SCREAM AGAIN

EXT. MOVIE THEATRE - NIGHT

An old preserved movie theatre. The kind only found in a small town. Very pictur
esque. 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 stand
s 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 GHO
ST 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 d
own 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 chillin
g 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 wat
er cascades over her nubile body. Suddenly, a FIGURE is glimpsed through the cur
tain. 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, g
rabbing 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 shadow
ed. 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 enter
s and shoots for a stall.
INSIDE THE STALL - MOMENTS LATER
Maureen finishes up, fastening her pants. Suddenly, the bathroom door CREAKS ope
n. Maureen listens. FOOTSTEPS are heard. Loud and heavy.
Maureen eyes the crack in the stall door. Not much is visible. Suddenly, a SHADO
W 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 o
pen 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 GH
OST MASKED SHAPE appearing behind her...
LUNGING FOR HER, grabbing her, spinning her around. She SCREAMS MADLY as the Gho
st 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 bac
k. 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 dow
n 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 tea
rs 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 bitc
h. 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 hol
ds 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, getti
ng away, running...
IN THE THEATER
Everyone in the theater is SCREAMING. Maureen tries her best to detach herself f
rom 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 Phi
l's legs. She stares ahead, WINCING at what's about to happen to the girl on scr
een.
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 PHI
L. She pulls away when, the Ghost-masked Figure grabs her with one hand, the oth
er 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 stoma
ch. 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 sto
mach. She's speechless, unable to
SCREAM. She holds her bloody hand out for all to see, begging for help. She stum
bles down the aisle.
Someone YELLS "Sit down." Maureen turns to several PEOPLE who begin to react. Sh
e 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 starti
ng 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 theate
r. 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 again
st the movie screen...very much dead. Her arms flail across the screen...smearin
g blood over the wide screen image of the GHOST MASK.
SMASH CUT TO BLACK.
SMASH CUT TO BLACK.
TITLE CARD
FADE IN:

"SCREAM 2"

INT. DORM ROOM - MORNING

A typical college dorm room. Industrial strength furniture. There's two of every
thing.
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. Bra
ss and sassy.
VOICE
(o.c.) Hello...uh-huh... Who is this? Well, we identify ourselves around here. N
o, you can't. Uh-huh...yeah, right...
The girl rolls out of bed, her hair falls away to reveal her face--It's SIDNEY P
RESCOTT. Two years older has brought a maturity to this beautiful young woman. H
er face posses a survivor's edge. Stronger and more determined, she appears to h
ave 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 tu
rns, all smiles.
HALLIE
Get your ass in gear. You're late. Don't forget we've got rush at the Deltas ton
ight. 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 SCREA
MS but then stops herself.
It's just a costume hung from her doorframe. Preset, to scare. Another prank. Si
dney 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, t
aking 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 T
V 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 snappe
d?
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 t
he 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 i
s 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 smartl
y in a campus security outfit, Dewey maneuvers the cart across the campus ground
s. 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 receiv
ed 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 peo
ple 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 drag
s 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 degre
e 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 bu
ilding. Dewey watches until she disappears inside, then limps back to his securi
ty 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. S
ome 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. The
y'd be stupid to pull the movie. With all this free press--they're gonna have hu
ge 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 symp
athy shit--let's stick with the movie angle. I wanna pull a clip from an old fil
m...
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 joke
ster.
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 door
ways, film equipment is glimpsed. Editing bays and the like. She's in the Film D
epartment.
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 arou
nd on torn couches heavy in discussion. Sid goes unnoticed as she watches a whir
lwind 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 enw
rapped.
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, spe
aks 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 Fr
eddie 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 differe
ntly?
The class stews on this. Derek turns, spotting Sidney in the back of the room. S
he 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 pro
tectively.
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 brea
ks 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 universi
ty. 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 tra
gedy in no way reflects upon our fine school and we should trust that the author
ities 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 earlie
r, 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 ta
ken 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 REPORTE
RS. 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 deliberate
ly and not at random...

ON THE LAWN
Students and concerned faculty stand. Among them are Sidney, Derek, Hallie and M
ickey. Next to them stand JOEL, 20's, black, sensible and friendly. A very intel
ligent 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 wit
h their FRATERNITY JOCK BOYFRIENDS. All looks and attitude. Their eyes are on Si
dney 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 cu
rrently 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 pa
per 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 piec
e.
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 Hal
lie. 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 d
ead 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 presenc
e." 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 sayin
g-- 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 manipul
ation used to lower people's expectations thereby enhancing my ability to effect
ively 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 so
me oozing to do.

Dewey turns and limps away, leaving Gale staring after him. Her face smashed fia
t.
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 pape
r. 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 spectat
ors have slowly circled them. Gale looks around. She spots Randy, who appears be
hind 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 i
mmediately. 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 mo
ment, Sidney just stares at him. Completely off guard. She looks to Randy who ai
ms 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 pai
ned.
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 possib
le... CUT TO:
EXT. SORORITY ROW - NIGHT
A small street that dead-ends in a cul de sac. Large old homes populate it. Gree
k signs adorn the place. Welcome to Sorority Row.
INT. SORORITY
A huge living
ty except for
pretty with a
one.
CICI

HOUSE/LIVING ROOM - NIGHT

room. Divided sensibly in several sections. Nicely done. Et is emp
one girl who lies on the couch watching television. This is CICI,
lively energy about her. She channel surfs while talking on the ph

(on phone) No, they broke up again. Bailey won't stop drinking and Sarah can't t
ake 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 noth
ing.
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, look
ing 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 hesitat
es 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 p
orch. 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 s
teps 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 f
usses 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 appe
ars through the front door. Dawnie turns back to the mirror just as the FIGURE s
weeps 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 bring
s 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 w
here an alarm panel is positioned in the wail. She hits a coupla digits and a BE
EP 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 tab
les 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 onc
e over. The frig light reflects against her face. She closes the refrigerator, n
ot seeing the SHADOW that bounces across her back.
Cici moves to a sliding glass door that overlooks the backyard. She checks the l
ock. Secure. Then, the phone
RINGS.
She turns to the phone that's attached to a nearby wall. It RINGS AGAIN. She rea
ches 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 backward
s 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 s
orority. 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 w
ho SCREAM and CHEER as they watch four girls who sit on their knees, hands behin
d 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 a
ll their might. Gobbling it up, making a mess of themselves. Mickey is next to H
allie, 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 vic
tor. 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 a
cross the room as Derek enters through the front door. She waves at, him. He hur
ries over.
SIDNEY
Where have you been'? You missed my shining moment. I won the macaroni sundae bi
nge.
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 Der
ek.
EXT. DELTA ZETA HOUSE - SAME
Everyone comes flying out of the front door and into the yard as POLICE CARS WHI
P BY. SIRENS BLARING.
ANGLE ON STREET
Two doors down sits the Chi Omega house crawling with police, ambulances, report
ers...
"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 SIDNE
Y'S FACE. She knows.
INT. CHI OMEGA HOUSE - SAME
Captain Tyler, the Sheriff, police, FBI... the house is crawling. Dewey sifts ar
ound 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. H
er face and mind detached from what's going on. Derek remains on the porch, watc
hing 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 a
re 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. S
he 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 withdr
aws 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 start
s 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 ro
om.
INT. FRONT PORCH - SANE
Derek is going nuts trying to get into the house. He moves along the porch to th
e windows, looking through. He watches as the Ghost Figure chases her into the k
itchen. Derek looks about the porch. He rears his foot back and kicks in the win
dow.
INT. KITCHEN - SAME
Sid moves through the kitchen to the back door. She struggles with the lock as t
he 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 an
d into the yard. She moves across it, passed trees and shrubs. She spots a close
d 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 behin
d a big tree, hiding behind it.
Sid stops, catches her breath, then peers from behind the tree. The yard is comp
letely 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 arou
nd, 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 bloo
d stained campus slowly comes to life.
EXT. CAMPUS SECURITY STATION - MORNING
The local campus security office has been converted into a media event. News tru
cks, 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 d
iscussion with Dean Fisher. Tempers are heated. Its been a sleepless night for a
ll.
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 au
topsy precision.
DEAN FISHER
Christ! Just do something. I will not have a repeat of Gainesville. Not on my ca
mpus. .
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 do
n't you have some coffee?
Just then, Gale Weathers appears being ushered in by TWO UNIFORMS. Dean Fisher g
reets 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 "V
ictims" --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 t
he 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 tr
ee and gutted.
The room goes quiet. Dewey watches from the back of the room. His eyes burning h
oles 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, Ta
tum 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, knowin
gly. 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 rema
ins 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 a
nymore. 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 he
r 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 lo
bby.
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 a
nywhere.
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 uppe
r 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 no
t 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 in
to...
DEWEY. They both GASP.
CUT TO:
INT. CAMPUS THEATRE - DAY
A large tiered theatre. Seats five-hundred. Old but preserved and updated. A reh
earsal is in progress. SEVERAL ACTORS stand stage center running lines as stageh
ands work on the set around them.
Sidney is one of them. She moves around the stage, very animated. More alive tha
n 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 soro
rity 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 Hal
lie 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 wish
es.
SIDNEY
What do you want?
RANDY
I'm sorry, Sid, please. I never should have gone along with Gale. I know I'm stu
pid. 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 s
eemed 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. An
d 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 cooki
e 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 Cafeteri
a.
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 o
ff 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 hi
s lungs.
MICKEY
"If I should stay. I would only be in your way. So I'll go. And yet, I know, I'l

l 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 f
rom 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 engros
sed.
ON SCREEN
It's the end of the movie. Tori Spelling is running for her life from two killer
s - Johnny Depp and his sidekick. She finds herself trapped in the kitchen. John
ny 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 wh
ore 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 sect
ion where the water fountain is. She looks up and sees Randy flying out of the t
heatre. 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 l
ife--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 s
piritual 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 b
ehind 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 othe
r
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 fin
d Derek leaning against a pole.
DEREK
I had the four o'clock shift. You weren't there. You had us worried. Is everythi
ng 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 w
hen 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 lookin
g 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 lean

s against the van, watching her. He still has a crush but hides it as best he ca
n.
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 entir
e 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 tabl
oid success, has some self worth issues regarding your personal life which direc
tly effects your professional life in a non-positive manner. A coupla failed rel
ationships with--I'm guessing balding, older men--have turned you into this bitc
h 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 r
eally 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 incred
ibly 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, mouthi
ng "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 O
N SORORITY ROW? FINAL EXAM. GRADUATION DAY? THE DORM THAT DRIPPED BLOOD? SPLATTE
R 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 seri
al killer? Huh? Are you psychopathic or merely psychotic? And what is the distin
guishing feature'? Were you slapped around as a child? Is it hereditary? Did you
r 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 h
and me down rehash? Hey, pal, no one's gonna write a book about you. No movie ri
ghts. 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? W
here'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 a
ss 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 R
andy by the neck. The move is quick and precise. A hard yank and Randy is wrench
ed 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 th
e cubicles keeping an eye out.
CLOSE ON SIDNEY
Her face appears concentrated, focused. She scans the computer screen in front o
f her.
ON THE MONITOR
Sid is typing feverishly. Suddenly, her screen starts flashing and BEEPING, free
zing her words.
ON SIDNEY confused, she tries to make it stop but it won't. She leans back, turn
ing 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 hi
ts 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 st
art 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 mov
es 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 li
ke 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'r
e 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 victi
m 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 d
oubts 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. C
otton 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 i
t 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 dar
k.
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 ob
serves 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 f
ront 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, throug
h a thick basement door and into...
A RAGING PARTY
Music peels paint as YOUNG COLLEGE STUDENTS rock to deafening tunes. A row of ke

gs 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 int
o 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 BO
YS appear, picking Mickey up, lifting him over their heads. Everyone starts CHEE
RING and CLAPPING.
FRATERNITY JOCK
He lavaliered. He's dead.
They carry him around the room, CHANTING. The frat boys abduct Mickey, taking hi
m up the stairs and out sight. Others lookie loo's follow. Derek grabs his camer
a and bolts.
CUT TO:

INT. SIDNEY'S DORM ROOM - EVENING

Sidney is trying to focus on homework while Hallie channel surfs. She finds a ch
annel. 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. S
id 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 ov
er...
MICKEY
who stands buck naked, tied...chained to a tree in the back yard. The yard is cr
owded with FRAT BOYS and SORORITY GIRLS who delight in torching him. Mounds of s
yrup, 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 poli
ce tape down from the previous night's crime scene and begin to Mayflower him. T
he crowd goes crazy.
INT. SIDNEY'S DORM ROOM - NIGHT
Hallie consoles Sidney. Dewey and Gale nearby. Sidney is a stone rock. It's frig
htening 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 op
ens 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 o
ut 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 th
e 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 o
ver 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 k
iller 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 b
ack to the party. He stands shivering in the cold.
He checks the chain that holds him secure. It's composed of several bike locks a
nd 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)
CUT TO:
INT. DEREK'S
A dark room.
rom the hall
them.

Come on, Hallie, baby...

DORM ROOM - LATER
A slight disturbance at the door and it comes popping open. Light f
floods the room as Dewey and Gale slip in and close the door behind

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 d
rawers 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 he
re with the light.

Dewey points the light to a framed picture. It's of Joel and Derek - a buddy pos
e. 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 nam
es as Woodsboro. But they've moved on- -they're getting closer to Sidney. They'r
e 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. Tw
o 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. H
e 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, man
ic, 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 twi
sts looking for an escape. Through
the window, she sees approaching headlights. She SCREAMS through the closed wind
ow as a car passes by.
Sidney takes notice as the car turns onto another campus street. Big, stone scho
ol 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, yel
low No.2 pencil. She grips it hard, looking to the metal grate just behind the d
river'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 at
tack.
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, bringin
g 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 t
o see the Ghost Masked figure slumped over the steering wheel. Out.
Sid quickly pulls herself together, looking about, sizing up her options. She tu
gs 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. Si
dney 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 remai
ns unconscious. She creates an opening large enough for her to crawl through. Sh
e 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 BR
EATHING. She watches the Ghost Masked Figure. His body doesn't move. She contemp
lates 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 t
he Ghost. No movement. Nothing.
She slides across the seat towards the Ghost, moving to his side. She reaches wi
th her hand and pushes on the Ghost's shoulder. His body moves, slumping back ag
ainst 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, s
traddling him. She leans against the steering wheel, her arm quickly reaching fo
r the door knob.
HONK!
Her back brushes against the horn. Sid TENSES, her face a little more than a foo
t 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, w
ith a fierce determination, Sid reaches for the Ghost Mask. She finds the edge a
nd 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. S
idney 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 tha
t 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 door
s, 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 vide
o monitor comes to life. Images appear.
CLOSE ON MONITOR
Home-made video footage fills the screen. A movie theatre, people standing in li
ne. 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 sourc
e.
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 you
ng 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 s
tand 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 ligh
t 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 th
e 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 th
e railing. Dewey surveys the second level. Empty seats everywhere. Completely ba
re.
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 raili
ng. 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 a
isle 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, disappe
aring into...
INT. SOUND STAGE - SAME
Gale finds herself in the student studios. She stands in a huge control booth th
at overlooks a dubbing stage. Lots of glass walls and doors. It has a maze quali
ty.
Gale moves out a side door and into a dubbing room. Darkness everywhere Gale sto
ps 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 clos
es the door. Not seeing the...
GHOST FIGURE
that stands behind her. She turns around and SCREAMS. She starts out, but then r
ealizes he's standing in the control booth. She's protected by a clear, large, p
lexiglass 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 th
e 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 equipm
ent 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 Dewe
y 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 int
o 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 t
he control panels. Suddenly, microphone feedback tears through the studios as De
wey'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 smeare
d across the glass. She moves to the window, her face only inches from his. A mo
ment 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 Kille
r who has already made his way through the control booth. He's coming for her. S
he races to the door, throws the things away.
She manages to pull the door open just enough to slide through. And she's off an
d 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 surrou
ndings. 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 he
r 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 WHIMP
ERING. She turns to find Murphy and Lois, laying, strewn across the end of the p
orch. 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 gir
l 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 p
orch and around to the back of the house. She gets to the back door, tries it. I
t'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 com
es 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 b

ike chain that binds him.

SIDNEY
Watch out.
Sid lifts the shovel up and brings it down directly on the lock. It bends somewh
at 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 Figur
e 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 swi
ngs 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 ar
ound 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 THU
NDERSTRUCK 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. Hi
s 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 ac
ross 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 S
id'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 Mi
ckey. She turns back around just in time to see...
Mickey sandwiched in between the two Ghosts. They're knives strike at the same t
ime. One through the stomach, the other
through the back. They withdraw their knives. Mickey's body suspends, momentaril
y 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 mu
sic BLARES. Sid SCREAMS and SCREAMS but they don't hear her. She runs, feet poun
ding, toward them but the light turns green and the car takes off. It's tailligh
ts fading in the night.
She turns finding herself alone in a parking lot. The theatre sits in the distan
ce. 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 that s attach
ed 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
Someone s trying to kill me. I need the police.
VOICE
Are you in danger now?
GALE
Yes, goddammit!
VOICE

Where is your attacker?

GALE
I don t 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 disapp
ear through the side theatre door.
GALE
SIDNEY!
But Sidney has already disappeared inside. Gale yells into the phone.
GALE (cont d)
Fuckin 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 emeregen
cy 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 DEATHTR
AP set. BUMP! A noise from the stage wings.
SIDNEY (cont d)
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 com
es 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 that s dres
sed with framed pictures and antique weapons and...

DEWEY
who hangs from it, pinned up against the wall, very much deadk, arms outstretche
d, crucified. His body a bloody mess. Sidney stops, stunned. She stands frozen i
n 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, sealin
g 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 aroun
d and spots a FIGURE moving down the aisle. She can t make out who it is.
Sid bolts. She spots the set door up center, near Dewey s body. She goes for it, r
ipping it open to find...
COTTON WEARY STANDING IN THE DOORFRAME
Sid SCREAMS. But then sees his face, he looks scared. And then, Cotton s body fall
s 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 b
ridge, holding something...a light attached to a video camera. She s being filmed.
Sid looks back to Cotton who looks up to her with pleading eyes.
COTTON
Quick, untie me.
Sid is paniced. She doesn t know what to do. She leans down to untie him but stops
.
VOICE (from behind video camera)
You ve seen this movie before, haven t 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, c mon.
Side backs away from Cotton. She doesn t trust either one of them. Derek watches h
er, amused.
DEREK

Go on, untie him.

SIDNEY
No. This is a set up.
DEREK
That s quick.
COTTON
Please, Sidney, he s 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 (cont d)
Sidney, you can t keep your back to the audience like that. Could you cheat a litt
le forward for me?
COTTON
Please, Sidney.
DEREK
You re really stumped, aren t you? You know there s two killers but you don t know who t
hey are. I m a given. The boyfriend. Way obvious. But now you re 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 muc
h 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 b
ig hunting knife.
DEREK
Need some help, honey.
HALLIE
I got it..
Sidney s eyes go back and forth between the two.
DEREK
You should really see your face right now, Sid. It s doing some freaky shit.
Derek s right. Sid s 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 li
fe?

Sidney stares them down. She s 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/MalloryWoody Harrelson/Juliette Lewis thing going on.
DEREK
I really don t like that comparison, honey.
HALLIE
(to Sid) He hates Oliver Stone.
DEREK
I find his work overwrought.
Sid is waning.
HALLIE
C mon, Sid, don t fade on us. We ve 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. It s 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, l
ine...
HALLIE
We have our own website now. We dedicated a whole page to

you.
DEREK
You d me amazed at how many of us there are out there. It s a whole world, Sid. You re
really popular amongst the demented.
HALLIE
You re the one who got away.
DEREK
Until now.
COTTON
You guys are fucked.
HALLIE
Actually Cotton, and I think critics would agree, it s the other way around.
DEREK
Poor Cotton, could life be a little more cruel?
SIDNEY
You re not going to get away with this.
HALLIE
Of course not. Who wants to? What s the point if we don t get caught? Where s the glam
our in that?
DEREK
The way I see it. We ll be arrested. Go to prison. Cash in on the home footage. Se
cure a book deal. If all goes as planned, our trial should coincide with the rel
ease of STAB II.
HALLIE
A verdict and premiere all on the same day. I love it.
DEREK
We re hoping for the death penalty. I have this whole DEAD MAN WALKING swan song e
xit planned.
HALLIE
And now, drum roll please...
DEREK
Hope you re ready, Sid. We got one last surprise for you.
Cotton pull and twists on his bound wrists. Sid had loosened them somewhat. He t
ries 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 seque
l. The Billy/Stu thing s 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 didn t want to do that, Sid. We wanted to give you your money s 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 lit
tle more press. It s 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 sta
ge. She sees Sidney standing over Cotton. And then Hallie and Derek on either si
de...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 what s going on.
ON STAGE
Sidney moves down center. Derek cuts her off just as...
THE CURTAIN DROPS
Gale glimpsed the terror on Sidney s face just as the curtain separates them.
ON STAGE
Derek grabs Sidney, holding her, the knife at her throat.
HALLIE
It s 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 that s marked STAGE DOOR. She opens it and steps in coming face t
o face with a...
A LARGE AUTOMATIC REVOLVER
Gale s eyes move down the end of the gun to find...
DEBBIE SALT
standing, lips pursed.
DEBBIE SALT
Hello, Gale, we ve been waiting for you.
Gale s face is a mass of confusion.
INT. STAGE SAME
Derek releases Sidney, shoving her, she falls to her knees, next to Cotton. CLOS
E on Cotton s hand
SIDNEY
Okay, look, you guys--I applaud your methodical expertise but I have a question.
What s 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, we re trying to send a message to Hollywood. I m really getting tired of all t
he happy endings. It s 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. It ll never go. They ll rewrite you. You don t want that
.
HALLIE
Oh, Sid, you re sounding desparate. I guess fearing death makes one anxious.
SIDNEY
You fucking freaked out movie nut psychos..
VOICE
(off camera) Don t blame the movies, Sid. Movies don t 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 doesn t want to miss a second.
DEBBIE SALT
Don t you know that by now? It s 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 can t be.
HALLIE
Told you we had a guest star. Didn t see that coming, did you?
DEREK
Everything s taken on a hyper-reality, hasn t it?
GALE
You re Billy s mother?
DEBBIE SALT
I couldn t believe you didn t recognize me. You even interviewed me for your book.
GALE
You re all in this together?
DEREK
We had to have financing.
HALLIE
Tuition s expensive.
SIDNEY
Why Mrs. Loomis?
DEBBIE SALT
Where should we start? Your mother ruined my marriage by sleeping with my husban
d. You ruined my family by killing my son. Gale aired it to the world. Should I
go on...isn t that enough?
GALE
Jesus, you re just as whacked as your son.
DEBBIE SALT
Where do you think he got it? Mental illness is heriditary. Who do you think inc
ouraged him to kill your mother? He was a smart kid but children need parental g
uidance.
Sidney is completely horror stricken. She stands in total disbelief.
DEREK
Yeah, she s 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 couldn t 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 a
s 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 bu
llet. This time dropping. Very dead. His body falls near Cotton who has
remained suspiciously quiet through this ordeal. He eyes Derek s knife that now la
y 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 you ll never get away with it.
DEBBIE SALT
Enter Cotton Weary.
Cotton looks up.
DEBBIE SALT (cont d)
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 he s forced to take revenge on the people responsible. It s
perfect.
COTTON
No...not again.
DEBBIE SALT
Sorry, Cotton. I guess you were just meant to be a killer.
SIDNEY
You ll 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. C
otton doesn t 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 hi
s bindings. Sid looks about at the body count on stage. It s mounting. She takes a
deep breath. Relieved.
GALE (cont d)
God, Cotton, what a nightmare. I m so sorry.
COTTON
Yeah...
Gale gives him a hug. CLOSE ON Cotton s face.
GALE
Thank you.
He hugs her back. She doesn t see as he rises the knife behind her, bringing it do
wn in one swift, maniacal move. Gale s 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 Gale s body down into the orchestra p
it. He turns, facing Sidney. The bloody knife in hand.
SIDNEY
NOOO!
Cotton moves to Derek s body where the video camera lay, he pulls the tape from it
.
COTTON
It s perfect, Sidney. No one will ever suspect me. I have proof. I m the victim.
SIDNEY
Please, Cotton, don t do this.
He holds up the video cassette. Murder in his eye.
COTTON
I get my revenge and make some fast cash.
SIDNEY
It s over, Cotton.
COTTON
Not until you re 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 bet
ween 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. It s locked. She turns,
seeing the metal ladder that s 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 THAT S AS FAR AS I VE GOTTEN.
WHAT HAPPENS IS SID AND COTTON FIGHT TO THE FINISH, HE CHASES HER THROUGH HANGIN
G FLATS, THEN DOWN THE FLY RAIL, BACK TO THE STAGE. SID GETS FINDS A KNIFE AND S
TABS COTTON.
HE STABS HER BACK. THEY FIGHT, CONTINUING TO STAB EACH OTHER UNTIL THEY BOTH DRO
P CENTER STAGE. THEY LAY NEXT TO EACH OTHER, NEITHER ABLE TO MOVE. THEIR EYES SL
OWLY CLOSE.
THE END (FOR NOW)