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 <a href="/search?terms=%23l" data-href="/search?terms=%23l" data-capture="hashtagClick" class="hashtag-link">#l</a>
I got so scared my bladder rolled.
GIRL <a href="/search?terms=%232" data-href="/search?terms=%232" data-capture="hashtagClick" class="hashtag-link">#2</a>
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 <a href="/search?terms=%232" data-href="/search?terms=%232" data-capture="hashtagClick" class="hashtag-link">#2</a>
Sidney, did you know the victims?
REPORTER <a href="/search?terms=%231" data-href="/search?terms=%231" data-capture="hashtagClick" class="hashtag-link">#1</a>
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 <a href="/search?terms=%233" data-href="/search?terms=%233" data-capture="hashtagClick" class="hashtag-link">#3</a>
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.
