Screenplay by Kevin Williamson
EXT. MOVIE THEATRE - NIGHT
An old preserved movie theatre. The kind only found in
a small town. Very picturesque. The marquee in front
"SNEAK PREVIEW TONIGHT
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.
I hate scary movies.
It'll be okay, baby, I'll hold your
If we hurry, we can still catch the
Sandra Bullock movie.
We got free tickets.
He pulls her close, snuggling with her.
EXT. BOX OFFICE
Maureen and Phil reach the box office, presenting their
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.
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.
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.
I don't think so.
Phil gets in her face, playing with her. She swats him.
Take it off.
"BASED ON THE BOOK "THE WOODSBORO MURDERS" BY GALE
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.
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.
Now why does she have to be naked?
How does that serve the plot?
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.
A menacing VOICE responds.
Who is this?
You tell me.
IN THE THEATRE
Maureen is not having a good time. She's already
I hate this shit.
The phone rings again.
Why did you hang up on me?
Who is this?
IN THE THEATRE
Maureen shifts in her seat.
Why doesn't she just hang up and
call the police? Stupid..
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
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
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
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.
I got so scared my bladder rolled.
You chicken shit. It's just a
GIRL # l
No, it really happened. It's a true
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.
I'm sorry, I'm sorry but I had to.
It was too easy.
You are so not funny.
Phil takes her in his arms.
Come on, baby. Lighten up a little,
I get scared really easy, okay.
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.
I just have a hard time with
insipid, sexist violence.
(nibbling her neck)
We can still Sandra Bullock it.
Sandra started without us. We can
stay. He kisses her again, then
Yeah? Okay. I gotta whizz. Meet me
Want some popcorn?
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.
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
INT. DARK THEATER - SECONDS LATER
SCREAMS and GASPS from the audience as the movie plays
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."
Maureen makes her way back to her aisle seat. She sits
down next to...
Who sits with the mask on. The reflection from the
movie bouncing against it in the darkness.
Give it up.
She sits down, with the popcorn.
How many stabs did I miss?
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.
Why doesn't she run?
Phil turns to her, bringing his finger to his masked
lips, SSSHHING her.
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
IN THE THEATER
Everyone in the theater is SCREAMING. Maureen tries her
best to detach herself from the movie. She eats her
This is so tired.
She turns her attention to Phil.
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.
Whatsa the matter? Can't I get your
The young girl is running through the yard. The Ghost
Killer is right behind her, chasing her... she
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
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
Maureen stares at her hand...
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.
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...
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.
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
APPLAUD AND CHEER
Maureen, swaying from side to side, turns to the crowd
and emits a HORRENDOUS BLOOD CURDLING SCREAM as...
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.
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
Hello... uh-huh... Who is this?
Well, we identify ourselves around
here. No, you can't. Uh-huh...
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.
I got it.
She stands and moves to...
Her roommate and friend. An attractive young black
woman. Twenty at most. Brazen. Fun. Full of life. She
hands the phone to Sidney.
Knock yourself out.
A VOICE spits out of the phone. Deep and haunting.
Sidney doesn't flinch.
What's your favorite scary movie?
Who is this?
You tell me.
Sidney grabs a small device hooked to the phone. She
takes a look at its display.
Cory Gillis. 442-8730.
Hot flash, Cory - prank phone calls
are a criminal offense prosecuted
under penal code 653M...
CLICK! The phone goes dead.
Enjoy the movie.
She hangs the phone up, turning to Hallie.
Time to change numbers again?
Nah... I think it'll die off. It's
opening weekend. Let's see how it
Sidney grabs her robe and shower bucket as Hallie
channel surfs. Various morning news programs are on
their small TV. Snippets are heard.
"... The two victims, Maureen Evans
and Phil Stevens..."
The channel switches. A YOUNG MAN is being interviewed.
Attractive, sullen. Sad.
Please, I just wanna be left alone.
His voice stops Sidney cold. She turns to the
He sure gives a lot of interviews
for someone who wants to be left
Hallie hits the remote. The man's image disappears as
the TV goes off. Hallie turns, all smiles.
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.
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
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.
Pumps. Nice handbag. Whaddya think?
Sid is surprisingly cool. She exits out the door,
leaving Hallie staring at the Ghost Mask in her hands.
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.
Sidney, did you know the victims?
Do you feel responsible for the
Microphones are shoved in her face as Sidney is seiged
upon by journalists and TV cameras. She starts to
Do you think there will be more
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.
Did you kill them last night, Sid?
Has it gotten to you? Have you
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...
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.
Quick, get outta here.
What's going on?
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.
(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...
She looks at him. Her face a book of questions.
What's going on, Dewey?
He smiles at her. A safe, warm smile. His face as cute
It'll be alright.
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
Three hundred people watched?
Nobody did anything?
They thought it was a publicity
Oh my God. How could it happen?
They don't know. It was carefully
planned. Earlier in the day the
victims received anonymous passes
to the movie.
It's a copycat killer I knew this
would happen. That fucking movie.
The cart comes to a stop in front of a building.
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.
Look, Sid, why don't you take off?
Disappear for a few days. I'll come
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
Nothing will happen to you. I
Sid's tough demeanor is cracking. She takes a deep
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.
You go, it's all stairs, I can take
it from here.
Dewey, I'm completely equipped with
mace, alarm whistle, keyring,
knife, a degree in defensive
Just in case...
No. This is nothing, Dewey. I'll be
okay. Go back to work and let me
get back to my quasi pseudo-happy
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
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
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
Gale's CAMERAMAN can be seen behind her, in the van
fussing with equipment.
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.
Hey, what was the name of that
The guy looks up at her. It's RANDY. Two years older
but still the charming jokester.
HE KNOWS YOU'RE ALONE. MGN/UA.
1980. Tom Hanks' first film.
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.
Pressure's on. You ready for this?
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.
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
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
Sequels are too handicapped. By
definition alone, they're inferior
Hallie sits on a couch next to MICKEY, 20's, atheletic,
cool and rowdy. Arms enwrapped.
Bullshit generalization. Many
sequels have surpassed their
ALIENS Far better than the
Life's subjective. I much prefer
The conversation overlaps, everyone arguing... making
their point about ALIENS VS. ALIEN.
No way. ALIENS rocked. "Stay away
from her - you bitch."
I'll give you that one. Name
You've got a hard-on for Cameron.
A bigger budget does not make a
better movie. TERMINATOR one is
Someone screams out, "You Sarah Connor?" as the
TEACHER, a young artsy type, speaks up.
How about THE GODFATHER PART II?
Ooooohhh. The whole room goes worship silent. All in
The almighty exception. Name
A YOUNG MAN, handsome and smooth, jumps into the
conversation. His name is Derek.
EMPIRE STRIKES BACK. Smarter story.
From the back of the room, Sidney watches him. Fixated.
I liked JEDI. With the furry
Everyone BOO'S. "Ewoks blow."
Lucas and his Romper Room stage.
I got. I got it. FRIDAY THE 13TH,
Case in point. The entire horror
genre was destroyed by sequels.
Really? And why do you think that
Sequels suck. Hello. It becomes
about: money and no one's
interested in quality.
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.
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.
The point is - I made my point.
INT. CORRIDOR - SAME
Derek and Sidney move out into the hallway. Derek
throws his arms around her protectively.
How are you? You weren't in class.
I called as soon as I heard...
I skipped. Too many "That's her"
I'm sorry, baby. What can I do'?
Don't ask what you can do. No
coddling. Life rolls on status quo.
He looks at her with bedroom eyes.
I can do that. And I can also do
He moves on her, wrapping her in his arms and kissing
her passionately. She breaks away, laughing.
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.
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
(reading from a
"... 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
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
Look, I'm sorry about the face.
Job hazard. Debbie Salt, stringer -
NEWSWEEK. Answer a few questions?
What are you doing here? I thought
you had retired from field
The woman has immediately put Gale on the defensive.
TWO OTHER REPORTERS have taken notice. Suddenly,
CAMERAS are on Gale.
Well, you know I'm dear to the
And much richer as a result.
Do I know you? You look familiar.
I took your vulture seminar seminar
at Berkeley last year.
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.
Guys, you're missing the show.
And with that Gale wanders off into the crowd.
The LOCAL SHERIFF, a smart looking guy in his 50's is
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
But what are they doing? He's
talking but he's not saying
Sounds like they don't know
Do you think they'll cancel Hell
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.
Have they questioned you yet, Sid?
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?
I have rehearsal.
I have to watch rehearsal.
Hallie kicks him. Joel moves to Sid.
I gotta hit the library. Anatomy.
Some of us have real majors. You
gonna be okay, Sid?
You're not allowed to ask that.
I'll stop by the Deltas tonight.
Joel smiles, heading out as the two sorority girls,
Lois and Murphy saunter over.
Hello, pledges. Enjoying
Instantly, Hallie stands at attention. Sidney joins
Yes, sister Lois. Very much so.
Thank you for asking.
Good. We need your help, pledges.
Are you familiar with the Deltas TP
The pledges shake their heads. Suspicious. Lois
withdraws two rolls of toilet paper from her book bag
and passes them out.
In our efforts to raise money for
our favorite cause...
... this week's TKE kegger...
Ne ask that you sell individual
squares of toilet paper for a mere
nickel a piece.
We've set you each at a five dollar
Come on, guys. Uncool.
Am I getting fraternity
It's okay. I can peddle toilet
Sid, you don't have to.
Sidney takes her toilet paper.
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.
How do you put up with this Greek
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...
Their eyes meet. A long moment. The silence between
them is revealing.
I've been trying to reach you but
you haven't returned...
I'm on crowd patrol, Miss Weathers,
He tips his hat curtly, then starts off. She stops him.
The name's Gale, remember'?
He turns on her. His eyes on fire.
Yes, Miss Weathers, your name is
embedded clearly between my ears.
I see you read the book.
Yes, I do retain reading skills.
And an explanation is, of course,
out of the question.
Page 32. "Deputy Dewey filled the
room with his dim-witted Barney
Fifish presence." I think you've
Oh Dewey, I'm sorry.
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.
You have every right to be upset.
Page 41. "Deputy Dewey oozed with
I never meant to imply...
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
Gale is at a loss.
I'm sorry. I don't know what else
to say except I'm sorry.
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.
The sheriff continues fielding questions from
No, there has been no evidence that
more than one killer is
ACROSS THE WAY
Sidney and Hallie have split up. They move through the
crowd selling toilet paper. Several STUDENTS make their
Sidney pockets her change, looks up to see Gale,
standing alone. She goes to her.
Sidney. Hello. How are you?
I'm okay. PEOPLE magazine won't
stop calling but other than that...
Yeah, well... you are the
definition of mixed emotions. I
really should hate you... I see
your movie's getting good reviews.
It seems to be causing a stir.
What's with the toilet paper?
It's hell week. I'm pledging the
It's good to see you involved.
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.
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.
He moves to her.
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.
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.
Sidney storms off, disappearing in the crowd. Cotton
turns to Gale. His face pained.
This was a mistake. I shouldn't be
He takes off, pushing through the crowd. Randy stops
Can you say backfire?
Did you get it?
Yeah, I got it.
Randy is clearly not happy about his part in this. It's
in his voice.
You need to check your conscience
at the door. We're not here to be
Randy's face reveals otherwise.
AT THE PODIUM
The sheriff continues.
No, we don't anticipate another
murder but we are taking every
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.
No, they broke up again. Bailey
won't stop drinking and Sarah can't
take it anymore.
GIRL ON PHONE
Thought he was doing AA.
No, he quit - the whole God thing -
he has issues. The previews for
BEEP! BEEP! Call waiting bleeps through.
Hold up... someone's calling. (she
clicks over) Chi Omega House.
A MAN'S VOICE. Deep and alluring.
Who is this?
Cici. Who's this?
Someone who wants to talk to you.
Ted? Where are you? Are you
drinking? Hold on.
She clicks back over.
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.
GIRL ON PHONE
Don't. Think Bailey.
Alright, alright... I'll call you
She clicks back over.
Okay, Ted, you sound loaded. What's
Realizing, it's not Ted.
Oh, I'm sorry. My bad. I thought
you were someone else.
Who do you want to speak with?
Where is everybody?
We're co-sponsoring the Acid Rain
mixer at the Sig Ep. house tonight.
Why aren't you there?
I'm designated driver. I have to be
here in case a sister calls and
needs a ride.
That's too bad.
"Drink with your brain." That's our
motto. Who are you calling for?
What if I said you?
What if I said goodbye?
Why would you wanna do that?
Why do you always answer a question
with a question?
I'm impatient. Look, do you wanna
leave a message for someone?
Silence. No response.
Hello? Hello? Where'd you go?
Silence again. And then...
Do you wanna die tonight, Cici ?
Almost a whisper. Simple. Direct. His voice pierces
Cici. Her eyes widen. BEEP! Call waiting CLICKS
Just a second.
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?
No, some creep asshole trying to
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
GIRL ON PHONE
What is it?
I heard a noise.
GIRL ON PHONE
BUMP! Something moves upstairs. It sounds almost like
Shit. Cici moves to the staircase.
She peers up it.
GIRL ON PHONE
(… la Friday the 13th)
Kill, kill, kill, kill, hah, hah,
GIRL ON PHONE
I can't believe you're alone in
Cici looks up the staircase again.
I don't think I'm alone.
Floorboards CREAK above her. Cici freaks.
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?
GIRL ON PHONE
Cici looks up and down the street. A YOUNG GUY walks
along the sidewalk.
(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.
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
Don't do that. Hang up... call...
What? I can't hear you...
GIRL ON PHONE
Hang up... call...
I'm losing you.
GIRL ON PHONE
... campus security... send
someone... check out... place...
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
She tries the phone again. It still won't connect. She
moves back to the front porch. It connects. Major
static. She dials 511.
Hello, I'm calling from the Chi
(too much static)
I'm sorry. I can't hear you. Hello?
Cici eyes the open front door. She inches back to it.
Can you hear me now?
We... bad..connec... call back.
The phone goes dead.
Cici redials. The same static.
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.
I'm calling from the Chi Omega
house. Someone is harassing me.
There's no one on the line.
SUDDENLY, A FIGURE APPEARS BEHIND HER. A HAND GRABS
Cici spins around, SCREAMING BLOODY MURDER.
Did the phone ring?
Standing before her is DAWNIE, a young girl, sweet, pre-
Jesus, you scared me. What are you
I live here.
I thought you were going to the
I had to change. Did anyone call?
Just some asshole trying to scare
The front door remains wide open. The phone RINGS. Cici
stares at it in her hand. She doesn't answer it.
Are you okay?
Cici nods, answering the phone. ROCK MUSIC BLARES from
We need a ride. Taxi! Taxi!
Where are you?
We're at Grogs and need a ride to
Who is it? Is it Tina?
They're at Grogs.
Dawnie grabs the phone, moving into the living room.
She moves to a mirror and fusses with her hair.
Tina, it's Dawnie. I'm on my way.
Cici follows her back into the
I'll go. I don't mind. Really.
Dawnie hangs up the phone, turning to Cici.
Take the next one. You should set
the alarm. There's a killer on the
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.
Is Cici there?
Dawnie throws her the phone and races out the door.
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.
No, it's me.
Cici nearly collapses. She's starting to lose it.
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
She turns to the phone that's attached to a nearby
wall. It RINGS AGAIN. She reaches for it, answering it.
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.)
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
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.
Looks like we have a winner.
Sid sits up. Macaroni and whipped cream is all over her
face. She smiles the victor. Everyone APPLAUDS.
Sidney gets to skip the next round
of Bulimia bingo.
Hallie, a face full of grime, eyes Sid.
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
Where have you been'? You missed my
shining moment. I won the macaroni
I'm sorry honey. I got behind.
ON HALLIE AND MICKEY
Mickey is cleaning off Hallie's face.
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.
(complete throw away)
The forbidden subject.
He shakes his head.
Suddenly, a FRAT BOY pops into the room.
Yo, guys, outside. Something's up
at the Chi Omega. Police are
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
CLOSE ON SIDNEY'S FACE
INT. CHI OMEGA HOUSE - SAME
Captain Tyler, the Sheriff, police, FBI... the house is
crawling. Dewey sifts around on his own, checking
IN THE KITCHEN
Captain Tyler and the Sheriff stand at the shattered
Lots of blood. But no body.
Have you checked the...
Attic, garage, basement, nothing.
Take the neighborhood.
The Sheriff turns to his men.
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.
It's starting all over again.
Lemme take you home.
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.
The VOICE. Low and haunting. Sidney closes her eyes.
When she opens them tears are immediate But still, she
refuses to crack.
Who are you?
Soon, Sidney, soon.
What do you want?
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.
Then come and get me.
And with that Sidney hangs up the phone, SLAMMING it
down. Silence. And then...
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.
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.
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
Derek. He's in the house. Help...
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...
She scans the yard, the Ghost Figure has completely
disappeared. She moves behind a big tree, hiding behind
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...
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
She turns, SCREAMING.
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
We don't know if it's random. We
haven't been able to connect the
The first two were stabbed without
thought. The sorority girl was
gutted with autopsy precision.
Christ! Just do something. I will
not have a repeat of Gainesville.
Not on my campus. .
Dewey listens to this exchange, slowly stepping
Sidney Prescott, sir.
They both turn to him.
She's the connection.
We know that, son.
The killer was trying to get to
her. That sorority girl was a
We're aware of that.
Sheriff Hartley steps forward.
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.
Look, son. I know you've lived
through this, but we got it under
control. Why don't you have some
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.
Thank you, Miss Weathers for coming
Of course, what can I do?
Captain Tyler gives Dewey a patronizing pat on the
back, sending him off.
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
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.
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.
This is a complete copycat. Your
killer is even going in sequence.
Captain Tyler sits up.
Who was the next victim in
In the book or in the movie?
Let's try reality.
Mr. Himbry - the principal was the
next victim. However, in the movie
version, Tatum Riley was killed
next. Dramatic license.
Jesus Christ. Captain Tyler flies
out of his seat and into action.
(to his men)
Find me every variation of Himbry
and what was the other name...
Dewey speaks up. His voice soft but heard. The entire
room stares at him, knowingly. Gale's eyes find his. He
Both on campus and the surrounding
community. I want names ASAP.
I'll get you full access.
The room breaks into a fury as they jump into action.
Gale stops Captain Tyler.
What about Sidney? Is she safe?
She's completely insulated. I've
got my top men on her.
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.
How many guys they have on you?
I counted four.
Hallie reads from a notebook in her hand.
Okay, you're sure about skipping
Please, I have the perfect excuse.
What about rehearsal?
I'll cover you through rehearsal.
Derek when do you get outta docu-
So you'll relieve me at 2:30...
And watch her til 8:00 - I've got
Perfect. I'll be outta Micro-bio
and we can grab a bite.
Guys, guys, I'm sorry but, no way.
Shut up. Mickey, you and I can take
her late evening.
Sig Ep's gotta band, tonight.
This is exactly what I don't want.
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.
Sid, I'll seeya tonight.
Derek kisses her sweetly.
My screwed up life shouldn't have
to bleed onto my friends.
Let us decide that.
What about your film? Isn't it due
next week? Have you even started
It's under control.
He kisses her again.
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
Hi, Gale, any leads?
Tons and tons.
Where is Sidney's father?
Home - where he lives.
And are the police sure about that?
Why don't you ask them?
Already did. He's the perfect
suspect, don't you think?
No, I don't.
Parents are always responsible. It
all starts in the home.
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.
It's the Killer. His voice is unmistakable.
Who is this?
I'll give you one guess.
Gale knows immediately. She looks around for help. A
CAMPUS COP is across the lobby.
Who are you?
That's not the way we play the
I don't play games.
What if your life depended on it?
Gale gets testy with him.
What do you want?
You're pretty when you're angry.
Gale stops cold. She looks around. The place is alive
with people. He could be anywhere.
Where are you?
She continues moving to the Campus Cop.
Oh - a God complex
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
What do you want from me?
It's what you want from me.
What do you mean?
You are writing another book,
aren't you? That's why you're here.
The story's not over.
You're getting obvious.
No, Gale, I'm just getting started.
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...
They both GASP.
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.
"Pain, yah, such pain. Pain."
An awkward silence. Everyone looks at each other.
Finally, Lois, the bitchy sorority girl speaks up.
That's not the line. You jumped.
Shit. Did I?
About a page.
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
That was good.
The DIRECTOR, mid-30's, intelligent, friendly.
Sid, why don't you get outta here?
We'll pick this up tomorrow.
Sid nods in agreement. The Director smiles at her.
Work on the accent.
She grabs her things and heads off with Hallie when...
Sid turns to find Randy moving through an aisle. He had
been watching rehearsal. Sid's face tenses.
Who is that guy?
It's okay. Look, Hallie, I'll meet
No, girletta, I don't leave your
I've got my entourage. Take a
Sid is definite. Hallie backs off, heading up the
aisle, against her better wishes.
What do you want?
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.
Do you work for her now?
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
Me, too. Randy. Me too.
He nods, knowingly.
Wanna get outta here?
INT. CAMPUS SECURITY STATION - AFTERNOON
Gale and Dewey are with Captain Tyler and Sheriff
If he calls again - find help.
Don't engage him in conversation.
I'm gonna put a man on you - to
I can do it, Captain.
Thanks, Dewey, but I was thinking
I'd pull Jesse off...
I'd prefer Dewey, Captain.
Tyler doesn't argue. He's too crazed. Dewey avoids
How's the name search going?
37 usages of Himbry located in the
registar's office. 9 Tatum's, 47
Riley's. And that's just on campus.
INT. CINEPLEX MOVIE THEATRE - LITTLE LATER
A movie is in progress. STAB.
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.
Oh, God, Billy, you scared me. What
are you doing here?
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.
You okay, Sid?
Tori Spelling and Johnny Depp continue their dramatic
When my mom left my dad, I accepted
it. That's just the way the cookie
crumbles. Moms leave.
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,
IN THE THEATRE
Sidney grows increasingly uneasy.
INT. STUDENT CAFETERIA - LATER
Mickey, Joel, and Derek are crowded around a table in
the Student Union Cafeteria.
My documentary is due on Tuesday.
What's your subject?
I WAS A SORORITY SLUT.
You should of done it on Sidney.
That would have been a cool.
She wouldn't let me.
Not with Primetime Live and 20/20
coming at her. I'd save my shit
Hallie comes waltzing up.
Damned if I know. She ditched me.
You weren't supposed to leave her
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.
I've been waiting for you, baby.
Is that cool? Just to leave her
She's got guards with her.
Randy Meeks. He was with Sid that
night in Woodsboro.
Her old boyfriend?
No, she killed her boyfriend. Randy
was a friend.
Watch out, Derek.
He tried to kill her first.
Is Sid in therapy?
She was for a while. Gave it up.
How do you know so much about her?
I read the book.
I could use some therapy.
Should we be worried about this
guy? Isn't it kinda weird he just
showed up and now people are dying?
He seemed harmless.
Aren't most serial killers
Easy black boy.
It's documented. Most serial
killers are attractive - slightly
off white males in their twenties.
That's you, honey.
Hallie kisses Mickey again.
I got a surprise for you.
Suddenly, he leaps up on the cafeteria table and begins
to sing at the top of his lungs.
"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...
Don't do this.
"And IIIIIIIIIYEIIIII will always
love you OOOOOOWUOOOOOOOO will
always love you."
Everyone has taken notice. They begin to cheer and sing
I think he's doing Dolly.
"And I hope life treats you kind
and I hope you have all you dreamed
of offffff. I wish you JOYYY."
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.
Isn't that a big no-no?
I think so.
Hallie breaks away. She swats him.
You're going to get it. You know
But I love you. And I want the
whole world to know it.
Hallie smiles, her eyes misty. Derek and Joel eye each
INT. CINEPLEX MOVIE THEATRE - LITTLE LATER
Sid and Randy continue watching the movie. The guards
behind them are way engrossed.
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.
Why did you kill my mother?
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.
My mom was no whore. Don't you say
Whore! Whore! Whore! Whore!
Tori starts to cry.
IN THE THEATRE
Tears find their way down Sidney's cheeks.
Johnny Depp and his murderous sidekick start stabbing
It's the perfect alibi, Sidney.
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.
Sidney spins around. Cotton Weary stands before her.
shoulders slumped, his face pained.
Can we talk?
I don't think that's a good idea.
Look, yesterday wasn't my idea.
That was all Gale and dollar signs
What do you want from me, Cotton?
You could start with an apology.
I did that.
You wrote me a letter. Very
cordial. Very appropriate.
How? What could I say that would
make a difference? I took away a
year of your life - how do I
apologize for that?
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.
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.
I just thought if I saw you face to
face, maybe it would help.
It helped me realize one thing.
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
Sid nods as she watches the officers arrest him. They
do a body search, pulling from his coat a large
revolver. Cotton just smiles.
EXT. CAMPUS LIBRARY - LATER
Sid and Randy walk up the steps to the school library.
The ever helping guards behind them.
I don't know. I don't think Cotton
did it. It's too predictable.
If he's innocent he'll have an
I guess Gale's going to be pissed
she missed her exclusive.
I'll relay it. You sure you don't
wanna go home?
I have this button I press. See? It
She mimes an air lock valve.
I gotta coupla of those buttons
There's something sad about this exchange. These two
people understand each other
Thanks for the movie, Randy.
Anytime. Sorry it sucked. It just
had that been there done that
Sidney watches as Randy shoves off, disappearing across
campus. Sid turns to find Derek leaning against a pole.
I had the four o'clock shift. You
weren't there. You had us worried.
Is everything okay?
No, it's not.
I don't really know what happened
in Woodsboro, Sid. But I know you
don't trust me.
It's not you, Derek. I don't trust
myself. I tend to make big
selection errors when it comes to
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
A long moment. He looks at her, hoping she'll say
I'm sorry, Derek.
Derek nods. So that's how it's going to be. He turns
and wanders off, not looking back once.
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.
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
Gotta go, call me when you have
something nice to say.
Gale hangs up, she looks to Dewey. Smiles.
So what made you change your mind
Mood swing. I'm manic depressive.
You're a hard one to figure out.
It's that complex yet shallow
quality. It's deliberate.
I think you're all an act.
And deep down I'm a good person?
Make no mistake, Dewey, I'm a shit.
I know that.
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
Gale stares at him, stunned. A moment as the tension
swirls about them.
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.
After my spinal cord was damaged I
was laid up for over a year. A lot
can happen when you're on your
They're nearly touching now. Just then, Randy
What'd I miss?
Gale backs away from Dewey, breathless. Her cellular
phone RINGS. She eyes Dewey, then hands it to Randy.
I'm not here.
Randy takes the phone.
She's not here right now.
But she's standing right next to
Shit! Randy motions to Gale and Dewey. It's him. He
points around campus, mouthing "He's watching." Gale
Keep him talking.
Gale and Dewey race off, across the grassy area where
STUDENTS come and go.
He holds the phone, scared, not knowing what to say?
So... what's your favorite scary
movie? No response. Silence.
They'll never find me.
Randy eyes Dewey and Gale, they move through Students,
What do you care? Let 'em have
their fun. So, what's up?
What's your favorite scary movie?
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?
Closer than you think.
ON DEWEY AND GALE
They move through passing STUDENTS.
He has to be nearby. He likes the
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.
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.
Do you want to die?
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
It's okay. C'mon, Gale.
BACK ON RANDY
Randy won't let up. He continues dissing.
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.
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
Gale's SCREAM is heard all over campus.
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
Captain Tyler and Sheriff Hartley share frustrated
He's broken his pattern.
They've broken their pattern.
You're sure about this two person
Broad daylight, a crowded movie
theatre. This is too much fun for
Different UNIFORMS whirl by.
I would say we are now officially
On national television.
Sheriff Hartley looks up as REPORTERS flock them,
surrounding them in questions.
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
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.
Confused, she tries to make it stop but it won't. She
leans back, turning to the GUY next to her. A handsome
Excuse me? Did your computer just
The guy leans over and takes a look at Sid's monitor.
You have an instant message, that's
all. Just hit ALT M.
I'm not signed on.
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.
He's here. He's in the room right
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
"THE POLICE CAN'T SAVE YOU."
CLOSE ON SIDNEY'S FACE
It's stone pale. She takes a deep breath and begins to
ON THE MONITOR
The words "FUCK YOU" appear. Sid hits "SEND".
INT. CAMPUS SECURITY STATION - PRIVATE OFFICE - LITTLE
Captain Tyler and Sheriff Hartley are drilling a very
subdued and cool Cotton.
What better alibi could I have? I
was here in custody.
Maybe you don't work alone.
Yeah, that's it.
Why did you attack Sidney Prescott?
There was no attack, we were
talking. Very heatedly. Miss
Prescott and I have a very
complicated past. That's no crime.
And the gun?
I have a permit. It's registered. I
have a legal right to carry it.
Why do you need a gun?
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
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.
How you doin?
Not good. How you doin?
Just then, the Sheriff and Captain emerge from their
office. Cotton is escorted out behind them. Gale moves
Can't we hold him?
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.
He stands at a counter, signing forms. Gale approaches.
What's going on, 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?
Did you do it?
She looks him dead in the eyes.
Now, Gale, you were so instrumental
in my freedom. You're not having
character doubts now, are you?
You have a right to be angry.
No, Gale, I don't have any rights.
You made sure of that.
Cotton, I've done nothing but help
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
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.
Don't do anything stupid, Cotton.
You've come to far.
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.
Night's coming. I think its time to
beef up security on the Prescott
Where is she?
She was just escorted to her dorm
Is she safe there?
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
That doesn't work, sir.
You're just isolating people.
You're giving the killer a blank
EXT. CAMPUS - NIGHT
Day turns to night and college life comes to a deadly
stand still as everyone observes the imposed campus
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
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
It's all about sisterhood.
Everybody thinks its about partying
and blowjobs but...
... we only promote safe rubbered
... it's really about family and
... harmonica style is okay.
I just love being a sister.
Mickey approaches as Derek finishes up.
They take off to the kegs.
Are they aware of your not so
positive portrayal of Greek life?
Not one bit.
She dumped me.
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
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
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.
I enjoyed its clever execution...
We're missing the Sig Ep party.
No, Hallie, not tonight. Parties
and mass murderers don't go
together. Trust me.
No, no, I hadn't planned on going,
it's just Mickey will be pissed.
Hallie clearly wishes she were there.
It was just an excuse to kill
young, big breasted girls. I didn't
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...
Someone else has been killed.
EXT. DELTA ZETA HOUSE - BACK YARD- LITTLE LATER
SPLAT! Gobs of gooey food goes flying through the air
exploding perfectly all over...
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
Who do you love?
Did you say "My TKE brothers"?
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
I'm fine. I wish people would stop
treating me like glass. I'm not
It's okay to break, girl. You
shatter if you have to.
I'd really just like to be alone.
The police are waiting outside.
They're going to take you somewhere
Dewey, there's no such place.
Humor me, Sid.
Sidney starts packing an overnight bag.
Can I come with her?
No, Hallie, I'm not gonna take you
down too. I'll be alright.
Sid, I'll come with you.
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.
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.
They got Mickey. He's being toasted
at the Deltas.
I knew it. Shit! I gotta get over
We're under quarantine.
He points to Dewey who talks to Gale in the hallway.
I'm the only one who can cut him
It's not a good idea, Hallie.
I'll go with her.
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
Sid, you should get going.
He looks at Joel and Hallie.
Where are you two headed?
Hallie forgot her footage at the
film dept. I'm gonna walk her over
before it's gets too late
I gotta have it, Dewey.
Gale steps in.
Hallie and Joel race outta there before any more
objections. Dewey turns to Gale.
If you were truly a copycat,
wouldn't you want to emulate
everything about the killer that
He's already gotta be a part of
Sid's life. What do you know about
Solid alibis. He was with Sidney
when she was attacked.
Billy had alibis too.
Dewey turns to Sid who now stands ready in the doorway.
Hey, I got stuff to do. But I'll
find you later, okay.
Sidney's exterior keeps hardening.
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.
Come on, Hallie, baby...
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
You broke the lock.
You broke my heart.
What are we looking for?
A bloody knife. A ghost mask.
Something like that?
Can we turn the light on?
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.
And it's sexier in the dark.
Dewey, you and I would never make
Maybe not. But think about the sex.
As frustrated as I am...
... and as lonely as I am...
We'd break some furniture.
Gale LAUGHS at this. She reaches over and pats his
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.
And Joel's pre-med.
The sorority girl was gutted with
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
A moment. Then in a splash, they're outta there.
EXT. RESIDENTIAL STREET - MINUTES LATER
A squad car makes it's way down the quiet campus
INT. SQUAD CAR - SAME
Sidney sits in the backseat. The two police officers
ride in front.
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
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
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
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
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
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...
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...
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.
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
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.
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
THE GHOST COMES TO LIFE
Lunging forward. Sidney SCREAMS, leaping, falling out
the car door.
OUTSIDE THE CAR
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
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.
Ssshh! What was that?
Let's find out.
Dewey keeps moving.
This is all too familiar.
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
They move down the first level of chairs to the
Maybe they never got here. He could
have taken her anywhere.
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
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
Dewey spins around. He reaches for the gun he no longer
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.
No, wait here.
Dewey hands her his flashlight and takes off for the
stair rise that leads to the upper level.
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.
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,
Who stands right behind her. Dewey looks down to see
the Ghost standing directly behind Gale.
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
Dewey races for the stairs, going as fast as his
handicapped leg will allow.
Gale tears out the exit door, the Killer right behind
AT THE LECTURN
Dewey arrives, searching, looking for Gale.
He eyes the exit door as it slowly closes. He moves for
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...
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.
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
Gale BEATS against the glass window.
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...
Gale shoots down it.
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
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.
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.
Oh God, help me. We have to call
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.
Do you have keys? I need to get
Sid looks to Lois. She's in worse shape.
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
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.
A look of dread creeps across her face. He lay there
very much dead.
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.
Sid? Jesus, where's Hallie? I've
been here all night.
Listen to me. We've got to get
help. The Killer's here.
What are you talking about?
He's after me.
Mickey pulls on his chained arm.
Shit! You've got to cut me down,
Sid inspects the chain. It's meant to hold.
I'll be right back.
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.
Sid lifts the shovel up and brings it down directly on
the lock. It bends somewhat but stays in tact.
Do it again.
CLANK! A noise behind them. They both spin around
peering into the night.
What was that?
Sidney, determined, raises the shovel high and brings
it down with great force. It CRACKS the lock, loosening
Mickey pulls on it. It won't quite give.
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.
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 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.
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
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.
But Hallie doesn't hear her. Sid races forward.
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
What is your emergency please?
Someone's trying to kill me. I need
Are you in danger now?
Where is your attacker?
I don't know.
Stay under the safety light. Help
is on its way.
The safety what? Fuck that!
Just then, Gale hears a NOISE. A door opening. She
looks up to see Sidney disappear through the side
But Sidney has already disappeared inside. Gale yells
into the phone.
Gale throws the phone down and tears off for Sidney.
INT. THEATRE SAME
The theatre is big and old. Plush chairs, balcony, huge
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.
The stage is dark and bare with the exceptions of the
furniture from the DEATHTRAP set. BUMP! A noise from
the stage wings.
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.
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
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...
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...
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...
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
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
Quick, untie me.
Sid is paniced. She doesn't know what to do. She leans
down to untie him but stops.
(from behind video
You've seen this movie before,
Sidney looks to the voice. The camera is pulled away to
He smiles at her.
Smile for the camera.
Sidney remains silent.
Side backs away from Cotton. She doesn't trust either
one of them. Derek watches her, amused.
Go on, untie him.
No. This is a set up.
Please, Sidney, he's going to kill
Derek begins filming again.
You must be dealing with some
serious trust issues right about
Sidney says nothing. She egdes away, moving to the wall
where Hallie hangs.
Sidney, you can't keep your back to
the audience like that. Could you
cheat a little forward for me?
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
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.
Need some help, honey.
I got it..
Sidney's eyes go back and forth between the two.
You should really see your face
right now, Sid. It's doing some
Derek's right. Sid's face appears completely tortured.
Yeah, you look quizzical yet
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.
Good question. You took the bait.
Ever see NATURAL BORN KILLERS?
Well, Derek and I have this whole
Harrelson/Juliette Lewis thing
I really don't like that
He hates Oliver Stone.
I find his work overwrought.
Sid is waning.
C'mon, Sid, don't fade on us. We've
been planning this baby for a year.
Sid turns to Cotton. She kneels down and begins to
Nope. You had your chance.
Derek dummy lunges at her with the knife. Sid backs
EXT. THEATRE SAME
Gale approaches the side theatre door. She pulls on it.
She moves down along the theatre to another door.
INT. THEATRE A MINUTE LATER
Hallie and Derek move around Sid, taking turns filming
her with the camera.
We met on the internet.
He sent me the cutest e-mail.
I read her postings on the horror
movie chat boards and fell
hopelessly. Hook, line...
We have our own website now. We
dedicated a whole page to you.
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.
You're the one who got away.
You guys are fucked.
Actually Cotton, and I think
critics would agree, it's the other
Poor Cotton, could life be a little
You're not going to get away with
Of course not. Who wants to? What's
the point if we don't get caught?
Where's the glamour in that?
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.
A verdict and premiere all on the
same day. I love it.
We're hoping for the death penalty.
I have this whole DEAD MAN WALKING
swan song exit planned.
And now, drum roll please...
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
A twist ending if you will.
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.
... 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
And we didn't want to do that, Sid.
We wanted to give you your money's
So we found a compromise.
Or it found us.
We have a surprise guest star
waiting in the wings.
Just for you, Sid.
Wait a sec, Derek. We forgot to
Derek reaches in his pocket for a coin.
We figure the one of us that
actually kills you will get a
little more press. It's been an
Heads or tails?
He flips the coin.
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.
They all turn, spotting Gale. Sid moves forward, happy
to see her.
IN THE AUDITORIUM
Gale moves down the aisle, not sure what's going on.
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.
Derek grabs Sidney, holding her, the knife at her
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...
standing, lips pursed.
Hello, Gale, we've been waiting for
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
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.
Not this time.
Hallie moves in on her.
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.
But nobody wants to see that. It'll
never go. They'll rewrite you. You
don't want that.
Oh, Sid, you're sounding desparate.
I guess fearing death makes one
You fucking freaked out movie nut
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.
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.
Gale stops cold.
Oh my God.
Gale turns to Debbie Salt.
Jesus. It can't be.
Told you we had a guest star.
Didn't see that coming, did you?
Everything's taken on a hyper-
reality, hasn't it?
You're Billy's mother?
I couldn't believe you didn't
recognize me. You even interviewed
me for your book.
You're all in this together?
We had to have financing.
Why Mrs. Loomis?
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
Jesus, you're just as whacked as
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
Yeah, she's been great, Sid. We
never would have been able to it
Debbie Salt/Mrs. Loomis looks to both Derek and Hallie,
And I couldn't have done it without
you two. Now who won the coin toss?
Hallie raises her hand.
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
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
SIDNEY AND GALE
Turn to Debbie in complete horror.
Nice kids but a little out there.
What are you going to do?
Finish what my son started.
But you'll never get away with it.
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.
No... not again.
Sorry, Cotton. I guess you were
just meant to be a killer.
You'll never get away with this.
Debbie moves to Cotton, shrugging.
Who would you like to shoot first,
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 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.
God, Cotton, what a nightmare. I'm
Gale gives him a hug.
CLOSE ON COTTON'S FACE
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.
Cotton moves to Derek's body where the video camera
lay, he pulls the tape from it.
It's perfect, Sidney. No one will
ever suspect me. I have proof. I'm
Please, Cotton, don't do this.
He holds up the video cassette. Murder in his eye.
I get my revenge and make some fast
It's over, Cotton.
Not until you're dead.
Cotton lunges for her. Sid tears off, slipping through
the set door to...
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
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
Sid goes for it. She climbs up the ladder with
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
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
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
THE END (FOR NOW)