

Hallie sits on a couch next to MICKEY, 20's, atheletic, cool and rowdy. Arms enwrapped.

MICKEY
Bullshit generalization. Many sequels have surpassed their original.

SNOTTY GUY
Name one.

MICKEY
ALIENS Far better than the original.

ANOTHER GUY
Subjective.

SOME GIRL
Life's subjective. I much prefer Ridley Scott.

The conversation overlaps, everyone arguing..making their point about ALIENS VS. ALIEN.

HALLIE
No way. ALIENS rocked. "Stay away from her--you bitch."

SNOTTY GUY
I'll give you that one. Name another.

MICKEY
T2.

SOME GIRL
You've got a hard-on for Cameron.

SNOTTY GUY
A bigger budget does not make a better movie. TERMINATOR one is historical.

Someone screams out, "You Sarah Connor?" as the TEACHER, a young artsy type, speaks up.

ARTSY TEACHER
How about THE GODFATHER PART II?

Ooooohhh. The whole room goes worship silent. All in agreement.

SNOTTY GUY
The almighty exception. Name another.

A YOUNG MAN, handsome and smooth, jumps into the conversation. His name is Derek.

DEREK
EMPIRE STRIKES BACK. Smarter story. Improved effects.

From the back of the room, Sidney watches him. Fixated.

HALLIE
I liked JEDI. With the furry things.

Everyone BOO'S. "Ewoks blow."

MICKEY
Lucas and his Romper Room stage.

HALLIE
I got. I got it. FRIDAY THE 13TH, PART 20.

SNOTTY GUY
Case in point. The entire horror genre was destroyed by sequels.

ARTSY TEACHER
Really? And why do you think that is?

SNOTTY GUY
Sequels suck. Hello. It becomes about: money and no one's interested in quality.

DEREK
It's more than that. Horror films are only as good as their villains.
How can Freddie and Jason possibly be scary after they've been diluted through five or six
sequels.

TEACHER
What's the solution? If you were making a sequel today what would you do differently?

The class stews on this. Derek turns, spotting Sidney in the back of the room. She gives a
half wave. He starts for her, excusing himself.

SNOTTY GUY
The point is - I made my point. Sequels suck.

INT. CORRIDOR - SAME
Derek and Sidney move out into the hallway. Derek throws his arms around her protectively.

DEREK
How are you? You weren't in class. I called as soon as I heard...

SIDNEY
I skipped. Too many "That's her" looks.

DEREK
I'm sorry, baby. What can I do'?

SIDNEY
Don't ask what you can do. No coddling. Life rolls on status quo.

He looks at her with bedroom eyes.

DEREK
I can do that. And I can also do this.

He moves on her, wrapping her in his arms and kissing her passionately.
She breaks away, laughing.

SIDNEY
No PDA.

But it's a failed objection. He kisses her again and they're soon devouring each other like
two people in love. Right in the middle of the hallway.

CUT TO:

EXT. STUDENT UNION - LATE AFTERNOON
The place is a circus. The front steps of the student center have been roped off to form a
platform. A podium and mike have been placed center.

CROWDS have gathered for the press conference that is being held by the university.
Reporters and cameras have been roped off to the side. On stage, DEAN FISHER, a sharp looking
woman in her forties is talking to spectators.

DEAN FISHER
(reading from a prepared statement) "..and we feel this unfortunate isolated tragedy in no way
reflects upon our fine school and we should trust that the authorities and FBI are acting
quickly to bring us answers..."

Beside her stand uniformed COPS, the local SHERIFF, FBI AGENTS. She continues on...

IN THE ROPED OFF NEWS SECTION
Gale walks through the crowd, listening to the Dean.

FEMALE VOICE
(o.c.) Gale? Can I have a second?

Gale spins around to find DEBBIE SALT, the flashy reporter who she decked earlier, standing
in front of her.

GALE
Look, I'm sorry about the face.

DEBBIE SALT
Job hazard. Debbie Salt, stringer-- NEWSWEEK. Answer a few questions?

GALE
Fair enough.

DEBBIE SALT
What are you doing here? I thought you had retired from field reporting?

The woman has immediately put Gale on the defensive. TWO OTHER REPORTERS have taken notice.
Suddenly, CAMERAS are on Gale.
GALE
Well, you know I'm dear to the subject matter.

DEBBIE SALT
And much richer as a result.

GALE
Do I know you? You look familiar.

DEBBIE SALT
I took your vulture seminar seminar at Berkeley last year.

GALE
Good for you.

And in seconds the vultures are upon her as Gale Weathers is beseiged by REPORTERS.
The questions spew forth. "Why are you here?" "Is this the work of a copycat killer?"
"Have you talked to Sidney?" etc.

GALE
(ever smooth) Guys, you're missing the show.

And with that Gale wanders off into the crowd.

ON STAGE
The LOCAL SHERIFF, a smart looking guy in his 50's is fielding questions.

SHERIFF
No, we have no evidence of a serial killer. We think the killer acted deliberately
and not at random...

ON THE LAWN
Students and concerned faculty stand. Among them are Sidney, Derek, Hallie and Mickey.
Next to them stand JOEL, 20's, black, sensible and friendly. A very intelligent face.

DEREK
But what are they doing? He's talking but he's not saying anything.

JOEL
Sounds like they don't know anything.

HALLIE
Do you think they'll cancel Hell Week?

MICKEY
You're getting nailed - you're not getting out of it.

From across the way, two gorgeous sorority type girls, LOIS and MURPHY stand with their
FRATERNITY JOCK BOYFRIENDS. All looks and attitude. Their eyes are on Sidney as they huddle
in a conspiratory stance.

JOEL
Have they questioned you yet, Sid?

SIDNEY
This has nothing to do with me, Joel. There's an estimated 270 serial killers currently active
in the US at any given time. I can't control that. Who's hungry?

HALLIE
I have rehearsal.

MICKEY
I have to watch rehearsal.

Hallie kicks him. Joel moves to Sid.

JOEL
I gotta hit the library. Anatomy. Some of us have real majors. You gonna be okay, Sid?

SIDNEY
You're not allowed to ask that.

JOEL
I'll stop by the Deltas tonight.

SIDNEY
Thanks, Joel.

Joel smiles, heading out as the two sorority girls, Lois and Murphy saunter over.

LOIS
Hello, pledges. Enjoying yourselves?

Instantly, Hallie stands at attention. Sidney joins begrudgingly.

HALLIE
Yes, sister Lois. Very much so. Thank you for asking.

MURPHY
Good. We need your help, pledges. Are you familiar with the Deltas TP fundraiser?

The pledges shake their heads. Suspicious. Lois withdraws two rolls of toilet paper from her
book bag and passes them out.

LOIS (cont'd)
In our efforts to raise money for our favorite cause...

MURPHY
..this week's TKE kegger...

LOIS
Ne ask that you sell individual squares of toilet paper for a mere nickel a piece.

MURPHY
We've set you each at a five dollar quota.

MICKEY
Come on, guys. Uncool.

MURPHY
Am I getting fraternity interference, Mickey?

SIDNEY
It's okay. I can peddle toilet paper.

DEREK
Sid, you don't have to.

Sidney takes her toilet paper.

SIDNEY
No special treatment. I can do this. C'mon Hallie.

She throws him a comforting glance. She's okay with this. She heads off with Hallie.
Derek watches.

DEREK
How do you put up with this Greek shit?

MICKEY
Hey, it's cool. Hallie's into it, I'm into Hallie...

ACROSS THE WAY
Gale moves through the crowd as the press conference/rally continues.
She runs dead smack into...

DEWEY

Their eyes meet. A long moment. The silence between them is revealing.

GALE
Hello, Dwight.

DEWEY
Miss Weathers.

GALE
I've been trying to reach you but you haven't returned...

DEWEY
I'm on crowd patrol, Miss Weathers, excuse me.

He tips his hat curtly, then starts off. She stops him.

GALE
The name's Gale, remember'?

He turns on her. His eyes on fire.

DEWEY
Yes, Miss Weathers, your name is embedded clearly between my ears.

GALE
I see you read the book.

DEWEY
Yes, I do retain reading skills. Shock.

GALE
And an explanation is, of course, out of the question.

DEWEY
Page 32. "Deputy Dewey filled the room with his dim-witted Barney Fifish presence."
I think you've explained yourself.

GALE
Oh Dewey, I'm sorry.

DEWEY
No, what you are is a money hungry, fame- seeking liar and--forgive me for saying-- mediocre
writer who has a cold storage shed where her heart should be.

This stings Gale.

GALE
You have every right to be upset.

DEWEY
Page 41. "Deputy Dewey oozed with inexperience."

GALE
I never meant to imply...

DEWEY
How do you know my dim-witted inexperience isn't merely a subtle form of manipulation used to
lower people's expectations thereby enhancing my ability to effectively maneuver within any
given situation?

Gale is at a loss.

GALE
I'm sorry. I don't know what else to say except I'm sorry.

DEWEY
No, I'm the one who's sorry. I misjudged you. Now if you'll excuse me, I have some oozing to do.

Dewey turns and limps away, leaving Gale staring after him. Her face smashed fiat.

ON STAGE
The sheriff continues fielding questions from reporters.

SHERIFF
No, there has been no evidence that more than one killer is responsible...

ACROSS THE WAY
Sidney and Hallie have split up. They move through the crowd selling toilet paper.
Several STUDENTS make their purchase. Sidney pockets her change, looks up to see Gale,
standing alone. She goes to her.

SIDNEY
Hello, Gale.

GALE
Sidney. Hello. How are you?

SIDNEY
I'm okay. PEOPLE magazine won't stop calling but other than that...

GALE
I'm sorry.

SIDNEY
Yeah, well...you are the definition of mixed emotions. I really should hate you...
I see your movie's getting good reviews.

GALE
It seems to be causing a stir. What's with the toilet paper?

SIDNEY
It's hell week. I'm pledging the Deltas.

GALE
It's good to see you involved.

SIDNEY
My morn was a Delta.

BEAT. People have begun to notice the two of them talking. Reporters and spectators have
slowly circled them. Gale looks around. She spots Randy, who appears behind Sid, with his
camera. Gale gives him the nod. He throws the camera up, hits the light.

Sid spins around, surprised to see him.

SIDNEY (cont'd)
Randy? What are you doing here?

But then she sees someone else, standing off to the side. A man she recognizes immediately.
He looks at; her, his face sullen, broken. Sidney loses her breath.

SIDNEY (cont'd)
Cotton...

He moves to her.

COTTON
Hello, Sidney.

Gale motions to Randy. He maneuvers, getting the two of them in frame.
A long moment, Sidney just stares at him. Completely off guard. She looks to Randy who
aims the camera directly at her...filming her.

SIDNEY
What are you doing?

She turns back to Gale, staring holes through her, realizing she's been set up. She looks
back to Cotton. She doesn't know what to say. She turns back to Gale. Eyes aflame.

SIDNEY  (cont'd)
You BITCH!

Sidney storms off, disappearing in the crowd. Cotton turns to Gale. His face pained.

COTTON
This was a mistake. I shouldn't be here.

He takes off, pushing through the crowd. Randy stops filming.

RANDY
Can you say backfire?

GALE
Did you get it?

RANDY
Yeah, I got it.

Randy is clearly not happy about his part in this. It's in his voice.

GALE
You need to check your conscience at the door. We're not here to be loved.

Randy's face reveals otherwise.

AT THE PODIUM
The sheriff continues.

SHERIFF
No, we don't anticipate another murder but we are taking every precaution possible... CUT TO:

EXT. SORORITY ROW - NIGHT
A small street that dead-ends in a cul de sac. Large old homes populate it. Greek signs
adorn the place. Welcome to Sorority Row.

INT. SORORITY HOUSE/LIVING ROOM - NIGHT
A huge living room. Divided sensibly in several sections. Nicely done. Et is empty except
for one girl who lies on the couch watching television. This is CICI, pretty with a lively
energy about her. She channel surfs while talking on the phone.

CICI
(on phone) No, they broke up again. Bailey won't stop drinking and Sarah can't take it anymore.

GIRL ON PHONE
(from phone) thought he was doing AA.

CICI
No, he quit - the whole God thing--he has issues. The previews for next week...

BEEP! BEEP! Call waiting bleeps through.

CICI (cont'd)
Hold up...someone's calling. (she clicks over) Chi Omega House.

MAN'S VOICE
Hello.

A MAN'S VOICE. Deep and alluring.

CICI
Yes.

MAN'S VOICE
Who is this?

CICI
Cici. Who's this?

MAN'S VOICE
Someone who wants to talk to you.

CICI
Ted? Where are you? Are you drinking? Hold on.

She clicks back over.

CICI (cont'd)
Teddy's on the other line. He sounds drunk. I'll call you back.

GIRL ON PHONE
That shit. He only calls you when he's drunk. Don't go over there.

CICI
I won't.

GIRL ON PHONE
Don't. Think Bailey.

CICI
Alright, alright...I'll call you back.

She clicks back over.

CICI (cont'd)
Okay, Ted, you sound loaded. What's up?

MAN'S VOICE
Who's Ted?

Realizing, it's not Ted.

CICI
Oh, I'm sorry. My bad.  I thought you were someone else.

MAN'S VOICE
That's okay.

CICI
Who do you want to speak with? Nobody's here.

MAN'S VOICE
Where is everybody?

CICI
We're co-sponsoring the Acid Rain mixer at the Sig Ep. house tonight.

MAN'S VOICE
Why aren't you there?

CICI
I'm designated driver. I have to be here in case a sister calls and needs a ride.

MAN'S VOICE
That's too bad.

CICI
"Drink with your brain." That's our motto. Who are you calling for?

MAN'S VOICE
What if I said you?

CICI
What if I said goodbye?

MAN'S VOICE
Why would you wanna do that?

CICI
Why do you always answer a question with a question?

MAN'S VOICE
I'm inquisitive.

CICI
I'm impatient. Look, do you wanna leave a message for someone?

Silence. No response.

CICI  (cont'd)
Hello? Hello? Where'd you go?

Silence again. And then...

MAN'S VOICE
Do you wanna die tonight, Cici ?

Almost a whisper. Simple. Direct. His voice pierces Cici. Her eyes widen. BEEP!
Call waiting CLICKS through.

CICI
Just a second.
(clicks over)
Yes?

Cici gets up and moves to...

INT. FOYER - SAME
Cici checks the front door, making sure it's locked.

GIRL ON PHONE
Was it Teddy?

CICI
No, some creep asshole trying to scare me.

GIRL ON PHONE
It's hell week. Chill. The movie murders have brought out the crazies. It's nothing.

BUMP! A noise from upstairs. Cici spins around to the staircase.

CICI
Shit.

GIRL ON PHONE
What is it?

CICI
I heard a noise.

GIRL ON PHONE
Where?

CICi
Upstairs.

BUMP! Something moves upstairs. It sounds almost like footsteps.

CICI
Shit. Cici moves to the staircase. She peers up it.

CICI  (cont'd)
(calling out)
Hello? Hello?

GIRL ON PHONE
(ala Friday the 13th) Kill, kill, kill, kill, hah, hah, hah, hah...

CICI
Stop it...

GIRL ON PHONE
I can't believe you're alone in that house.

Cici looks up the staircase again.

CICI
(soft whisper) I don't think I'm alone.

Floorboards CREAK above her. Cici freaks.

CICI
I'm outta here.

She flies to the door, unlocking it, throwing it open. She moves out onto the...

EXT. FRONT PORCH - SAME
A wooden porch with a bulb glowing overhead. She stands on the porch steps, looking back,
through the open door, into the house. The phone starts to CRACKLE.

GIRL ON PHONE
You're breaking up. Where are you?

CICI
Outside.

GIRL ON PHONE
That's smart.

Cici looks up and down the street. A YOUNG GUY walks along the sidewalk.

CICI
(calling out to him) Hey, you? HELLO? HELL0?

The guy wears a headset, his head bobbing to the beat. He doesn't see her. Cici looks up the
street to a sorority house down the block. Lights burn from within. People come and go.

CICI (cont'd)
There's something going on at the Delta Zeta's. I'm gonna walk down.

Cici moves further down the porch steps. The phone begins to CRACK severely.

GIRL ON PHONE
(phone begins to go out) Don't do that. Hang up...call...(static)

CICI
What? I can't hear you...

GIRL ON PHONE
(major static)
Hang up...call...

CICI
I'm losing you.

GIRL ON PHONE
...campus security...send someone...check out...place...

CICI
Okay, okay. I'll call now. I'll call you back.

Cici hangs up the phone. She hits the TALK button. Nothing but static. She tries again.
She can't get a dial tone. She looks back to the front door. She hesitates quickly, debating,
then she moves back up the porch steps.

She tries the phone again. It still won't connect. She moves back to the front porch. It
connects. Major static. She dials 511.

VOICE
(major static)
Campus Security.

CICI
Hello, I'm calling from the Chi Omega...

VOICE
(too much static) I'm sorry. I can't hear you. Hello?

Cici eyes the open front door. She inches back to it.

CICA (CONT'D)
Can you hear me now?

VOICE
We...bad..connec...call back.

The phone goes dead.

CICI
Shit.

Cici redials. The same static.

VOICE
Hello?

CICI
I'm calling...

VOICE
I can't hear you.

Cici peers through the front door, into the house. It's completely empty. Cici steps back
inside the house. The connection becomes much clearer.

CICI
I'm calling from the Chi Omega house. Someone is harassing me. Hello?

There's no one on the line.

CICI (cont'd)
Shit!

SUDDENLY, A FIGURE APPEARS BEHIND HER. A HAND
GRABS HER.

Cici spins around, SCREAMING BLOODY MURDER.

GIRL'S VOICE
Did the phone ring?

Standing before her is DAWNIE, a young girl, sweet, pre- occupied.

CICI
Jesus, you scared me. What are you doing here?

DAWNIE
I live here.

CICI
I thought you were going to the mixer?

DAWNIE
I had to change. Did anyone call?

CICI
Just some asshole trying to scare me.

The front door remains wide open. The phone RINGS. Cici stares at it in her hand.
She doesn't answer it.

DAWNIE
Are you okay?

Cici nods, answering the phone. ROCK MUSIC BLARES from the receiver.

CICI
Hello?

DRUNK GIRL (from phone) We need a ride. Taxi!  Taxi!
CICI  Where are you?

DRUNK GIRL
(from phone) We're at Grogs and need a ride to Acid Rain.

DAWNIE
Who is it? Is it Tina?

CICI
They're at Grogs.

Dawnie grabs the phone, moving into the living room. She moves to a mirror and fusses with
her hair.

DAWNIE
Tina, it's Dawnie. I'm  on my way.
Cici follows her back into the living room.

CICI
I'll go. I don't mind. Really.

Dawnie hangs up the phone, turning to Cici.

DAWNIE
Take the next one. You should set the alarm. There's a killer on the loose.

Reflected through the mirror is the foyer. Neither see as a SHROUDED FIGURE appears through
the front door. Dawnie turns back to the mirror just as the FIGURE sweeps into the dark
dining room and out of sight.

Dawnie starts back for the front door. The phone RINGS.
Dawnie grabs it.

DAWNIE (cont'd)
Hello?

MAN'S VOICE
Is Cici there?

DAWNIE
Who's calling?

MAN'S VOICE
Ted?

Dawnie throws her the phone and races out the door.

DAWNIE (cont'd)
It's your ill-concieved boyfriend. Seeya later. Set the alarm.

She SLAMS the door shut behind her. A second later we hear it lock. Dawnie brings the
phone up to her ear.

CICI
Hello? Ted?

MAN'S VOICE
No, it's me.

Cici nearly collapses. She's starting to lose it.

CICI
WHAAAATT?

MAN'S VOICE
Don't forget to set the alarm.

Cici hangs up, throwing the phone across the room. She moves back to the foyer where an alarm
panel is positioned in the wail. She hits a coupla digits and a BEEP is heard as she activates
the alarm.

She checks the door, making sure it's locked, then she turns and moves into the...

DARK DINING ROOM
Cici finds the light switch. CLICK! The room is illuminated. Two long dining tables run the
length of the room. It's empty. Void of the FIGURE.

INT. KITCHEN - SAME
A large, dark kitchen. Cici moves to the frig and opens it, She gives it the once over. The
frig light reflects against her face. She closes the refrigerator, not seeing the SHADOW that
bounces across her back.

Cici moves to a sliding glass door that overlooks the backyard. She checks the lock. Secure.
Then, the phone RINGS.

She turns to the phone that's attached to a nearby wall. It RINGS AGAIN. She reaches for it,
answering it.

CICI
Hello?

SUDDENLY, TWO HANDS LUNGE OUT OF THE DARKNESS
One finds her neck, the other grabs her by the hair, wrenching her head backwards and
spinning her around, shoving her, pushing her into the...

SLIDING GLASS DOOR

Glass explodes everywhere, shattering to bits as Cici's body crashes through it, setting off
the ALARM A loud, shrill RING resonants through the house as Cici's body lands on the deck
outside. Still. (NOTE: WES DOES REALLY SCARY SHIT HERE.)

CUT TO:

EXT. DELTA ZETA HOUSE - MINUTES LATER
Two doors down from Chi Omega. A big, old Gothic home serves as the Delta Zeta sorority.
MUSIC PLAYS from inside. It sounds like a party.

ENT. DELTA ZETA LIVING ROOM - SANE
The room is filled with fifteen to twenty people. SORORITY GIRLS and FRAT BOYS who SCREAM
and CHEER as they watch four girls who sit on their knees, hands behind their back, in front
of a coffee table devouring plates of macaroni and cheese topped with whipped cream.

Sidney, Hallie, and two other girls, TERI and LUCE tear into the macaroni with all their
might. Gobbling it up, making a mess of themselves. Mickey is next to Hallie, coaching her on.
ON Sid as she finishes her plate.

A whistle BLOWS.

MURPHY (cont'd)
Looks like we have a winner.

Sid sits up. Macaroni and whipped cream is all over her face.
She smiles the victor. Everyone APPLAUDS.

MURPHY (cont'd)
Sidney gets to skip the next round of Bulimia bingo.

Hallie, a face full of grime, eyes Sid.

HALLIE
You bitch.

They crack up. Someone passes her a towel. She stands wiping her face, looking across the
room as Derek enters through the front door. She waves at, him. He hurries over.

SIDNEY
Where have you been'? You missed my shining moment. I won the macaroni sundae binge.

DEREK
I'm sorry honey. I got behind.

ON HALLIE AND MICKEY
Mickey is cleaning off Hallie's face.

MICKEY
I don't want you to choke or anything but you're trailing. You need to pick the pace up.

She swats him.

ON SID AND DEREK
Sid and Derek stand arm in arm watching the next round.

SIDNEY
(complete throw away) Any news?

DEREK
About what?

SIDNEY
The forbidden subject.

He shakes his head.

Suddenly, a FRAT BOY pops into the room.

FRAT BOY
Yo, guys, outside. Something's up at the Chi Omega. Police are everywhere.

People begin to stand, moving to the windows and front door. Sidney looks to Derek.

EXT. DELTA ZETA HOUSE - SAME
Everyone comes flying out of the front door and into the yard as POLICE CARS WHIP BY.
SIRENS BLARING.

ANGLE ON STREET
Two doors down sits the Chi Omega house crawling with police, ambulances, reporters...

"Yo--let's check it out." "C'mon." The entire crowd takes off in droves down the street.
All except for...

SIDNEY AND DEREK

They stand on the porch, watching as the street becomes a circus. CLOSE ON SIDNEY'S FACE.
She knows.

INT. CHI OMEGA  HOUSE - SAME
Captain Tyler, the Sheriff, police, FBI... the house is crawling.
Dewey sifts around on his own, checking things out.

IN THE KITCHEN
Captain Tyler and the Sheriff stand at the shattered glass door.

SHERIFF
Lots of blood. But no body.

CAPTAIN TYLER
Have you checked the...

SHERIFF
Attic, garage, basement, nothing.

CAPTAIN TYLER
Take the neighborhood.

The Sheriff turns to his men.

SHERIFF
Alright men, listen up...

Dewey is all ears.

INT. DELTA ZETA HOUSE - SAME
Derek and Sid stand on the porch, his arms around her. Her face is numb.

SIDNEY
It's starting all over again.

DEREK
Lemme take you home.

SIDNEY
I'll get my jacket.

Sidney, indifferent, moves through the open front door, back inside the house.
Her face and mind detached from what's going on. Derek remains on the porch, watching the
spectacle. Slowly, the door behind him closes.

INT. DELTA ZETA LIVING ROOM - SANE
Sid moves through the living room, she grabs her coat when the phone RINGS. She looks at it
suspiciously...knowingly...she reaches for it.

SIDNEY
Hello?

MAN'S VOICE
Hello Sidney?

The VOICE. Low and haunting. Sidney closes her eyes. When she opens them tears are immediate
But still, she refuses to crack.

SIDNEY
Who are you?

MAN'S VOICE
Soon, Sidney, soon.

SIDNEY
What do you want?

MAN'S VOICE
To see every ounce of blood drain from your body.

The Voice has never sounded more evil...more seductive. Sidney doesn't flinch.
She holds steady.

SIDNEY
Then come and get me.

And with that Sidney hangs up the phone, SLAMMING it down.  Silence. And then...

MAN'S VOICE
My pleasure.

The Voice comes from inside the room...behind her. Sidney spins around and finds herself
staring at the...

GHOST MASKED FIGURE

But not the one from the movie theater. The one from Sidney's nightmare long ago. It stands
in the foyer archway, staring at her.

A sustained moment. A stand off. Sidney doesn't move. But then the killer withdraws his
trademark. A long, steel hunting knife...blood stained.

SIDNEY BOLTS

as the GHOST LEAPS at her. She SCREAMS, dodging him,

ON THE PORCH
Derek hears her SCREAM. He turns to the front door. He finds it locked. He starts to BEAT on it.

DEREK
Sid? Sid?

IN THE LIVING ROOM
Sid just dodges the Ghost, just missing the knife's blade. She bolts through the living room,
to the front door. Derek beats on it from outside.

IN THE FOYER

SIDNEY
Derek. He's in the house. Help...me...

She struggles with the door, there are too many locks, the Ghost is already upon her. She
looks to the stairs, thinks better of it...flies through the dining room.

INT. FRONT PORCH - SANE
Derek is going nuts trying to get into the house. He moves along the porch to the windows,
looking through. He watches as the Ghost Figure chases her into the kitchen. Derek looks
about the porch. He rears his foot back and kicks in the window.

INT. KITCHEN - SAME
Sid moves through the kitchen to the back door. She struggles with the lock as the Ghost is
right behind her. She barely makes it out the back door...

EXT. BACK YARD - SAME
A large, fenced in yard. Lots of big oak trees. Sid flies down the back porch and into the
yard. She moves across it, passed trees and shrubs. She spots a closed fence door in the back
of the yard. She looks behind her to find...

NOTHING

She scans the yard, the Ghost Figure has completely disappeared. She moves behind a big tree,
hiding behind it. Sid stops, catches her breath, then peers from behind the tree. The yard is
completely empty. She goes for the fence door, slowly moving around the tree.

BUMP! A noise in the darkness. She spins around, still making her way around the tree, moving
backwards, walking right into a FIGURE. She SCREAMS, spinning around, finding herself face to
face with...

CICI'S BODY

hanging, dangling, hung from the tree, her stomach a ripped, bloody mess. Sidney SCREAMS IN
UNFORGETTABLE HORROR. She steps back, falling right into the arms of...

DEWEY

She turns, SCREAMING.

DEWEY
It's okay. It's okay. It's just me.

He takes her into his arms, comforting her, as she holds on for dear life.

EXT. COLLEGE CAMPUS - MORNING
The early sun casts light upon an otherwise dark and joyless morning as the blood stained
campus slowly comes to life.

EXT. CAMPUS SECURITY STATION - MORNING
The local campus security office has been converted into a media event. News trucks, cameras
and REPORTERS stand guard outside while inside...

INT. CAMPUS SECURITY STATION - MORNING
The place is packed. No longer just a campus security office. The place has been converted to
the local police station as well as FBI headquarters. UNIFORMS and SUITS swarm the place.

In a back section of the room, Sheriff Hartley and Captain Tyler are in a huge discussion
with Dean Fisher. Tempers are heated. Its been a sleepless night for all.

CAPTAIN TYLER
We don't know if it's random. We haven't been able to connect the victims.

SHERIFF
The first two were stabbed without thought. The sorority girl was gutted with
autopsy precision.

DEAN FISHER
Christ! Just do something. I will not have a repeat of Gainesville. Not on my campus..

Dewey listens to this exchange, slowly stepping forward.

DEWEY
Sidney Prescott, sir.

They both turn to him.

DEWEY (cont'd)
She's the connection.

CAPTAIN TYLER
We know that, son.

DEWEY
The killer was trying to get to her. That sorority girl was a distraction.

CAPTAIN TYLER
We're aware of that.

Sheriff Hartley steps forward.

DEWEY
The killer is obviously repeating Woodsboro. I can fill you in on what I know.

Dewey is not a welcome participant. Eyes roll. Captain Tyler pulls Dewey aside.

CAPTAIN TYLER
Look, son. I know you've lived through this, but we got it under control. Why don't you
have some coffee?

Just then, Gale Weathers appears being ushered in by TWO UNIFORMS. Dean Fisher greets her
with smiles The FBI and local police fawn over her.

SHERIFF
Thank you, Miss Weathers for coming in.

GALE
Of course, what can I do?

Captain Tyler gives Dewey a patronizing pat on the back, sending him off.

CAPTAIN TYLER
We were hoping you could help with the killer's profile.

Dewey's face couldn't be more burned.

INT. CAMPUS SECURITY STATION - MORNING - MINUTES LATER
A chalk board in front of them. Three names are written on it under the
label "Victims" --MAUREEN EVANS, PHIL STEVENS, CICI TAYLOR.
Gale is at the chalk board

GALE
Maureen Evans--Maureen Prescott. Sidney Prescott's mother. The first victim in the
Woodsboro Murders. Phil Stevens-- Stephen Orth--the first kid to be murdered.
Ten to one--Cici is not the third victim's real name.

SHERIFF
It's Cassandra.

GALE
Nickname Cassie or--Casey. The third victim in Woodsboro. She was hung from a tree and gutted.

The room goes quiet. Dewey watches from the back of the room. His eyes burning holes into Gale.

CAPTAIN TYLER
Jesus...

GALE
This is a complete copycat. Your killer is even going in sequence.

Captain Tyler sits up.

CAPTAIN TYLER
Who was the next victim in Woodsboro?

GALE
In the book or in the movie?

DEAN FISHER
Let's try reality.

GALE
Mr. Himbry--the principal was the next victim. However, in the movie version, Tatum Riley
was killed next. Dramatic license.

SHERIFF
Jesus Christ. Captain Tyler flies out of his seat and into action.

CAPTAIN TYLER
(to his men) Find me every variation of Himbry and what was the other name...

DEWEY
Tatum Riley.

Dewey speaks up. His voice soft but heard. The entire room stares at him, knowingly. Gale's
eyes find his. He looks away.

CAPTAIN TYLER
Both on campus and the surrounding community. I want names ASAP.

DEAN FISHER
I'll get you full access.

The room breaks into a fury as they jump into action. Gale stops Captain Tyler.

GALE
What about Sidney? Is she safe?

CAPTAIN TYLER
She's completely insulated. I've got my top men on her.

CUT TO:

INT. SIDNEY ' S DORM ROOM - MORNING
Sid, Derek, Hallie, Mickey, and Joel lounge among pillows and blankets. The remains of a
sleepover. Joel parts the blinds.

ANGLE THROUGH WINDOW
Two plains clothed policemen are in view, milling about outside--standing guard.

JOEL
How many guys they have on you?

MICKEY
I counted four.

Hallie reads from a notebook in her hand.

HALLIE
Okay, you're sure about skipping Calculas?

SIDNEY
Please, I have the perfect excuse.

HALLIE
What about rehearsal?

SIDNEY
Gotta.

HALLIE
I'll cover you through rehearsal. Derek when do you get outta docu-drama?

DEREK
Two.

HALLIE
So you'll relieve me at 2:30...

DEREK
And watch her til 8:00--I've got to edit.

JOEL
Perfect. I'll be outta Micro-bio and we can grab a bite.

SIDNEY
Guys, guys, I'm sorry but, no way.

HALLIE
Shut up. Mickey, you and I can take her late evening.

MICKEY
Sig Ep's gotta band, tonight.

HALLIE
Too bad.

SIDNEY
This is exactly what I don't want.

DEREK
I think it's out of your control.

Derek puts his arms around her, pulling her close. Mickey and Hallie argue about this evening.
Joel moves out the door.

JOEL
Sid, I'll seeya tonight.

SIDNEY
But...

Derek kisses her sweetly.

SIDNEY
My screwed up life shouldn't have to bleed onto my friends.

DEREK
Let us decide that.

SIDNEY
What about your film? Isn't it due next week? Have you even started it?

DEREK
It's under control.

He kisses her again.

CUT TO:

INT. STUDENT UNION - LATER
A huge one-stop for students. Comprised of several open floors, it looks like a mini-mall.
A cafeteria, book store, movie theatre, arcade, etc. fill the place.

Gale moves through the lobby area when she sees Debbie Salt heading her off. She tries to bolt
but she's not fast enough.

DEBBIE SALT
Hi, Gale, any leads?

GALE
Tons and tons.

DEBBIE SALT
Where is Sidney's father?

GALE
Home--where he lives.

DEBBIE SALT
And are the police sure about that?

GALE
Why don't you ask them?

DEBBIE SALT
Already did. He's the perfect suspect, don't you think?

GALE
No, I don't.

DEBBIE SALT
Parents are always responsible. It all starts in the home.

GALE
Look, I know you kinda hold me up as your career template and it gives you some anal
charge to challenge me but you win. Okay? I'm not interested in the scoop anymore. Excuse me.

Gale charges off, moving to a nearby newsstand. The tabloid papers exploit what's going on.
Crazy headlines about the murders dominate the newsrack.

Gale is clearly bothered by this. Just then, a phone RINGS. She pulls it from her pocket.

GALE (cont'd)
Hello?

MAN'S VOICE
Hello, Gale.

It's the Killer. His voice is unmistakable.

GALE
Who is this?

MAN'S VOICE
I'll give you one guess.

Gale knows immediately. She looks around for help. A CAMPUS COP is across the lobby.

GALE
Who are you?

MAN'S VOICE
That's not the way we play the game.

GALE
I don't play games.

MAN'S VOICE
What if your life depended on it?

Gale gets testy with him.

GALE
What do you want?

MAN'S VOICE
You're pretty when you're angry.

Gale stops cold. She looks around. The place is alive with people. He could be anywhere.

GALE
Where are you?

MAN'S VOICE
I'm everywhere.

She continues moving to the CAMPUS COP.

GALE
Oh--a God complex

MAN'S VOICE
Stay away from the cop.

A deadly warning. Gale stops. She plays it cool. She looks above her to the upper floor.
STUDENTS hang over a balcony.

GALE
What do you want from me?

MAN'S VOICE
It's what you want from me.

Silence.

GALE
What do you mean?

MAN'S VOICE
You are writing another book, aren't you? That's why you're here. The story's not over.

GALE
You're getting obvious.

MAN'S VOICE
No, Gale, I'm just getting started. Seeya soon.

GALE
No, wait...

MAN'S VOICE
Watch your back.

CLICK. The phone goes dead. Gale spins around, doing
quick circle to make sure no one's around her. She turns and heads off, right into...

DEWEY.  They both GASP.

CUT TO:
INT. CAMPUS THEATRE - DAY
A large tiered theatre. Seats five-hundred. Old but preserved and updated.
A rehearsal is in progress. SEVERAL ACTORS stand stage center running lines as stagehands
work on the set around them.

Sidney is one of them. She moves around the stage, very animated. More alive than ever.
She dons a Russian accent. Convincing. A promising actress.

SIDNEY
(in character) "Pain, yah, such pain. Pain."

Pain. Pain.

An awkward silence. Everyone looks at each other. Finally, Lois, the bitchy sorority girl
speaks up.

LOIS
That's not the line. You jumped.

SIDNEY
Shit. Did I?

LOIS
About a page.

DIRECTOR
(off stage) CUT! Let's take five.

The actors break up as Sidney, frustrated, walks across a make shift bridge that takes
her across the orchestra pit and down the stairs into the house where Hallie sits watching.
Sid's bodyguards can be seen sitting scattered about.

HALLIE
That was good.

SIDNEY
Yeah, right.

The DIRECTOR, mid-30's, intelligent, friendly.

DIRECTOR
Sid, why don't you get outta here? We'll pick this up tomorrow.

Sid nods in agreement. The Director smiles at her.

DIRECTOR  (cont'd)
Work on the accent.

She grabs her things and heads off with Hallie when...

VOICE
Sid?

Sid turns to find Randy moving through an aisle. He had been watching rehearsal.
Sid's face tenses.

HALLIE
Who is that guy?

SIDNEY
It's okay. Look, Hallie, I'll meet you outside.

HALLIE
No, girletta, I don't leave your side.

SIDNEY
I've got my entourage. Take a break. Please.

Sid is definite. Hallie backs off, heading up the aisle, against her better wishes.

SIDNEY
What do you want?

RANDY
I'm sorry, Sid, please. I never should have gone along with Gale. I know I'm stupid.
I wish I had some good reason to give you but I'm just stupid. Please, Sid, don't be mad at me.

SIDNEY
Do you work for her now?

RANDY
Well, yeah...she gave me a job. Freelance. It got me outta Woodsboro. I'm sorry about
Cotton and yesterday. It was a bad idea. I knew it was a bad idea but it seemed like a
quasi harmless bad idea. Ah, shit, Sid, I'm fucked up. Sidney looks at him Long and hard,
a smile slowly appearing.

SIDNEY
Me, too. Randy. Me too.

He nods, knowingly.

SIDNEY (cont'd)
Wanna get outta here?

CUT TO:

INT. CAMPUS SECURITY STATION - AFTERNOON
Gale and Dewey are with Captain Tyler and Sheriff Evans.

CAPTAIN TYLER
If he calls again--find help. Don't engage him in conversation. I'm gonna put a man on
you--to cover you.

DEWEY
I can do it, Captain.

CAPTAIN TYLER
Thanks, Dewey, but I was thinking I'd pull Jesse off...

GALE
I'd prefer Dewey, Captain.

Tyler doesn't argue. He's too crazed. Dewey avoids Gale's stare.

DEWEY
How's the name search going?

CAPTAIN TYLER
37 usages of Himbry  located in the registar's office. 9 Tatum's, 47 Riley's.
And that's just on campus. It's hopeless.

CUT TO:

INT. CINEPLEX MOVIE THEATRE - LITTLE LATER
A movie is in progress. STAB.

ON SCREEN
A young girl, looking a lot like Tori Spelling, runs down a school corridor. She runs smack
into a young, handsome boy. He could very well be Johnny Depp.

TORI
(in movie) Oh, God, Billy, you scared me. What are you doing here?

JOHNNY
(in movie) They let me go, Sid, I didn't do it. I'm innocent.

IN THE THEATRE
Sid and Randy sit in the small cineplex mall type theatre. Behind them sit Sid's trusting
police guards. Sidney shifts in her seat.

RANDY
You okay, Sid?

SIDNEY
Yeah.

ON SCREEN
Tori Spelling and Johnny Depp continue their dramatic discussion.

JOHNNY
(in movie) When my mom left my dad, I accepted it. That's just the way the cookie crumbles.
Moms leave.

TORI
Yeah, but your mom left town. She's not dead. My mom's dead. Do you hear me?
She's dead. Dead. And she's never coming back. Ever, Ever.

IN THE THEATRE
Sidney grows increasingly uneasy.

CUT TO:

INT. STUDENT CAFETERIA - LATER
Mickey, Joel, and Derek are crowded around a table in the Student Union Cafeteria.

DEREK
My documentary is due on Tuesday.

MICKEY
What's your subject?

DEREK
I WAS A SORORITY SLUT.

JOEL
You should of done it on Sidney. That would have been a cool.

DEREK
She wouldn't let me.

MICKEY
Not with Primetime Live and 20/20 coming at her. I'd save my shit too.

Hallie comes waltzing up.

DEREK
Where's Sid?

HALLIE
Damned if I know. She ditched me.

DEREK
You weren't supposed to leave her alone.

HALLIE
I didn't say she was alone. That guy-- from her home town showed up. They went off together.

Hallie plops down, giving Mickey  a big kiss.

MICKEY
I've been waiting for you, baby.

JOEL
Is that cool? Just to leave her like that?

HALLIE
She's got guards with her.

DEREK
What guy?

HALLIE
Randy somebody.

JOEL
Randy Meeks.  He was with Sid that night in Woodsboro.

MICKEY
Her old boyfriend?

JOEL
No, she killed her boyfriend. Randy was a friend.
MICKEY
Watch out, Derek.

HALLIE
He tried to kill her first.

MICKEY
Is Sid in therapy?

JOEL
She was for a while. Gave it up.

DEREK
How do you know so much about her?

JOEL
I read the book.

MICKEY
I could use some therapy.

DEREK
Should we be worried about this guy? Isn't it kinda weird he just showed up and now
people are dying?

HALLIE
He seemed harmless.

DEREK
Aren't most serial killers seemingly harmless?

JOEL
And white.

MICKEY
Easy black boy.

JOEL
It's documented.
Most serial killers are attractive--slightly off white males in their twenties.

HALLIE
That's you, honey.

Hallie kisses Mickey again.

MICKEY
I got a surprise for you.

HALLIE
What?

Suddenly, he leaps up on the cafeteria table and begins to sing at the top of his lungs.

MICKEY
"If I should stay. I would only be in your way. So I'll go. And yet, I know, I'll think
of you each step of the way...

HALLIE
Don't do this.

MICKEY
"And IIIIIIIIIYEIIIII will always love you OOOOOOWUOOOOOOOO will always love you."

Everyone has taken notice. They begin to cheer and sing with him.

JOEL (to Derek)
Whitney?

DEREK
I think he's doing Dolly.

MICKEY
"And I hope life treats you kind and I hope you have all you dreamed of offffff.
I wish you JOYYY."

DEREK
Definitely Whitney.

Hallie can't help but be touched. He finishes up, ending on a last, final note. As he does,
he pulls a necklace from around his neck. His Greek letters dangle from it. He places them
around her neck, kissing her.

JOEL
Isn't that a big no-no?

DEREK
I think so.

Hallie breaks away. She swats him.
HALLIE
You're going to get it. You know what happens.

MICKEY
But I love you. And I want the whole world to know it.

Hallie smiles, her eyes misty. Derek and Joel eye each other.

CUT TO:

INT. CINEPLEX MOVIE THEATRE  - LITTLE LATER
Sid and Randy continue watching the movie. The guards behind them are way engrossed.

ON SCREEN
It's the end of the movie. Tori Spelling is running for her life from two killers -
Johnny Depp and his sidekick. She finds herself trapped in the kitchen. Johnny Depp holds
the knife up to Tori's face.

TORI
Why did you kill my mother?

JOHNNY
Because she was sleeping with my dad. She's the reason my mom left.
She was a whore just like you.

IN THE THEATRE
These words sting Sid. Randy notices her flinching.

ON SCREEN

TORI
My mom was no whore. Don't you say that.

JOHHNY
Whore! Whore! Whore! Whore!

Tori starts to cry.

IN THE THEATRE
Tears find their way down Sidney's cheeks.

ON SCREEN
Johnny Depp and his murderous sidekick start stabbing each other.

JOHNNY (cont'd)
It's the perfect alibi, Sidney.

SIDEKICK
Just like in the movies.

IN THE THEATRE
Sidney can't take it anymore. She gets up and races out of the theatre.

INT. LOBBY - A SECOND LATER
Sid emerges from the theatre and into the lobby. She moves into a curtained section where
the water fountain is. She looks up and sees Randy flying out of the theatre. He exits
outside looking for her. The cops are right behind him.

VOICE
Hello Sidney.

Sidney spins around. Cotton Weary stands before her. shoulders slumped, his face pained.

SIDNEY
Cotton.

COTTON
Can we talk?

SIDNEY
I don't think that's a good idea.

COTTON
Look, yesterday wasn't my idea. That was all Gale and dollar signs and ratings.

SIDNEY
What do you want from me, Cotton?

COTTON
You could start with an apology.

SIDNEY
I did that.

COTTON
You wrote me a letter. Very cordial. Very appropriate.

SIDNEY
How? What could I say that would make a difference? I took away a year of your
life--how do I apologize for that?

COTTON
I wish it was just a year. I lost everything because of you. I have nothing now.
Look at me, this is what I've become. A long silence. Sidney is hanging on by threads.

SIDNEY
Cotton, there isn't one day, one hour, one minute when I'm not reminded of what I've done.
I have not had one second of reprieve and no therapy or religion or spiritual plane can
ever erase what I feel in every vein of my being. And I wish I had in me what you need to
hear but I don't think the words exist.

More silence.

COTTON
I just thought if I saw you face to face, maybe it would help.

SIDNEY
Did it?

COTTON
It helped me realize one thing.

SIDNEY
What?

COTTON
You're a self-obsessed little cunt like your mother.

And with that, Cotton flips on a dime. His face turns evil. Sidney races by him as he
throws out his arm, stopping her just as...

THE TWO POLICE GUARDS
appear, grabbing him from behind. They throw him against the wall, retaining him. Randy
appears at Sid's side.

RANDY
You okay?

Sid nods as she watches the officers arrest him. They do a body search, pulling from his
coat a large revolver. Cotton just smiles.

CUT TO:

EXT. CAMPUS LIBRARY - LATER
Sid and Randy walk up the steps to the school library. The ever helping guards behind them.

SIDNEY
I don't know. I don't think Cotton did it. It's too predictable.

RANDY
If he's innocent he'll have an alibi.

SIDNEY
I guess Gale's going to be pissed she missed her exclusive.

RANDY
I'll relay it. You sure you don't wanna go home?

SIDNEY
I have this button I press. See? It insulates me.
She mimes an air lock valve.

RANDY
I gotta coupla of those buttons myself.

There's something sad about this exchange. These two people understand each other

SIDNEY
Thanks for the movie, Randy.

RANDY
Anytime. Sorry it sucked. It just had that been there done that feeling.

Sidney watches as Randy shoves off, disappearing across campus. Sid turns to find Derek
leaning against a pole.

DEREK
I had the four o'clock shift. You weren't there. You had us worried. Is everything okay?

SIDNEY
No, it's not.

DEREK
I don't really know what happened in Woodsboro, Sid. But I know you don't trust me.

SIDNEY
It's not you, Derek. I don't trust myself. I tend to make big selection errors when it
comes to men.

DEREK
Then I'll make this easy for you. I like you. I'm crazy about you, Sid.
But I'm gonna stay away. Until you say otherwise.

A long moment. He looks at her, hoping she'll say otherwise.

SIDNEY
I'm sorry, Derek.

Derek nods. So that's how it's going to be. He turns and wanders off, not looking back once.

CUT TO:

EXT. NEWSVAN  - CAMPUS - LATER
The newsvan is parked at a curb. It sits out of the way overlooking the student commons area.
A grassy area where students sit and conjugate.

Gale walks back and forth with the cellular attached to her ear. Dewey sits leans against the
van, watching her. He still has a crush but hides it as best he can.

GALE
(on phone) The interview's not going to happen. 1 changed my mind.
I've harassed the girl enough. It's in poor taste and a bad idea.
(from the phone "Your entire career is in poor taste...") Gotta go, call me when you have
something nice to say.

Gale hangs up, she looks to Dewey. Smiles.

DEWEY
So what made you change your mind about Sidney?

GALE
Mood swing. I'm manic depressive.

DEWEY
You're a hard one to figure out.
GALE
It's that complex yet shallow quality. It's deliberate.

DEWEY
I think you're all an act.

GALE
And deep down I'm a good person? Make no mistake, Dewey, I'm a shit.

DEWEY
I know that.

GALE
Yeah?

DEWEY
I also know that you're an aging TV reporter slash writer who, despite huge tabloid
success, has some self worth issues regarding your personal life which directly effects
your professional life in a non-positive manner. A coupla failed relationships with--I'm
guessing balding, older men--have turned you into this bitch with a cell phone. But I bet
sometimes, late at night, when you're all alone a sadness seeps to the surface and in a
moment of clarity you know that all you really want is to be touched and held and fondled.

Gale stares at him, stunned. A moment as the tension swirls about them.

GALE
And where did you gain all of your Gale Weather's insight?

Dewey approaches her. Gale has never been more taken with him. They stand incredibly close.

DEWEY
After my spinal cord was damaged I was laid up for over a year. A lot can happen when
you're on your back.

They're nearly touching now. Just then, Randy approaches.

RANDY
What'd I miss?

Gale backs away from Dewey, breathless. Her cellular phone
RINGS. She eyes Dewey, then hands it to Randy.

GALE
I'm not here.

Randy takes the phone.

RANDY
Hello?

MAN'S VOICE
Gale?

RANDY
She's not here right now.

MAN'S VOICE
But she's standing right next to you.

Shit! Randy motions to Gale and Dewey. It's him. He points around campus, mouthing "He's
watching." Gale grabs Dewey.

GALE
C'mon.
(to Randy)
Keep him talking.

Gale and Dewey race off, across the grassy area where
STUDENTS come and go.

ON RANDY
He holds the phone, scared, not knowing what to say?

RANDY
So...what's your favorite scary movie? No response. Silence.

MAN'S VOICE
They'll never find me.

Randy eyes Dewey and Gale, they move through STUDENTS, searching.

RANDY
What do you care? Let 'em have their fun. So, what's up?

MAN'S VOICE
What's your favorite scary movie?

RANDY
SHOWGIRLS. Absolutely frightening. What's yours?
Wait, let me guess. THE HOUSE ON SORORITY ROW? FINAL EXAM. GRADUATION DAY? THE DORM THAT
DRIPPED BLOOD? SPLATTER UNIVERSITY? Am I close?

MAN'S VOICE
Closer than you think.

ON DEWEY AND GALE
They move through passing STUDENTS.

GALE
He has to be nearby. He likes the game.

Dewey is on the his walkie. "I need back-up." He has a hard time keeping up with Gale.
He hobbles along.

BACK ON RANDY
He goes on a tirade pacing back and forth.

RANDY
So what's your deal? Can we talk openly for a second? How does one become a serial killer?
Huh? Are you psychopathic or merely psychotic? And what is the distinguishing feature'?
Were you slapped around as a child? Is it hereditary? Did your Mom take test drugs?
You know, have you tried getting laid? It's done wonders for my homicidal tendencies.

MAN'S VOICE
Do you want to die?

RANDY
Gee, let me think. "Do you want to..." Is that the best you can do? Some tired hand me
down rehash? Hey, pal, no one's gonna write a book about you. No movie rights. Nothing.
I've been through this before and much better I might add.

ON GALE AND DEWEY
Gale spots a YOUNG MAN, sitting with some other KIDS. He's talking on a cellular phone.
She races to him and rips it from his hands. He leaps up ready to pounce on her.

Dewey appears.

DEWEY
It's okay. C'mon, Gale.

BACK ON RANDY
Randy won't let up. He continues dissing.

RANDY
And if you're such a brilliant smart killer--why copycat? Why not be original?
Where's the innovation? Let's pioneer some new ground. Make a statement. Go down in history.
Now you'll always be the Woodsboro copycat killer. That's lame. It's like a bad sequel.
And why Woodsboro? What about Manson, Bundy, Son of Sam? Why imitate two high school
loser-ass dickheads--1 knew the guys. Stu was a wussy ass wet rag and Billy--jesus--what
a rat-looking homo-repressed, mama's boy.

Suddenly the newsvan door RIPS OPEN, A GHOST MASKED FIGURE lunges out grabbing Randy by
the neck. The move is quick and precise. A hard yank and Randy is wrenched back into the
newsvan. The door SLAMS shut.

ON DEWEY AND GALE
As they run back to the newsvan. SIRENS are heard in the distant. Gale races up to find
Randy nowhere.

GALE
Randy? Randy? Where did he go?

Dewey circles the van as Gale moves to the sliding side door. She tears it open as...

RANDY'S BODY FALLS OUT. Blood everywhere. His throat slit.

Gale's SCREAM is heard all over campus.

CUT TO:
EXT. CRIME SCENE - NEWSVAN - LATER
Yellow tape has been placed around the newsvan. People have gathered as Randy's body is taken
out on a stretcher.

Captain Tyler and Sheriff Hartley share frustrated faces.

SHERIFF
He's broken his pattern.

CAPTAIN TYLER
They've broken their pattern.

SHERIFF
You're sure about this two person thing?

CAPTAIN TYLER
Broad daylight, a crowded movie theatre. This is too much fun for one person.

Different UNIFORMS whirl by.

SHERIFF
I would say we are now officially baffled.

CAPTAIN TYLER
On national television.

Sheriff Hartley looks up as REPORTERS flock them, surrounding them in questions.

CUT TO:

INT. LIBRARY - RESEARCH COMPUTER ROOM - LATE AFTERNOON
A room of the library sectioned off exclusively for computer use. It consists of thirty to
forty cubicles that house computer terminals. Every cubicle is full. The place is packed.

Sid sits at a terminal busy at work. Her two police guards wander up and down the cubicles
keeping an eye out.

CLOSE ON SIDNEY
Her face appears concentrated, focused. She scans the computer screen in front of her.

ON THE MONITOR
Sid is typing feverishly. Suddenly, her screen starts flashing and BEEPING, freezing her words.

ON SIDNEY confused, she tries to make it stop but it won't. She leans back, turning to the
GUY next to her. A handsome young man.

SIDNEY
Excuse me? Did your computer just freeze?

The guy leans over and takes a look at Sid's monitor.

GUY (cont'd)
You have an instant message, that's all. Just hit ALT M.

SIDNEY
I'm not signed on.

GUY
Someone here in the room. All the terminals are connected.

The guy returns to his own computer. Sidney eyes the screen suspiciously.
She hits ALT M. A message pops up on the screen.
"YOU'RE GOING TO DIE TONIGHT."

Sidney freaks. A muffled CRY. She shoots up, looking about the crowded room.
He could be anywhere. The two guards take notice, rushing over to her.

SIDNEY
He's here. He's in the room right now.

She points to the screen. The men instantly break up and cover the room. They start pulling
people from their terminals to check their screens.

Sidney backs away from her screen, her terror growing.

Suddenly, it starts flashing and BEEPING again. She looks around. She slowly moves toward it,
drawn uncontrollably. She hits ALT M. Another message pops up:
"THE POLICE CAN'T SAVE YOU."

CLOSE ON SIDNEY'S FACE.
It's stone pale. She takes a deep breath and begins to type.

ON THE MONITOR
The words FUCK YOU appear. Sid hits SEND.

INT. CAMPUS SECURITY STATION - PRIVATE OFFICE - LITTLE LATER
Captain Tyler and Sheriff Hartley are drilling a very subdued and cool Cotton.

COTTON
What better alibi could I have? I was here in custody.

CAPTAIN TYLER
Maybe you don't work alone.

COTTON
Yeah, that's it.

SHERIFF
Why did you attack Sidney Prescott?

COTTON
There was no attack, we were talking. Very heatedly. Miss Prescott and I have a very
complicated past. That's no crime.

CAPTAIN TYLER
And the gun?

COTTON
I have a permit. It's registered. I have a legal right to carry it.

SHERIFF
Why do you need a gun?

COTTON
Gentlemen, your growing hysteria is not reason enough to hold me here. I've been down this
road before. And unless you're going to charge me with a crime I'd like to walk outta here.
I have an interview at 6:00.

CUT TO:
INT. CAMPUS SECURITY STATION - OUTER OFFICE
Gale sits at a table. Dewey approaches. He places a hand on her shoulder.
They're both at a loss.

GALE
Where's Sidney'?

DEWEY
She's safe.

Silence.

DEWEY (cont'd)
How you doin?

GALE
Not good. How you doin?

DEWEY
Not good.

Just then, the Sheriff and Captain emerge from their office. Cotton is escorted out
behind them. Gale moves to him.

DEWEY
Can't we hold him?

CAPTAIN TYLER
No, we got pressure from California State. The man practically has clemency. We can't run
the risk of falsely accusing him. He has to be standing over the victim with knife in hand
before we make a move.

DEWEY
What now?

ON COTTON
He stands at a counter, signing forms. Gale approaches.

GALE
What's going on, Cotton?

COTTON
You know the story, Gale. Man falsely accused, sent to prison, proved innocent, released back
into the real world and never trusted again. Want the exclusive?

GALE
Did you do it?

She looks him dead in the eyes.

COTTON
Now, Gale, you were so instrumental in my freedom.
You're not having character doubts now, are you?

GALE
You have a right to be angry.

COTTON
No, Gale, I don't have any rights. You made sure of that.

GALE
Cotton, I've done nothing but help you.

COTTON
You've done nothing but get rich off of me. How many books have you sold, Gale? You think I
don't understand points and royalties and ancilliary rights?

Just then, the OFFICER behind the counter brings him his gun in a plastic bag. Cotton takes
it out and checks it over. Gale is surprised to see the gun.

GALE
Don't do anything stupid, Cotton. You've come to far.

COTTON
Gale, I don't know what I'm doing from one moment to the next. I'm just taking it as it comes.

Cotton pockets the gun and heads out. Gale rejoins Dewey and the others.

CAPTAIN TYLER
Night's coming. I think its time to beef up security on the Prescott girl.

GALE
Where is she?

SHERIFF
She was just escorted to her dorm room.

DEWEY
Is she safe there?

CAPTAIN TYLER
We're going to bring her in. Hide her out for a coupla days.
And we're issuing a campus lock-in this evening. No one is allowed out after dark.

DEWEY
That doesn't work, sir.

GALE
You're just isolating people. You're giving the killer a blank canvas.
CUT TO:
EXT. CAMPUS - NIGHT
Day turns to night and college life comes to a deadly stand still as everyone observes the
imposed campus restrictions.

EXT. SIGMA PHI EPISILON - NIGHT
The fraternity house sits dark and quiet. A YOUNG MAN walks up the walk to the front door.
He TAPS on it three times and it quietly opens as he's ushered in.

INT SIGMA PHI HOUSE - NIGHT - SAME
The young man makes his way down a long hallway, down a spiral staircase, through a thick
basement door and into...

A RAGING PARTY

Music peels paint as YOUNG COLLEGE STUDENTS rock to deafening tunes. A row of kegs line one
wall as a the party gears up for a drunken night ahead.

Derek is seen with his video camera. He's filming Lois and Murphy. They talk into the camera.
Both tipsy chatty.

LOIS
It's all about sisterhood. Everybody thinks its about partying and blowjobs but...

MURPHY
..we only promote safe rubbered sex.

LOIS
..it's really about family and tradition...

MURPHY
..harmonica style is okay.

LOIS
I just love being a sister.

Mickey approaches as Derek finishes up.

DEREK
Thanks, ladies.

They take off to the kegs.

MICKEY
Are they aware of your not so positive portrayal of Greek life?

DEREK
Not one bit.

MICKEY
Where's Sid?

DEREK
She dumped me.

MICKEY
No way.

DEREK
Yeah.

MICKEY
You freakin?

Derek shrugs. He's clearly upset by it when from out of nowhere, SEVERAL FRAT BOYS appear,
picking Mickey up, lifting him over their heads. Everyone starts CHEERING and CLAPPING.

FRATERNITY JOCK
He lavaliered. He's dead.

They carry him around the room, CHANTING. The frat boys abduct Mickey, taking him up the
stairs and out sight. Others lookie loo's follow. Derek grabs his camera and bolts.
CUT TO:
INT. SIDNEY'S DORM ROOM - EVENING
Sidney is trying to focus on homework while Hallie channel surfs. She finds a channel.
On screen, Siskel a Ebert are reviewing a movie.

EBERT
(from TV) I enjoyed its clever execution...

HALLIE
We're missing the Sig Ep party.

SIDNEY
No, Hallie, not tonight. Parties and mass murderers don't go together. Trust me.

HALLIE
No, no, I hadn't planned on going, it's just Mickey will be pissed.

Hallie clearly wishes she were there.

SISKEL
(from TV) It was just an excuse to kill young, big breasted girls. I didn't like it.

They're reviewing STAB. Hallie switches channels. There's a KNOCK on the door.
Sid answers--it's Dewey and Gale. From the look on their faces...

SIDNEY
Someone else has been killed.
CUT TO:
EXT. DELTA ZETA HOUSE - BACK YARD- LITTLE LATER
SPLAT! Gobs of gooey food goes flying through the air exploding perfectly all over...

MICKEY

who stands buck naked, tied...chained to a tree in the back yard. The yard is crowded with
FRAT BOYS and SORORITY GIRLS who delight in torching him. Mounds of syrup, eggs, and other
wet and slimy food is plunged upon him.

FRATERNITY JOCK
Who do you love?

MICKEY
Hallie.

FRATERNITY JOCK
Did you say "My TKE brothers"?

MICKEY
No, I said Hallie.

More food and slime come barreling at him. A drunk Lois and Murphy pull the police tape down
from the previous night's crime scene and begin to Mayflower him. The crowd goes crazy.

INT. SIDNEY'S DORM ROOM - NIGHT
Hallie consoles Sidney. Dewey and Gale nearby. Sidney is a stone rock. It's frightening to
watch her hold it together.

SIDNEY
I'm fine. I wish people would stop treating me like glass. I'm not gonna break.

HALLIE
It's okay to break, girl. You shatter if you have to.

SIDNEY
I'd really just like to be alone.

DEWEY
The police are waiting outside. They're going to take you somewhere safe.

SIDNEY
Dewey, there's no such place.

DEWEY
Humor me, Sid.

Sidney starts packing an overnight bag.

HALLIE
Can I come with her?

SIDNEY
No, Hallie, I'm not gonna take you down too. I'll be alright.

GALE
Sid, I'll come with you.

SIDNEY
But who would operate your camera?

A burn. It comes out of nowhere. Gale goes silent. A KNOCK at the door. Dewey opens to
find a Police guard standing with Joel.

SIDNEY (cont'd)
He's cool, Remy.

Joel is ushered in. He says his hello's, moving to Hallie. Gale and Dewey move out into the
hall with the guards. Sid continues to pack. Her face rigid.

JOEL
They got Mickey. He's being toasted at the Deltas.

HALLIE
I knew it. Shit! I gotta get over there.

JOEL
We're under quarantine.

He points to Dewey who talks to Gale in the hallway.

HALLIE
I'm the only one who can cut him down.

SIDNEY
It's not a good idea, Hallie.

JOEL
I'll go with her.

HALLIE
Be safe, girl.

She gives Sidney a hug before she can object, then she and Joel race out into the hallway
as Dewey sticks his head in.

DEWEY
Sid, you should get going.

He looks at Joel and Hallie.

DEWEY (cont'd)
Where are you two headed?

JOEL
(instant cover) Hallie forgot her footage at the film dept. I'm gonna walk her over
before it's gets too late

DEWEY
You really...

HALLIE
I gotta have it, Dewey.

Gale steps in.

GALE
Hey, Dewey?

HALLIE
Seeya, Dewey.

Hallie and Joel race outta there before any more objections. Dewey turns to Gale.

GALE
If you were truly a copycat, wouldn't you want to emulate everything about the killer
that you could?

DEWEY
Meaning?

GALE
He's already gotta be a part of Sid's life. What do you know about this Derek?

DEWEY
Solid alibis. He was with Sidney when she was attacked.

GALE
Billy had alibis too.

Dewey turns to Sid who now stands ready in the doorway.

DEWEY
Hey, I got stuff to do. But I'll find you later, okay.

SIDNEY
Whatever.

Sidney's exterior keeps hardening.
CUT TO:
EXT. DELTA ZETA HOUSE - BACK YARD- LITTLE LATER
Mickey is still tied to the tree. He's so completely covered in hardened gook it looks
like he's wearing clothes. The last of the crowd has left. They've gone back to the party.
He stands shivering in the cold.

He checks the chain that holds him secure. It's composed of several bike locks and steel
twine. He's not going anywhere. BUMP! He hears a noise. He looks to the nearby shrubs
and beyond. Nothing. Just a noise of the night.

MICKEY
(whispering) Come on, Hallie, baby...
CUT TO:
INT. DEREK'S DORM ROOM - LATER
A dark room. A slight disturbance at the door and it comes popping open. Light from the hall
floods the room as Dewey and Gale slip in and close the door behind them.

GALE
(checking door) You broke the lock.

DEWEY
You broke my heart.

GALE
What are we looking for?

DEWEY
A bloody knife. A ghost mask. Something like that?

GALE
Can we turn the light on?

DEWEY
That's not the way it's done.

Dewey pulls out his flashlight and begins to search the room. He sifts through drawers
and a closet.

DEWEY
And it's sexier in the dark.

GALE
Dewey, you and I would never make it.

DEWEY
Maybe not. But think about the sex. As frustrated as I am...

GALE
..and as lonely as I am...

DEWEY
We'd break some furniture.

Gale LAUGHS at this. She reaches over and pats his buttock.

GALE
Tell you what. We get through this one. And we'll take out a hotel room.
Over here with the light.

Dewey points the light to a framed picture. It's of Joel and Derek - a buddy pose.
She sifts through some text books on the desk.

DEWEY
They're roomates.

GALE
And Joel's pre-med.

DEWEY
The sorority girl was gutted with autopsy precision.

GALE
Shit! It's both of them. The first murders were to throw us - using the same
names as Woodsboro. But they've moved on- -they're getting closer to Sidney. They're not
looking for a Himbry or a Tatum to kill. They're looking for the new Tatum.

DEWEY
Hallie?

A moment. Then in a splash, they're outta there.
CUT TO:
EXT. RESIDENTIAL STREET - MINUTES LATER
A squad car makes it's way down the quiet campus street.

INT. SQUAD CAR - SAME
Sidney sits in the backseat. The two police officers ride in front.

SIDNEY
Where are you taking me?

POLICE GUARD #1
Actually, I don't know.

POLICE GUARD #2
We're meeting another car that will transport you the rest of the way.

POLICE GUARD #1
Safety precautions.

SIDNEY
I feel like Eddie Murphy.

The car comes to a halt in front of a stop light.

POLICE GUARD #1
We feel like Kevin Costner.

Sidney smiles at this just as the car door rips open on the passenger's side. Two hands
reach in and yank Police Guard #2 from the car. He starts to CRY OUT but it's cut short.
Sid SCREAMS as the Police Guard behind the wheel struggles with his seat belt. He looks up
to see a Ghost Masked Figure move around the side of the car towards his door. He reaches
for his gun but it's too late. The Ghost has the door open. A flash of silver and the Police
Guard's throat is slit.

IN THE BACK SEAT
Sidney SCREAMS and SCREAMS, BEATING on the door of the car. It won't open. She's trapped like
a caged animal.

IN THE FRONT SEAT
The Ghost pulls the Police Guard from the car, then gets in, behind the driver's seat. The
Ghost puts the car in drive and takes off down the road.

Sidney looks behind her as the guard's dead bodies lay sprawled in the middle of the road.
She turns to the door, BEATING and CLAWING at it. She leans back, manic, and KICKS at the
window with her  feet. No use.

EXT. CAMPUS DRIVE - SAME
The car makes its way down the deserted street

IN THE BACKSEAT
Sidney is beyond frantic. She eyes the Ghost through the gate. She turns and twists looking
for an escape. Through the window, she sees approaching headlights. She SCREAMS through
the closed window as a car passes by. Sidney takes notice as the car turns onto another
campus street. Big, stone school buildings line each side of a thin, road.

She eyes the Ghost through the rearview window. The white masks turns as hidden eyes bore
through her. The Ghost hits the gas, picking up speed.

Sidney looks to the book bag on the seat beside her. She rips it open, rustling through it
frantically. She pulls books, pencils, paper... Sid grabs a long, yellow No.2 pencil. She
grips it hard, looking to the metal grate just behind the driver's seat. The Ghost's neck
is right up against it.

Sid takes the pencil and positions it right behind the Ghost's head, ready to attack.

Without pause, Sid RAMS the pencil through the grate, into the Ghost's neck. It lodges
there as the Ghost falls forward in pain, losing control of the wheel for a moment.

The car jumps the curb and SLAMS against a building. The Ghost yanks the wheel, over
correcting. He tries to bring it back to the road but doesn't see the lamp post that stands
directly in the car's path.

The Squad car makes direct contact with the lamp post, SLAMMING into it, bringing the car
to a CRASHING HALT, lodging it agaisnt the building's stone exterior. Smoke rises from a
bashed engine as it emits a fatal rumbling.

INSIDE THE CAR
All is still. In the backseat, Sidney rises from the floorboards. She looks up to see the
Ghost Masked figure slumped over the steering wheel. Out.

Sid quickly pulls herself together, looking about, sizing up her options. She tugs on the
door handle. It won't budge. She looks to the passenger's side of the car. It's flush
against the building.

Then she notices the metal grate. The edge has been pried apart in the crash. Sidney reaches
for it, pulling on it, bending it backwards...
CREAK!

Sid tries to stifle the noise it makes, all the while eyeing the Ghost who remains
unconscious. She creates an opening large enough for her to crawl through. She lifts
herself up and pulls herself through to the...
FRONT SEAT

Sid falls down into the seat, her eyes never leaving the Ghost. She lay crumpled up against
the smashed passenger's door, the only sound is her own TERRIFIED BREATHING. She watches the
Ghost Masked Figure. His body doesn't move. She contemplates her next move.

The only way out is through the driver's door.
After what seems an eternity, she slowly reaches over with her foot and nudges the Ghost.
No movement. Nothing. She slides across the seat towards the Ghost, moving to his side.
She reaches with her hand and pushes on the Ghost's shoulder. His body moves, slumping back
against the back of the seat. It clears space for her to pass through.
She sits up on her feet, facing the Ghost. With her leg, she reaches over him, straddling him.
She leans against the steering wheel, her arm quickly reaching for the door knob.
HONK!

Her back brushes against the horn. Sid TENSES, her face a little more than a foot from the
Ghost Mask. He doesn't move. He's completely out cold. Sid pushes the car door open and starts
to slide completely over the Ghost when she stops.

She looks to the Ghost. CLOSE ON HER FACE as she fights with a decision. Then, with a fierce
determination, Sid reaches for the Ghost Mask. She finds the edge and begins to peels the Mask
away when...

THE GHOST COMES TO LIFE

lunging forward. Sidney SCREAMS, leaping, falling out the car door.

OUTSIDE THE CAR

BAM!

Sid hits the pavement hard. She lifts herself up when her entire
body is YANKED VIOLENTLY BACKWARDS.

The Ghost has hold of her foot, pulling her back into the car. Sidney KICKS and WRITHES
breaking free. She hops to her feet as the Ghost emerges from the car. Sidney SLAMS the car
door shut. It catches the Ghost, knocking him backwards. Sid tears off, down the street,
running, burning up the pavement.
CUT TO:
EXT. FILM SCHOOL - MINUTES LATER
The film school sits in the still darkness.

INT. HALLWAY - SAME
Dewey and Gale move down a dark and shadowed hallway. THUMP! They stop cold.

GALE
Ssshh! What was that?

DEWEY
Let's find out.

Dewey keeps moving.

GALE
This is all too familiar.

DEWEY
Over here.

Dewey has lead her to a door marked LECTURE HALL.

INT. LECTURE HALL - SAME
The same room seen earlier. A large, rounded room with three levels of seats that shoot
straight up to the ceiling. A podium stands center. Video monitors hang from the ceiling in
different places around the room.

Dewey and Gale enter. If not for the red EXIT SIGNS that hang over the exit doors, the room
would be completely dark. They move down the first level of chairs to the lecturn.

GALE
Maybe they never got here. He could have taken her anywhere.

DEWEY
C'mon. Let's go.

CLICK! STATIC! A noise from above takes their attention. They looks up as a video monitor
comes to life. Images appear.

CLOSE ON MONITOR
Home-made video footage fills the screen. A movie theatre, people standing in line.
The home camera ZOOMS in to a YOUNG COUPLE. Maureen and Phil come into view.

ON DEWEY AND GALE
Gale watches the screen as Dewey looks around the room, searching for it's source.

CLICK! Another monitor comes to life. More home shot video footage. This time of a big house.
A closer look reveals it to be the Chi Omega Sorority House. A young girl stands on the front
porch talking on a portable phone. It's Cici.

ON GALE AND DEWEY

GALE
Jesus Christ!

DEWEY
He filmed his victims.

CLICK! ANOTHER MONITOR TURNS ON
It's Randy standing outside the newsvan with the cellular phone to his ear.

CLICK! Another monitor turns on. It's of a man and woman back to the camera. The couple
move in frame. It becomes apparent quick. It's Gale and Dewey. As they stand in the
room--live. They're being taped.

CLOSE ON DEWEY AND GALE

GALE
Shit!

Dewey spins around. He reaches for the gun he no longer carries.

DEWEY
Dammit!

He looks around the room, up to the two levels above them. He spots a small light on the
second level. He squints his eyes and sees a FIGURE standing behind it.

GALE
Let's go.

DEWEY
No, wait here.

Dewey hands her his flashlight and takes off for the stair rise that leads to the upper level.

GALE
No, Dewey, let's call for backup.

But Dewey is gone, leaving Gale alone. She turns to the monitor to see her face in
fear-stricken CLOSE UP.

ON THE UPPER LEVEL
Dewey moves fast, limping his way to the level's edge. He approaches the railing and makes
his way around to the shining light.

He reaches it, finding nothing but a camera and tripod. It sits alone against the railing.
Dewey surveys the second level. Empty seats everywhere. Completely bare.

Dewey looks down to the main floor...to Gale who looks up to him.

GALE
Dewey?

DEWEY
There's nothing. I'm coming down.

Dewey turns to leave, his eye catching a monitor that hangs level with the railing. On the
monitor, Gale is in frame, looking up at Dewey, her face fear stained. She takes a step
forward, moving out of frame, revealing

THE GHOST

who stands right behind her. Dewey looks down to see the Ghost standing directly behind Gale.

DEWEY (cont'd)
Watch out!

DOWN BELOW
Gale turns just in time to see the gleam of a killer's knife as it darts out of the
darkness. Gale catapults, just dodging it. She moves like lightning up the aisle of seats.

UP ABOVE
Dewey races for the stairs, going as fast as his handicapped leg will allow.

DOWN BELOW
Gale tears out the exit door, the Killer right behind her.

AT THE LECTURN
Dewey arrives, searching, looking for Gale.

DEWEY (cont'd)
Gale!

He eyes the exit door as it slowly closes. He moves for it.

INT. CORRIDOR  - SAME
Gale races down the hallway, eyeing the nearest door. She tears it open, disappearing into...

INT. SOUND STAGE - SAME
Gale finds herself in the student studios. She stands in a huge control booth that
overlooks a dubbing stage. Lots of glass walls and doors. It has a maze quality.

Gale moves out a side door and into a dubbing room. Darkness everywhere Gale stops for a
second, listening as she main door CREAKS open. And then FOOTSTEPS are heard, making their
way towards her.

Gale proceeds deeper into the studio. She moves into a sound proof room and closes
the door. Not seeing the...

GHOST FIGURE

that stands behind her. She turns around and SCREAMS. She starts out, but then realizes
he's standing in the control booth. She's protected by a clear, large, plexiglass window
that wraps around the room. The ghost moves out the side door, heading her way. He disappears
out of view. Gale freaks. She races to the door, trying to secure it. There's no lock.

AT THE MAIN DOOR
Dewey slips through quietly, trying his best to be quick on his toes. Through the control
booth window, he immediately spots Gale.

INSIDE THE DUBBING ROOM
Gale looks for objects to block the door with. She drags a shelf of sound equipment towards
the door.

OUTSIDE THE DUBBING ROOM
Dewey moves to the window.

DEWEY
Gale!  Gale!

She doesn't hear him. The room is sound proof. He BEATS against the glass. Still, she doesn't
turn to him.

INSIDE THE DUBBING ROOM
Gale shoves everything she can find against the door, not seeing or hearing Dewey as he
POUNDS against the sound proof barrier behind her.

She also doesn't see the Killer that appears behind Dewey. He moves on him swift and focused.

INSIDE THE DUBBING STAGE
Gale can't take her eyes off the door. Her face is terrified. If she'd only turn around,
she would see Dewey - his face terror stricken as a knife is hurled into him repeatedely.
With each thrust, blood is splattered against the glass.

IN THE CONTROL BOOTH
Dewey SCREAMS for his life, caught completely off guard. He falls forward onto the control
panels. Suddenly, microphone feedback tears through the studios as Dewey's CRIES are heard
throughout the stage.

IN THE DUBBING STAGE
Dewey's DEATH SCREAM rips through the room.

Gale turns to the window to see Dewey, his face smashed against it, blood smeared across the
glass. She moves to the window, her face only inches from his. A moment as their eyes meet.
Dewey's life is near gone. His eyes reveal it. Gale BEATS against the glass window.

GALE(through tears)
NOOOOOOO!

Dewey's body slides down, out of view. Gale is mortified. She looks to the Killer who has
already made his way through the control booth. He's coming for her. She races to the door,
throws the things away.

She manages to pull the door open just enough to slide through. And she's off and running.

Gale finds a door and plows through it, stopping only long enough to lock it.

BAM! The Ghost RAMS it from the other side but it holds. Gale surveys her surroundings.
She's in a storage room. She eyes another door. She moves through it and out into...

THE HALLWAY
Gale shoots down it.
CUT TO:
EXT. CAMPUS STREET - SECONDS LATER
Sidney races down the deserted street. Not a soul in sight. She reaches a corner, moves off
the road and passes through a series of trees and shrubs, coming out onto...

EXT. SORORITY ROW - SAME
The houses have long since gone to sleep. The Delta Zeta House stares at Sidney. Lights burn
from within. Sid goes for it.

EXT. DELTA ZETA FRONT PORCH - SAME
Sid makes her way up the front porch. She POUNDS on the front door, SCREAMING her lungs out.

SIDNEY
SOMEBODYPLEASEOPENUPSOMEBODY!

Sid wastes no time, she moves along the wraparound porch, beating at the windows.
But nothing. Everybody is off partying. Suddenly, Sid hears something. A WHIMPERING. She
turns to find Murphy and Lois, laying, strewn across the end of the porch. Passed out.

Sid runs to them.

SIDNEY (cont'd)
Oh God, help me. We have to call the police.

Sid kneels over Murphy, shaking her. Murphy's eyes open and she GIGGLES. The girl is
completely wasted. She has no comprehension skills at all.

SIDNEY (cont'd)
Do you have keys? I need to get inside.

Sid looks to Lois. She's in worse shape.

SIDNEY (cont'd)
Shit!

Sid contemplates, not knowing what to do. She leaves them, moving down off the porch and
around to the back of the house. She gets to the back door, tries it. It's locked too.

Sidney checks out the yard. Off to the side, she spots a big tree with a...

BODY, lying next to it in a heap on the ground She moves toward it.

As Sid approaches she sees clearly that it's Mickey. He lay on his side, curled, knees to
chest, his arm still chained to the tree.

SIDNEY (cont'd)
Mickey? Mickey?

A look of dread creeps across her face. He lay there very much dead.

SIDNEY (cont'd)
Oh God, no, Mickey...

She kneels over his body just as it stirs, lifting up, rising. Mickey's face comes into view,
coated in dried funk, his eyes wide.

MICKEY
Sid? Jesus, where's Hallie? I've been here all night.

SIDNEY
Listen to me. We've got to get help. The Killer's here.

MICKEY
What are you talking about?

SIDNEY
He's after me.

Mickey pulls on his chained arm.

MICKEY
Shit! You've got to cut me down, Sid.

Sid inspects the chain. It's meant to hold.

SIDNEY
I'll be right back.

MICKEY
Where you going?

Sidney moves to the shed that's attached to the garage. Leaning against the side are a row of
garden tools. Sid settles on a shovel.

Sid returns to Mickey who has risen to his feet. He's pulling and twisting the bike chain
that binds him.

SIDNEY
Watch out.

Sid lifts the shovel up and brings it down directly on the lock. It bends somewhat but
stays in tact.

MICKEY
Do it again.

CLANK! A noise behind them. They both spin around peering into the night.

MICKEY (CONT'D)
What was that?

SIDNEY
Don't panic.

Sidney, determined, raises the shovel high and brings it down with great force. It CRACKS
the lock, loosening it. Mickey pulls on it. It won't quite give.

SIDNEY (cont'd)
Watch out.

Sid raises the shovel again, unfaltering. She doesn't see the Ghost Masked Figure that
slides down from the tree branch behind her. The Figure moves quickly and gracefully,
coming to a stance directly behind Sid.

Mickey looks up, just in time.

MICKEY
SIDNEYWATCHOUT!

Sid turns just as the Killer strikes. But Sid is ready. Without thought, she swings the shovel
at the Ghost, catching his mid-section, sending him flying.  Mickey goes ballistic chained
to the tree. He pulls, twists, squirms...anything to free himself.

The Ghost rises, moving on Mickey. Sidney sees this.

SIDNEY
Hey.

Sidney distracts the Ghost. She takes off, the Ghost following her. She moves around the tree,
sprinting across the yard, running smack into...

THE GHOST MASKED KILLER

But Sidney spins around as two Ghosts appear on each side of her. She stands THUNDERSTRUCK as
the two Killers descend on her. She dives between the two but they counter, keeping her
surrounded.

Sid watches as one of the Ghosts withdraws his knife. She turns to the other.
His knife is already poised. They close in on her, ready to strike.

She looks for an escape. There's not one. BAM!

Suddenly, Mickey appears, barreling into one of the Ghosts. They go sprawling across the grass.

MICKEY
Run, Sid...

Sidney makes her break, she runs passed them, towards the front of the yard.

Mickey leaps to his feat. The Killer right behind him. He now finds himself in Sid's
predicament. He doesn't know where to run. The two Killer's close in on him.
Sidney gets to the corner of the house. She stops...she doesn't want to leave Mickey.
She turns back around just in time to see...

Mickey sandwiched in between the two Ghosts. They're knives strike at the same time.
One through the stomach, the other through the back. They withdraw their knives.
Mickey's body suspends, momentarily hanging in the air. Then collapses to a heap on the ground.

Both Ghosts turn to Sid at the same time. She takes off running, along the side of the house,
through a row of shrub that take her to...

EXT. STREET - SAME
Sid is back on the campus street, running down the middle of
it.

She spots a car stopped at a red light half a block up. KIDS are inside, rock music BLARES.
Sid SCREAMS and SCREAMS but they don't hear her. She runs, feet pounding, toward them but the
light turns green and the car takes off. It's taillights fading in the night.

She turns finding herself alone in a parking lot. The theatre sits in the distance.
She spots someone entering the theatre. It looks like Hallie.

SIDNEY
Hallie?

But Hallie doesn't hear her. Sid races forward.

CUT TO:

EXT. CAMPUS  MINUTES LATER
Gale races down the empty campus street. She eyes an emergency phone thatís attached to a
street lamp. She goes for it.

Gale rips the phone from its cradle, presses the CALL button.

VOICE (from phone)
What is your emergency please?

GALE
Someoneís trying to kill me. I need the police.

VOICE
Are you in danger now?

GALE
Yes, goddammit!

VOICE
Where is your attacker?

GALE
I donít know.

VOICE
Stay under the safety light. Help is on its way.

GALE
The safety what? Fuck that!

Just then, Gale hears a NOISE. A door opening. She looks up to see Sidney disappear through
the side theatre door.

GALE
SIDNEY!

But Sidney has already disappeared inside. Gale yells into the phone.

GALE (contíd)
Fuckiní hurry.

Gale throws the phone down and tears off for Sidney.


INT. THEATRE  SAME
The theatre is big and old. Plush chairs, balcony, huge proscenium stage.

Sidney enters through a side house door. She pulls on it, releasing the emeregency lock.
She makes her way down the aisle toward the orchestra section.

SIDNEY
Hello?

The stage is dark and bare with the exceptions of the furniture from the DEATHTRAP set.
BUMP! A noise from the stage wings.

SIDNEY (contíd)
Hallie?

Sidney moves down front to the little bridge that extends out over the orchestra pit.
She crosses it and moves to stage center, peering into the wings on either side of her.

Complete darkness.

DRIP! DRIP!
Something drips down from above and onto Sidney. She wipes it from her face when...

CLICK! A spot light turns on from the back of the house, illuminating Sid center stage. She
jumps at this, unnerved. She looks to her hand, covered in crimson. Then out to the house...the
light is blinding.

CLANK! A NOISE from above..ropes, pulleys moving. Sid looks up as a set wall comes PLOWING
down at her. She leaps out of the way, falling to the floor.

The wall falls into place on the stage. It is the back wall of the set thatís dressed with
framed pictures and antique weapons and...

DEWEY

who hangs from it, pinned up against the wall, very much deadk, arms outstretched, crucified.
His body a bloody mess. Sidney stops, stunned. She stands frozen in unspeakable horror.
Her entire being ripped apart. She breaks into tears. And then...

Sid backs up, moving, racing toward the wings when another wall flies in, sealing the backstage
area off, trapping her. She looks in shock at...

HALLIE
strung up, her body hanging lifeless. Sid SCREAMS, turning, running to the other side of the
stage when a third wall comes flying in, creating the three walled set of DEATHTRAP.
Attached to it, is the body of Joel. Dead. Blood everywhere. And then, Sid hears...

CLAPPING!
A single pair of hands from somewhere in the house...applauding. She turns around and spots a
FIGURE moving down the aisle. She canít make out who it is.

Sid bolts. She spots the set door up center, near Deweyís body. She goes for it, ripping it
open to find...

COTTON WEARY STANDING IN THE DOORFRAME

Sid SCREAMS. But then sees his face, he looks scared. And then, Cottonís body falls forward
to the floor, his arms and legs bound by electric tape.

Sid turns back to the front of the stage. The Figure is now walking across the bridge,
holding something...a light attached to a video camera. Sheís being filmed. Sid looks back to
Cotton who looks up to her with pleading eyes.

COTTON
Quick, untie me.

Sid is paniced. She doesnít know what to do. She leans down to untie him but stops.

VOICE (from behind video camera)
Youíve seen this movie before, havenít you?

Sidney looks to the voice. The camera is pulled away to reveal...

DEREK.

He smiles at her.

DEREK
Smile for the camera.

Sidney remains silent.

COTTON
Sid, címon.

Side backs away from Cotton. She doesnít trust either one of them. Derek watches her, amused.

DEREK
Go on, untie him.

SIDNEY
No. This is a set up.

DEREK
Thatís quick.

COTTON
Please, Sidney, heís going to kill us.

Derek begins filming again.

DEREK
You must be dealing with some serious trust issues right about now.

Sidney says nothing. She egdes away, moving to the wall where Hallie hangs.

DEREK (contíd)
Sidney, you canít keep your back to the audience like that. Could you cheat a little forward
for me?

COTTON
Please, Sidney.

DEREK
Youíre really stumped, arenít you? You know thereís two killers but you donít know who they
are. Iím a given. The boyfriend. Way obvious. But now youíre torn.
Everyone else appears to be dead. Except for Cotton. Hmmm? Hmmm?

Suddenly, Hallie comes to life behind Sid, reaching out, grabbing her. Sid JUMPS. She spins
around to find Hallie breaking out in a torrent of GIGGLES. Very much alive.

HALLIE
Paaaaiiin...yah, such pain... The story of your life, Sid.

Sidney stares in mortal shock as Hallie cuts herself down from the wall with a big hunting
knife.

DEREK
Need some help, honey.

HALLIE
I got it..

Sidneyís eyes go back and forth between the two.

DEREK
You should really see your face right now, Sid. Itís doing some freaky shit.

Derekís right. Sidís face appears completely tortured.

HALLIE
Yeah, you look quizzical yet pensive.

DEREK
Yeah, how can we help? Do you have any questions regarding the sequel of your life?

Sidney stares them down. Sheís been here before.

SIDNEY
Why?

DEREK
Good question. You took the bait.

HALLIE
Ever see NATURAL BORN KILLERS? Well, Derek and I have this whole Mickey/Mallory-Woody
Harrelson/Juliette Lewis thing going on.

DEREK
I really donít like that comparison, honey.

HALLIE
(to Sid) He hates Oliver Stone.

DEREK
I find his work overwrought.

Sid is waning.

HALLIE
Címon, Sid, donít fade on us. Weíve been planning this baby for a year. Humor us.

Sid turns to Cotton. She kneels down and begins to untie him.

DEREK
Nope. You had your chance.

Derek dummy lunges at her with the knife. Sid backs off.

CUT TO:

EXT. THEATRE  SAME
Gale approaches the side theatre door. She pulls on it. Itís locked.

GALE
Shit.

She moves down along the theatre to another door.

CUT TO:

INT. THEATRE  A MINUTE LATER
Hallie and Derek move around Sid, taking turns filming her with the camera.

DEREK
We met on the internet.

HALLIE
He sent me the cutest e-mail.

DEREK
I read her postings on the horror movie chat boards and fell hopelessly. Hook, line...

HALLIE
We have our own website now. We dedicated a whole page to you.

DEREK
Youíd me amazed at how many of us there are out there. Itís a whole world, Sid.
Youíre really popular amongst the demented.

HALLIE
Youíre the one who got away.

DEREK
Until now.

COTTON
You guys are fucked.

HALLIE
Actually Cotton, and I think critics would agree, itís the other way around.

DEREK
Poor Cotton, could life be a little more cruel?

SIDNEY
Youíre not going to get away with this.

HALLIE
Of course not. Who wants to? Whatís the point if we donít get caught? Whereís the glamour in
that?

DEREK
The way I see it. Weíll be arrested. Go to prison. Cash in on the home footage.
Secure a book deal. If all goes as planned, our trial should coincide with the release of
STAB II.

HALLIE
A verdict and premiere all on the same day. I love it.

DEREK
Weíre hoping for the death penalty. I have this whole DEAD MAN WALKING swan song exit planned.

HALLIE
And now, drum roll please...

DEREK
Hope youíre ready, Sid. We got one last surprise for you.

Cotton pull and twists on his bound wrists. Sid had loosened them somewhat.
He tries to finish undoing them.

HALLIE
A twist ending if you will.

DEREK
Yeah, we really had our work cut out for us. It really is the curse of the sequel.
The Billy/Stu thingís been done.

HALLIE
..so we had to be different but yet the same because if you venture to far away from your
orginal story you completely alienate the audience...

DEREK
And we didnít want to do that, Sid. We wanted to give you your moneyís worth.

HALLIE
So we found a compromise.

DEREK
Or it found us.

HALLIE
We have a surprise guest star waiting in the wings.

DEREK
Just for you, Sid.

HALLIE
Wait a sec, Derek. We forgot to flip.

Derek reaches in his pocket for a coin.

DEREK
Oh yeah. (to Sid) We figure the one of us that actually kills you will get a little more press.
Itís been an ongoing discussion. (to Hallie) Heads or tails?

HALLIE
Tails.

He flips the coin.

DEREK
Shit! You win.

IN THE AUDITORIUM
Gale emerges from the lobby. She found a way in. She eyes the proceedings on stage.
She sees Sidney standing over Cotton. And then Hallie and Derek on either side...knives in hand.
She races down the aisle.

GALE
Sidney!

ON STAGE
They all turn, spotting Gale. Sid moves forward, happy to see her.

SIDNEY
Gale!

IN THE AUDITORIUM Gale moves down the aisle, not sure whatís going on.

ON STAGE
Sidney moves down center. Derek cuts her off just as...

THE CURTAIN DROPS

Gale glimpsed the terror on Sidneyís face just as the curtain separates them.

ON STAGE
Derek grabs Sidney, holding her, the knife at her throat.

HALLIE
Itís about time she showed up.

IN THE AUDITORIUM
Gale moves to the exit door and into the...

INT. STAIR WELL  SAME
Gale eyes a door thatís marked STAGE DOOR. She opens it and steps in coming face to face
with a...

A LARGE AUTOMATIC REVOLVER

Galeís eyes move down the end of the gun to find...

DEBBIE SALT
standing, lips pursed.

DEBBIE SALT
Hello, Gale, weíve been waiting for you.

Galeís face is a mass of confusion.

INT. STAGE  SAME
Derek releases Sidney, shoving her, she falls to her knees, next to Cotton. CLOSE on Cottonís
hand

SIDNEY
Okay, look, you guys--I applaud your methodical expertise but I have a question. Whatís going
to happen after I die? I thought the heroine is supposed to live.

HALLIE
Not this time.

Hallie moves in on her.

DEREK
Yeah, weíre trying to send a message to Hollywood. Iím really getting tired of all the
happy endings. Itís just not reality. In the real world the good guys die, the innocent are
punished, and the murderers inherit the earth.

SIDNEY
But nobody wants to see that. Itíll never go. Theyíll rewrite you. You donít want that.

HALLIE
Oh, Sid, youíre sounding desparate. I guess fearing death makes one anxious.

SIDNEY
You fucking freaked out movie nut psychos..

VOICE
(off camera) Donít blame the movies, Sid. Movies donít create pyschos.

Sid stops dead in her tracks as these words still her very soul. The Voice comes from the
wings. They all turn as Gale Weathers appears. Behind her, with gun in hand, is Debbie Salt.
Derek grabs the camera. He doesnít want to miss a second.

DEBBIE SALT
Donít you know that by now? Itís about family. It all starts at home. It starts with the
father...and the mother.

Sidney mouth drops, her face aghast, as she looks to Debbie Salt. She recognizes her
immediately.

SIDNEY
Mrs. Loomis?

Gale stops cold.

GALE
What?

SIDNEY
Oh my God.

Gale turns to Debbie Salt.

GALE
Jesus. It canít be.

HALLIE
Told you we had a guest star. Didnít see that coming, did you?

DEREK
Everythingís taken on a hyper-reality, hasnít it?

GALE
Youíre Billyís mother?

DEBBIE SALT
I couldnít believe you didnít recognize me. You even interviewed me for your book.

GALE
Youíre all in this together?

DEREK
We had to have financing.

HALLIE
Tuitionís expensive.

SIDNEY
Why Mrs. Loomis?

DEBBIE SALT
Where should we start? Your mother ruined my marriage by sleeping with my husband. You ruined
my family by killing my son. Gale aired it to the world. Should I go on...isnít that enough?

GALE
Jesus, youíre just as whacked as your son.

DEBBIE SALT
Where do you think he got it? Mental illness is heriditary. Who do you think incouraged him
to kill your mother? He was a smart kid but children need parental guidance.

Sidney is completely horror stricken. She stands in total disbelief.

DEREK
Yeah, sheís been great, Sid. We never would have been able to it without her.

Debbie Salt/Mrs. Loomis looks to both Derek and Hallie, smiling.

DEBBIE SALT
And I couldnít have done it without you two. Now who won the coin toss?

Hallie raises her hand.

HALLIE
I did.

Debbie points the gun at her, quickly, simply...and FIRES. Sid and Gale SCREAM as a bullet
through the forehead sends Hallie flying back against the flat wall. Her body drops to
the floor. Dead.

Derek drops the camera, completely taken back. He looks to Debbie.

DEREK
What are you...

Debbie turns the gun on him. FIRES AGAIN. Derek moves, the bullet catches him in the stomach.
He drops  to his knees. Debbie FIRES again. Derek takes another bullet. This time dropping.
Very dead. His body falls near Cotton who has remained suspiciously quiet through this ordeal.
He eyes Derekís knife that now lay near his wrists.

SIDNEY AND GALE
turn to Debbie in complete horror.

DEBBIE SALT
Nice kids but a little out there.

GALE
What are you going to do?

DEBBIE SALT
Finish what my son started.

GALE
But youíll never get away with it.

DEBBIE SALT
Enter Cotton Weary.

Cotton looks up.

DEBBIE SALT (contíd)
Think about it. An innocent man wrongly accused. Spends time in prison where he justs sits
with his righteous anger, waiting, planning his revenge. His life so incomprehensively ruined
heís forced to take revenge on the people responsible. Itís perfect.

COTTON
No...not again.

DEBBIE SALT
Sorry, Cotton. I guess you were just meant to be a killer.

SIDNEY
Youíll never get away with this.

Debbie moves to Cotton, shrugging.

DEBBIE SALT
Who would you like to shoot first, Cotton?

Just then, Cotton leans up, freed from his bindings. With the knife in hand, he lunges for
Debbie Salt. It strikes her, lodging into her chest. She goes back. Cotton doesnít stop,
he stabs her again and again. She goes down. Dead.

GALE
Thank God.

Gale rushes to Cotton as he jumps to his feet. She helps him with the last of his bindings.
Sid looks about at the body count on stage. Itís mounting. She takes a deep breath. Relieved.

GALE (contíd)
God, Cotton, what a nightmare. Iím so sorry.

COTTON
Yeah...

Gale gives him a hug. CLOSE ON Cottonís face.

GALE
Thank you.

He hugs her back. She doesnít see as he rises the knife behind her, bringing it down in
one swift, maniacal move. Galeís body jerks, a moment of shock and then she goes limp as
the knife lodges in her back.

Sidney turns just in time to see Cotton toss Galeís body down into the orchestra pit.
He turns, facing Sidney. The bloody knife in hand.

SIDNEY
NOOO!

Cotton moves to Derekís body where the video camera lay, he pulls the tape from it.

COTTON
Itís perfect, Sidney. No one will ever suspect me. I have proof. Iím the victim.

SIDNEY
Please, Cotton, donít do this.

He holds up the video cassette. Murder in his eye.

COTTON
I get my revenge and make some fast cash.

SIDNEY
Itís over, Cotton.

COTTON
Not until youíre dead.

Cotton lunges for her. Sid tears off, slipping through the set door to...

BACKSTAGE
Sid runs to the rear of the stage. She moves in the narrow space that exists between the scrim
and the back wail. She races down it.

She almost reaches the end when

COTTON RIPS THROUGH THE SCRIM

Sidney ducks, bypassing him. She comes to the stage door. Itís locked. She turns, seeing the
metal ladder thatís attached to the wall. It leads to the catwalk above. Sid goes for it.
She climbs up the ladder with lightning speed.

Cotton, up and running, is close behind.

INT. CATWALK  SAME
The catwalk sits above the open fly space where flats and a large chandelier are stored in
the air.

Sid reaches the top and takes off running down to the ending

AND THATíS AS FAR AS I'VE GOTTEN.
WHAT HAPPENS IS SID AND COTTON FIGHT TO THE FINISH, HE CHASES HER THROUGH HANGING FLATS,
THEN DOWN THE FLY RAIL, BACK TO THE STAGE. SID GETS FINDS A KNIFE AND STABS COTTON.

HE STABS HER BACK. THEY FIGHT, CONTINUING TO STAB EACH OTHER UNTIL THEY BOTH DROP CENTER STAGE.
THEY LAY NEXT TO EACH OTHER, NEITHER ABLE TO MOVE. THEIR EYES SLOWLY CLOSE.

THE END (FOR NOW)
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