Scream 2

Screenplay by Kevin Williamson

FADE IN:

EXT. MOVIE THEATRE - NIGHT

An old preserved movie theatre. The kind only found in

a small town. Very picturesque. The marquee in front
reads:

"SNEAK PREVIEW TONIGHT

'STAB'
Rated R"

A line has formed around the block, GUYS and GIRLS -

mostly college age.

CLOSE on a girl, MAUREEN, no more than 18. A friendly

face with innocent eyes. She stands in line with her
boyfriend PHIL, same age. A handsome counterpart.

MAUREEN
I hate scary movies.

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

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

PHIL
We got free tickets.

He pulls her close, snuggling with her.

EXT. BOX OFFICE

Maureen and Phil reach the box office, presenting their

tickets.

They pass through the front doors where an USHER stands

randomly handing out GHOST MASKS. A Hollywood variation
of a most familiar one. Phil takes one.
 MAUREEN
What's that?

USHER
The studio sent them.

INT. THEATRE - A MINUTE LATER

The small theatre is nearly packed to capacity. Maureen

and Phil enter, moving down the aisle searching for two
seats. A YOUNG GIRL SCREAMS, whizzing by them as a
GHOST MASKED GUY chases after her. The crowd LAUGHS.
Everyone is having fun.

Maureen and Phil find aisle seats down towards the

screen just as the lights DIM. People FAKE SCREAM in
terror. A very lively crowd.

ON SCREEN

Credits roll as the movie begins. The studio logo

appears followed by...

"A ROBERT RODRIGUEZ FILM"

IN THE THEATRE

Maureen turns to find a GHOST MASK in her face. Phil

has slipped it on.

MAUREEN
I don't think so.

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

MAUREEN
Take it off.

PHIL
But...

MAUREEN
Now.

He obliges.

ON SCREEN
More credits.

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

WEATHERS"

Maureen looks behind her, toward the rest of the

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

ON SCREEN

The movie begins. A house in the middle of nowhere.

Lights burn from within.

Inside the house, a YOUNG GIRL, Alicia Silverstonish is

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

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

PHIL
Sssshhh.

ON SCREEN

The phone RINGS. The young girl pulls the shower

curtain aside to reveal a robe hung on a hook. She
grabs it, running from the bathroom, into the living
room, grabbing the phone.

GIRL
Hello?

A menacing VOICE responds.

VOICE
Hello?

GIRL
Who is this?

VOICE
You tell me.

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

MAUREEN
I hate this shit.

ON SCREEN
The phone rings again.

VOICE
Why did you hang up on me?

GIRL
Who is this?

IN THE THEATRE

Maureen shifts in her seat.

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

PHIL
Shush.

MAUREEN
I'm gonna pee. You want anything?

He nods. Maureen stands and moves up the aisle.

INT. LOBBY - SECONDS LATER

Maureen emerges from the theatre and into the small

lobby. It is dark and shadowed. She moves down a long
hallway to a staircase. A "BATHROOM" sign with an arrow
points downstairs.

Maureen hits the stairs to...

INT. BASEMENT LOUNGE - SAME

A small lounge leads to two bathroom doors. Very low

lighting. Maureen descends the stairs, heading for
the...

INT. GIRL'S RESTROOM - SAME

A large bathroom. Five stalls line one wall. The door
CREAKS open. Maureen enters and shoots for a stall.

INSIDE THE STALL - MOMENTS LATER

Maureen finishes up, fastening her pants. Suddenly, the

bathroom door CREAKS open. Maureen listens. FOOTSTEPS
are heard. Loud and heavy.

Maureen eyes the crack in the stall door. Not much is

visible. Suddenly, a SHADOW sweeps by. The footsteps
stop.

Maureen finishes up quickly. She flushes, throws the

stall door open and rushes out to find...

THE BATHROOM EMPTY.

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

A YOUNG GIRL followed by her FRIEND, both perky and

loud. They hurl past Maureen, LAUGHING and carrying on.

GIRL #l
I got so scared my bladder rolled.

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

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

Maureen is out the door. Now thoroughly spooked.

INT. BASEMENT LOBBY - SAME

Alone, Maureen moves for the stairs when a FIGURE

emerges from the shadows. A GHOST MASKED SHAPE
appearing behind her...

LUNGING FOR HER, grabbing her, spinning her around. She

SCREAMS MADLY as the Ghost starts LAUGHING. The mask
comes off. It's Phil.

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

MAUREEN
You are so not funny.

Phil takes her in his arms.

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

MAUREEN
I get scared really easy, okay.

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

He's sincere. He leans down and plants a kiss on her.

She caves, kissing him back. Sweet and sensual.

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

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

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

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

MAUREEN
Want some popcorn?

PHIL
Butter.

Maureen moves up the stairs out of sight. Phil turns,

reaching for the bathroom door just as a...

GHOST MASKED FIGURE appears in his path. Phil steps

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

CUT TO:

INT. LOBBY - SECONDS LATER

Maureen is at the concession. A GIRL at the counter

hands her change and Maureen is off with soda and a tub
of popcorn.

INT. DARK THEATER - SECONDS LATER

SCREAMS and GASPS from the audience as the movie plays

on.

ON SCREEN

A patio chair comes flying through a glass door. The

young girl in the movie tears off running, SCREAMING,
flying through the room.

IN THE THEATER

The crowd is really with the movie. Some even talk to

the screen. "You dumb bitch. Get out of the house."
etc.

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

PHIL

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

MAUREEN
Give it up.

She sits down, with the popcorn.

MAUREEN
How many stabs did I miss?
ON SCREEN

The young girl slips out a side door, completely

terrified. In her hand, she holds a portable phone.

IN THE THEATER

Maureen offers Phil popcorn.

MAUREEN
Why doesn't she run?

Phil turns to her, bringing his finger to his masked

lips, SSSHHING her.

ON SCREEN

The young girl runs by a window. She looks in. A GHOST

MASKED KILLER stares back. The Figure CRASHES through
the window attacking her. She fights him off, getting
away, running...

IN THE THEATER

Everyone in the theater is SCREAMING. Maureen tries her

best to detach herself from the movie. She eats her
popcorn.

MAUREEN
This is so tired.

She turns her attention to Phil.

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

Phil ignores her. She reaches over in the darkness

putting her hand on his knee. She inches it up. The
Ghost-masked Phil just stares ahead.

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

ON SCREEN

The young girl is running through the yard. The Ghost

Killer is right behind her, chasing her... she
SCREAMS...

IN THE THEATER

Maureen pretends to watch the movie while her hand

continues to move between Phil's legs. She stares
ahead, WINCING at what's about to happen to the girl on
screen.

She doesn't notice as Phil pulls a long sharp hunting

knife from inside his coat jacket. Maureen's hand moves
up Phil's jacket... something stops her. She feels
something on her fingers... something wet. She pulls
her hand back, the reflected movie illuminating bloody
fingers.

Maureen stares at her hand...

ON SCREEN

The Ghost advances on the young girl, grabbing her,

pulling her to him, raising high a long, hunting knife.
The young girl is helpless...

IN THE THEATER

Maureen looks at Phil, confused... as if seeing for the

first time... IT'S NOT PHIL. She pulls away when, the
Ghost-masked Figure grabs her with one hand, the other
one clutching the hunting knife.

Maureen sees it, her mouth billowing forth a LOUD

SCREAM that is matched by the entire audience as they
SCREAM at the screen.

ON SCREAM

The young girl is stabbed in the heart.

IN THE THEATER

Maureen is helpless. The knife comes fast and furious,

striking her in the stomach. She falls forward, into
the aisle as...

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

IN THE THEATER

Popcorn flies as Maureen falls forward, into the aisle,

clutching her bloody stomach. She's speechless, unable
to SCREAM. She holds her bloody hand out for all to
see, begging for help. She stumbles down the aisle.

Someone YELLS "Sit down." Maureen turns to several

PEOPLE who begin to react. She turns behind her to see
the Ghost Face coming at her again... knife raised.

ON SCREEN

The young girl is slashed again.

IN THE THEATER

The knife slices into Maureen again... then again. The

theatre audience is starting to take note as the Ghost
keeps slashing at her repeatedly with the knife. A
horrifying, sickening sight.

Maureen stumbles forward, her bloody body moving down

to the front of the theater. Suddenly, the entire
audience begins...

APPLAUD AND CHEER

Maureen, swaying from side to side, turns to the crowd

and emits a HORRENDOUS BLOOD CURDLING SCREAM as...

ON SCREEN

The young girl lets out an enormous EAR SCREECHING

SCREAM that mirrors Maureen's as the killer attacks one
last time, stabbing her, silencing her forever.

IN THE THEATER

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

SMASH CUT
TO BLACK

TITLE CARD

"SCREAM 2"

FADE IN:

INT. DORM ROOM - MORNING

A typical college dorm room. Industrial strength

furniture. There's two of everything.

A RINGING phone stirs a YOUNG GIRL in bed, asleep under

a mound of blankets and pillows. The girl starts to
rise as the phone is answered. A VOICE is heard. Brass
and sassy.

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

The girl rolls out of bed, her hair falls away to

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

SIDNEY
I got it.

She stands and moves to...

HALLIE

Her roommate and friend. An attractive young black

woman. Twenty at most. Brazen. Fun. Full of life. She
hands the phone to Sidney.

HALLIE
Knock yourself out.

SIDNEY
 Hello?
(silence)
Hello?

VOICE
Hello Sidney.

A VOICE spits out of the phone. Deep and haunting.

Sidney doesn't flinch.

SIDNEY
Yes?

VOICE
What's your favorite scary movie?

SIDNEY
Who is this?

VOICE
You tell me.

Sidney grabs a small device hooked to the phone. She

takes a look at its display.

SIDNEY
Cory Gillis. 442-8730.

Silence.

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

CLICK! The phone goes dead.

SIDNEY (CONT'D)
Enjoy the movie.

She hangs the phone up, turning to Hallie.

HALLIE
Time to change numbers again?

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

Sidney grabs her robe and shower bucket as Hallie

channel surfs. Various morning news programs are on
their small TV. Snippets are heard.

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

The channel switches. A YOUNG MAN is being interviewed.

Attractive, sullen. Sad.

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

His voice stops Sidney cold. She turns to the

television.

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

Hallie hits the remote. The man's image disappears as

the TV goes off. Hallie turns, all smiles.

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

Sidney turns from the television. Momentarily lost.

Recovery is immediate.

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

Sid moves to the door and throws it open. A GHOST

FIGURE LEAPS at her. She SCREAMS but then stops
herself.

It's just a costume hung from her doorframe. Preset, to

scare. Another prank. Sidney rips it down, turns to
Hallie, throwing the costume at her.

SIDNEY
Pumps. Nice handbag. Whaddya think?

Sid is surprisingly cool. She exits out the door,

leaving Hallie staring at the Ghost Mask in her hands.
 CUT TO:

EXT. DORMITORY - MORNING - LITTLE LATER

Sid steps outside of her dorm. The morning sun shines

down as Sid breathes in, taking in the day just as
FIFTY NEWS REPORTERS NOB HER.

REPORTER #2
Sidney, did you know the victims?

REPORTER #1
Do you feel responsible for the
murders?

SIDNEY
What murders?

Microphones are shoved in her face as Sidney is seiged

upon by journalists and TV cameras. She starts to
panic.

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

Sidney is mortified. She pushes and shoves but there is

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

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

Sidney's eyes flare. Her fist starts to clench when...

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

GALE WEATHERS

Standing, tight-fisted. Their eyes meet. A quick

moment. Sidney is happy to see her.

The onslaught continues. Cameras flash, reporters

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

GALE
(to Sid)
Quick, get outta here.

SIDNEY
What's going on?

GALE
Just go. l'll find you later.

Sid wastes no time. She takes off, running around the

side of the building. She stops, takes a breath, but
the reporters are on her tail. She looks up to see a...

SMALL CAMPUS SECURITY VEHICLE

Appear, moving towards her. It slows down.

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

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

DEWEY RILEY

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

SIDNEY
What's going on, Dewey?

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

as ever.

DEWEY
It'll be alright.

CUT TO:

EXT. SECURITY CART - MINUTES LATER

The security cart trots along, passing STUDENTS coming

and going. Dressed smartly in a campus security outfit,
Dewey maneuvers the cart across the campus grounds.
Sidney rides beside him, horrified as she listens to
him.
 SIDNEY
Three hundred people watched?
Nobody did anything?

DEWEY
They thought it was a publicity
stunt.

SIDNEY
Oh my God. How could it happen?

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

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

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

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

SIDNEY
Yeah, right.

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

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

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

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

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

He starts off, for the first time, a severe limp is

visible as his left leg drags behind him.

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

DEWEY
Don't worry...

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

DEWEY
Just in case...

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

Sidney reaches up and gives her pseudo-brother a kiss,

then takes off for the building. Dewey watches until
she disappears inside, then limps back to his security
cart.

CUT TO:

EXT. STUDENT UNION PARKING LOT - MINUTES LATER

A newsvan pulls up and parks next to a trough of other

newsvans and REPORTERS. Some are doing live remotes,
others ready themselves for the next onslaught.

Gale gets out of the newsvan, her cellular affixed to

her ear.

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

Gale's CAMERAMAN can be seen behind her, in the van

fussing with equipment.

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

Gale turns to her cameraman, snapping her fingers.

GALE (CONT'D)
Hey, what was the name of that
movie?

The guy looks up at her. It's RANDY. Two years older

but still the charming jokester.

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

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

She hangs up, turning to Randy.

GALE (CONT'D)
Pressure's on. You ready for this?

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

Randy holds up his camera - stoked.

CUT TO:
INT. SCHOOL OF FILM - LATER

Sidney moves down a hallway. Not your typical school

building. Through open doorways, film equipment is
glimpsed. Editing bays and the like. She's in the Film
Department.

She comes upon an open door and peers in. A large room,
a class is in progress. She slips in quietly.

INT. CLASSROOM - SAME

Sidney takes a seat at the back of the room. A handful

of FILM STUDENTS sit around on torn couches heavy in
discussion. Sid goes unnoticed as she watches a
whirlwind debate. A SNOTTY GUY is pontificating a
point.

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

Hallie sits on a couch next to MICKEY, 20's, atheletic,

cool and rowdy. Arms enwrapped.

MICKEY
Bullshit generalization. Many
sequels have surpassed their
original.

SNOTTY GUY
Name one.

MICKEY
ALIENS Far better than the
original.

ANOTHER GUY
Subjective.

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

The conversation overlaps, everyone arguing... making

their point about ALIENS VS. ALIEN.

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

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

MICKEY
T2.

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

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

Someone screams out, "You Sarah Connor?" as the

TEACHER, a young artsy type, speaks up.

ARTSY TEACHER
How about THE GODFATHER PART II?

Ooooohhh. The whole room goes worship silent. All in

agreement.

SNOTTY GUY
The almighty exception. Name
another.

A YOUNG MAN, handsome and smooth, jumps into the

conversation. His name is Derek.

DEREK
EMPIRE STRIKES BACK. Smarter story.
Improved effects.

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

HALLIE
I liked JEDI. With the furry
things.

Everyone BOO'S. "Ewoks blow."

MICKEY
Lucas and his Romper Room stage.

HALLIE
I got. I got it. FRIDAY THE 13TH,
PART 20.
 SNOTTY GUY
Case in point. The entire horror
genre was destroyed by sequels.

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

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

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

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

The class stews on this. Derek turns, spotting Sidney

in the back of the room. She gives a half wave. He
starts for her, excusing himself.

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

INT. CORRIDOR - SAME

Derek and Sidney move out into the hallway. Derek

throws his arms around her protectively.

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

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

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

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

He looks at her with bedroom eyes.

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

He moves on her, wrapping her in his arms and kissing

her passionately. She breaks away, laughing.

SIDNEY
No PDA.

But it's a failed objection. He kisses her again and

they're soon devouring each other like two people in
love. Right in the middle of the hallway.

CUT TO:

EXT. STUDENT UNION - LATE AFTERNOON

The place is a circus. The front steps of the student

center have been roped off to form a platform. A podium
and mike have been placed center.

CROWDS have gathered for the press conference that is

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

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

Beside her stand uniformed COPS, the local SHERIFF, FBI

AGENTS. She continues on...

IN THE ROPED OFF NEWS SECTION

Gale walks through the crowd, listening to the Dean.

 FEMALE VOICE (O.S.)
Gale? Can I have a second?

Gale spins around to find DEBBIE SALT, the flashy

reporter who she decked earlier, standing in front of
her.

GALE
Look, I'm sorry about the face.

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

GALE
Fair enough.

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

The woman has immediately put Gale on the defensive.

TWO OTHER REPORTERS have taken notice. Suddenly,
CAMERAS are on Gale.

GALE
Well, you know I'm dear to the
subject matter.

DEBBIE SALT
And much richer as a result.

GALE
Do I know you? You look familiar.

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

GALE
Good for you.

And in seconds the vultures are upon her as Gale

Weathers is beseiged by REPORTERS. The questions spew
forth. "Why are you here?" "Is this the work of a
copycat killer?" "Have you talked to Sidney?" etc.

GALE
(ever smooth)
Guys, you're missing the show.
And with that Gale wanders off into the crowd.

ON STAGE

The LOCAL SHERIFF, a smart looking guy in his 50's is

fielding questions.

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

ON THE LAWN

Students and concerned faculty stand. Among them are

Sidney, Derek, Hallie and Mickey. Next to them stand
JOEL, 20's, black, sensible and friendly. A very
intelligent face.

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

JOEL
Sounds like they don't know
anything.

HALLIE
Do you think they'll cancel Hell
Week?

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

From across the way, two gorgeous sorority type girls,

LOIS and MURPHY stand with their FRATERNITY JOCK
BOYFRIENDS. All looks and attitude. Their eyes are on
Sidney as they huddle in a conspiratory stance.

JOEL
Have they questioned you yet, Sid?

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

MICKEY
I have to watch rehearsal.

Hallie kicks him. Joel moves to Sid.

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

SIDNEY
You're not allowed to ask that.

JOEL
I'll stop by the Deltas tonight.

SIDNEY
Thanks, Joel.

Joel smiles, heading out as the two sorority girls,

Lois and Murphy saunter over.

LOIS
Hello, pledges. Enjoying
yourselves?

Instantly, Hallie stands at attention. Sidney joins

begrudgingly.

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

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

The pledges shake their heads. Suspicious. Lois

withdraws two rolls of toilet paper from her book bag
and passes them out.

LOIS (CONT'D)
In our efforts to raise money for
our favorite cause...

MURPHY
... this week's TKE kegger...
 LOIS
Ne ask that you sell individual
squares of toilet paper for a mere
nickel a piece.

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

MICKEY
Come on, guys. Uncool.

MURPHY
Am I getting fraternity
interference, Mickey?

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

DEREK
Sid, you don't have to.

Sidney takes her toilet paper.

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

She throws him a comforting glance. She's okay with

this. She heads off with Hallie. Derek watches.

DEREK
How do you put up with this Greek
shit?

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

ACROSS THE WAY

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

DEWEY

Their eyes meet. A long moment. The silence between

them is revealing.
 GALE
Hello, Dwight.

DEWEY
Miss Weathers.

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

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

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

GALE
The name's Gale, remember'?

He turns on her. His eyes on fire.

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

GALE
I see you read the book.

DEWEY
Yes, I do retain reading skills.
Shock.

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

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

GALE
Oh Dewey, I'm sorry.

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

GALE
You have every right to be upset.

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

GALE
I never meant to imply...

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

Gale is at a loss.

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

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

Dewey turns and limps away, leaving Gale staring after

him. Her face smashed fiat.

ON STAGE

The sheriff continues fielding questions from

reporters.

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

ACROSS THE WAY

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

SIDNEY
Hello, Gale.

GALE
Sidney. Hello. How are you?

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

GALE
I'm sorry.

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

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

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

GALE
It's good to see you involved.

SIDNEY
My morn was a Delta.

Beat. People have begun to notice the two of them

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

Sid spins around, surprised to see him.

SIDNEY (CONT'D)
Randy? What are you doing here?

But then she sees someone else, standing off to the

side. A man she recognizes immediately. He looks at;
her, his face sullen, broken. Sidney loses her breath.
 SIDNEY (CONT'D)
Cotton...

He moves to her.

COTTON
Hello, Sidney.

Gale motions to Randy. He maneuvers, getting the two of

them in frame. A long moment, Sidney just stares at
him. Completely off guard. She looks to Randy who aims
the camera directly at her... filming her.

SIDNEY
What are you doing?

She turns back to Gale, staring holes through her,

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

SIDNEY (CONT'D)
You BITCH!

Sidney storms off, disappearing in the crowd. Cotton

turns to Gale. His face pained.

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

He takes off, pushing through the crowd. Randy stops

filming.

RANDY
Can you say backfire?

GALE
Did you get it?

RANDY
Yeah, I got it.

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

in his voice.

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

Randy's face reveals otherwise.

 AT THE PODIUM
The sheriff continues.

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

CUT TO:

EXT. SORORITY ROW - NIGHT

A small street that dead-ends in a cul de sac. Large

old homes populate it. Greek signs adorn the place.
Welcome to Sorority Row.

INT. SORORITY HOUSE / LIVING ROOM - NIGHT

A huge living room. Divided sensibly in several

sections. Nicely done. Et is empty except for one girl
who lies on the couch watching television. This is
CICI, pretty with a lively energy about her. She
channel surfs while talking on the phone.

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

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

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

BEEP! BEEP! Call waiting bleeps through.

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

MAN'S VOICE
Hello.

A MAN'S VOICE. Deep and alluring.

 CICI
Yes.

MAN'S VOICE
Who is this?

CICI
Cici. Who's this?

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

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

She clicks back over.

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

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

CICI
I won't.

GIRL ON PHONE
Don't. Think Bailey.

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

She clicks back over.

CICI (CONT'D)
Okay, Ted, you sound loaded. What's
up?

MAN'S VOICE
Who's Ted?

Realizing, it's not Ted.

CICI
Oh, I'm sorry. My bad. I thought
you were someone else.
 MAN'S VOICE
That's okay.

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

MAN'S VOICE
Where is everybody?

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

MAN'S VOICE
Why aren't you there?

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

MAN'S VOICE
That's too bad.

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

MAN'S VOICE
What if I said you?

CICI
What if I said goodbye?

MAN'S VOICE
Why would you wanna do that?

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

MAN'S VOICE
I'm inquisitive.

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

Silence. No response.

CICI (CONT'D)
 Hello? Hello? Where'd you go?

Silence again. And then...

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

Almost a whisper. Simple. Direct. His voice pierces

Cici. Her eyes widen. BEEP! Call waiting CLICKS
through.

CICI
Just a second.
(clicks over)
Yes?

Cici gets up and moves to...

INT. FOYER - SAME

Cici checks the front door, making sure it's locked.

GIRL ON PHONE
Was it Teddy?

CICI
No, some creep asshole trying to
scare me.

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

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

staircase.

CICI
Shit.

GIRL ON PHONE
What is it?

CICI
I heard a noise.

GIRL ON PHONE
Where?

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

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

CICI (CONT'D)
(calling out)
Hello? Hello?

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

CICI
Stop it...

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

Cici looks up the staircase again.

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

Floorboards CREAK above her. Cici freaks.

CICI
I'm outta here.

She flies to the door, unlocking it, throwing it open.

She moves out onto the...

EXT. FRONT PORCH - SAME

A wooden porch with a bulb glowing overhead. She stands

on the porch steps, looking back, through the open
door, into the house. The phone starts to CRACKLE.

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

CICI
Outside.

GIRL ON PHONE
 That's smart.

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

along the sidewalk.

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

The guy wears a headset, his head bobbing to the beat.

He doesn't see her. Cici looks up the street to a
sorority house down the block. Lights burn from within.
People come and go.

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

Cici moves further down the porch steps. The phone

begins to CRACK severely.

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

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

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

CICI
I'm losing you.

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

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

Cici hangs up the phone. She hits the "TALK" button.

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

She tries the phone again. It still won't connect. She

moves back to the front porch. It connects. Major
static. She dials 511.

VOICE
(major static)
Campus Security.

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

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

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

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

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

The phone goes dead.

CICI
Shit.

Cici redials. The same static.

VOICE
Hello?

CICI
I'm calling...

VOICE
I can't hear you.

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

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

There's no one on the line.

CICI (CONT'D)
Shit!
SUDDENLY, A FIGURE APPEARS BEHIND HER. A HAND GRABS
HER.

Cici spins around, SCREAMING BLOODY MURDER.

GIRL'S VOICE
Did the phone ring?

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

occupied.

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

DAWNIE
I live here.

CICI
I thought you were going to the
mixer?

DAWNIE
I had to change. Did anyone call?

CICI
Just some asshole trying to scare
me.

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

DAWNIE
Are you okay?

Cici nods, answering the phone. ROCK MUSIC BLARES from

the receiver.

CICI
Hello?

DRUNK GIRL
(from phone)
We need a ride. Taxi! Taxi!

CICI
Where are you?

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

DAWNIE
Who is it? Is it Tina?

CICI
They're at Grogs.

Dawnie grabs the phone, moving into the living room.

She moves to a mirror and fusses with her hair.

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

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

Dawnie hangs up the phone, turning to Cici.

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

Reflected through the mirror is the foyer. Neither see

as a SHROUDED FIGURE appears through the front door.
Dawnie turns back to the mirror just as the Figure
sweeps into the dark dining room and out of sight.

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

Dawnie grabs it.

DAWNIE (CONT'D)
Hello?

MAN'S VOICE
Is Cici there?

DAWNIE
Who's calling?

MAN'S VOICE
Ted?

Dawnie throws her the phone and races out the door.

DAWNIE (CONT'D)
It's your ill-concieved boyfriend.
Seeya later. Set the alarm.
She SLAMS the door shut behind her. A second later we
hear it lock. Dawnie brings the phone up to her ear.

CICI
Hello? Ted?

MAN'S VOICE
No, it's me.

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

CICI
WHAAAATT?

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

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

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

DARK DINING ROOM

Cici finds the light switch. CLICK! The room is

illuminated. Two long dining tables run the length of
the room. It's empty. Void of the Figure.

INT. KITCHEN - SAME

A large, dark kitchen. Cici moves to the frig and opens

it, She gives it the once over. The frig light reflects
against her face. She closes the refrigerator, not
seeing the Shadow that bounces across her back.

Cici moves to a sliding glass door that overlooks the

backyard. She checks the lock. Secure. Then, the phone
RINGS.

She turns to the phone that's attached to a nearby

wall. It RINGS AGAIN. She reaches for it, answering it.

CICI
Hello?
SUDDENLY, TWO HANDS LUNGE OUT OF THE DARKNESS

One finds her neck, the other grabs her by the hair,
wrenching her head backwards and spinning her around,
shoving her, pushing her into the...

SLIDING GLASS DOOR

Glass explodes everywhere, shattering to bits as Cici's

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

CUT TO:

EXT. DELTA ZETA HOUSE - MINUTES LATER

Two doors down from Chi Omega. A big, old Gothic home
serves as the Delta Zeta sorority. MUSIC PLAYS from
inside. It sounds like a party.

EXT. DELTA ZETA LIVING ROOM - SANE

The room is filled with fifteen to twenty people.

SORORITY GIRLS and FRAT BOYS who SCREAM and CHEER as
they watch four girls who sit on their knees, hands
behind their back, in front of a coffee table devouring
plates of macaroni and cheese topped with whipped
cream.

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

A whistle BLOWS.

MURPHY (CONT'D)
Looks like we have a winner.

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

MURPHY (CONT'D)
Sidney gets to skip the next round
of Bulimia bingo.

Hallie, a face full of grime, eyes Sid.

 HALLIE
You bitch.

They crack up. Someone passes her a towel. She stands

wiping her face, looking across the room as Derek
enters through the front door. She waves at, him. He
hurries over.

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

DEREK
I'm sorry honey. I got behind.

ON HALLIE AND MICKEY

Mickey is cleaning off Hallie's face.

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

She swats him.

ON SID AND DEREK

Sid and Derek stand arm in arm watching the next round.

SIDNEY
(complete throw away)
Any news?

DEREK
About what?

SIDNEY
The forbidden subject.

He shakes his head.

Suddenly, a FRAT BOY pops into the room.

FRAT BOY
Yo, guys, outside. Something's up
at the Chi Omega. Police are
everywhere.
People begin to stand, moving to the windows and front
door. Sidney looks to Derek.

EXT. DELTA ZETA HOUSE - SAME

Everyone comes flying out of the front door and into

the yard as POLICE CARS WHIP BY. SIRENS BLARING.

ANGLE ON STREET

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

"Yo - let's check it out." "C'mon." The entire crowd

takes off in droves down the street. All except for...

SIDNEY AND DEREK

They stand on the porch, watching as the street becomes

a circus.

CLOSE ON SIDNEY'S FACE

She knows.

INT. CHI OMEGA HOUSE - SAME

Captain Tyler, the Sheriff, police, FBI... the house is

crawling. Dewey sifts around on his own, checking
things out.

IN THE KITCHEN

Captain Tyler and the Sheriff stand at the shattered

glass door.

SHERIFF
Lots of blood. But no body.

CAPTAIN TYLER
Have you checked the...

SHERIFF
Attic, garage, basement, nothing.
 CAPTAIN TYLER
Take the neighborhood.

The Sheriff turns to his men.

SHERIFF
Alright men, listen up...

Dewey is all ears.

INT. DELTA ZETA HOUSE - SAME

Derek and Sid stand on the porch, his arms around her.
Her face is numb.

SIDNEY
It's starting all over again.

DEREK
Lemme take you home.

SIDNEY
I'll get my jacket.

Sidney, indifferent, moves through the open front door,

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

INT. DELTA ZETA LIVING ROOM - SANE

Sid moves through the living room, she grabs her coat
when the phone RINGS. She looks at it suspiciously...
knowingly... she reaches for it.

SIDNEY
Hello?

MAN'S VOICE
Hello Sidney?

The VOICE. Low and haunting. Sidney closes her eyes.

When she opens them tears are immediate But still, she
refuses to crack.

SIDNEY
Who are you?

MAN'S VOICE
Soon, Sidney, soon.
 SIDNEY
What do you want?

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

The Voice has never sounded more evil... more

seductive. Sidney doesn't flinch. She holds steady.

SIDNEY
Then come and get me.

And with that Sidney hangs up the phone, SLAMMING it

down. Silence. And then...

MAN'S VOICE
My pleasure.

The Voice comes from inside the room... behind her.

Sidney spins around and finds herself staring at the...

GHOST MASKED FIGURE

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

A sustained moment. A stand off. Sidney doesn't move.

But then the killer withdraws his trademark. A long,
steel hunting knife... blood stained.

SIDNEY BOLTS

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

ON THE PORCH

Derek hears her SCREAM. He turns to the front door. He

finds it locked. He starts to BEAT on it.

DEREK
Sid? Sid?

IN THE LIVING ROOM

Sid just dodges the Ghost, just missing the knife's

blade. She bolts through the living room, to the front
door. Derek beats on it from outside.

IN THE FOYER

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

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

INT. FRONT PORCH - SANE

Derek is going nuts trying to get into the house. He

moves along the porch to the windows, looking through.
He watches as the Ghost Figure chases her into the
kitchen. Derek looks about the porch. He rears his foot
back and kicks in the window.

INT. KITCHEN - SAME

Sid moves through the kitchen to the back door. She

struggles with the lock as the Ghost is right behind
her. She barely makes it out the back door...

EXT. BACK YARD - SAME

A large, fenced in yard. Lots of big oak trees. Sid

flies down the back porch and into the yard. She moves
across it, passed trees and shrubs. She spots a closed
fence door in the back of the yard. She looks behind
her to find...

NOTHING

She scans the yard, the Ghost Figure has completely

disappeared. She moves behind a big tree, hiding behind
it.

Sid stops, catches her breath, then peers from behind

the tree. The yard is completely empty. She goes for
the fence door, slowly moving around the tree.

BUMP! A noise in the darkness. She spins around, still

making her way around the tree, moving backwards,
walking right into a FIGURE. She SCREAMS, spinning
around, finding herself face to face with...

CICI'S BODY

Hanging, dangling, hung from the tree, her stomach a

ripped, bloody mess. Sidney SCREAMS IN UNFORGETTABLE
HORROR. She steps back, falling right into the arms
of...

DEWEY

She turns, SCREAMING.

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

He takes her into his arms, comforting her, as she

holds on for dear life.

EXT. COLLEGE CAMPUS - MORNING

The early sun casts light upon an otherwise dark and

joyless morning as the blood stained campus slowly
comes to life.

EXT. CAMPUS SECURITY STATION - MORNING

The local campus security office has been converted

into a media event. News trucks, cameras and REPORTERS
stand guard outside while inside...

INT. CAMPUS SECURITY STATION - MORNING

The place is packed. No longer just a campus security

office. The place has been converted to the local
police station as well as FBI headquarters. UNIFORMS
and SUITS swarm the place.

In a back section of the room, Sheriff Hartley and

Captain Tyler are in a huge discussion with Dean
Fisher. Tempers are heated. Its been a sleepless night
for all.

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

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

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

Dewey listens to this exchange, slowly stepping

forward.

DEWEY
Sidney Prescott, sir.

They both turn to him.

DEWEY (CONT'D)
She's the connection.

CAPTAIN TYLER
We know that, son.

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

CAPTAIN TYLER
We're aware of that.

Sheriff Hartley steps forward.

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

Dewey is not a welcome participant. Eyes roll. Captain

Tyler pulls Dewey aside.

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

Just then, Gale Weathers appears being ushered in by

TWO UNIFORMS. Dean Fisher greets her with smiles The
FBI and local police fawn over her.

SHERIFF
Thank you, Miss Weathers for coming
in.

GALE
Of course, what can I do?

Captain Tyler gives Dewey a patronizing pat on the

back, sending him off.

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

Dewey's face couldn't be more burned.

INT. CAMPUS SECURITY STATION - MORNING - MINUTES LATER

A chalk board in front of them. Three names are written

on it under the label "Victims" - "MAUREEN EVANS, PHIL
STEVENS, CICI TAYLOR"

Gale is at the chalk board

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

SHERIFF
It's Cassandra.

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

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

CAPTAIN TYLER
Jesus...

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

Captain Tyler sits up.

CAPTAIN TYLER
Who was the next victim in
Woodsboro?

GALE
In the book or in the movie?

DEAN FISHER
Let's try reality.

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

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

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

DEWEY
Tatum Riley.

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

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

DEAN FISHER
I'll get you full access.

The room breaks into a fury as they jump into action.

Gale stops Captain Tyler.

GALE
What about Sidney? Is she safe?

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

INT. SIDNEY ' S DORM ROOM - MORNING

Sid, Derek, Hallie, Mickey, and Joel lounge among

pillows and blankets. The remains of a sleepover. Joel
parts the blinds.

ANGLE THROUGH WINDOW

Two plains clothed policemen are in view, milling about

outside - standing guard.

JOEL
How many guys they have on you?

MICKEY
I counted four.

Hallie reads from a notebook in her hand.

HALLIE
Okay, you're sure about skipping
Calculas?

SIDNEY
Please, I have the perfect excuse.

HALLIE
What about rehearsal?

SIDNEY
Gotta.

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

DEREK
Two.

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

DEREK
And watch her til 8:00 - I've got
to edit.
 JOEL
Perfect. I'll be outta Micro-bio
and we can grab a bite.

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

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

MICKEY
Sig Ep's gotta band, tonight.

HALLIE
Too bad.

SIDNEY
This is exactly what I don't want.

DEREK
I think it's out of your control.

Derek puts his arms around her, pulling her close.

Mickey and Hallie argue about this evening. Joel moves
out the door.

JOEL
Sid, I'll seeya tonight.

SIDNEY
But...

Derek kisses her sweetly.

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

DEREK
Let us decide that.

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

DEREK
It's under control.

He kisses her again.

 CUT TO:

INT. STUDENT UNION - LATER

A huge one-stop for students. Comprised of several open

floors, it looks like a mini-mall. A cafeteria, book
store, movie theatre, arcade, etc. fill the place.

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

DEBBIE SALT
Hi, Gale, any leads?

GALE
Tons and tons.

DEBBIE SALT
Where is Sidney's father?

GALE
Home - where he lives.

DEBBIE SALT
And are the police sure about that?

GALE
Why don't you ask them?

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

GALE
No, I don't.

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

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

Gale charges off, moving to a nearby newsstand. The

tabloid papers exploit what's going on. Crazy headlines
about the murders dominate the newsrack.

Gale is clearly bothered by this. Just then, a phone

RINGS. She pulls it from her pocket.

GALE (CONT'D)
Hello?

MAN'S VOICE
Hello, Gale.

It's the Killer. His voice is unmistakable.

GALE
Who is this?

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

Gale knows immediately. She looks around for help. A

CAMPUS COP is across the lobby.

GALE
Who are you?

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

GALE
I don't play games.

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

Gale gets testy with him.

GALE
What do you want?

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

Gale stops cold. She looks around. The place is alive

with people. He could be anywhere.

GALE
Where are you?

MAN'S VOICE
I'm everywhere.
She continues moving to the Campus Cop.

GALE
Oh - a God complex

MAN'S VOICE
Stay away from the cop.

A deadly warning. Gale stops. She plays it cool. She

looks above her to the upper floor. STUDENTS hang over
a balcony.

GALE
What do you want from me?

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

Silence.

GALE
What do you mean?

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

GALE
You're getting obvious.

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

GALE
No, wait...

MAN'S VOICE
Watch your back.

CLICK. The phone goes dead. Gale spins around, doing

quick circle to make sure no one's around her. She
turns and heads off, right into...

DEWEY

They both GASP.

CUT TO:
INT. CAMPUS THEATRE - DAY

A large tiered theatre. Seats five-hundred. Old but

preserved and updated. A rehearsal is in progress.
SEVERAL ACTORS stand stage center running lines as
stagehands work on the set around them.

Sidney is one of them. She moves around the stage, very

animated. More alive than ever. She dons a Russian
accent. Convincing. A promising actress.

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

An awkward silence. Everyone looks at each other.

Finally, Lois, the bitchy sorority girl speaks up.

LOIS
That's not the line. You jumped.

SIDNEY
Shit. Did I?

LOIS
About a page.

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

The actors break up as Sidney, frustrated, walks across

a make shift bridge that takes her across the orchestra
pit and down the stairs into the house where Hallie
sits watching. Sid's bodyguards can be seen sitting
scattered about.

HALLIE
That was good.

SIDNEY
Yeah, right.

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

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

Sid nods in agreement. The Director smiles at her.

 DIRECTOR (CONT'D)
Work on the accent.

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

VOICE
Sid?

Sid turns to find Randy moving through an aisle. He had

been watching rehearsal. Sid's face tenses.

HALLIE
Who is that guy?

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

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

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

Sid is definite. Hallie backs off, heading up the

aisle, against her better wishes.

SIDNEY
What do you want?

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

SIDNEY
Do you work for her now?

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

SIDNEY
Me, too. Randy. Me too.

He nods, knowingly.

SIDNEY (CONT'D)
Wanna get outta here?

CUT TO:

INT. CAMPUS SECURITY STATION - AFTERNOON

Gale and Dewey are with Captain Tyler and Sheriff

Evans.

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

DEWEY
I can do it, Captain.

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

GALE
I'd prefer Dewey, Captain.

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

Gale's stare.

DEWEY
How's the name search going?

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

CUT TO:

INT. CINEPLEX MOVIE THEATRE - LITTLE LATER

A movie is in progress. STAB.

ON SCREEN

A young girl, looking a lot like Tori Spelling, runs

down a school corridor. She runs smack into a young,
handsome boy. He could very well be Johnny Depp.

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

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

IN THE THEATRE

Sid and Randy sit in the small cineplex mall type

theatre. Behind them sit Sid's trusting police guards.
Sidney shifts in her seat.

RANDY
You okay, Sid?

SIDNEY
Yeah.

ON SCREEN

Tori Spelling and Johnny Depp continue their dramatic

discussion.

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

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

IN THE THEATRE
Sidney grows increasingly uneasy.

CUT TO:

INT. STUDENT CAFETERIA - LATER

Mickey, Joel, and Derek are crowded around a table in

the Student Union Cafeteria.

DEREK
My documentary is due on Tuesday.

MICKEY
What's your subject?

DEREK
I WAS A SORORITY SLUT.

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

DEREK
She wouldn't let me.

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

Hallie comes waltzing up.

DEREK
Where's Sid?

HALLIE
Damned if I know. She ditched me.

DEREK
You weren't supposed to leave her
alone.

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

Hallie plops down, giving Mickey a big kiss.

MICKEY
I've been waiting for you, baby.

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

HALLIE
She's got guards with her.

DEREK
What guy?

HALLIE
Randy somebody.

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

MICKEY
Her old boyfriend?

JOEL
No, she killed her boyfriend. Randy
was a friend.

MICKEY
Watch out, Derek.

HALLIE
He tried to kill her first.

MICKEY
Is Sid in therapy?

JOEL
She was for a while. Gave it up.

DEREK
How do you know so much about her?

JOEL
I read the book.

MICKEY
I could use some therapy.

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

DEREK
Aren't most serial killers
seemingly harmless?

JOEL
And white.

MICKEY
Easy black boy.

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

HALLIE
That's you, honey.

Hallie kisses Mickey again.

MICKEY
I got a surprise for you.

HALLIE
What?

Suddenly, he leaps up on the cafeteria table and begins

to sing at the top of his lungs.

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

HALLIE
Don't do this.

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

Everyone has taken notice. They begin to cheer and sing

with him.

JOEL
(to Derek)
Whitney?
 DEREK
I think he's doing Dolly.

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

DEREK
Definitely Whitney.

Hallie can't help but be touched. He finishes up,

ending on a last, final note. As he does, he pulls a
necklace from around his neck. His Greek letters dangle
from it. He places them around her neck, kissing her.

JOEL
Isn't that a big no-no?

DEREK
I think so.

Hallie breaks away. She swats him.

HALLIE
You're going to get it. You know
what happens.

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

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

CUT TO:

INT. CINEPLEX MOVIE THEATRE - LITTLE LATER

Sid and Randy continue watching the movie. The guards

behind them are way engrossed.

ON SCREEN

It's the end of the movie. Tori Spelling is running for

her life from two killers - Johnny Depp and his
sidekick. She finds herself trapped in the kitchen.
Johnny Depp holds the knife up to Tori's face.
 TORI
Why did you kill my mother?

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

IN THE THEATRE

These words sting Sid. Randy notices her flinching.

ON SCREEN

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

JOHHNY
Whore! Whore! Whore! Whore!

Tori starts to cry.

IN THE THEATRE

Tears find their way down Sidney's cheeks.

ON SCREEN

Johnny Depp and his murderous sidekick start stabbing

each other.

JOHNNY (CONT'D)
It's the perfect alibi, Sidney.

SIDEKICK
Just like in the movies.

IN THE THEATRE

Sidney can't take it anymore. She gets up and races out

of the theatre.

INT. LOBBY - A SECOND LATER

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

VOICE
Hello Sidney.

Sidney spins around. Cotton Weary stands before her.

shoulders slumped, his face pained.

SIDNEY
Cotton.

COTTON
Can we talk?

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

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

SIDNEY
What do you want from me, Cotton?

COTTON
You could start with an apology.

SIDNEY
I did that.

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

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

COTTON
I wish it was just a year. I lost
everything because of you. I have
nothing now. Look at me, this is
what I've become.

A long silence. Sidney is hanging on by threads.

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

More silence.

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

SIDNEY
Did it?

COTTON
It helped me realize one thing.

SIDNEY
What?

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

And with that, Cotton flips on a dime. His face turns

evil. Sidney races by him as he throws out his arm,
stopping her just as...

THE TWO POLICE GUARDS

Appear, grabbing him from behind. They throw him

against the wall, retaining him. Randy appears at Sid's
side.

RANDY
You okay?

Sid nods as she watches the officers arrest him. They

do a body search, pulling from his coat a large
revolver. Cotton just smiles.

CUT TO:

EXT. CAMPUS LIBRARY - LATER

Sid and Randy walk up the steps to the school library.
The ever helping guards behind them.

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

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

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

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

SIDNEY
I have this button I press. See? It
insulates me.

She mimes an air lock valve.

RANDY
I gotta coupla of those buttons
myself.

There's something sad about this exchange. These two

people understand each other

SIDNEY
Thanks for the movie, Randy.

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

Sidney watches as Randy shoves off, disappearing across

campus. Sid turns to find Derek leaning against a pole.

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

SIDNEY
No, it's not.
 DEREK
I don't really know what happened
in Woodsboro, Sid. But I know you
don't trust me.

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

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

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

otherwise.

SIDNEY
I'm sorry, Derek.

Derek nods. So that's how it's going to be. He turns

and wanders off, not looking back once.

CUT TO:

EXT. NEWSVAN - CAMPUS - LATER

The newsvan is parked at a curb. It sits out of the way

overlooking the student commons area. A grassy area
where students sit and conjugate.

Gale walks back and forth with the cellular attached to

her ear. Dewey sits leans against the van, watching
her. He still has a crush but hides it as best he can.

GALE
(on phone)
The interview's not going to
happen. 1 changed my mind. I've
harassed the girl enough. It's in
poor taste and a bad idea.

FROM THE PHONE

Your entire career is in poor
taste...

GALE
Gotta go, call me when you have
 something nice to say.

Gale hangs up, she looks to Dewey. Smiles.

DEWEY
So what made you change your mind
about Sidney?

GALE
Mood swing. I'm manic depressive.

DEWEY
You're a hard one to figure out.

GALE
It's that complex yet shallow
quality. It's deliberate.

DEWEY
I think you're all an act.

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

DEWEY
I know that.

GALE
Yeah?

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

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

swirls about them.
 GALE
And where did you gain all of your
Gale Weather's insight?

Dewey approaches her. Gale has never been more taken

with him. They stand incredibly close.

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

They're nearly touching now. Just then, Randy

approaches.

RANDY
What'd I miss?

Gale backs away from Dewey, breathless. Her cellular

phone RINGS. She eyes Dewey, then hands it to Randy.

GALE
I'm not here.

Randy takes the phone.

RANDY
Hello?

MAN'S VOICE
Gale?

RANDY
She's not here right now.

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

Shit! Randy motions to Gale and Dewey. It's him. He

points around campus, mouthing "He's watching." Gale
grabs Dewey.

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

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

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

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

MAN'S VOICE
They'll never find me.

Randy eyes Dewey and Gale, they move through Students,

searching.

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

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

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

MAN'S VOICE
Closer than you think.

ON DEWEY AND GALE

They move through passing STUDENTS.

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

Dewey is on the his walkie. "I need back-up." He has a

hard time keeping up with Gale. He hobbles along.

BACK ON RANDY

He goes on a tirade pacing back and forth.

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

MAN'S VOICE
Do you want to die?

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

ON GALE AND DEWEY

Gale spots a YOUNG MAN, sitting with some other KIDS.

He's talking on a cellular phone. She races to him and
rips it from his hands. He leaps up ready to pounce on
her.

Dewey appears.

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

BACK ON RANDY

Randy won't let up. He continues dissing.

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

Suddenly the newsvan door RIPS OPEN, a GHOST MASKED

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

ON DEWEY AND GALE

As they run back to the newsvan. SIRENS are heard in

the distant. Gale races up to find Randy nowhere.

GALE
Randy? Randy? Where did he go?

Dewey circles the van as Gale moves to the sliding side

door. She tears it open as...

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

slit.

Gale's SCREAM is heard all over campus.

CUT TO:

EXT. CRIME SCENE - NEWSVAN - LATER

Yellow tape has been placed around the newsvan. People

have gathered as Randy's body is taken out on a
stretcher.

Captain Tyler and Sheriff Hartley share frustrated

faces.

SHERIFF
He's broken his pattern.

CAPTAIN TYLER
They've broken their pattern.

SHERIFF
You're sure about this two person
thing?

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

Different UNIFORMS whirl by.

SHERIFF
I would say we are now officially
baffled.

CAPTAIN TYLER
On national television.

Sheriff Hartley looks up as REPORTERS flock them,

surrounding them in questions.

CUT TO:

INT. LIBRARY - RESEARCH COMPUTER ROOM - LATE AFTERNOON

A room of the library sectioned off exclusively for

computer use. It consists of thirty to forty cubicles
that house computer terminals. Every cubicle is full.
The place is packed.

Sid sits at a terminal busy at work. Her two police

guards wander up and down the cubicles keeping an eye
out.

CLOSE ON SIDNEY

Her face appears concentrated, focused. She scans the

computer screen in front of her.

ON THE MONITOR

Sid is typing feverishly. Suddenly, her screen starts

flashing and BEEPING, freezing her words.

ON SIDNEY

Confused, she tries to make it stop but it won't. She

leans back, turning to the GUY next to her. A handsome
young man.

SIDNEY
Excuse me? Did your computer just
freeze?
The guy leans over and takes a look at Sid's monitor.

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

SIDNEY
I'm not signed on.

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

The guy returns to his own computer. Sidney eyes the

screen suspiciously. She hits ALT + M. A message pops
up on the screen.

"YOU'RE GOING TO DIE TONIGHT."

Sidney freaks. A muffled CRY. She shoots up, looking

about the crowded room. He could be anywhere. The two
guards take notice, rushing over to her.

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

She points to the screen. The men instantly break up

and cover the room. They start pulling people from
their terminals to check their screens.

Sidney backs away from her screen, her terror growing.

Suddenly, it starts flashing and BEEPING again. She

looks around. She slowly moves toward it, drawn
uncontrollably. She hits ALT + M. Another message pops
up:

"THE POLICE CAN'T SAVE YOU."

CLOSE ON SIDNEY'S FACE

It's stone pale. She takes a deep breath and begins to

type.

ON THE MONITOR

The words "FUCK YOU" appear. Sid hits "SEND".

INT. CAMPUS SECURITY STATION - PRIVATE OFFICE - LITTLE
LATER

Captain Tyler and Sheriff Hartley are drilling a very

subdued and cool Cotton.

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

CAPTAIN TYLER
Maybe you don't work alone.

COTTON
Yeah, that's it.

SHERIFF
Why did you attack Sidney Prescott?

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

CAPTAIN TYLER
And the gun?

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

SHERIFF
Why do you need a gun?

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

CUT TO:

INT. CAMPUS SECURITY STATION - OUTER OFFICE

Gale sits at a table. Dewey approaches. He places a

hand on her shoulder. They're both at a loss.
 GALE
Where's Sidney'?

DEWEY
She's safe.

Silence.

DEWEY (CONT'D)
How you doin?

GALE
Not good. How you doin?

DEWEY
Not good.

Just then, the Sheriff and Captain emerge from their

office. Cotton is escorted out behind them. Gale moves
to him.

DEWEY
Can't we hold him?

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

DEWEY
What now?

ON COTTON

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

GALE
What's going on, Cotton?

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

GALE
 Did you do it?

She looks him dead in the eyes.

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

GALE
You have a right to be angry.

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

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

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

Just then, the OFFICER behind the counter brings him

his gun in a plastic bag. Cotton takes it out and
checks it over. Gale is surprised to see the gun.

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

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

Cotton pockets the gun and heads out. Gale rejoins

Dewey and the others.

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

GALE
Where is she?

SHERIFF
 She was just escorted to her dorm
room.

DEWEY
Is she safe there?

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

DEWEY
That doesn't work, sir.

GALE
You're just isolating people.
You're giving the killer a blank
canvas.

CUT TO:

EXT. CAMPUS - NIGHT

Day turns to night and college life comes to a deadly

stand still as everyone observes the imposed campus
restrictions.

EXT. SIGMA PHI EPISILON - NIGHT

The fraternity house sits dark and quiet. A YOUNG MAN

walks up the walk to the front door. He TAPS on it
three times and it quietly opens as he's ushered in.

INT SIGMA PHI HOUSE - NIGHT - SAME

The young man makes his way down a long hallway, down a
spiral staircase, through a thick basement door and
into...

A RAGING PARTY

Music peels paint as YOUNG COLLEGE STUDENTS rock to

deafening tunes. A row of kegs line one wall as a the
party gears up for a drunken night ahead.

Derek is seen with his video camera. He's filming Lois

and Murphy. They talk into the camera. Both tipsy
chatty.

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

MURPHY
... we only promote safe rubbered
sex.

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

MURPHY
... harmonica style is okay.

LOIS
I just love being a sister.

Mickey approaches as Derek finishes up.

DEREK
Thanks, ladies.

They take off to the kegs.

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

DEREK
Not one bit.

MICKEY
Where's Sid?

DEREK
She dumped me.

MICKEY
No way.

DEREK
Yeah.

MICKEY
You freakin?

Derek shrugs. He's clearly upset by it when from out of

nowhere, SEVERAL FRAT BOYS appear, picking Mickey up,
lifting him over their heads. Everyone starts CHEERING
and CLAPPING.

FRATERNITY JOCK
He lavaliered. He's dead.

They carry him around the room, CHANTING. The frat boys
abduct Mickey, taking him up the stairs and out sight.
Others lookie loo's follow. Derek grabs his camera and
bolts.

CUT TO:

INT. SIDNEY'S DORM ROOM - EVENING

Sidney is trying to focus on homework while Hallie

channel surfs. She finds a channel. On screen, Siskel a
Ebert are reviewing a movie.

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

HALLIE
We're missing the Sig Ep party.

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

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

Hallie clearly wishes she were there.

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

They're reviewing STAB. Hallie switches channels.

There's a KNOCK on the door. Sid answers - it's Dewey
and Gale. From the look on their faces...

SIDNEY
Someone else has been killed.
 CUT TO:

EXT. DELTA ZETA HOUSE - BACK YARD- LITTLE LATER

SPLAT! Gobs of gooey food goes flying through the air

exploding perfectly all over...

MICKEY

Who stands buck naked, tied... chained to a tree in the

back yard. The yard is crowded with FRAT BOYS and
SORORITY GIRLS who delight in torching him. Mounds of
syrup, eggs, and other wet and slimy food is plunged
upon him.

FRATERNITY JOCK
Who do you love?

MICKEY
Hallie.

FRATERNITY JOCK
Did you say "My TKE brothers"?

MICKEY
No, I said Hallie.

More food and slime come barreling at him. A drunk Lois

and Murphy pull the police tape down from the previous
night's crime scene and begin to Mayflower him. The
crowd goes crazy.

INT. SIDNEY'S DORM ROOM - NIGHT

Hallie consoles Sidney. Dewey and Gale nearby. Sidney

is a stone rock. It's frightening to watch her hold it
together.

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

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

SIDNEY
I'd really just like to be alone.
 DEWEY
The police are waiting outside.
They're going to take you somewhere
safe.

SIDNEY
Dewey, there's no such place.

DEWEY
Humor me, Sid.

Sidney starts packing an overnight bag.

HALLIE
Can I come with her?

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

GALE
Sid, I'll come with you.

SIDNEY
But who would operate your camera?

A burn. It comes out of nowhere. Gale goes silent. A

KNOCK at the door. Dewey opens to find a Police guard
standing with Joel.

SIDNEY (CONT'D)
He's cool, Remy.

Joel is ushered in. He says his hello's, moving to

Hallie. Gale and Dewey move out into the hall with the
guards. Sid continues to pack. Her face rigid.

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

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

JOEL
We're under quarantine.

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

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

SIDNEY
It's not a good idea, Hallie.

JOEL
I'll go with her.

HALLIE
Be safe, girl.

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

DEWEY
Sid, you should get going.

He looks at Joel and Hallie.

DEWEY (CONT'D)
Where are you two headed?

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

DEWEY
You really...

HALLIE
I gotta have it, Dewey.

Gale steps in.

GALE
Hey, Dewey?

HALLIE
Seeya, Dewey.

Hallie and Joel race outta there before any more

objections. Dewey turns to Gale.

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

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

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

GALE
Billy had alibis too.

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

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

SIDNEY
Whatever.

Sidney's exterior keeps hardening.

CUT TO:

EXT. DELTA ZETA HOUSE - BACK YARD- LITTLE LATER

Mickey is still tied to the tree. He's so completely

covered in hardened gook it looks like he's wearing
clothes. The last of the crowd has left. They've gone
back to the party. He stands shivering in the cold.

He checks the chain that holds him secure. It's

composed of several bike locks and steel twine. He's
not going anywhere.

BUMP! He hears a noise. He looks to the nearby shrubs

and beyond. Nothing. Just a noise of the night.

MICKEY
(whispering)
Come on, Hallie, baby...

CUT TO:

INT. DEREK'S DORM ROOM - LATER

A dark room. A slight disturbance at the door and it
comes popping open. Light from the hall floods the room
as Dewey and Gale slip in and close the door behind
them.

GALE
(checking door)
You broke the lock.

DEWEY
You broke my heart.

GALE
What are we looking for?

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

GALE
Can we turn the light on?

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

Dewey pulls out his flashlight and begins to search the

room. He sifts through drawers and a closet.

DEWEY
And it's sexier in the dark.

GALE
Dewey, you and I would never make
it.

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

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

DEWEY
We'd break some furniture.

Gale LAUGHS at this. She reaches over and pats his

buttock.

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

Dewey points the light to a framed picture. It's of

Joel and Derek - a buddy pose. She sifts through some
text books on the desk.

DEWEY
They're roomates.

GALE
And Joel's pre-med.

DEWEY
The sorority girl was gutted with
autopsy precision.

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

DEWEY
Hallie?

A moment. Then in a splash, they're outta there.

CUT TO:

EXT. RESIDENTIAL STREET - MINUTES LATER

A squad car makes it's way down the quiet campus

street.

INT. SQUAD CAR - SAME

Sidney sits in the backseat. The two police officers

ride in front.

SIDNEY
Where are you taking me?

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

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

POLICE GUARD #1
Safety precautions.

SIDNEY
I feel like Eddie Murphy.

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

POLICE GUARD #1
We feel like Kevin Costner.

Sidney smiles at this just as the car door rips open on

the passenger's side. Two hands reach in and yank
Police Guard #2 from the car. He starts to CRY OUT but
it's cut short.

Sid SCREAMS as the Police Guard behind the wheel

struggles with his seat belt. He looks up to see a
Ghost Masked Figure move around the side of the car
towards his door. He reaches for his gun but it's too
late. The Ghost has the door open.

A flash of silver and the Police Guard's throat is

slit.

IN THE BACK SEAT

Sidney SCREAMS and SCREAMS, BEATING on the door of the

car. It won't open. She's trapped like a caged animal.

IN THE FRONT SEAT

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

Sidney looks behind her as the guard's dead bodies lay

sprawled in the middle of the road. She turns to the
door, BEATING and CLAWING at it. She leans back, manic,
and KICKS at the window with her feet. No use.

EXT. CAMPUS DRIVE - SAME

The car makes its way down the deserted street

IN THE BACKSEAT

Sidney is beyond frantic. She eyes the Ghost through

the gate. She turns and twists looking for an escape.
Through the window, she sees approaching headlights.
She SCREAMS through the closed window as a car passes
by.

Sidney takes notice as the car turns onto another

campus street. Big, stone school buildings line each
side of a thin, road.

She eyes the Ghost through the rearview window. The

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

Sidney looks to the book bag on the seat beside her.

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

Sid takes the pencil and positions it right behind the

Ghost's head, ready to attack.

Without pause, Sid RAMS the pencil through the grate,

into the Ghost's neck. It lodges there as the Ghost
falls forward in pain, losing control of the wheel for
a moment.

The car jumps the curb and SLAMS against a building.

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

The Squad car makes direct contact with the lamp post,
SLAMMING into it, bringing the car to a CRASHING HALT,
lodging it agaisnt the building's stone exterior.

Smoke rises from a bashed engine as it emits a fatal

rumbling.

INSIDE THE CAR

All is still. In the backseat, Sidney rises from the

floorboards. She looks up to see the Ghost Masked
figure slumped over the steering wheel. Out.

Sid quickly pulls herself together, looking about,

sizing up her options. She tugs on the door handle. It
won't budge. She looks to the passenger's side of the
car. It's flush against the building.

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

CREAK!

Sid tries to stifle the noise it makes, all the while

eyeing the Ghost who remains unconscious. She creates
an opening large enough for her to crawl through. She
lifts herself up and pulls herself through to the...

FRONT SEAT

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

The only way out is through the driver's door.

After what seems an eternity, she slowly reaches over

with her foot and nudges the Ghost. No movement.
Nothing.

She slides across the seat towards the Ghost, moving to

his side. She reaches with her hand and pushes on the
Ghost's shoulder. His body moves, slumping back against
the back of the seat. It clears space for her to pass
through.

She sits up on her feet, facing the Ghost. With her

leg, she reaches over him, straddling him. She leans
against the steering wheel, her arm quickly reaching
for the door knob.

HONK!

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

She looks to the Ghost.

CLOSE ON HER FACE

As she fights with a decision. Then, with a fierce
determination, Sid reaches for the Ghost Mask. She
finds the edge and begins to peels the Mask away
when...

THE GHOST COMES TO LIFE

Lunging forward. Sidney SCREAMS, leaping, falling out

the car door.

OUTSIDE THE CAR

BAM!

Sid hits the pavement hard. She lifts herself up when

her entire body is YANKED VIOLENTLY BACKWARDS.

The Ghost has hold of her foot, pulling her back into
the car. Sidney KICKS and WRITHES breaking free. She
hops to her feet as the Ghost emerges from the car.
Sidney SLAMS the car door shut. It catches the Ghost,
knocking him backwards.

Sid tears off, down the street, running, burning up the

pavement.

CUT TO:

EXT. FILM SCHOOL - MINUTES LATER

The film school sits in the still darkness.

INT. HALLWAY - SAME

Dewey and Gale move down a dark and shadowed hallway.

THUMP! They stop cold.

GALE
Ssshh! What was that?

DEWEY
Let's find out.

Dewey keeps moving.

GALE
This is all too familiar.
 DEWEY
Over here.

Dewey has lead her to a door marked "LECTURE HALL".

INT. LECTURE HALL - SAME

The same room seen earlier. A large, rounded room with

three levels of seats that shoot straight up to the
ceiling. A podium stands center. Video monitors hang
from the ceiling in different places around the room.

Dewey and Gale enter. If not for the red EXIT SIGNS
that hang over the exit doors, the room would be
completely dark.

They move down the first level of chairs to the

lecturn.

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

DEWEY
C'mon. Let's go.

CLICK! STATIC! A noise from above takes their

attention. They looks up as a video monitor comes to
life. Images appear.

CLOSE ON MONITOR

Home-made video footage fills the screen. A movie

theatre, people standing in line. The home camera ZOOMS
in to a YOUNG COUPLE. Maureen and Phil come into view.

ON DEWEY AND GALE

Gale watches the screen as Dewey looks around the room,

searching for it's source.

CLICK! Another monitor comes to life. More home shot

video footage. This time of a big house. A closer look
reveals it to be the Chi Omega Sorority House. A young
girl stands on the front porch talking on a portable
phone. It's Cici.
ON GALE AND DEWEY

GALE
Jesus Christ!

DEWEY
He filmed his victims.

CLICK! ANOTHER MONITOR TURNS ON.

It's Randy standing outside the newsvan with the

cellular phone to his ear.

CLICK! Another monitor turns on. It's of a man and

woman back to the camera. The couple move in frame. It
becomes apparent quick. It's Gale and Dewey. As they
stand in the room - live. They're being taped.

CLOSE ON DEWEY AND GALE

GALE
Shit!

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

carries.

DEWEY
Dammit!

He looks around the room, up to the two levels above

them. He spots a small light on the second level. He
squints his eyes and sees a FIGURE standing behind it.

GALE
Let's go.

DEWEY
No, wait here.

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

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

But Dewey is gone, leaving Gale alone. She turns to the

monitor to see her face in fear-stricken CLOSEUP.

ON THE UPPER LEVEL

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

He reaches it, finding nothing but a camera and tripod.

It sits alone against the railing. Dewey surveys the
second level. Empty seats everywhere. Completely bare.

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

up to him.

GALE
Dewey?

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

Dewey turns to leave, his eye catching a monitor that

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

THE GHOST

Who stands right behind her. Dewey looks down to see

the Ghost standing directly behind Gale.

DEWEY (CONT'D)
Watch out!

DOWN BELOW

Gale turns just in time to see the gleam of a killer's

knife as it darts out of the darkness. Gale catapults,
just dodging it. She moves like lightning up the aisle
of seats.

UP ABOVE

Dewey races for the stairs, going as fast as his

handicapped leg will allow.

DOWN BELOW

Gale tears out the exit door, the Killer right behind
her.
AT THE LECTURN

Dewey arrives, searching, looking for Gale.

DEWEY (CONT'D)
Gale!

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

it.

INT. CORRIDOR - SAME

Gale races down the hallway, eyeing the nearest door.

She tears it open, disappearing into...

INT. SOUND STAGE - SAME

Gale finds herself in the student studios. She stands

in a huge control booth that overlooks a dubbing stage.
Lots of glass walls and doors. It has a maze quality.

Gale moves out a side door and into a dubbing room.

Darkness everywhere Gale stops for a second, listening
as she main door CREAKS open. And then FOOTSTEPS are
heard, making their way towards her.

Gale proceeds deeper into the studio. She moves into a

sound proof room and closes the door. Not seeing the...

GHOST FIGURE

That stands behind her. She turns around and SCREAMS.

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

AT THE MAIN DOOR

Dewey slips through quietly, trying his best to be

quick on his toes. Through the control booth window, he
immediately spots Gale.

INSIDE THE DUBBING ROOM

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

OUTSIDE THE DUBBING ROOM

Dewey moves to the window.

DEWEY
Gale! Gale!

She doesn't hear him. The room is sound proof. He BEATS

against the glass. Still, she doesn't turn to him.

INSIDE THE DUBBING ROOM

Gale shoves everything she can find against the door,

not seeing or hearing Dewey as he POUNDS against the
sound proof barrier behind her.

She also doesn't see the Killer that appears behind

Dewey. He moves on him swift and focused.

INSIDE THE DUBBING STAGE

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

IN THE CONTROL BOOTH

Dewey SCREAMS for his life, caught completely off

guard. He falls forward onto the control panels.
Suddenly, microphone feedback tears through the studios
as Dewey's CRIES are heard throughout the stage.

IN THE DUBBING STAGE

Dewey's DEATH SCREAM rips through the room.

Gale turns to the window to see Dewey, his face smashed

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

GALE
(through tears)
NOOOOOOO!

Dewey's body slides down, out of view. Gale is

mortified. She looks to the Killer who has already made
his way through the control booth. He's coming for her.
She races to the door, throws the things away.

She manages to pull the door open just enough to slide

through. And she's off and running.

Gale finds a door and plows through it, stopping only

long enough to lock it.

BAM! The Ghost RAMS it from the other side but it

holds. Gale surveys her surroundings. She's in a
storage room. She eyes another door. She moves through
it and out into...

THE HALLWAY

Gale shoots down it.

CUT TO:

EXT. CAMPUS STREET - SECONDS LATER

Sidney races down the deserted street. Not a soul in

sight. She reaches a corner, moves off the road and
passes through a series of trees and shrubs, coming out
onto...

EXT. SORORITY ROW - SAME

The houses have long since gone to sleep. The Delta

Zeta House stares at Sidney. Lights burn from within.
Sid goes for it.

EXT. DELTA ZETA FRONT PORCH - SAME

Sid makes her way up the front porch. She POUNDS on the
front door, SCREAMING her lungs out.

SIDNEY
 SOMEBODYPLEASEOPENUPSOMEBODY!

Sid wastes no time, she moves along the wraparound

porch, beating at the windows. But nothing. Everybody
is off partying. Suddenly, Sid hears something. A
WHIMPERING. She turns to find Murphy and Lois, laying,
strewn across the end of the porch. Passed out.

Sid runs to them.

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

Sid kneels over Murphy, shaking her. Murphy's eyes open

and she GIGGLES. The girl is completely wasted. She has
no comprehension skills at all.

SIDNEY (CONT'D)
Do you have keys? I need to get
inside.

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

SIDNEY (CONT'D)
Shit!

Sid contemplates, not knowing what to do. She leaves

them, moving down off the porch and around to the back
of the house. She gets to the back door, tries it. It's
locked too.

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

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

moves toward it.

As Sid approaches she sees clearly that it's Mickey. He

lay on his side, curled, knees to chest, his arm still
chained to the tree.

SIDNEY (CONT'D)
Mickey? Mickey?

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

very much dead.

SIDNEY (CONT'D)
Oh God, no, Mickey...

She kneels over his body just as it stirs, lifting up,

rising. Mickey's face comes into view, coated in dried
funk, his eyes wide.

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

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

MICKEY
What are you talking about?

SIDNEY
He's after me.

Mickey pulls on his chained arm.

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

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

SIDNEY
I'll be right back.

MICKEY
Where you going?

Sidney moves to the shed that's attached to the garage.

Leaning against the side are a row of garden tools. Sid
settles on a shovel.

Sid returns to Mickey who has risen to his feet. He's

pulling and twisting the bike chain that binds him.

SIDNEY
Watch out.

Sid lifts the shovel up and brings it down directly on

the lock. It bends somewhat but stays in tact.

MICKEY
Do it again.

CLANK! A noise behind them. They both spin around

peering into the night.

MICKEY (CONT'D)
What was that?
 SIDNEY
Don't panic.

Sidney, determined, raises the shovel high and brings

it down with great force. It CRACKS the lock, loosening
it.

Mickey pulls on it. It won't quite give.

SIDNEY (CONT'D)
Watch out.

Sid raises the shovel again, unfaltering. She doesn't

see the Ghost Masked Figure that slides down from the
tree branch behind her. The Figure moves quickly and
gracefully, coming to a stance directly behind Sid.

Mickey looks up, just in time.

MICKEY
SIDNEYWATCHOUT!

Sid turns just as the Killer strikes. But Sid is ready.

Without thought, she swings the shovel at the Ghost,
catching his mid-section, sending him flying.

Mickey goes ballistic chained to the tree. He pulls,

twists, squirms... anything to free himself.

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

SIDNEY
Hey.

Sidney distracts the Ghost. She takes off, the Ghost

following her. She moves around the tree, sprinting
across the yard, running smack into...

THE GHOST MASKED KILLER

But Sidney spins around as two Ghosts appear on each

side of her. She stands THUNDERSTRUCK as the two
Killers descend on her. She dives between the two but
they counter, keeping her surrounded.

Sid watches as one of the Ghosts withdraws his knife.

She turns to the other. His knife is already poised.
They close in on her, ready to strike.

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

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

MICKEY
Run, Sid...

Sidney makes her break, she runs passed them, towards

the front of the yard.

Mickey leaps to his feat. The Killer right behind him.

He now finds himself in Sid's predicament. He doesn't
know where to run. The two Killer's close in on him.

Sidney gets to the corner of the house. She stops...

she doesn't want to leave Mickey. She turns back around
just in time to see...

Mickey sandwiched in between the two Ghosts. They're

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

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

EXT. STREET - SAME

Sid is back on the campus street, running down the

middle of it.

She spots a car stopped at a red light half a block up.

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

She turns finding herself alone in a parking lot. The

theatre sits in the distance. She spots someone
entering the theatre. It looks like Hallie.

SIDNEY
Hallie?

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

CUT TO:
EXT. CAMPUS MINUTES LATER

Gale races down the empty campus street. She eyes an

emergency phone that's attached to a street lamp. She
goes for it.

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

VOICE
(from phone)
What is your emergency please?

GALE
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 disappear 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 emeregency lock. She makes her way
down the aisle toward the orchestra section.

SIDNEY
Hello?

The stage is dark and bare with the exceptions of the

furniture from the DEATHTRAP set. BUMP! A noise from
the stage wings.

SIDNEY (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 comes PLOWING down at her. She
leaps out of the way, falling to the floor.

The wall falls into place on the stage. It is the back

wall of the set that's dressed with framed pictures and
antique weapons and...

DEWEY

Who hangs from it, pinned up against the wall, very

much deadk, arms outstretched, crucified. His body a
bloody mess. Sidney stops, stunned. She stands frozen
in unspeakable horror. Her entire being ripped apart.
She breaks into tears. And then...

Sid backs up, moving, racing toward the wings when

another wall flies in, sealing the backstage area off,
trapping her. She looks in shock at...

HALLIE

Strung up, her body hanging lifeless. Sid SCREAMS,

turning, running to the other side of the stage when a
third wall comes flying in, creating the three walled
set of DEATHTRAP.

Attached to it, is the body of Joel. Dead. Blood

everywhere. And then, Sid hears...

CLAPPING!

A single pair of hands from somewhere in the house...

applauding. She turns around and spots a FIGURE moving
down the aisle. She can't make out who it is.

Sid bolts. She spots the set door up center, near

Dewey's body. She goes for it, ripping it open to
find...

COTTON WEARY STANDING IN THE DOORFRAME

Sid SCREAMS. But then sees his face, he looks scared.

And then, Cotton's body falls forward to the floor, his
arms and legs bound by electric tape.

Sid turns back to the front of the stage. The Figure is

now walking across the bridge, holding something... a
light attached to a video camera. 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 her, 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 little 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 they 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 much
alive.

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

Sidney stares in mortal shock as Hallie cuts herself

down from the wall with a big hunting knife.

DEREK
Need some help, honey.

HALLIE
I got it..

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 life?

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/Mallory-Woody
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, line...

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 glamour in that?

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

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

DEREK
We're hoping for the death penalty.
I have this whole DEAD MAN WALKING
swan song exit 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 tries to finish undoing
them.

HALLIE
A twist ending if you will.

DEREK
Yeah, we really had our work cut
out for us. It really is the curse
of the sequel. The Billy/Stu
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
little 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 stage. She sees Sidney standing
over Cotton. And then Hallie and Derek on either
side... knives in hand. She races down the aisle.

GALE
Sidney!

ON STAGE

They all turn, spotting Gale. Sid moves forward, happy

to see her.

SIDNEY
Gale!
IN THE AUDITORIUM

Gale moves down the aisle, not sure 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 to 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.

CLOSE 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 the 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 husband. 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 incouraged him to kill
your mother? He was a smart kid but
children need parental guidance.

Sidney is completely horror stricken. She stands in

total disbelief.

DEREK
Yeah, 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 as a bullet through the
forehead sends Hallie flying back against the flat
wall. Her body drops to the floor. Dead.

Derek drops the camera, completely taken back. He looks

to Debbie.

DEREK
What are you...
Debbie turns the gun on him. FIRES AGAIN. Derek moves,
the bullet catches him in the stomach. He drops to his
knees. Debbie FIRES again. Derek takes another bullet.
This time dropping. Very dead. His body falls near
Cotton who has remained suspiciously quiet through this
ordeal. He eyes Derek's knife that now lay near his
wrists.

SIDNEY AND GALE

Turn to Debbie in complete horror.

DEBBIE SALT
Nice kids but a little out there.

GALE
What are you going to do?

DEBBIE SALT
Finish what my son started.

GALE
But 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.
Cotton 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 his 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 down 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 pit. 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 between the scrim and the back
wail. She races down it.

She almost reaches the end when COTTON RIPS THROUGH THE
SCRIM!

Sidney ducks, bypassing him. She comes to the stage

door. 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 HANGING FLATS, THEN DOWN THE FLY
RAIL, BACK TO THE STAGE. SID GETS FINDS A KNIFE AND
STABS COTTON.

HE STABS HER BACK. THEY FIGHT, CONTINUING TO STAB EACH

OTHER UNTIL THEY BOTH DROP CENTER STAGE. THEY LAY NEXT
TO EACH OTHER, NEITHER ABLE TO MOVE. THEIR EYES SLOWLY
CLOSE.

THE END (FOR NOW)