Michaels 137 page script..

[Ghostface]

Removed from webpages and now on the forum...

Scre4m
First Draft Screenplay
Written By:
Michael T. Kennedy
Based on Characters Created By:
Kevin Williamson
And
Ehren Kruger
FADE IN
ON A GRADUATION GOWN
A hand reaches for it, pulling it close to the body of
SANDY PETERSON, a young girl, aged 17. A friendly face with
innocent eyes.
SANDY
You almost done?
She turns to her side to look at...
GINA WILSON
A very pretty girl, eighteen. Bright and spunky. A head
cheerleader kind of girl.
GINA
Yeah. Just a few more.
The CAMERA PULLS BACK to reveal the two girls on an
auditorium stage. They are sorting through graduation
gowns and caps that lie on a table.
SANDY
I can’t believe we graduate tomorrow.
GINA
The four years flew by.
SANDY
Where you headed to next fall?
GINA
Los Angeles.
SANDY
U.C.L.A.?
GINA
Hell no...acting.
SANDY
(sarcastic)
You don’t say?
2
GINA
Come September I will begin a short
one-year span as a cover model for
fashion magazines which in turn will
culminate in a six year run as the
lead actress in a hour long drama
for the CW. After the shows end and
numerous teen angst films in my back
pocket I will get my shining moment...
and on Oscar nomination...for my role,
against type, in Baby Mama 2...
no wait, Juno 2?
(beat)
Yeah, Juno 2. Then I will
record my first solo album thus being
known as a cross over diva.
Sandy rolls her eyes.
SANDY
At least you’re humble.
GINA
What?
SANDY
Nothing.
GINA
Do you mind if I run to my locker real
quick? I forgot my cell phone.
SANDY
Whatever...just hurry.
Gina drops a gown to the table. She rushes off the side of
the stage and towards a side door.
SANDY
(cont’d)
Everyone’s a Goddamn actress.
Sandy watches Gina exit the auditorium. She places a gown
on the table when...
A PHONE RINGS
3
Sandy pulls a cell phone from her pants pocket...looks at
the caller id:
NEW CALLER- RESTRICTED ID
She answers anyway.
SANDY
Hello.
MAN’S VOICE
(filter – from phone)
Hello.
Silence.
SANDY
Yes.
MAN
Who is this?
SANDY
Sandy.
MAN
Who?
SANDY
Sandy...who’s this?
MAN
What number is this?
SANDY
Who did you dial?
MAN
I think I have the wrong number.
SANDY
I think you’re right.
CLICK! She hangs up her phone. Sandy sets her phone on
the table, dropping the last gown to the floor below.
The phone RINGS again.
4
Sandy checks the id – same result.
SANDY
Hello.
MAN
Sorry about that earlier.
SANDY
You made a mistake. No big deal.
MAN
I’m sorry.
SANDY
Apology unnecessary but accepted.
MAN
You’re a forgiving girl.
SANDY
It’s in my nature. I hate to burst your
bubble but I gotta go.
MAN
Okay...bye!
CLICK! The conversation ends. Sandy picks up the dropped
gown, sets it on the table.
INT. AUDITORIUM – NIGHT
A huge room amidst what seems to be a well-populated high
school judging by the size and capacity.
Sandy walks to the back of the stage. She grabs a purse
hanging from a hook, flips off the stage lights.
The phone RINGS again.
SANDY
(annoyed)
Hello.
MAN
What are you doing?
5
SANDY
Who is this?
MAN
Can’t figure it out, huh?
SANDY
Am I supposed to?
MAN
It shouldn’t be hard.
SANDY
Then why don’t we forget the formality
and you just tell me?
MAN
Do you like scary movies?
SANDY
DREW! Quit it with the STAB bullshit.
That died out long ago with the last
cast.
MAN
Who’s Drew?
SANDY
Oh, I’m sorry. He’s my boyfr...
Why am I telling you this?
MAN
Because I think you kinda like me.
SANDY
I think you’re wrong.
MAN
Am I?
SANDY
Uh huh. So is there anything I can do
for you?
MAN
Maybe.
6
SANDY
Yes or no...it’s very simple.
Sandy is becoming bored.
MAN
Yes!
SANDY
Well what is it?
MAN
Tell me what you’re doing on that stage.
Sandy turns to face the auditorium.
SANDY
What did you say?
MAN
You heard me.
She walks over to the lights...flips them back on.
SANDY
Listen I gotta go.
MAN
Don’t hang up on me!
SANDY
Sorry.
MAN
Listen...
CLICK! Sandy hangs up. She checks all around her, turns
to walk off the stage when...
THE PHONE RINGS AGAIN
She pulls out her phone.
SANDY
Yes?
7
MAN
Listen to what I say.
SANDY
Who is this?
MAN
Ask your boyfriend Drew. He’ll know.
SANDY
WHO THE FUCK IS THIS?
MAN
It’s not that simple.
SANDY
You’ve called me four times already
isn’t that enough?
MAN
For the others, maybe, but for me,
no way. So who am I?
SANDY
I already told you I have no idea.
The man’s voice grows menacing...familiar.
MAN
CARE TO TAKE A...STAB...SANDY?
He has her full attention. She knows exactly whose voice
it is.
SANDY
If you’re looking for someone else
you haven’t found her so please...
MAN
Oh I know, but you’ll do, for now.
Trust me.
Sandy backs up to the main wall of the stage. A sign above
her reads: WOODSBORO HIGH SCHOOL CLASS OF 2010.
MAN
Can you handle that, Sandy?
8
Suddenly the whole auditorium is shining...the lights have
been flipped on.
Sandy clicks her phone off...running off the stage.
INT. SCHOOL HALLWAY
Sandy bursts through the auditorium doors and into a
hallway. Lockers and doors line the walls.
She looks both ways...she’s ALONE.
Sandy turns to her left...trots to an exit.
A PHONE RINGS
It isn’t hers...it is coming from inside a LOCKER.
Sandy slowly walks to the sound. She presses her ear up
against a row of lockers...finding the source.
Sandy grabs the handle...takes a deep breath...pulling open
the locker door to find...
A BODY
falling to the floor below. It is GINA...covered in her
own blood...throat ripped open from ear to ear...parts of
her ear dangle from torn skin.
A SCREAM erupts from deep inside the abdomen of Sandy.
CLOSE ON her face...pale and sweaty. TEARS flow from her
eyes.
She turns to run, slipping to the floor on Gina’s blood.
Sandy gathers herself...looks around her...rises to her
feet and runs into the auditorium.
INT. AUDITORIUM – CONTINUOUS
Sandy pulls the door shut...into the auditorium...retrieves
her phone to call 911 when...
THE PHONE RINGS
9
Sandy jumps into the air...looks at her phone...DREW’S CELL
She answers...shakily brings the phone to her ear...
SANDY
Drew please help me!
She pauses...waiting...then
MAN
Poor little Gina. Cooperation is
key here. Lucky for you, you have
one more chance. Sidney cooperated
and look what it got her. Fame,
fortune, and stardom.
Sandy scans the auditorium. EMPTY.
SANDY
Please. Stop.
MAN
No way, this is only the beginning.
SANDY
Look, I have listened...cooperated.
Just please leave me alone.
CLICK!
The door behind Sandy locks.
She walks down an aisle along the front row of seats.
MAN
Give me a reason and I will.
SANDY
Please don’t.
She stands in front of center stage when...
THE LIGHTS GO OUT
The auditorium is dark. Red emergency lights illuminate
the otherwise dark room.
Sandy squeals. CLOSE ON her face...mind racing...plotting.
10
She crawls on all fours up the center aisle...ducks behind
a row of seats. Her whole face a blubbering mess.
METALLIC CLICK
The man’s voice bellows throughout the auditorium.
MAN
There’s no use hiding.
Sandy listens into her phone...hears an echo.
MAN
(cont’d)
I’ll bring you out just like her
brother did!
She turns her phone off...attentive to the loud speakers.
A FIGURE walks down the aisle.
Sandy holds her breath...hears footsteps.
The FIGURE passes Sandy.
Sandy crawls to her right down the aisle.
MAN
(cont’d - deadly)
By the way where is your boyfriend,
Sandy?
Sandy holds steady...still like stone...comfortable with
her spot.
MAN
(cont’d)
Maybe he’ll know who I am!
A long silence. And then...
Sandy’s PHONE rings.
She’s found.
11
SANDY
(to herself)
Shit.
She fumbles with her phone...cancels the call.
Sandy crawls further down the aisle...away from her spot.
THE PHONE RINGS.
SANDY
You found me now what?
Tears still flow from her face. Acting tough but not
hiding her true emotions.
MAN
Modern technology, sometimes it
backfires.
SANDY
Look you’ve had your fifteen minutes
so please just leave.
MAN
Sidney got more...now so do I. It’s
your turn to shine.
A spotlight bangs on...the light shining on Sandy’s face.
MAN
(cont’d)
Don’t you want to be remembered?
SANDY
Not like this, please...leave.
MAN
Cooperate and I will. Name the killer
in STAB 2?
SANDY
What?
MAN
C’mon. You’ve seen the movies, you
know the game. Who was it?
12
SANDY
I can’t.
MAN
This is easy.
Sandy clutches her side...clinging to it for protection.
SANDY
Please...you got what you want. So
just leave. I won’t tell anyone.
MAN
Gina wouldn’t play along and look
what happened. She choked on her
own blood. Name the killer in STAB 2?
Forcing the words from her mouth...Godsent...
SANDY
Loomis, Mrs. Loomis.
MAN
Aha...very good. See, I knew you had
it in you.
SANDY
I answered your question so, please,
that’s enough.
MAN
Listen bitch, I make the rules around
here!
Fear runs through Sandy’s body...she walks out of the
light...it follows her.
MAN
(cont’d)
Who is Sidney’s mother?
SANDY
What?
MAN
You know. She is where it began.
13
SANDY
I don’t know...I can’t remember. Just
FUCKING LEAVE ME ALONE!
Tears flow from her face. She staggers to walk out of the
light...it continues to shine on her presence.
MAN
You were such a sweet girl. What is
her name?
Sandy is stalling...she can’t remember the name.
SANDY
She has nothing to do with me. Why
are you doing this?
MAN
It’s fun. WHAT IS IT?
Sandy’s mind races...thinking...she mumbles...
SANDY
Maureen...
MAN
Speak up. I CAN’T HEAR YOU.
SANDY
(remembering)
Maureen. It’s Maureen fuckin’ Prescott!
MAN
See, it’s a fun game.
Sandy gazes up toward the balcony...looking for
someone...anything.
SANDY
Why can’t I see you huh?
MAN
In time Sandy...in time.
SANDY
If you want fame you won’t get it
like this.
14
MAN
Watch your tone. I’m more than that.
Eventually, I’ll be everywhere.
SANDY
What do you want? A STAB 4? That
trend burned its course years ago.
So please...
MAN
STAB 4? Please. Remember what I said
about cooperation? But speaking of
fours, there are four main entrances
at the rear of this building.
She eyes the doors.
CLICK!
The man hangs up on the conversation.
SANDY
What?
The man’s voice EMITS around the auditorium.
MAN
Find the unlocked door- you live.
Sandy walks down the row of seats...into the center
aisle...spotlight focused on her.
MAN
(cont’d)
Cooperation, very simple. Your call!
The spotlight fades out.
She sneaks down the center aisle...reaches into her
purse...pulls out a pencil...raises it like a knife. She
continues down the aisle...stops underneath a balcony.
CRACK-BOOM
A sound resonates from the balcony above.
Sandy looks up to the sound when...
15
Something falls over the side...lands on Sandy.
She falls to the ground squealing. Scurries away from the
object...crawls to it...a JACKET. Sandy stands up holding
the jacket...a Woodsboro High letterman’s jacket...she
reads the lapel.
SANDY
(to herself)
No...Drew.
She looks at the doors when...
The spotlight shines throughout the auditorium...onto the
stage...revealing...
A BOY
hung from the rafters...his abdomen cut open...his inside’s
now on the outside...lying on the stage floor...blood runs
in every direction.
SANDY SCREAMS BLOODY MURDER...her soul ripping through her
heart.
SANDY
(cont’d)
DREW!
She turns back to the doors...runs to the last one on the
left...tugs at it...LOCKED. Sprints to the second
one...tugs at it...LOCKED...then the third...LOCKED. She
rushes to the fourth...thinking it will open...tugs on the
handles...it is LOCKED.
Sandy slams her fist against the door frustrated...she
turns back toward her bloody pulp of a boyfriend...tears
running down her face when...
THE FOURTH DOOR SWINGS OPEN...hard, revealing...
The familiar GHOST FACE
rushing her. Sandy sprints down the hallway toward the
stage. The GHOST FACE FIGURE beams at her...chasing her.
Sandy...feet ahead...runs in front of the stage...toward
the side door...she pulls on the door...LOCKED.
16
She turns behind her...
The FIGURE is gone.
Sandy looks directly down the aisle in front of the
stage...another door rests at the other end...she heads for
it...across the front of the stage...to the door...grabs
the door handle when...
THE FIGURE JUMPS OFF THE STAGE
Sandy stumbles away from the door...drops the pencil,
catches her balance...The FIGURE moves on her, the familiar
hunting knife raised high in the air...Sandy opens the
door...a flash of silver...Sandy is struck, in the
abdomen...knife planted deep into her body...looks down at
her wound...a glazed over look of shock sweeps her face.
The FIGURE pulls out the knife...raises it high...brings it
down toward Sandy...eyes bug eyed...lifts her foot high
into the FIGURE’S chest...reeling the FIGURE to the floor.
Sandy rises...opens the door...hobbles out into a
hallway...looks both ways...heads to her left...sprinting.
She uses every ounce in her body to run towards the exit
fifty feet away...twenty feet...ten feet...five feet. She
pulls open the door when...
A door next to the exit SLAMS open.
Headlights appear through the window of the exit door.
The FIGURE lunges from the door.
EXT. PARKING LOT
A MAN exits a rundown compact car. He is mid forties,
husky...the school’s night janitor.
He walks toward the school.
EXT. EXIT DOOR
Sandy appears from behind the door...notices the man.
SANDY
HELPME! PLEASE!
17
EXT. PARKING LOT
The man looks toward the cry for help.
INT. EXIT DOOR
The FIGURE grabs her from the door...slams it shut.
EXT. PARKING LOT
The man fiddles with a set of keys...looks up...NO ONE.
INT. HALLWAY
The FIGURE throws Sandy head first into a locker...knocking
her to the ground, in a daze and covered in blood...walks
over to her...stands above her...knife raised...brings it
down...into her forehead...killing her instantly.
EXT. SCHOOL
The man walks toward the school...headed for the auditorium.
INT. HALLWAY
CLOSE ON Sandy...being dragged by her feet...down a school
hallway...a crimson trail is left behind after each and
every step.
INT. AUDITORIUM
The man appears inside the back entrance of the
auditorium...walks down the back aisle...towards a breaker
switch...flips it on...looks toward the stage to see...
A BOY AND GIRL HANGING
The man stops in his tracks, startled.
MAN’S POV
He rushes the stage to find...
DREW and SANDY side by side...hand in hand...forever left a
couple...blood pouring from their bodies...hung from the
rafters...over their own inside’s sprawled on the stage
below.
18
BLACKOUT
FADE IN:
INT. LIVING ROOM – SAME NIGHT
Part of a young woman’s house. Bright and vibrant. People
dressed in formal attire congregate in the room surrounded
by numerous party decorations. Movie scripts line the
wall, framed. The CAMER PANS across the room to where
SIDNEY PRESCOTT
now ten years after Sunrise - 30, stands, in front of a
large big screen television. CLOSE ON her face. Sharp and
more radiant than ever. A subtle maturity has grown over
the washed away deteriorated look of a complicated past.
She’s dressed in a beautiful gown, her face sparkling.
She stares at attention listening to...
GALE WEATHERS on television
a little older, although her face looks younger. Brighter,
prettier, her long brown hair flowing off her head. She
shoots a SINCERE smile as she talks. Years of fear, guilt,
manipulation, and fierceness are washed away.
GALE
Hollywood is buzzing today, adding
another name to their “A” list, not
for a new actor...but rather a
talented screenwriter. Sidney Prescott,
known to many outside the Hollywood
circuit as the Ghost Face Survivor,
inked a five picture writing deal
today with Dimension Films reportedly
worth over seventeen million dollars...
Although many accredit her sudden
success to surviving the Woodsboro,
Windsor College, and Sunrise Studios
Murders, Prescott has now undoubtedly
made a name for herself amongst the
industry’s elite.
GALE’S VOICE FADES AWAY
19
A hand holds the remote to the television. The CAMERA PANS
up to reveal...
MARK KINCAID
smart, now in his late thirties. Looks dapper in his
formal suit.
MARK
To Sidney!
Everyone at the party shouts the same.
SIDNEY
I want to thank everyone for coming.
I hope a quick rise up the ladder
doesn’t mean an even faster fallbut
what can I say?
She looks to Mark. Then over to...
NEIL PRESCOTT
in his early fifties. Looks uncomfortable in his tight
tuxedo but it can’t break away from the look of joy flushed
across his face while looking at Sidney.
SIDNEY
(cont’d)
I’ve been lucky and I’ve EARNED it.
So...
(modestly)
Thank you.
A round of applause storms her way. She stands sheepishly
for a moment then walks over to her father and boyfriend.
Mark hands her a glass of champagne then kisses her.
Sidney looks over to her dad. He gives her a bear hug.
NEIL
I’m proud of you honey.
SIDNEY
Thanks daddy...I know.
20
NEIL
Your mother would be proud.
Sidney looks to the floor, her father’s words of her mother
still hitting home.
MARK
You want me to get these people out
of here? Tomorrow’s a busy day.
SIDNEY
Not just yet.
A MAN walks up to Sidney, standing between the two men in
her life.
He is KYLE SLOAN...
a writer, handsome, late twenties. He struts with the
right amount of confidence. With him is...
DELILAH READING
an actress, very attractive, curvy, in her late twenties.
Her looks, both facial and attire, light up the room.
DELILAH
Hey Sid. We’re gonna take off.
SIDNEY
You sure?
DELILAH
Yeah, I hate too, but I got an early
shoot tomorrow.
MARK
Still pulling the sixteen-hour days?
KYLE
Contract expires in a year.
DELILAH
Then maybe I can get some legitimate
DELILAH
(cont’d)
21
work. So Mark you gonna be reaping
the benefits from Sidney’s new
conquest today?
MARK
It’s only fair that the fiancée, and
future husband, should be entitled
to half of the annual gross income.
Sidney nudges him with her elbow.
SIDNEY
That better be my agent talking.
KYLE
Prenup, Sidney...Prenup.
Sidney, Mark, Delilah, and Kyle all have a laugh.
Kyle turns to Neil, hand extended.
KYLE
(cont’d)
Kyle Sloan.
Neil shakes his hand.
SIDNEY
Oh shoot, sorry. Kyle Sloan,
Delilah Reading, meet my father...
Neil Prescott.
DELILAH
Ohhh. How great to finally meet
you.
KYLE
(shaking Neil’s hand again)
Yes it is. Sidney has told us so
much about you.
DELILAH
Congratulations are in order.
NEIL
Please...this was all her.
22
KYLE
Don’t be so modest...really.
NEIL
I helped her through Woodsboro.
Since then she’s been a one woman
force busting through the gates
of this town.
DELILAH
We should be going Kyle.
KYLE
Yeah. Once again nice meeting you.
NEIL
You too, the both of you.
KYLE
Still on for eleven Sid?
SIDNEY
Yep. Meet me at the lot.
DELILAH
How ‘bout your new office?
SIDNEY
(realizing)
Or there.
Kyle and Delilah make there way out of the room and house.
MARK
Take care.
He turns to Sidney.
MARK
(cont’d)
Let’s get the rest of these people
out of here. It’s nothing but
parasites and star struck people
from here on out.
SIDNEY
Be kind. You never know, the next
23
Scorcese, Spielberg, or Hanks
could be sitting in this room.
Besides just yesterday I was
one of them...still am...just
with a bigger paycheck.
MARK
Good point.
NEIL
Nice people. Kyle he’s your...
SIDNEY
Script consultant. Helps me retool
any scenes, acts, conclusions that
are requested a rewrite.
NEIL
Sidney I’ve been meaning to ask you
about this deal. There’s no red tape,
words between the lines, you should
be worried about is there?
SIDNEY
Everything was done backed by legal
representation. There is nothing you
should be concerned about.
NEIL
What is your first assignment?
MARK
You haven’t told him yet? Sidney,
c’mon, that part of the deal was
sketched out over a month ago.
NEIL
Well.
SIDNEY
Before you say anything let me just
remind you that this was my decision.
I made the choice because I wanted to.
Okay?
Neil nods at her.
24
SIDNEY
(cont’d)
To get my feet wet, the studio asked
me if I would consider penning a new
STAB 3 script.
NEIL
You said no, right?
MARK
I told you honey.
She turns to Mark.
SIDNEY
Sweetie.
(beat)
Please...I said yes.
NEIL
Sidney of all the projects to
accept. How’d this thing get a
greenlight anyway?
SIDNEY
They gave me full creative control.
It’s only being made at my discretion.
I’m choosing the director, cast, crew,
you name it. It’s going to be shot
under the highest level of security
possible.
NEIL
I just don’t know. What about the...
the other times? You’re finally
making AND enjoying a life.
MARK
I agree with your father Sidney.
Forgive me for saying, but the last
Decade or so hasn’t exactly been
full of ABC Family moments. At
least reconsider...think about it
just a tad longer.
SIDNEY
Well I can’t. You’re right Mark,
25
the last thirteen years were a nightmare,
FOR ME! I lived through those days.
I woke up from the nightmares. I
heard those screams in Woodsboro
and at Windsor just the same as you
and I did right here in this place.
MARK
Sidney I didn’t mean...
SIDNEY
I know you didn’t, none of them do.
I wanna do this okay. I want to do
this for many reasons. I want Dewey
and his parents to know that Tatum
wasn’t just a sexually deviant,
Paris Hilton acting bimbo. Or
Martha Meeks to know that Randy,
the nicest, sweetest guy, wasn’t
a stain in my life...a puppy at my
beckon call. And most importantly,
that my mother wasn’t the focus of
my blame while Stu Macher, Billy
Loomis, and his mother are forever
immortalized as killers who acted
with justifiable cause.
NEIL
People know that Sid...two movies,
a couple books...
SIDNEY
(intensely)
I WANT TO DO IT FOR MYSELF!
The party begins to empty. People scurry from the heated
conversation going on in the corner.
Neil and Mark look at Sidney, finally understanding.
SIDNEY
Finally lower the walls. I’ve
isolated myself from the world
enough. For one time, I want to
sleep through the night without
SIDNEY
(cont’d)
26
a knife cutting through my dreams.
Because every time that happens
I wake up feeling the past racing
back into my reality. This is my
chance to actually dictate the
tone of my life and it needs to
start here...now.
NEIL
Okay...okay. Just keep me updated
Sid...that’s what I want you to
do for me.
MARK
She can do that...right honey?
SIDNEY
Fair enough.
SHORT SILENCE
NEIL
I should get going.
MARK
This party sure cleared out fast.
SIDNEY
Dad, please understand.
NEIL
I do. But please, be smart.
SIDNEY
Always have been. Still alive right?
NEIL
Well, you’re a fighter.
MARK
You sure you don’t want to spend
the night? The spare room is made
up.
NEIL
I’m fine.
27
SIDNEY
Come on Dad...be our first guest.
NEIL
Woodsboro isn’t too far. This old
man can make it home.
Neil makes his way to the front door.
Sidney and Mark follow.
Neil opens the door...steps outside.
Sidney kisses him on the cheek.
SIDNEY
Call me tomorrow?
NEIL
Will do. Love you.
MARK
Say hello to the folks in Mayberry.
Neil chuckles, heads to his car.
Sidney shuts the door to her abode. An abundant, affluent,
house nestled in the hills of Hollywood.
She locks the door, punches in a security code on a panel
to the left of the door. Turns to Mark...
SIDNEY
Look at this mess.
Mark looks around, exhausted.
MARK
Leave it for Rosario. She’ll take
care of it in the morning.
Mark walks up a flight of steps.
Sidney walks over to the television remote, places it in
her hand, moves her finger to the off button. She changes
her mind, turns up the volume.
28
GALE
Continues breaking the news on her own entertainment
show...TOTAL ENTERTAINMENT.
Sidney listens to Gale on the television.
MARK
(o.c.)
Sweetie. Come to bed.
SIDNEY
Just a sec.
She looks back at the television, smiles at it almost as if
she thinks Gale can see her.
SIDNEY
(cont’d)
Goodnight Gale.
Sidney places the remote on top of the set, walks to the
stairs. She glances back at the t.v. then makes her way up
the stairs.
INT. SIDNEY’S BEDROOM – MORNING
A massive room, bright and cheery. Pictures line the walls
and lie on the furniture...people from her past...loved
ones...make up the separate photos. The CAMERA pans past a
computer desk, scripts scatter themselves across it, to
reveal...
SIDNEY
lying in bed...on her back. Her face shows a brighter
life...even in her sleep. She lies comfortably when...
HER ALARM CLOCK BLASTS from the nightstand loud enough to
break glass. Sidney shoots up.
CLICK. With instant reflex Sidney shuts off the alarm. She
rolls out of bed.
Birds outside chirp...heard through her open window.
29
Sidney struts her way over to the window...the sun shining
bright on a gorgeous California day. She pans down to her
yard, enjoying the lush scenery.
INT. PRODUCTION OFFICE – MORNING
Large and expensive. Movie posters line the wall...awards
sit on a big oak desk...a leather chair behind it. The
chair spins around to reveal...
OWEN FLETCHER...
Brute, early fifties, dressed in an Armani suit. Carries
himself with a mass amount of charisma. Uses every
opportunity available to let people know he runs the show.
He is carrying on a conversation via telephone. He looks
over a script.
OWEN
Ever since we bought the rights last
month production has been on the
fast track.
He is speaking with another studio executive.
EXECUTIVE
(filter – through phone)
Everything’s running smooth. No loose
ends need to be tied up?
OWEN
It’s fine. With her name attached to
this project I see nothing but dollar
signs.
EXECUTIVE
(filter)
She’s adjusted to the situation?
OWEN
Looking over the first draft right now.
Isn’t half bad. Better than the
regurgitated bullshit Sunrise was
throwing at the audience.
EXECUTIVE
(filter)
30
I need a final draft soon. I want this
to make a Christmas release. Understand?
Then maybe this bullshit torture porn
trend will die off along with Roth’s career.
OWEN
Of course. She’s meeting with her
consultant this morning. Should have
the second draft by lunch.
The door to his office OPENS revealing KYLE.
He seems preoccupied and agitated.
OWEN
(cont’d – into phone)
Hold on.
KYLE
Owen, there’s something I need to
talk to you about.
OWEN
Around here we knock before entering.
Let’s try that again.
Kyle gives him a look, realizing his remark is for real.
He walks out the door, then...
KNOCKS
OWEN
(cont’d)
Come in.
KYLE
Owen this is serious...just five
minutes. That’s all I ask.
OWEN
Can’t you see I’m on the phone. Make
an appointment with Ginny.
KYLE
It can’t wait.
OWEN
Yes it can...already is.
31
KYLE
Owen.
Owen shoos him away. Kyle exits the room.
OWEN
(into phone)
You there?
EXECUTIVE
(filter)
Who was that?
OWEN
One of the P A’s. Thinks he’s the next
Bertino. Listen we need to push this
as fast as possible before it runs
its course...
INT. HALLWAY
Kyle stands with his back against the office door...pauses
slightly...speed walks down the hallway...out of sight.
INT. SITTING ROOM – MORNING
Small and cluttered. Posters of popular bands...Abercrombie
& Fitch male models line the walls, as well as beer
posters. A typical college house right down to the empty
beer cans.
TWO GIRLS, around 20, shoot the breeze.
GIRL #1
(o.c.)
Still leaving tomorrow?
GIRL #2
Tonight, right after my last final.
Girl #1 is SYD GREEN...
Smart, into her studies. The other is TONYA...less
exuberant about school but still enrolled none the less.
Green dulls over notes for a little last minute cramming.
32
TONYA
Still studying? You’re gonna give
yourself an aneurysm. What class
is this shit for anyway?
GREEN
Women’s studies.
TONYA
Why bother then? Just keep a
feminist perch and you’ll get along
fine. Who’s your professor?
SYD
Anderson.
TONYA
Yep, GREEN...easy “A”.
The PHONE rings.
GREEN
Wait one sec.
She picks up a portable lying next to her.
GREEN
(cont’d)
Hello.
She listens for a moment.
TONYA
I better get my ass in gear.
GREEN
(into phone)
Hold on...You be careful.
Tonya heads for the front door.
TONYA
Please stop acting maternal for
just one second.
GREEN
Call me when you get in.
33
Green slyly smiles at her friend.
TONYA
Ta ta Syd.
GREEN
Bye Tonya.
Green shuts the door after Tonya exits. Walks over to the
sitting room, her mind back into the conversation.
Green
Sorry ‘bout that Dean?
A BOY’S VOICE, from the phone, replies...
DEAN
(filter)
You about ready?
SYD
Actually I’m running late. Do you
mind if I meet you in front of
the building?
DEAN
(filter)
No problem...listen dress nice. Since
this is our last final we’re meeting
people out after. One last hoorah
sorta speak you know, Green?
GREEN
Yeah...whatever. See you soon.
DEAN
(filter)
Bye.
CLICK. The conversation ends.
INT. UPSTAIRS HALLWAY – MOMENTS LATER
A door opens revealing...GREEN. Looking fresh right out of
the bathroom. She walks down the hall and into her
bedroom. She grabs a backpack off of her bed...zips down
34
the hall...to the stairs...skipping down them. She heads
for her front door when...
THE PHONE RINGS
GREEN
Dean I’m on my way...
MAN’S VOICE
(filter – from phone)
Hello Sydney.
IT’S HIM. THE VOICE THAT SO EERILY STALKED SANDY.
GREEN
Hi. Haven’t been called that in a
while. Who is this?
MAN
Don’t you recognize my voice?
She contemplates, trying to place the voice to a face.
GREEN
No, not really.
MAN
That’s a shame. Most people do.
GREEN
Are you looking for someone?
MAN
Already found ‘em.
GREEN
Oh really.
MAN
Uh-huh.
Green begins to play along...thinks it is a joke.
GREEN
Do I know you?
35
MAN
Depends on who you think I am.
GREEN
I have no idea.
MAN
Take a guess.
GREEN
I’m not good on guessing. I stick
to the facts. Scientology major.
MAN
That’s impressive.
GREEN
Tell that to my parents. Look none
of my roommates are here so call
back later.
(beat)
Hello.
A SHORT PAUSE
MAN
Scientology, that’s lucrative. I
would have pegged you for- Women’s
Studies.
Green’s eyes light up...suspicious. Could it really be or
is it coincidental...
She walks toward the front door.
GREEN
I have a final in like five minutes.
I don’t have time for this.
She reaches her hand for the doorknob...
MAN
I wouldn’t do that if I were you.
Green, alarmed...looks out the windows, doors...hoping to
catch a glimpse of someone.
MAN
36
(cont’d)
You look pretty in that outfit. You
remind me of someone.
Hoping to keep the voice at bay...hearing for it...
GREEN
Really. Who?
MAN
Not just yet. I’ll see you soon.
CLICK! Green hears nothing but a dial tone. She throws the
phone down...walks backward towards her kitchen.
KNOCK-KNOCK-KNOCK!
A pounding comes from her front door.
Green JUMPS startled...catching her breath...she musters...
GREEN
WHO’S THERE?
KNOCK-KNOCK-KNOCK!
The pounding rocks even louder through her ears.
She is definitely scared...heart racing. Beads of sweat
run down her face.
She continues through her kitchen...glancing back at a door
along the far wall...to the outside...IT’S OPEN!
GREEN’S POV
She glances into the sitting room...
A FIGURE RUNS along the windows from outside.
She scurries, backward, to the door...swings around, runs
out the door. She bumps head on into...
A BOY
In her backyard. He drops a hand full of books.
37
GREEN SCREAMS. She is obviously shaken then...a feeling of
relief sweeps over her body.
GREEN
Was that you?
The boy, DEAN KINCAID
very handsome, charming, around 21. The star athlete/jock,
big man on campus type.
DEAN
I knocked, you didn’t answer.
GREEN
Jesus Dean, you scared me.
DEAN
Sorry. We better hurry...it’s
almost nine-thirty.
Green bends down picking up the dropped books that landed
in the grass.
Dean surveys the inside of Green’s house...shuts the
door...meets her in the yard...THEIR OFF.
INT. KITCHEN – MORNING
The sounds of breakfast being made. Bacon sizzles. The
fresh aroma of coffee in the air.
Sidney rounds the corner into her modern kitchen. Stares
at
MARK
at work...flipping over bacon.
SIDNEY
You should have waked me?
MARK
You looked tired. Besides it’s only
ten...still early. Have some bacon.
38
He sets a plate piled high with bacon, eggs, and toast on
the kitchen table. He motions for her to sit.
SIDNEY
Smells good.
She walks up to him burying her head in his chest. She
stares at him.
MARK
What?
SIDNEY
Nothing.
MARK
It’s something.
SIDNEY
Why does it always have to be
something?
MARK
I don’t know. Ever since I paid
off that girl in high school I
guess I have always been worried
I’d be abandoned.
SIDNEY
Not a chance.
She backs away from him...looks past him...out the window,
noticing...
SIDNEY
(cont’d)
Whose car is that out front?
MARK
What car?
SIDNEY
The one in the...
The doorbell rings.
Sidney heads for the front door, opens it revealing...
39
DEWEY RILEY
his ever present baby face still leaving his age
unaccountable. He looks sharp. Still grinning his big
grin, his right arm still a bit incapacitated.
He looks at Sid.
Sidney’s face is in full bloom. A smile shoots from ear to
ear.
DEWEY
Hey Sidney.
SIDNEY
DEWEY!
She gives him a huge hug.
SIDNEY
(cont’d)
What are you doing here? You weren’t
supposed to be in town for a
little over a month now.
DEWEY
I couldn’t wait. Gale got an early
hiatus so we were on the next plane.
MARK
(o.c.)
Sid, who is it?
SIDNEY
See for yourself!
Mark peaks out of the kitchen. Spots Dewey, grins.
MARK
Mr. Riley.
DEWEY
Detective Kincaid.
Mark walks over to him, shakes his hand. A SLIGHT PAUSE
then...pulls Dewey in for a hug.
MARK
40
Where’s the Mrs.?
GALE
(o.c.)
Stupid bitch! If that airhead at
car rental even charges us for...
She appears at the open doorway...still quick to fits.
DEWEY
Gale.
GALE
Sorry...old habit.
Smiling, she stares at Sidney.
SIDNEY
Problem Gale?
DEWEY
We had a fender bender on our way
over...nothing serious.
Gale shakes off her mood. She walks to Sidney, gives her a
hug, now as friends.
GALE
Good to see you Sidney. It has
been a while.
SIDNEY
Too long.
DEWEY
Congratulations.
GALE
Let’s see the rock.
Gale pulls Sidney’s left hand to her...stares at an
engagement ring on her finger.
GALE
(cont’d)
24 karat...that a boy.
41
Mark kisses gale on her cheek. He’s still becoming
comfortable with her cunning/witty personality.
MARK
Ms. Weathers.
GALE
Riley...Weathers is only for my
work.
SIDNEY
Come in and sit down.
MARK
Need help with your bags?
GALE
It can wait.
The four head over to some couches, recliners...in the
living room.
DEWEY
When’s the big day?
MARK
Tentative, for now.
SIDNEY
I’m gonna be busy for the next
year or so. We want it to be right.
Take our time, you know.
GALE
That reminds me...I want to thank
you for allowing me to break the
news, we had huge numbers last night.
DEWEY
You’re still on people’s minds.
MARK
At least this time by choice.
GALE
Which brings me to this.
Gale leans forward...eyeing Sidney...PAUSES.
42
SIDNEY
What is she talking about?
DEWEY
I have no idea. Gale.
GALE
The network wants to feature you.
MARK
What?
GALE
They’ve done studies, crunched the
numbers. You are still a big draw.
Sidney looks at Gale...shock.
SIDNEY
Are you serious?
GALE
Apparently America wants more of
your story. The network said it’s
about you in the now, not the past.
SIDNEY
You know me Gale. Now I don’t mind
being out there, but that kind of
exposure. You know me and cameras.
Dewey and Mark glance at each other...unsure how to react
to the situation.
GALE
Of course the past we will be
brought up, but c’mon, think about
it. Small town girl beats the odds
three times over and hits the
Hollywood A list. People will be
lining up around the block to see
one of your movies.
SIDNEY
You remember when Cotton brought
up Diane Sawyer?
(beat)
43
Gale I don’t think I can...
GALE
They want to put it up against CSI
and that whiney doctor show for Christ’s
sake. It’s a gold mine for you...
And myself, of course.
Sidney ponders...considering the idea.
MARK
Gale do you realize what you are
asking her to...
SIDNEY
At my disclosure?
GALE
Absolutely.
SIDNEY
Maybe, MAYBE, I’ll think about it.
Gale beams a smile. She sports her trademark pearly whites
that could land planes.
MARK
To this day you still surprise me.
The Phone RINGS.
Mark walks over to a PHONE resting on a table by the couch.
MARK
(cont’d)
Hello.
SHORT PAUSE
MARK
(cont’d)
Sidney. It’s Kyle.
Sidney walks over to Mark, pries the phone from his hand.
Mark walks over to rejoin the Riley’s.
44
SIDNEY
Hey Kyle, what’s up?
SHORT PAUSE
Sidney’s face turns from bright to sullen. She sets down
the phone...walks to the living room. She grabs the remote
and flips on the television.
The other three follow her every move.
A FEMALE REPORTER
fresh faced, serious...stands in front of Woodsboro High
School. A crowd gathers behind her. Police, news
crews...everywhere.
REPORTER
After finally making its way back
on its on feet, the unthinkable has
happened once again. The small
town of Woodsboro, California is
once again in shock after the
discovery of three brutally
murdered teenagers in the auditorium
behind me here at Woodsboro High
School late last night. The victim’s
Gina Wilson, Drew Roberts, and
Sandy Peterson, all Woodsboro seniors,
were making last minute preparations
for their OWN high school graduation
scheduled to take place early this
evening.
Gale and Dewey bolt out of their seats...focused on the
television.
GALE
Oh God!
Mark makes his way over to Sidney...she pushes him away.
REPORTER
The Woodsboro County Sheriff’s
Department has yet to issue a
statement, but the overflow of
45
fear in this town speaks for
itself. With no named suspects,
a citywide curfew is expected
almost immediately.
Mark flips off the television.
Dewey looks at Sidney...visibly shaken.
Sidney closes her eyes...memories rushing to the front of
her mind.
DEWEY
Sidney...
SIDNEY
Don’t, Dewey.
GALE
This can’t be happening.
Mark walks toward the telephone.
MARK
I’ll cancel your eleven with Kyle.
SIDNEY
Not necessary.
MARK
Sid you saw for yourself, now I
think you should be rational and
lay low for the day.
She shakes her head no.
DEWEY
Listen to him Sid.
SIDNEY
No...I’m going.
GALE
At least work at home. Tell ‘em its
because we came into to town...
anything...Mark’s right Sidney.
46
EXT. WINDSOR COLLEGE – NIGHT – ESTABLISHING
The same lush, attractive campus Sidney Prescott left after
only two years.
INT. BAR – NIGHT
A hip/happening sort of place. Definitely has a college
atmosphere. Smoky, rundown, loud, but full of life.
Green, Dean, and...
CHRISTY DEVERS
attractive, alluring, no more than 21. A real eye
catcher...
all congregate in a booth towards the rear of the building,
sipping beers, listening to music...enjoying each others
company.
GREEN
It was so strange. And you can honestly,
without a doubt say that wasn’t you?
DEAN
I swear. Scouts honor.
CHRISTY
It was probably just a prank. Someone
having a laugh. No one’s trying to
URBAN LEGEND your ass.
DEAN
URBAN LEGEND, is that like SAW?
CHRISTY
It’s a nineties, low quality, reiterated,
horror movie suck fest. It screams
with triteness. So yes, they both suck.
DEAN
Huh?
SYD
47
He doesn’t mix well with lowbrow
humor.
CHRISTY
Green, I was thinking, maybe sometime
in July I could make my way up to
Cleveland. Mingle with the Midwest
folk.
GREEN
Time is tight. I start my internship
Monday...sixteen weeks of redundant,
depression inducing, agonizing, grunt
work. To top it all of with an
added incentive, NO PAY.
DEAN
Yikes. What are you doing for the
summer Christy?
CHRISTY
No plans, no cares...I’ll probably
end up working in my father’s law
office all summer.
DEAN
HAH! Tomorrow I will be on my way
to fun in the sun.
CHRISTY
Where to?
DEAN
L.A. My brother still calls it home
sweet home. Beaches, bars, bitches.
The three b’s.
GREEN
Really McLovin?
He looks at Green...
DEAN
Really.
Christy glances down at her watch...
48
CHRISTY
Shit...I gotta go.
DEAN
It’s still early. We have a whole
night dedicated to the life
affirming, knowledge obtaining
culmination of the four years we
spent here at Windsor.
CHRISTY
I’ve graduated. Besides, we’ll all
be back in the fall for grad school
so keep the emotions caged.
Christy rises to her feet, slides out of her end of the
booth.
Green rises...hugging her.
GREEN
Be careful. Wake me before you leave.
CHRISTY
Please, not the time for acting maternal.
DEAN
Later Christy.
CHRISTY
(seductively)
Bye Dean.
She gives Green one last hug, turn’s away, heads for the
entrance...LEAVES.
GREEN
We should really be going too.
DEAN
What about the thought provoking
facts I just laid on Christy?
GREEN
They were really moving and apparently
very sincere, but you got an early
flight and I have a four-hour drive
49
first thing in the morning. I don’t
want to binge tonight and then have to
fight it with individual packets of
ALEVE in the morning.
DEAN
Fine! Let me drain it real quick.
He slides out of the booth, heads into the lavatory.
Green rests herself back into the booth...waits patiently.
She nurses a final beer when...
HER PHONE RINGS
Green flips it out of her purse, answering...
GREEN
Hello.
The MAN’S VOICE roars into her ear.
MAN’S VOICE
(filter – from phone)
Nice date. Now why would he leave
you alone like that?
Green darts out of her seat, looks around the
bar...searching for someone with a cell phone.
People all over the bar use the convenience of today’s
technology, holding numerous conversations.
She backs away from the table.
GREEN
Where are you?
MAN
You tell me.
GREEN
You’re here, am I close?
MAN
50
Closer than you think.
Green backs into a...
HOCKEY MASK
Placed on a statuette face of the university mascot.
GREEN SQUEALS...startling herself. She walks by, around,
near...people with cell phones...eavesdropping on
conversations.
GREEN
What are you trying to do here?
This place is almost to capacity.
MAN
Making a name for myself.
GREEN
You’ve left an impression on me
so mission accomplished.
MAN
Have you ever seen a dead body?
GREEN
(shocked)
What?
She spots a BOY, on a phone...pulls him around, facing
him...
BOY
What do you need? I get X, speed,
grass...name your price.
She waves off the boy’s offer.
GREEN
(to the boy)
Sorry, no thanks.
MAN
(pure evil)
Blood pouring from open wounds. Scar
tissue scattered all about. Some call
51
it an art. I call it my life.
GREEN
And some call it murder.
She taps a GIRL on the shoulder...
The girl turns to Green.
GIRL
Can I help you?
Green swallows her fear, determined...
GREEN
(mouthing the words)
I need help. Someone is stalking me.
GIRL
What?
GREEN
Someone is harassing...
The man interrupts...
MAN
STOP RIGHT THERE!
Green moves to the right...leans against the wall. The
whole bar, top to bottom, left to right...in her sight.
MAN
(cont’d - deadly)
Don’t even dare. You try anything
like that again and I’ll shove this
knife so far into your stomach my
hand will come out your back.
Tears swell in her eyes.
GREEN
Please. Why are you doing this?
MAN
Don’t you know where you are, who
has been here?
52
GREEN
(whisper)
I don’t understand.
MAN
Think about it, Green! Or should I
say...SYDNEY?
Sudden recognition devours her thoughts...she contemplates.
GREEN
(pleading)
So there’s a similarity. I can’t
help it. Please I beg of you don’t.
MAN
I will.
SHORT PAUSE
MAN
(cont’d)
So is there a BATHROOM around here!?
The MAN sends a round of malicious laughter through the
phone...striking her ear.
MAN
(cont’d)
Be right back!
CLICK! The man hangs up.
Green rushes from the wall, to the men’s room...barrels her
way through the door.
INT. MEN’S BATHROOM - CONTINUOUS
Small and decrepit. Three closed stalls line one wall
facing a large mirror and two sinks. GREEN enters.
GREEN
DEAN!
She pushes the stalls one by one, unsuccessful...they won’t
open.
53
She bends down on the ground and scans beneath the stalls,
looking for feet. No one. Nothing.
She rises to her feet...here’s a whisper. Once gain she
bends down, scans beneath when...
TWO FEET step down from a toilet onto the floor in the last
stall. Green’s face draws tight, focused on the
feet...steps back as the stall door begins to CREAK open.
She bolts for the bathroom door...opens it to find...
DEAN
Standing tall behind it.
Green SCREAMS. Stops, looking back at the stall.
GREEN
He’s here!
TWO MORE FEET step off the toilet, the door swings open. A
BOY and GIRL, a couple, step from beyond. Their hair
messed up, clothes wrinkled...obviously fooling around.
BOY
You mind?
Green, her face a mess, stares up at Dean. She looks like
she’s met the devil himself.
She breathes heavily...fear and relief mixing up her
emotions.
DEAN
Let’s get you out of here.
GREEN
No! We leave he’ll find us. Go to
the bar and have them call the police.
DEAN
By the time they arrive here he’ll
be gone and they’ll never find us.
GREEN
What the hell do we do then?
54
She looks back at the horny couple. The two lovebirds make
out, very heatedly...ignoring the happenings by the door.
DEAN
We’ll call them from your house.
She looks up at him, follows his lead...head through the
bar and out the door.
EXT. STREET – SECONDS LATER
They make their way down a residential street. Most of the
houses empty being that school is now over. They strut
down the sidewalk...past the side of the bar.
DEAN
C’mon...hurry.
Dean pulls Green by the arm...forcing her to move at his
pace.
They cross the street...along the side of a house, into the
backyard.
Trees and shrubs cover the area.
They run through the yard...past another house...across
another street.
They head toward a house...stopping.
EXT. FRONT DOOR – CONTINUOUS
Green fiddles with a set of keys...dropping them to the
ground.
DEAN
Green hurry.
GREEN
Fuck...all right.
She grabs them from the ground...puts a key in the front
lock...opens the door.
INT. GREEN’S HOUSE – CONTINUOUS
They head into the house...she locks the door.
55
DEAN
I’ll check on Christy.
He runs up the stairs.
Green watches Dean make his way up the steps...looking at
him...questions interfering her thoughts...
Dean stops halfway up...
DEAN
Green, the cops.
She nods yes.
He heads up the stairs, Green to the phone...suddenly...
IT RINGS
Green answers, places the phone to her ear.
MAN
(filter)
Not very smart. I guess your names
are the only similarity.
GREEN
(looking upstairs)
Who are you?
MAN
You should really get to know the
people you associate with. I’LL
WAKE YOU IN THE MORNING!
Green throws the phone to the floor. She looks around the
house.
CHRISTY
(o.c.)
GREEN HELP ME!
Green moves her head up toward the ceiling...to her friends
voice.
She moves to the steps...contemplating...
56
DEAN
(o.c.)
GREEEEEEN!
She runs up the steps...around the corner...to a closed
door. She opens it. No one. Nothing.
The door behind her opens, reveals...
CHRISTY
Hand reaching out to Green. Sweat pours from her
face...blood from her mouth...her clothes and body stained
in her own blood.
CHRISTY
(barely audible)
Gre-en.
GREEN
Christy!
Christy falls to the ground...very much dead.
Green leans against the wall...near the bathroom. Tears
flow from her face.
GREEN
(cont’d)
DEAN. DEAN WHERE ARE YOU?
She pulls her cell phone out of her pocket, dials...then...
THE BATHROOM DOOR SWINGS OPEN
THE GHOSTFACE FIGURE storms out...knife raised...swings at
Green...she ducks, dropping the phone...the knife buzzing
over her head...sticking into the wall.
Green runs by the FIGURE...down the stairs.
The FIGURE follows in pursuit.
Green runs through the house...the sitting room...the
kitchen. She opens the back door...runs down the steps...
DEAN
57
(o.c)
GREEN.
She looks behind her. NO ONE. She looks through the
backyard...all around her...she looks back toward the
house...
DEAN
(cont’d – o.c.)
GREEN WHERE ARE YOU?
Green looks all around her...again...hoping to find her
friend...
SHE BOLTS...
behind the back of her house.
DEAN
(cont’d – o.c.)
GREEN.
She moves to the side of the house...looking in windows.
The FIGURE searches for her in the kitchen. She darts
toward the front yard.
DEAN
(cont’d – o.c.)
HELP ME.
EXT. SIDE OF HOUSE
Green whizzes along the side of the house...looks
behind...NO ONE.
She turns forward, focusing on the house across the
street...when...
CRACK
A noise resonates from her backyard. She turns back to
look...no one. Not a soul. She moves to the front yard
when...
The FIGURE jumps at her from the front porch...knocking her
to the ground. She scrambles to her feet...moves a
beat...the FIGURE darting for her...catching her...grabs
her by the throat...slitting it from ear to ear.
58
The FIGURE throws Green’s lifeless body to the
ground...staring back at a job done. The FIGURE wipes a
hand across the blade...cleaning the knife...walks back
into the house.
EXT. SUNSET BOULEVARD – DAY
The normal happenings of a Friday morning in the heart of
Hollywood except for the...newsvans, cameramen, reporters
aplenty, waiting outside the offices of DIMENSION FILMS.
REPORTER #2
Although the film is still in
production, many involved in the
industry have expressed concern
over the possible reoccurrence of
the events that took place 10
years ago at the nearby Sunrise
Studios. TWC representatives
have yet to issue a statement...
REPORTER #3
Many place blame on Sidney Prescott’s
involvement as a key reason for
the tragedy that took place only
two days ago in Woodsboro, Calif...
REPORTER #4
...With several actors backing out of
the project, speculators believe it is
only a matter of time before the film
is vaulted indefinitely...
EXT. DIMENSION LOT – DAY – ESTABLISHING
The studio lot is full. Production assistants, lighting
crews, extras, run through the lot. Sound stages rest on
either side of a narrow road that runs down the middle.
DEWEY’S RENTED SUV makes its way down the strip.
EXT. DEWEY’S CAR – DAY
Dewey’s vehicle turns into a parking space labeled SIDNEY
PRESCOTT.
59
DEWEY exits from the drivers seat, GALE the passengers
seat, MARK and SIDNEY from the back.
They huddle around each other at the rear of the vehicle.
GALE
This is a blast from the past.
MARK
I hate Brendan Frasier.
DEWEY
Where’s your office?
SIDNEY
(pointing)
Just up those steps. Near the
executive wing.
MARK
Sidney I still think you should wait
until after the weekend before
delving back into...
Sid looks at her beau...fuming. She walks away. Dewey
follows.
Mark looks over at Gale...
GALE
You don’t get it do you?
MARK
Get what?
GALE
Do you even realize what she has
been through?
MARK
I was right there with her, you,
the last time Gale. Don’t lay your
condescending bullshit on me.
GALE
Quit being a fucking martyr!
60
She has Mark’s full attention.
GALE
(cont’d)
God Kincaid, don’t you have any
inkling as to why she is making
herself do this? Besides Dewey
and I, the only person she can
relate to about this is God dam
Jamie Lee Curtis. But that was
in a few movies...this is her
life.
MARK
I’m well aware of that Gale but...
GALE
No I don’t think you are. I know
she’s explained this to you, she
told me so. This one last chance
at redemption for her is all she
has left.
MARK
I know it is...
Gale cuts him off again, grating him.
GALE
Every person in her life has died!
That’s quite a lot of weight to
have placed on one’s shoulders.
Mark finally listens...understanding.
MARK
I just want her to understand she
is not alone.
GALE
Then support her or at least pretend
to. She’s not stupid Mark. She knows
what you’re thinking. Besides, she
is stronger than you think.
Gale rubs the side of her face, reflecting on the past...
GALE
61
(cont’d)
I should know.
EXT. OFFICE ENTRANCE
Sidney and Dewey walk side by side toward a flight of
stairs. She places her foot on the first step...
WOMAN’S VOICE
(o.c.)
Who’d you fuck to get that contract?
Sid turns around to see...
PAIGE MONROE
rugged, mid thirties. She stands tough, arms at her side.
A constant look of jealousy, insecurity, across her face.
DEWEY
Who’s that?
SIDNEY
Paige Monroe. Wrote STAB 2.
DEWEY
That’s her. I always pictured her
differently.
SIDNEY
Thinks I’m a hack.
DEWEY
Apparently.
Paige walks up to Sidney.
PAIGE
I defined those characters for you.
My signature should be on that
dotted line. You better give me
royalties Prescott.
SIDNEY
Consult my lawyers Paige.
62
PAIGE
Plan to, already spoke with mine.
DEWEY
Than there’s nothing you should
worry about.
PAIGE
Stay out of this huckleberry.
DEWEY
The name’s Dwight Ri...
PAIGE
I know who you are gimpy.
CUT TO:
GALE AND MARK
standing by Dewey’s car.
MARK
Where did she go anyway?
They look over to the steps, spotting SIDNEY. They move
toward her...
MARK
Sidney!
They make their way closer to her when...
A MAN
Moves toward them, walking past the two.
Mark keeps walking, Gale stops, glaring back toward the
man...
GALE
Joel?
The man turns around. It is...
JOEL JONES
63
tall, ordinary. Years have passed but he looks and dresses
the same. He looks back at Gale...
JOEL
Well well well.
He walks over to her.
She reaches her hand out for him to shake.
JOEL
(cont’d)
We went together through hell and
back, you give me a hug now.
They embrace.
GALE
You’re working here?
JOEL
Hoping my involvement at Windsor
will get me on STAB 3. What about
you? As I see it your still cunning
your way past security.
GALE
Actually I’m with Sidney.
JOEL
Sidney? Prescott? STAB 3 Sidney?
She nods at him.
JOEL
(cont’d)
Crazy little white girl Sidney? The
one that mangled your face...twice?
GALE
Yeah, I’ve been meaning to get that
tape from you.
JOEL
Uh uh, blackmail may come in handy
JOEL
(cont’d)
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for me some day.
GALE
We used to be a team Joel. Plus you
might need me. Sidney’s scribing
STAB 3...remember.
CUT TO:
SIDNEY
listening impatiently to Paige’s remarks.
PAIGE
I know your past is the innovation
for this here film, but your
creativity is for shit.
SIDNEY
Thanks for your support.
PAIGE
Quit the innocent, sweet, façade you
so desperately overplay. People
will eventually come to terms with
who you are you manipulative little
bitch.
DEWEY
Shouldn’t you be writing that new script
for Uwe Boll or something?
PAIGE
(condescending)
Actually I moved on from HORROR.
SIDNEY
Oh really.
PAIGE
I was hired to write something great.
DEWEY
Oh yeah, what?
PAIGE
It just happens to be the next film
65
Matthew McCoughnahey. is already
attached to star in...GUY GETS GIRL.
Sid looks over at Dewey, both suppressing laughter.
SIDNEY
Sounds like a real box office draw.
Paige swells with anger.
PAIGE
You don’t say. Maybe I should get
attacked by ghost face. Then it’s
only a matter of time before the
offers come pouring in.
DEWEY
Is that what you really think?
PAIGE
Absolutely. If it wasn’t for her
real life TERMINATOR experiences she
wouldn’t be standing here having
this conversation. Definitely not
worth three million to churn out
100 pages of nauseating, narcolepsy
producing, babble.
SIDNEY
(gloating)
I don’t have time for this. I have
contractual obligations to uphold.
Sidney turns back toward the stairs, her back to Paige.
Paige follows behind...
PAIGE
Hell, none of this would be in
existence if it wasn’t for that
SLUT mother of yours.
In a blind, unexpected instant, Sidney brings her fist
forward, SMASHING it hard into Paige’s face. The impact
sends Paige reeling backwards, tumbling to the pavement
below.
PAIGE
(cont’d)
66
YOU STUPID BITCH!
CLOSE ON SIDNEY...breathing heavily...a familiar look of
satisfaction sweeps across her face.
CUT TO:
GALE AND JOEL
They hear Sidney grunt, punching Paige. Gale looks back at
Joel.
GALE
Now why couldn’t you get THAT
on film?
Gale, smiling, heads for Sidney.
JOEL
(shaking his head)
I hope I like the script.
Joel follows behind Gale.
Paige rises to her feet glaring back at Sidney who is being
held back by Dewey. Paige cocks her arm back...
GALE runs interference for Sidney.
GALE
Stop right there. Don’t even try
to lay a finger on her!
Paige’s eyes pierce at Gale. Gale looks right back at her
completely undaunted. Paige moves past Gale, stops near
Sidney.
PAIGE
Better hire Cochran, Sidney.
Sidney watches Paige walk away, up the steps, and into the
building.
Paige opens the door to the building and walks inside.
DEWEY
She’s a bit imbalanced.
67
SIDNEY
To say the least.
MARK
(to Joel)
Who are you?
GALE
Joel Jones meet Mark Kincaid,
Sidney’s fiancée.
They shake hands.
MARK
I’ve seen you before haven’t I?
JOEL
I was Gale’s cameraman for a short
while. Was involved at Windsor.
DEWEY
What brings you here Joel?
JOEL
I was hoping to meet with Sidney?
SIDNEY
Me, why?
JOEL
I was hoping you wouldn’t mind using
your newly found success to begin
what many involved in this business
so avidly support...NEPOTISM. I could
use some work and I wouldn’t let you
down.
SIDNEY
I can get you an interview with the
producers, for now. I can try and
pull some strings after they get a
first impression of you.
JOEL
Thanks.
68
MARK
Sid I’m gonna go check out the sets.
See how accurate they are. Maybe they
have my old office done. Wanna come?
SIDNEY
No I better get inside and find Kyle.
Mark walks off toward the front of the lot.
MARK
(o.c.)
Be right back.
SIDNEY
(to herself)
Don’t say that!
DEWEY
When does the shoot commence?
SIDNEY
When I turn in the final draft, so...
GALE
ASAP huh?
SIDNEY
Exactly. Joel I can take you in today
if you’re up to it.
JOEL
Yeah, lead the way.
The four, Gale, Dewey, Sidney, and Joel move to the steps
that climb to the offices above...WHEN...
A PHONE RINGS
It is Sid’s cell.
SIDNEY
Hold on...
She answers the phone...
69
SIDNEY
(cont’d – into phone)
Hello.
MAN’S VOICE
(filter – through phone)
HELLO SIDNEY!
IT’S HIM...the voice that is always in her dreams,
nightmares...etched in her mind.
MAN
(cont’d)
It’s nice to see you all together,
again, for one last time!
Sidney focuses on the voice...not the slightest bit shaken.
SIDNEY
What do you want?
The group watches her closely.
DEWEY
Who is it Sid?
MAN
I think it’s time you are let in
on a little secret.
SIDNEY
Oh yeah. Then why don’t we cut out
the middle, huh? Save ourselves some
time and energy. So let’s get on with
it. Tell me who you are, your motive,
so I can just fucking kill you already.
Because frankly- I don’t give a damn.
Gale and Dewey know whom she is talking with, Joel
wonders...confused.
GALE
It’s him.
MAN
Your tough Sid. But this way the game
70
is more fun, more satisfying.
SIDNEY
Is that all you have? Your nothing but
a carbon copy...a nothing.
MAN
Don’t piss me off child. I remain in
control. Those ARE the rules!
DEWEY
Is he here? Can he see us?
They look around, Sidney focused on the phone.
SIDNEY
Look, are you done? I have some things
I need to get to.
MAN
Just getting started.
GALE
Sidney?
MAN
Don’t you ever wonder Sidney? If all
the secrets have been revealed.
SIDNEY
No.
MAN
Well you should.
SIDNEY
LISTEN GHOSTFACE! I’ve survived worse
than you. You think you may be in
control now but so did the others.
MAN
They didn’t have what I do. I have
your life in the palm of my hand...
they made you...I end you. Gale,
Dewey, they can’t help you. Not
MAN
(cont’d)
71
even your FATHER can help you.
BECAUSE OF ME YOU’RE GOING TO DIE!
SIDNEY
FUCK YOU!
MAN
Oh so crude. Didn’t your mother
ever teach you some manners?
(beat)
Oh, I forgot- she was too busy being
a one woman brothel.
Sidney falters a bit at the remark, old memories storming
back.
SIDNEY
Who are you?
MAN
Your fate...your god. Roman’s
inspiration.
CLICK! Sidney hangs up the phone.
JOEL
What did he say?
DEWEY
You okay Sid?
GALE
Let’s get out of here...
THE PHONE RINGS...AGAIN
SIDNEY
WHAT?!
Sidney is losing her hold on the situation.
MAN
That’s not how it works.
SIDNEY
I’m here, now what?
72
MAN
Believe me, you’ll find out soon
enough- I PROMISE!
CLICK! The man hangs up.
SIDNEY
Shit.
DEWEY
We’ll find him Sid.
Some tears build in Sid’s eyes.
SIDNEY
I can’t do this again Dewey.
GALE
Then skip town, leave the country...
anything.
JOEL
(to himself)
Why did I get myself into this?
A PHONE RINGS
It’s Gale’s cellular...she pulls it from her pocket.
GALE
Hello.
MAN
Don’t think you’re in the clear.
GALE
(to the others)
It’s him.
MAN
You won’t run will you?
GALE
Who the fuck are you?
MAN
C’mon Miss Weathers. You know how
73
it works. You’re a reporter, don’t
agonize me with stupid questions.
GALE
Then show yourself.
No response.
GALE
(cont’d)
I thought so you pussy.
MAN
(deadly)
WATCH YOUR MOUTH GALE. YOU KEEP
THAT UP AND I’LL BRAIN FUCK YOU
WITH 12 INCHES OF COLD, SHARP,
STEEL...
The man roars in laughter...
Gale becomes frazzled...not sure how to respond.
MAN
(cont’d)
Your nothing but my bitch! Say hello
to Dewey for me.
CLICK! The man ends it with that...
Sid’s PHONE rings...
She jumps...troubled...
SIDNEY
Quit hiding behind that voice...
A familiar voice interrupts her...
KYLE
(filter – from phone)
Sid your late, where are you?
Her mind still focused on before...
SIDNEY
Downstairs.
74
KYLE
Come on up...it’s very urgent.
SIDNEY
Yeah.
(beat)
Yeah...okay.
KYLE
Hurry.
Sid puts the phone away...
JOEL
Was it him?
She turns to Dewey, looking straight into his eyes.
DEWEY
I’m here Sid.
She nods at him then heads upstairs.
The rest follow behind.
INT. HALLWAY
The gang moves through the executive wing of the building.
Doors line both sides of the wide hallway. Movies posters
and other movie memorabilia fill in the empty spots along
the wall. Sid opens a door to her...
INT. SIDNEY’S OFFICE – CONTINUOUS
A huge room, almost too big. A large oak desk rests on
side wall. A very expensive, the latest, computer rests on
top of the desk, as well as the picture of Sid and her mom
taken so long ago. On one of the walls numerous pictures
make a collage, almost a memorial, to all her friends that
she has lost in years past.
Sidney walks over to the desk, sits down...gazes at the
picture of her and her mother.
GALE
Jesus Sidney. They’ve set you
75
up pretty nicely.
DEWEY
Sid we should call the police.
SIDNEY
For what Dewey? What can they do?
Besides trace the call only to find
it was made from a cloned cell phone.
DEWEY
Well at least let them know that the
killings in Woodsboro are definitely
linked to you.
The door to the office opens. KYLE enters.
KYLE
Sidney.
SIDNEY
I’ll have the second draft done by
the end of the day. Tell ‘em to take
it easy.
KYLE
It’s more than that.
GALE
What are you talking about?
KYLE
There’s been another murder.
Sidney stands right up, full attention to Kyle.
DEWEY
Where?
KYLE
Windsor College.
Sid knows right away that this a message...for her. She
stands motionless...
DEWEY
Sidney.
76
Suddenly Sidney rips everything off her desk to the floor
below. The desk lies empty, save for the computer still
lying on top.
SIDNEY
THAT SON OF A BITCH!
Gale, Joel, Kyle, and Dewey all get taken aback. They
stand there, mouths to the floor, in shock.
Sid regains her composure.
SIDNEY
(cont’d)
Why? Why again, now, to me?
DEWEY
It’s okay Sid. Let off the steam.
GALE
Sidney...look at me.
She walks over to Sidney, places her hands on Sid’s
shoulders.
GALE
(cont’d)
You can beat this. All right. He won’t
get to you.
SIDNEY
Why do you guys even stick around?
Just knowing me places you on death
row.
KYLE
Relax Sid. I already called the police.
They said they’d be here soon.
SIDNEY
Okay, yeah.
Kyle turns to Gale, stares at her.
GALE
WHAT?
77
KYLE
Holy shit...you’re Gale Weathers.
GALE
Yeah, and you’re not.
KYLE
What an honor to meet you. I’m Kyle
Sloan, Sidney’s consultant.
Kyle is acting like a schoolboy meeting his favorite,
famous, crush.
GALE
Jesus, relax. You’re about to wet
your pants.
KYLE
Sorry, will you come with me?
DEWEY
Where?
KYLE
I have something funny to show you.
Kyle grabs her by the arm and pulls her, reluctantly, with
him out of Sidney’s Office.
Owen enters the office.
OWEN
You okay Sidney? I heard about
everything.
JOEL
He called her.
OWEN
Who?
DEWEY
The killer.
OWEN
That’s it I’m delaying the film.
78
Sidney moves to Owen.
SIDNEY
No you are not. I am not letting that
happen. I will have the second draft
to you in a few hours.
OWEN
You sure?
She nods yes.
OWEN
(cont’d)
Okay. Give it to me tomorrow. I am
heading home and clearing out the
office. So it will be you and your
friends. Is that all right with you?
SIDNEY
We should only be here an hour or two.
It’s fine, really.
OWEN
See you tomorrow...gentlemen.
He heads to the door and out the office.
INT. HALLWAY
Gale and Kyle walk down the end off the main hallway.
KYLE
Your gonna love this.
GALE
What is this a...
She stops in mid sentence, focused on two female voices in
a room at the end of the hall...
VOICE 1
(o.c.)
I AM Gale Weathers.
VOICE 2
(o.c.)
79
This is how I see it I’ve got no house,
no bodyguard, no movie, and I’m being
stalked- because someone wants to kill
me, no, because someone wants to kill
you- so now, starting now, I go where
you go. That way if someone wants to kill
me I’ll be with you and since they really
want to kill you they won’t kill me,
they’ll kill you. Make sense?
VOICE 1
None!
Gale and Kyle enter...
INT. CASTING OFFICE – CONTINUOUS
The two voices are coming from two women sitting on a couch
at the back of the office. Voice 1 is coming from
DELILAH...Voice 2 is coming from a WOMAN, ditzy, early
thirties...This is SAMANTHA BARNES.
GALE
You’re kidding right?
KYLE
Delilah, Samantha. It’s her...you.
Delilah and Samantha stand up at attention to Gale like
people do for the president. They are both holding STAB 3
scripts.
SAMANTHA
Oh my God the real Gale Weathers.
GALE
Real from top to bottom.
SAMANTHA
(cont’d – from script)
“Real from top to bottom”, page 32.
DELILAH
Hey, forget her. I’m Delilah, Kyle’s
girlfriend. I am playing you in STAB 3.
SAMANTHA
AND I’m playing you in SLICE 3.
80
GALE
SLICE 3?
KYLE
It’s the movie within the movie...
GALE
(pointing to Delilah)
So you’re me and...
(pointing to Samantha)
...you’re
SAMANTHA
Playing Jennifer who’s playing you
in SLICE 3 but who really played you
in STAB and STAB 2.
GALE
Sid why are you making this shit?
KYLE
(cutting her off)
Stay for one run through.
INT. SIDNEY’S OFFICE
Sidney stands behind her desk looking at the mess she
created on the floor. Dewey and Joel are across the room
looking at the pictures on her wall. Dewey spots a photo
of Tatum and Sidney. A sullen looks glazes his face.
JOEL
Who’s that?
DEWEY
My sister.
JOEL
She’s a looker. She single?
SIDNEY
JOEL!
JOEL
What it’s just a question? I was just
81
complimenting her look, I don’t see...
DEWEY
She’s dead.
SHIT. Joel has no idea what to say.
JOEL
(to himself)
Tatum, shit.
Sidney bends to the ground picking up the self-induced mess
she made on the floor. Dewey walks to her, bends down next
to her...
SIDNEY
Thanks Dewey but could you guys give
me like an hour or so to get this
cleaned up? Plus I need to finish that
draft.
DEWEY
Yeah. Joel let’s get Gale. Maybe we
can find some coffee around here.
JOEL
Let’s do it.
They walk to the door.
DEWEY
Call my cell if you need anything Sid.
SIDNEY
Go Dewey.
He looks back at her...she forces a smile.
Dewey and Joel leave.
INT. CASTING OFFICE
Gale is listening to Delilah and Samantha rehearsing their
lines. She glances at her watch, bored.
SAMANTHA
After two films I feel like I am
82
in your mind.
DELILAH
Well that would explain my constant
headache’s.
Dewey and Joel enter the office.
DEWEY
Gale.
GALE, DELILAH, and SAMANTHA
Dewey.
He looks at the other two, then at Gale. Gale looks back
at Samantha and Delilah staring into them, wondering if
they really are as stupid as they sound.
DEWEY
Sid’s finishing up her script so we
have an hour to burn.
KYLE
I can show you guys around if you want.
GALE
Fine, whatever, just keep me away from
twit number two.
KYLE
That’s enough for today Samantha.
SAMANTHA
I want to go too.
DELILAH and GALE
NO!
They both calm themselves.
DELILAH
We can run the lines tomorrow.
Sidney’s friends move to the office door. Samantha stands
alone, rejected. She walks over to a desk, grabs a purse,
and looks back at the group leaving her behind.
83
INT. HALLWAY – CONTINUOUS
Dewey, Gale, Kyle, Joel, and Delilah walk down the main
executive hallway. They move down the hall and out an exit.
EXT. DIMENSION LOT – SUNDOWN
The party of five enters the main lot. They are surrounded
by the sound stages. Most of the crew gone after a days
work.
KYLE
Most of the sets are finished.
DELILAH
I can’t believe in two weeks I will
actually be working on a real Dimension
set.
KYLE
Beats syndication, huh baby?
JOEL
Where are the sets for STAB 3?
KYLE
Near the front of the lot.
GALE
Let’s check ‘em out.
DEWEY
See the accuracy.
KYLE
That’s right, you were a technical
advisor for the original STAB 3.
DEWEY
You can say that.
A CELLULAR RINGS...KYLE’S...he answers.
KYLE
(into phone)
Hello.
(beat)
Did you try opening the file
84
on your desktop?
(beat)
Try the computer across the hall.
(beat)
Okay. Yeah. I’ll be right up.
He hangs up.
KYLE
There’s a glitch on one of the
computers. Meet me on the set.
He moves out of their view and into the building from the
executive entrance.
DELILAH
Gale wanna see the SCRUBS set?
GALE
I didn’t know they filmed here.
JOEL
After they signed their last contract
the previous studio couldn’t recoop
the costs for seasons 10 and 11 so
Dimension took the show under their wing.
DELILAH
Then we can check out the asylum set they
used for the HALLOWEEN remake
GALE
Does it suck in person, too?
They move down the lot...toward Dewey’s car.
The headlights on his car flip on and off.
DEWEY
You see that?
DELILAH
What?
DEWEY
85
The lights.
They flip on again. All of them look toward the car
when...the driver’s door OPENS...The GHOST FACE FIGURE
STEPS OUT.
FEAR comes across all four of their faces.
The FIGURE STEPS toward them...the four walking backwards
toward the front of the lot...SCARED.
GALE
Dewey.
The FIGURE darts toward them.
DEWEY
RUN!
They bolt toward the front of the lot.
The FIGURE stops at the steps that run up and into the
executive wing.
Gale turns around to see this.
GALE
He stopped.
DELILAH
What do we do?
The FIGURE eyes them...staring at them...enjoying their
confusion. The figure bolts up the steps...into the
building...GONE.
GALE
Where’s he going?
Dewey looks at her...
DEWEY
SIDNEY!
INT. SIDNEY’S OFFICE
Sidney places the last remaining papers on her desk. She
moves behind, sitting down. She rummages through the mess
86
now on her desk. She looks under some papers and finds a
ZIP DISC. Her hand knocks the papers to the side revealing
A PICTURE FRAME. Sid grabs it, in the frame is...
The now very familiar picture of her and mother.
Sid holds it, looking intently at it. A small tear trickles
from her eye down her cheek. She wipes the tear away,
places the frame face down on her desk.
She moves in her chair over to the computer...places the
disc in the drive. Her file won’t open.
She stands up, walks out of her office, across the hall,
pulls a door open and into another office almost identical
to hers.
The oak desk, computer, all the same. A door rests closed
at the back of the office.
She sets herself behind the desk, places the disc in the
drive when...
A PHONE RINGS
Sid looks at the top of the desk, a phone rests, ringing.
A light blinks next to the title OWEN FLETCHER.
SIDNEY
(into phone)
Owen I thought you went home.
The MAN’S DEADLY VOICE blasts from the phone.
MAN’S VOICE
(filter – from phone)
Done with that draft, SIDNEY?
She bolts upright, looks all around her. She is ALONE.
SIDNEY
Where are you?
MAN
Oh Sidney. I can’t help but feel
somewhat sorry for you, your life.
You’re cursed.
87
SIDNEY
Quit the charade.
MAN
It isn’t over yet Sidney.
SIDNEY
Not until I kill you!
She walks toward the door of the office, looks into the
hallway...no one, nothing. She walks back to the desk
MAN
Can’t find me huh? Well, I found you!
Suddenly the door on the back wall FLIES open. A WHITE

[Ghostface]

GHOSTFACE FIGURE storms out at Sidney.
Dressed in the same shrouded costume but with the colors
reversed...a white cloak and a black screaming mask.
She screams as a knife comes right at her. She speeds
away, followed by The GHOST. She runs out the door and
slams the office door on the GHOST just as it comes to the
doorway. The GHOST falls to the ground hard.
She bolts down the hallway.
SIDNEY
DEWEY!
The GHOST hops to its feet in pursuit of Sidney. She moves
down the hallway...to a set of stairs, sprints down
them...into another hallway on the floor below.
The GHOST follows her down the hallway then suddenly stops.
Sid moves toward a stairwell...looks back to find the GHOST
GONE. She ponders what to do.
CRASH-BOOM
A noise sounds out from behind her. To hell with this!
Sidney storms down the remainder of the hallway, into the
stairwell, and running smack dab into
PAIGE
88
They both SQUIRM.
PAIGE
What the hell Prescott?
SIDNEY
He’s here.
PAIGE
What are you talking about?!
SIDNEY
Let’s get out of here.
Sidney grabs Paige by the arm and takes her down the steps.
They bolt down and to a door marked EXIT. Sidney bursts
out the door with Paige. They are now in...
INT. VIDEO STORE (SET) – CONTINUOUS
They enter the store. Rows and rows of racks line the set.
Movies are scattered behind the counter. If it weren’t for
the fact that they are on the Dimension Lot it would really
appear that they are in an actual BLOCKBUSTER VIDEO.
PAIGE
What is this?
SIDNEY
The video set from STAB.
PAIGE
Video stores are so 90’s.
(BEAT)
Could you just tell me exactly what
is going on here?
SIDNEY
He’s trying to finish what was started!
PAIGE
Who?
SIDNEY
The REAL killer.
89
BANG BANG BANG!
A loud knocking can be heard from the set door.
PAIGE
Oh shit.
Suddenly a knife comes barreling through the door.
Fragments of the door fall to the floor below after
numerous strikes.
Another BANG. Then Another. Finally the door comes crashing
open.
The GHOST comes barreling through to find NO ONE. The
GHOST stands motionless...a heavy breathing heard through
the mask. The GHOST walks down the front of the store/set.
In an instant one of the racks comes crashing down hard on
the GHOST pinning him to the floor. The GHOST squirms
under the racks...looks up at...
SIDNEY
Breathing heavy, fists clenched...feeling a moment’s
relief. She bends down...reaching for the mask.
PAIGE
SIDNEYDON’T!
A back set door squeaks partially open.
Sidney shoots up, eyes the door, looks around the store...
SIDNEY
Paige.
Paige rises from behind a rack at the far end of the store.
Her face a mess and completely daunted with fear.
Sidney walks to her.
SIDNEY
(cont’d)
Call the police.
Paige pulls out her cellular...flips it on.
90
The back door squeaks further until the door opens
completely.
Sidney walks over to the fallen rack...
The GHOST is lying still on the ground below.
Sidney looks at the back door to find...no one.
ANOTHER GHOST appears behind the last rack.
Dressed in the same shrouded costume but with the colors
reversed...a black cloak and a white screaming mask...THE
ORIGINAL GHOST.
SIDNEY AND PAIGE SCREAM!
A lone row of films separate him and Paige.
Sidney looks back and forth between the two.
SIDNEY
(confused)
What in the hell?
Fear runs through her body down to her toes, like one she
has never felt before...speechless.
Paige remains motionless, in shock, unable to move.
PAIGE
(whisper)
Si-idney.
The BLACK GHOST brandishes the same hunting knife...steps
toward Paige.
Sidney is inches away from the WHITE GHOST, still under the
racks.
SIDNEY
RUN!
She bolts toward the set door...stopping.
91
Paige moves backward, facing the BLACK GHOST. The BLACK
GHOST lunges at her...she SCREAMS. She turns around...now
face to face with the WHITE GHOST. She is at a lost for
words...trapped.
Sidney runs her hands to her mouth...almost vomiting.
SIDNEY
(cont’d)
NOOOO!
She stands between the FIGURES.
PAIGE
SIDNEYHELPME!
They both barrel their knifes in and out the front and back
of her body. Paige moans and groans until lifeless. The
GHOSTS stare at each other...both cleaning their
blades...turning toward the set door just in time to see
Sidney escape.
INT. HALLWAY – SECONDS LATER
Sidney is running as fast as she can down the hallway. She
heads for the exit that leads to the lot. She whips open
the door...
EXT. DIMENSION LOT – CONTINUOUS - DAY
Sidney heads down the stairs...toward Dewey’s SUV.
SIDNEY
GALEDEWEYWHEREAREYOU?
DEWEY
(o.c.)
SIDNEY!
Sid looks back to the sound. Gale, Dewey, Joel, and
Delilah are all moving towards Sid from the front of the
lot.
SIDNEY
Dewey.
She moves to them, meeting them near the bottom of the
stairs that lead to the executive wing.
92
GALE
Sidney are you okay?
SIDNEY
He, they, killed Paige!
JOEL
What do you mean they?
DELILAH
There was two of them?
SIDNEY
Where’s Kyle?
A voice yells to Sidney from above the group.
VOICE
(o.c.)
Sidney!
They all look up to the voice. MARK is standing at the top
of the stairwell. He looks panicked.
GALE
Kincaid.
He stands at the top of the steps, gazing at Sidney.
SIDNEY
How long have you been back?
MARK
What?
DELILAH
Where were you Mark?
MARK
What? Why? I found Paige. She’s dead.
DEWEY
(to Sidney)
I thought you were alone.
Sidney looks up at Mark.
93
SIDNEY
So did I.
VOICE
(o.c.)
Mark!
Another voice is heard from by Dewey’s vehicle. They turn
to look...seeing...
DEAN
Frazzled and out of sorts. He stands by Dewey’s car.
Police sirens can be seen and heard near the studio.
Mark runs down the steps and toward Dean.
MARK
Christ, Dean. What are you doing here?
JOEL
Who is that?
MARK
My brother.
The brothers stand side by side. Dean looks up at his big
brother. Mark turns toward the group, looks at Sidney...
She glares back at the siblings. Completely infuriated
with anger, fear, confusion, and suspicion.
GALE
What is he doing here Kincaid?
DELILAH
Look at the two of them.
JOEL
Yeah...
DEWEY
The two of them.
INT. LAPD BULLPEN – NIGHT
94
A large city police station. Cops, investigators, and
others everywhere. Desks make up the room--everyone busy.
INT. CHIEF’S OFFICE
A sprawling office. Even with a computer, it looks as if
it is still run by paperwork and file cabinets only.
Sidney, Gale, and Dewey sit side by side in the three
chairs across from the chief’s desk.
Standing across from the group is the chief...
STAN WINSTON
Rugged, early forties...works by instinct, determination.
He stands next to...
SHERIFF BURKE
A little older, a little wiser...still Woodsboro’s finest.
Stress runs down his face...sympathizing with Sidney.
SIDNEY
Sheriff Burke, any word on my dad?
BURKE
We left two messages. His office
said he was out of town on business.
Sidney spots a blackboard along the right wall of the room.
Many pictures, articles, etc about the killing line the
board. A list of “VICTIMS” dead in the center--SANDY
PETERSON, DREW ROBERTS, GINA WISLON, SYDNEY GREEN, CHRISTY
DEVERS, PAIGE MONROE.
WINSTON
I spoke with Chief Hartley and he
believes the killings in Ohio are
directly linked to you.
DEWEY
What makes you so sure?
WINSTON
They have a witness who saw the
95
attack on the Green girl from
across the street. She ID’d the
ghost mask.
Sidney looks at the names.
CHIEF
Those are the two victims at Windsor.
GALE
Jesus Christ. Don’t you see what he is
doing here?
Sidney walks over to the board, erases Christy Devers,
Paige Monroe, and all the letters in every other name
except for the first initial. She leaves SYDNEY GREEN.
DEWEY
He’s going in order of where Sidney
was at during the other murders.
BURKE
What about Sunrise Studios?
GALE
Miramax is his Sunrise.
SIDNEY
(realizing)
Paige wrote the first two STAB’s.
Gale and Dewey both rise, walk toward Sidney.
DEWEY
You have a very meticulous man on
your hands chief.
WINSTON
God in heaven.
BURKE
Sidney did he say anything to you
BURKE
(cont’d)
we could use to go with here?
96
GALE
Didn’t you say he said something about
Roman?
Sid nods. She is uncomfortable with the whole situation.
WINSTON
Burke I want you to find anything,
anyone you can back in Woodsboro
related to Roman Bridger.
BURKE
I’ll get my men on it.
Burke heads for the door.
SIDNEY
Call me if you here from my dad.
He looks at Sidney acknowledging her, then leaves the
office.
DEWEY
Chief Winston, what do you know about
this Dean, Mark’s brother?
WINSTON
The same witness said she saw him
running from the back of the house
about the same time Sydney...sorry,
Green, was murdered.
DEWEY
Why’d he come here?
WINSTON
Kincaid said he was staying here for
his summer vacation.
SIDNEY
Wait, what?
GALE
He didn’t say anything to you about
it Sidney?
97
SIDNEY
Not a word.
WINSTON
Ms. Prescott it’s been a long night.
Go home.
DEWEY
What are you doing to protect Sid?
WINSTON
Her house is already on surveillance.
Two cars will be there all night.
Gale walks over to Sidney.
GALE
C’mon Sidney, let’s get you home.
INT. LAPD BULLPEN
Kyle and Delilah lean against a far wall of the bullpen.
They shoot up when they see Sidney, Gale, and Dewey exit
Chief Winston’s office. They scurry over to them.
DELILAH
(hugging Sidney)
Oh my God, Sid are you okay?
SIDNEY
I’m fine.
KYLE
You need anything?
SIDNEY
Don’t treat me like a child, Kyle.
GALE
What happened to Joel?
KYLE
Said he was leaving L.A.
DELILAH
He’s going back to Ohio.
DEWEY
98
You need a good nights sleep.
SIDNEY
Oh yeah, what’s that? I haven’t had
one in over ten years, I think I could
do without it one more night.
Chief Winston enters the bullpen from his office.
WINSTON
If you need anything just contact
one of my men out front.
GALE
Thanks Chief.
Mark appears across the room.
MARK
Sidney.
He rushes to her.
SIDNEY
Where’s your brother?
MARK
He went with his friends.
SIDNEY
Why didn’t you tell me he was
staying with us?
MARK
I just didn’t think about it.
GALE
Well you should have Kincaid. Why’d
he flee the scene?
MARK
He panicked Ms. Weathers. He was
sacred shitless. Like WE’VE all been.
His eyes steam at Gale.
MARK
C’mon Sid. Let’s go home.
99
SIDNEY
I wanna be with Dewey and Gale.
MARK
What? Sidney believe me when I tell
you that I was only viewing the sets.
SIDNEY
I want to.
MARK
But the question is...do you?
Short pause.
MARK
(cont’d)
Well?
SIDNEY
Let’s go Dewey.
Sidney moves to the front exit of the building...Gale and
Dewey follow. Leaving Mark rejected.
KYLE
You can crash at our place.
MARK
No. Take me home.
EXT. LAPD – NIGHT
A huge media frenzy is taking place directly in front of
the building...cameramen, media personnel, writers, and
photographers are everywhere. Onlookers stand behind the
buzzing media.
Sidney exits the building without thinking of the onslaught
guaranteed to be upon here. They swarm. She looks back at
Gale and Dewey...then at the press.
SIDNEY
Shit.
REPORTER #5
100
Did you know any of the victims?
REPORTER #6
Do you feel responsible?
SIDNEY
LEAVEMEALONE!
Gale and Dewey break through the crowd, now with Sidney.
REPORTER #7
Did you do it Gale?
REPORTER #8
Are you writing another book?
REPORTER #9
Did your insatiable hunger for fame
and fortune finally cause you to snap?
DEWEY
No comment. We’re just trying to live
our lives.
Dewey unlocks the doors to the rented SUV. The three hop
in the car. He turns the key, flips the lights, and hits
the gas.
They pull away from the hoopla and lookie loo’s. Sidney
looks back at the frenzy. The BLACK GHOST is standing at
the back of the crowd...reveals the knife.
INT. SIDNEY’S HOUSE – GUEST BEDROOM
A small, yet homey room. Flowers lie on a nightstand next
to the bed. A large dresser sits across from the bed.
Gale and Dewey are in the room--talking.
GALE
Who is doing this Dewey?
DEWEY
I can think of one person.
GALE
101
Who?
DEWEY
I hate to say it, but Mark is
acting very out of sorts.
GALE
It’s about fucking time. I never
felt one hundred percent sure
about him. I mean he had that whole
file on Sid from Woodsboro and
Windsor. It was like he was stalking
her through the press and using
his old title to get her information.
Gale moves to the bed.
DEWEY
And his brother. It’s obvious. Just
like Randy would say.
GALE
What about her dad? They say he’s out
on business...
DEWEY
He was the first two times. He’s a
red herring.
GALE
When did you become a slasher buff?
DEWEY
I’m just trying to reflect on how
Randy would think right about now.
GALE
If it wasn’t a trilogy...Wait a
Minute. Randy said same rules apply.
Maybe we can go back and figure out
what we did wrong the other times.
See if there are any loose ends that
need to be tied up.
DEWEY
We found the pattern...now we protect
Sid. Plain and simple...and...
(beat)
102
you!
Dewey moves over to his wife. She kisses him. She falls
back to the bed, kissing him. Dewey delicately places
himself on top of her. They now stare face to face. He
takes off his jacket. Kisses her again. She stops...stares
at her hubby.
DEWEY
(cont’d)
What?
GALE
Let’s have a baby.
He stares at her, pondering. He questions her sincerity.
GALE
(cont’d)
Really...
She’s serious...He jumps off of her.
DEWEY
Here, now.
GALE
The time is right.
DEWEY
(disgusted)
During all of this?
GALE
No...my cycle...
He finally realizes she means the perfect time for
fertilization. He moves to her.
INT. LIVING ROOM
Sidney is alone in the room, sitting on a recliner facing
the front door. She looks at her watch.
The front door opens.
VOICE
(o.c.)
103
We’re fine. Thanks.
A MAN is standing at the entrance with his back to Sidney.
VOICE
(cont’d – o.c.)
See you in the morning!
The man turns around, facing Sidney. She stands up, looks
into the eyes of MARK.
EXT. STREET – NIGHT
A small desolate road on the outskirts of town. A car
zooms down the street...turns into a small rundown gas
station.
The car stops at a pump. KYLE leaves the driver’s side.
He moves to the passenger seat. Delilah sits comfortably.
KYLE
Can you fill it up? I’ll pay.
DELILAH
You do it.
KYLE
You know I hate the smell of gas.
DELILAH
I wished that applied to all situations.
Kyle runs to the small store. A bell chimes upon his
arrival.
Delilah walks to the pump...retrieves the regular unleaded,
moves to the tank...begins refilling.
She stands there for a short while...
CHIME!
The bell from the store entrance chimes out. Delilah looks
to the store...NO ONE entered or the left it. Kyle is not
inside.
DELILAH
(cont’d)
104
Kyle!
Suddenly the WHITE GHOST appears from behind the pump
station. Delilah SCREAMS. She turns to the GHOST,
spraying gas all over him...drops the hose...takes off. No
use. The GHOST catches up to her...withdraws the
knife...grabs her from behind and to the car.
INT. LIVING ROOM – MOMENTS LATER
SIDNEY
You get home safe.
MARK
Yeah. Kyle dropped me off.
Mark walks to her.
SIDNEY
Forgive me?
MARK
I’M SORRY. I should think about you
first...not me.
SIDNEY
I didn’t trust you. I’m the one
who should be sorry. It’s just
that my past experiences with the
matter are sort of stained. You know.
MARK
You shouldn’t trust anyone.
The PHONE rings.
Sidney looks at it, Mark looks at her. The Phone continues
ringing. The answering machine picks up.
SIDNEY’S VOICE
(o.c. – from machine)
Hi we’re not her. Take as long as
you’d like.
NEIL’S VOICE
105
(o.c. – from machine)
Hey Sidney. I’m back in town. Listen
I’ll be up for another hour or so...
Sidney runs to the phone...picks it up just before her dad
hangs up.
SIDNEY
Dad wait, I’m here.
NEIL
(filter – from phone)
I spoke with Chief Winston, he told
me everything, are you all right?
SIDNEY
Fine. There are two cars out front
right now. I have big city protection.
NEIL
Good Sidney...
METALLIC CLICK
NEIL’s voice turns into the MAN’S VOICE that so eerily
haunts Sidney.
MAN
Cause your going to need it.
Sidney’s eyes light up...tense.
SIDNEY
NOOOOO!
MARK
Sidney?
INT. GUEST BEDROOM
Gale and Dewey, move their attention from reproduction to
Sidney’s cry. They jump out of bed...partially clothed.
INT. LIVING ROOM
MAN
AHHHH SIDNEY! I’ve got you where I
106
want you.
SIDNEY
I’m not afraid of you. People in the
business are deadlier than you.
MAN
Poor Sidney. Always one more secret
to reveal...always one left behind.
Gale and Dewey enter the living room, putting shirts on.
DEWEY
(to Mark)
Stay away from her.
MARK
No...it’s him.
SIDNEY
Who are you?
MAN
I’m where it began. WE are where it
began. So long ago with your mother.
SIDNEY
Leave her out of this. It’s about
you and me.
MAN
Oh how very noble of you Sidney.
There’s just one more place left.
SIDNEY
Where!?
Gale finds a portable phone...flips it on...listening.
MAN
Where it all started that one fateful
night oh so long ago. The night I felt
the pride given to me by Roman. The
pride only a father can feel.
SIDNEY
107
Why would you be at my dad’s house?
MAN
It’s been ten years Sidney. Ten long,
very calculated, years.
SIDNEY
Who do you think you are, huh?
Why don’t you stand on your own?
Quit the Michael Myers shit.
MAN
Be careful Sid...oh, and bring the
others. Let’s make it a homecoming.
SIDNEY
NO, JUST ME!
MAN
Stop acting so self-righteous. If you
bring them the rest live. Very simple.
Cooperate with me and maybe I’ll spare
some of the others.
SIDNEY
No fucking way. I won’t subject them
to this...again!
MAN
JUSTDOIT! No cops. See you soon.
The man hangs up...leaving Sidney frustrated. She wipes
away some tears...places the phone on the receiver.
SIDNEY
Shit. Shit. Shit.
Gale clicks off the portable. She moves to Dewey.
DEWEY
What did he say?
SIDNEY
I have to go.
GALE
108
Were going with you.
MARK
Where are you going?
No response.
MARK
Sid?
EXT. PRESCOTT HOUSE – WOODSBORO - LATER
The same two-story house Sidney grew up in as a child.
A NISSAN MAXIMA pulls in front of the house, stopping, and
Sidney gets out. She stares at her house from under the
front walkway awning.
The house looks big and lonely. A couple of lights shine
from inside.
Sidney moves up the walk to the front door. She grabs the
knob, pushes the door open...it stops abruptly. There is
an obstruction on the other side.
SIDNEY
Shit.
She pulls her hand from the knob, blood now staining her
palm.
Sidney walks off the porch and into her front yard. She
moves to the left side of her house.
EXT. SIDE OF HOUSE
Sidney snails around the side of the house toward the
backyard. She looks into a window above her...NO ONE.
EXT. BACK OF HOUSE
Sidney moves along the back toward the deck that cascades
from the ground floor to the top floor on the right side of
her house.
EXT. DECK
109
She moves up the first flight of the deck to the second.
She travels further up to the house...past the furniture,
tables, chairs...to the last tier. The glass door that
rests at the top is OPEN.
Sidney steps into the open doorway...looks into the house.
She can only see shadows inside from the faint light of the
moon. She steps back, looks behind her when...
THE WHITE GHOST FIGURE JUMPS FROM THE ROOF ABOVE
Landing only feet from her.
She screams. Sidney runs into the house locking the glass
door behind her just as the GHOST slams into the thick
glass.
The GHOST pounds against the door with his fists...stops...
INT. SECOND FLOOR SITTING ROOM
The two stare through the door-face to face, eye to eyeneither
one making a move.
The GHOST finally blinks, moving away from the door and out
of sight.
Sidney bolts from the room
INTO THE MAIN HALLWAY OF THE SECOND FLOOR
She heads for her bedroom near the top of the stairs...no
use. The bedroom door and the closet door have already
been propped up against each other. She looks at the
doors. She doesn’t know what to do. She looks toward the
steps.
She runs to the top of the steps...looks to the front door.
A bookcase blocks the path out of the house. Suddenly the
two doors of the bookcase unhinge and the BLACK GHOST comes
storming out.
Sidney runs through the hallway and back into the sitting
room. The GHOST zips up the steps...down the hall...into
INT. SITTING ROOM
110
The room is empty. The GHOST walks to the full glass
door...looks outside...when
Sidney comes barreling from the hall...bashing into the
GHOST...forcing him through the door.
EXT. DECK
The GHOST lands face first to the deck below. Sid falls
right next to him. She scrambles to her feet panicked.
The GHOST remains to the ground...lifeless.
Sidney looks at the ghost...hearing a voice from the middle
tier of the deck.
VOICE
(o.c.)
Sidney!
She looks to the voice...runs to the middle tier.
KYLE is bound by his wrists and ankles to an awning that
stands at the right edge of the deck.
She runs to him.
SIDNEY
Jesus Kyle. Are you all right?
KYLE
He was just here.
She pries at the binds.
SIDNEY
Your soaking wet.
She sniffs him.
SIDNEY
Why do you have gasoline all over
you?
KYLE
Hurry...just untie me.
SIDNEY
Where is he?
111
Without warning lights beam out from all around them on the
deck.
Kyle looks to the back of the deck...Sidney follows his
lead.
A WOMAN sits bound, like Kyle, on the railing of the deck.
Her hair pulled over her face.
Sidney runs to the woman...flips her hair back...revealing
DELILAH
Her mouth taped shut. Sid quickly pulls the tape off.
DELILAH
(a whisper)
Sidney.
SIDNEY
Delilah wake up. He’s here.
CRASH
Sidney looks behind her. A BODY comes crashing down the
steps from the top tier of the deck...groaning the whole
way down.
Sidney runs to the body to find that it is NEIL/her
dad...bound by his wrists and ankles just like the others.
SIDNEY
Shit. Daddy.
NEIL
Sidney help me.
SIDNEY
Quick get up. He’s here.
She helps her father up. Stands him up against the house.
She loosens his bindings.
NEIL
I got the rest get the others.
112
She runs over to Delilah who is barely able to stay on the
railing. Sidney pulls Delilah onto the deck...away from the
edge...avoiding a deep plummet to the hills below. She
pries at her bindings.
SIDNEY
They’re too tight.
Delilah starts coming to.
KYLE
(o.c.)
What are you doing here?
Sidney looks at Kyle, then to the steps. At the top of the
landing stands...
OWEN
Only his face shining from the light below.
SIDNEY
You alone?
He steps forward to reveal himself fully and...SAMANTHA.
He keeps a strong grip on her from behind.
SAMANTHA
Sidney help me!
A small smile creeps from Owen’s face. He flashes a
knife...raises it high and pummels it straight into the
heart of Samantha.
SIDNEY SCREAMS.
SIDNEY
NOOOOO!
Owen drops Samantha, loose, her very lifeless body bounces
down the steps and to the tier below.
SIDNEY
(cont’d)
You sick fuck!
OWEN
Surprise Sidney!
113
He moves down the steps...slowly.
CLOSE ON OWEN’S FACE. Very expressionless, now the exact
characteristics of pure evil.
Sidney is dumbfounded. Slowly, she takes a step back and
up to the railing. No more room to move.
KYLE
Quick Sid untie me!
DELILAH
Sid untie us!
Owen stops at the bottom of the steps. One of the very
bright lights shining on his presence...eerily and almost
angel like.
OWEN
Go ahead untie them.
Her mind races...playing tricks on her. Owen relishes in
the moment.
OWEN
(cont’d)
You know there are two of us.
KYLE
Sid don’t listen to him.
DELILAH
He’ll kill us. Untie me.
OWEN
Who do you trust Sidney? I mean,
come on, you know you have never
been very good with the whole issue.
Sid says nothing. She edges away, moving to the house
where her dad stands.
Owen walks directly across her...next to Kyle.
OWEN
(cont’d)
114
Is it him?
He moves to Delilah...grabs her by her hair. She squirms
under his control.
OWEN
(cont’d)
Or her?
He moves away from Delilah.
OWEN
(cont’d)
I know who you think it is.
He pulls SOEMONE from out of the shadows.
OWEN
(cont’d)
HIM!
DEAN, unbound. His wrists covered in dried blood.
Owen hangs on to him by the shirt collar.
SIDNEY
Leave him alone.
OWEN
What’s that Sid? Now you trust him.
SIDNEY
Leave him alone.
OWEN
Too late for that.
In an instant Owen takes the knife and swipes it in one
quick motion across Dean’s neck. Dean gargles on his own
blood...dropping to the ground below...DEAD.
SIDNEY
I’VE HAD ENOUGH! JUST TAKE ME
ALL READY!
OWEN
Not until you tell me the second
killer in STAB 4.
115
She looks at him puzzled.
OWEN
(cont’d)
Now you know they’ll be one. Thousands
of people, people that you don’t even
know exist, are cashing in on the
unprecedented life you live. Well
actually, LIVED.
SIDNEY
That’s why you did this. To make
some money. Even Mrs. Loomis’s
whole eye for an eye fiasco at
least warrants some prestige.
OWEN
Oh so wrong Sidney. Oh so very wrong.
The entire definition of your
character seems to have somewhat
faded.
SIDNEY
Let the other free. I’ve done this
before. I win. I always fucking win!
Suddenly from behind Sidney a KNIFE comes ripping through
her shirt and punctures the side of her left arm. Sidney
screams...releasing the pain.
DELILAH
SIDNEY!!
She turns around to see NEIL. He sends a round of
aggressive laughter right to the soul of her being.
His whole father figure destroyed. His face releasing
numerous years worth of pure hatred upon Sidney.
SIDNEY
Dad?
She holds her fresh wound...blood seeping through her
clothes.
116
She looks at her father overwhelmed. So many thoughts
rushing to her mind. Her eyes open like floodgates...tears
storming down her face.
NEIL
Call me NEIL.
He pulls the knife back. Sid falls to the ground and
sweeps his legs out from under him...his head banging
against the wooden deck below. His knife released from his
grip.
She hops to her feet...looks back at Owen. He is rapidly
going to her.
KYLE
RUN!
DELILAH
MOVE YOUR ASS SID!
She springs to life gunning to the steps...up them...to the
top tier...Owen only a few feet behind. She stops at the
glass door...crunching the broken bits of glass below. She
steps inside the house.
Owen steps to the opening...Sidney swings the door
open...slamming the doorframe into Owen’s face. He reels
backward.
INT. HALLWAY
Sid runs down the hallway...the steps...and to the front
door. She looks up to the steps...NO ONE.
She pulls on the bookcase...moving it away from the front
door. She moves it far enough from the front door...opens
the door...moves onto the porch and right into...
DEWEY
SID SCREAMS.
Dewey holds a gun...ready to fire at any moment.
Gale and Mark stand behind him.
SIDNEY
DEWEY!
117
Her whole face is a mess. Tears still misting form her
eyes.
DEWEY
Sidney.
GALE
We found Dean, Samantha. They’re
both dead.
She tugs on Dewey’s clothes.
SIDNEY
(through her tears)
It’s my father. He did this.
MARK
What?
GALE
Where is he?
Neil steps onto the porch behind them.
NEIL
Right here.
Gale screams. Neil lunges toward her with the knife.
Dewey pushes her out of the way...the knife going straight
into his chest. Drops the gun to the ground.
DEWEY
No!
Neil pulls the knife out of Dewey. Dewey falls to the
porch below...lifeless.
Gale erupts into to tears.
GALE
No Dewey!
Neil cleans the blade.
Mark pushes Sidney into the house.
118
Neil moves on Gale...standing motionless at the sight of
her husband. Mark pulls her into the house just as Neil
swings the knife at her head. Mark locks the door.
INT. FOYER
Mark pulls the curtain away from the window along side of
the door.
NEIL is pressed up against the glass.
Mark jumps back...startled.
SIDNEY
Where’s Owen?
MARK
IS he...?
They run from the foyer and into...
INT. KITCHEN
Mark pulls three knives from a block...handing one to each
of the girls.
The BLACK GHOST moves into the kitchen...arms behind his
back.
Mark lunges forward on the GHOST...stabbing him repeatedly
GALE
OHMYGOD!
The GHOST falls to the ground, not moving.
Sidney walks to the ghost. She bends down, wiping her
constant tears. She touches the bottom of the mask.
GALE
(cont’d)
Sidney don’t.
She pulls off the mask revealing...
JOEL
119
His mouth taped shut.
Sidney almost passes out due to shock...able to pull off
the tape.
Joel looks up at her...his eyes fixed on her face. Blood
oozes from his mouth
SIDNEY
No...it should be me.
Mark walks to her.
MARK
Sidney. It’s okay.
SIDNEY
Joel I’m sorry. He thought you were
Owen. Forgive us.
Joel lies on the floor...panting...takes his last
breath...DEAD.
She looks to Mark and Gale. She is almost at wits end.
MARK
Sidney...I thought it was...
She walks out into the foyer.
GALE
OH GOD. DEWEY.
She whales away through her tears...grieving for her
husband.
Mark puts his arm around Gale...they move into the foyer.
INT. FOYER
They stand in the foyer.
SIDNEY
Where are they?
THEY WALK INTO THE BACK SITTING ROOM.
120
Sidney pears out the windows close to the television set.
CRACK-BOOM!
A noise is heard from the kitchen.
Mark and Gale follow Sidney to the noise...Sidney looks at
the front door. The BOOKCASE now, once again, blocking its
ability to open.
Sidney looks out the side window of the door.
SIDNEY
GALE!
She walks to Sid.
SIDNEY
(cont’d)
DEWEY’S GONE!
Mark is poised by the room where Sidney used to nap in her
past.
MARK
What?
All of the sudden OWEN grabs Mark from behind pulling him
into the room...
SIDNEY
MARK!
Owen pull shim out of view.
MARK
(o.c.)
GETOUTOFHERE! THEBOTHOFYOU!
They look to his cries...then dart up the steps.
INT. SECOND FLOOR HALLWAY
The reach the peak of the steps...move down the
hallway...careful of the surroundings, the possibilities.
They move to the sitting room and out the glass door...
121
EXT. DECK
They race out the shattered door...down the steps and onto
the second level. The lights still present...KYLE and
DELILAH both MISSING.
SIDNEY
KYLE. DELIAH.
Gale sprints toward the back of the house...
NEIL jumps from the roof above...with his trademark weapon.
SIDNEY
GALE!
GALE screams...Neil landing only feet in front of her.
NEIL
What’s the matter Gale, you look
like you’ve seen a ghost!
SIDNEY
LEAVEHERALONE!
Neil looks to Sidney...Gale inches to Sidney’s side.
SIDNEY
You got me. Let her run. I am tired
of running. You got me, okay?
NEIL
I thought you always win Sid?
SIDNEY
No more. Every time I win many
other people lose. I can’t do this
anymore.
Neil stares into Sidney...touching her being.
SIDNEY
(cont’d)
You have me daddy?
VOICE
(o.c.)
Look at me when you’re talking to
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me my child!
Sidney looks up at the voice...
OWEN stands at the top of the second tier.
Sidney’s eyes bug out...Gale is confused.
GALE
What?
Owen walks down the steps...holding Dewey’s gun in one
hand...a knife in the other.
SIDNEY
Noo!
Can he really be...this whole time.
OWEN
Welcome home Sid.
GALE
You two were in on this the whole
time...together?
OWEN
You should really study your own
books Gale. If you read in between
the lines enough the answers were
all right there.
SIDNEY
You...who are you?
OWEN
Like I said. Roman’s god, inspiration.
He made me so proud. He was a good
son.
GALE
You’re his father.
OWEN
Not only his...Sid’s too.
123
The words crash in Sid’s ears...not knowing if she is
really hearing it.
Neil steps to the girls.
NEIL
He took away your mom’s innocence
that night. Bore his son...Roman.
But like he said she left him out
in the cold.
OWEN
At my doorstep. See your, “father”,
and I had been swindling people since
we were kids. But I was lucky...
one day I was destined to take over
my father’s studio. But Neil...Neil
here moved around from home to home.
You see after his father died his
mother took off with his brother.
NEIL
I didn’t like that very much.
OWEN
You see Sid...this IS all your
Mother’s fault! She started it all!
All of it one day when Rina FUCKING
Reynolds knocked on my office door...
placed a small child in my hands and
wiped herself clean from her oh so
miniscule Hollywood persona. Then
IT hit me. Smacked me up side the
head like a bag of hot nickels.
Sidney’s eyes are hidden behind a flood of tears. Gale can
only compose herself next to Sidney.
NEIL
Got it figured out yet Sid?
OWEN
You see Neil here...he always stood
concretely on the idea of solidarity.
If she did this to me, she did it to
HIM too.
124
NEIL
So I offered. I offered to take her in.
Offered to love her, guide her. My
overwhelming sense of compassion for
her only made her think she could run
around on me.
OWEN
And she did. She always kept coming
back to me. We created another child...
YOU. One to cash in on.
SIDNEY
You tactless pricks. You think I
want to here this? You think that all
of this makes up for what she did to
you?
NEIL
No the money does. See your life really
has been about profitability.
OWEN
We crunched the numbers. Followed the
trends. Once one died off we created
a new one...one to introduce the world
to the twenty-first century. I instilled
the idea of hatred into Roman at an
early age. And he always wanted to make
a movie. His life’s work was leading up
to his moment. But you ripped it away
from him. So Neil and I planned
our own franchise. A real life horror
series. We got lucky with Mrs. Loomis.
NEIL
Her whole revenge motive was way too
FRIDAY THE 13TH for out taste.
GALE
All of this for a big buck?
NEIL
Heed your own words their Gale. I’ve
read those books. We’re not talking
Pulitzer Prize winning material here.
OWEN
125
Life’s about the buck Ms. Weather’s.
Each time you survived Sidney your
story only started becoming a bigger
draw but then I, WE, figured, how about
one last finale? One more jaw dropping
entry capped off by the demise of
the ever-popular heroine.
Sid’s tears stop...completely. She steps back.
GALE
(a whisper)
Sidney.
SIDNEY
You think so huh? You think you make
the rules but you are always one
step behind.
Sidney pulls a knife from the back of her pants.
Neil and Owen’s eyes light up. Unsure how to take the
sudden event.
SIDNEY
(cont’d)
Is this is in your script. I end it.
NEIL and OWEN
What?
SIDNEY
The life I’ve lived I wouldn’t wish
upon the devil himself. All the
people who meant the most to me are
now lying six feet under the fucking
ground. I always woke up hoping to
be someone different.
GALE
(concerned)
What are you saying Sidney?
Owen and Neil try to break through her words. Unable to
move...overwhelmed with curiosity.
126
SIDNEY
I used to sit in my room at night
hoping that an alarm would go off.
That the sound would remind me that
everything has been a figment of my
dreams. It wouldn’t. The line that
blurs fantasy and reality disappeared
and I always found myself engrossed
in my own existence that I couldn’t
escape. But I lived on...wondering
if I should just end it all myself.
Sidney bends to the ground...slumps to her knifes...placing
the knife on her left wrist.
Gale moves to her.
GALE
Sidney! No please!
Sid look up at Gale...pauses...then over to Owen and Neil.
SIDNEY
NOW...I DO!
Owen charges her...knocking away Gale...
OWEN
IT DOESN’T END LIKE THIS!
In a shocking instant Sidney slices her left wrist with the
blade placed in her right hand. Blood oozes from her
wrist...down her arm...and to the floor below.
Gale almost buckles from shock. Tears streaming down her
face...defenseless.
Owen bends over Sid...slapping her face with the butt of
the gun.
OWEN
YOU BITCH! WAKE UP!
NEIL
Is she dead?
127
(beat)
Huh...ANSWER ME!
Owen stares into her lifeless eyes. What he doesn’t notice
is Sidney’s left arm moving under herself...behind Owen.
She reveals a REAL knife...
NEIL
OWEN!
SIDNEY raises the knife high...a flash of silver. She
strikes into the side of Owen’s neck. Blood splashes
everywhere...on Owen...the deck...On SIDNEY! His body
falls limp on top of her...the gun rolling behind him.
Gale tugs on Owen...pulls him off Sidney.
GALE
SIDNEY...HURRY!
Sid jumps to her feet...looks at Neil.
HIS EYES JETTING PURE EVIL
Neil SCREAMS in anger...charges Sidney.
NEIL
DIEJUSTLIKEYOURMOTHER!
Gale bumps into him...he pulls the knife...a flash of
silver...stabbing her in her side...she drops to the ground.
SIDNEY
GALE!
Neil focuses right into the eyes of Sidney.
NEIL
You killed yourself.
She reveals the knife she used on her self.
SIDNEY
You watch the movies...blood knife...
corn syrup. The same thing they used
for pigs blood in CARRIE!
128
Neil bolts toward her...INFURIATED...he grabs her. Pulls
her to the edge of the deck.
Her upper torso hanging over the deadly side.
NEIL
GET READY TO MEET MAUREEN!
BANG! BANG! BANG!
His body falls on top of her...rolls to her side...to the
deck below.
Sidney pulls herself back to her feet...looks up to find...
DEWEY
Holding a GUN. Aimed right where Sidney is.
Gale hobbles to her feet.
GALE
Dewey!
DEWEY
You okay Sid?
She looks down at Neil...then at Dewey. She walks to him.
THE THREE SURIVORS HUDDLED AROUND EACH OTHER
They stare at Neil’s lifeless body...his open, dead, eyes
staring back at them.
GALE
Is he dead?
DEWEY
There’s always one last scare.
TWO HANDS grab Gale and Dewey from behind...THEY BOTH
SCREAM. Dewey turns...pointing the gun at...
KYLE AND DELILAH
Free from their bindings...dried blood all over their
wrists, ankles, and faces.
129
DEWEY and GALE SCREAM
Sid doesn’t flinch...completely fixated on Neil...grabs the
gun from Dewey.
DELILAH
He dead?
GALE
I think so.
She looks at Sidney with the gun.
DEWEY
Sidney.
She moves the gun close too herself...
GALE
Don’t Sidney please!
SIDNEY
For old time sakes.
Without warning Sidney fires the gun...the bullet landing
smack dab in the center of Neil’s forehead.
Sid drops the gun to the floor.
Kyle and Delilah stand in pure shock...Dewey and Gale
somewhat affected but they have been down this road before.
EXT. PRESCOTT HOUSE – MORNING
Police vehicles, ambulances, cops, firemen, ems personnel,
and people of the press swarm the house.
Paramedics carry a stretcher with MARK on it, ALIVE. Sidney
walks along by his side.
SIDNEY
It’s over...finally over.
EXT. SIDNEY’S HOUSE – ONE YEAR LATER
130
Her house nestled in the hills emits a happier aura. It
looks postcard perfect on a bright day in the hills of
Hollywood.
A lone police car with one cop, late 20’s...in good shape,
rests at the foot of her driveway.
A car comes zooming down the road...stopping next to the
cruiser. A window rolls down...revealing
SIDNEY
SIDNEY
Mark home yet?
COP
Not yet. He called me to tell you
he would be a few minutes late so
he would meet you at the benefit.
SIDNEY
Okay. What are you still doing here
anyway? Your shift ended an hour ago.
COP
Rodriguez is out sick. I am pulling
a double shift.
Sidney roll sup her window and pulls into her driveway.
EXT. DRIVEWAY – SECONDS LATER
Sidney stops the car right in front of her garage...exits
the vehicle. She moves to the left of the garage
door...flips up a panel and punches in a code. The garage
door rises up...opening.
Sid waves back to the cop...turns back to the gliding
door...
A GHOSTFACE FIGURE
Reveals himself as the door slowly creeps open...a knife in
hand.
SIDNEY SCREAMS
131
EXT. STREET
The cop looks up at Sidney’s yelp...he draws his
gun...moves to the house.
EXT. DRIVEWAY
The FIGURE grabs her by the waist and covers her
mouth...dragging her into the garage.
INT. GARAGE
The FIGURE pulls her swiftly to a door that leads into the
house...presses a button...the garage door shuts on the
arriving officer.
INT. UTILITY ROOM
The FIGURE slams the door shut to the garage...locks it.
Blood stains the knife. The FIGURE rams Sidney to the
floor...blood stains her clothes around her chest.
Sidney looks up at the FIGURE panting...her eyes glassy and
filled with terror.
The FIGURE grabs the bottom of the mask...pulls it off
revealing
KYLE
A SINISTER SMILE JETTING FROM EAR TO EAR.
INT. LIVING ROOM
The front door crashes open. The police officer follows
his gun inside the house. He searches through room to
room, making his way to the
INT. UTILITY ROOM
He points the gun in the room, rounds the corner...the DOOR
to the garage and the GARAGE DOOR are both OPEN.
He looks to the floor...THE GHOST COSTUME lies in a ball on
the ground...he bends down, picking up the mask, stares
back at its SCREAMING shape.
INT. SIDNEY’S HOUSE (SET)
132
The same exact set up as Sidney’s home.
A cop rounds the corner into...
INT. UTILITY ROOM (SET)
He points his gun in the room, follows it around the corner
to find...
THE GARAGE DOOR OPENING
To the world outside.
A FIGURE drags a girl by the ankles out of the cop’s sight.
VOICE
(o.c.)
CUT!
The cop relaxes. He looks to the voice.
COP #2
Better?
He is talking to...
MARK
Standing next to a camera. He smiles very energetically.
His face full of new hope and life.
MARK
You nailed it.
The cop walks off set.
MARK
Delilah, Kyle, you about ready?
KYLE and DELILAH stand next to craft service sipping
coffee. Delilah dressed almost dead on as GALE WEATHERS.
KYLE
What time is your flight?
MARK
Seven-thrity. That gives us four hours.
133
DELILAH
Let me just change and we can head
on out of here.
Delilah heads of set...Kyle follows.
KYLE
(o.c.)
They want an answer by Monday, have
you even read the script?
Mark watches as the couple bickers.
WOMAN’S VOICE
Mark you should see this.
He looks over to find a production assistant waving him
over to a TELEVISION.
He walks to the set surrounded by crewmembers.
ON TV
A FEMALE REPORTER stands in front of the Miramax offices.
She is very formal, a smarmy personality engrossing who she
really is.
FEMALE REPORTER
(from tv)
It has been one year since the
sudden disappearance of one of
Hollywood’s favorites. Sidney
Prescott, last seen entering her
home, was undoubtedly on all
minds of the film community last
evening during a memorial service
held on the lot here at Dimension
Studios. Although many still have
hope for the recovery of the humble
heroine, the Los Angeles Police
Department officially declared Ms.
FEMALE REPORTER
(cont’d)
Prescott deceased early this morning.
134
The crew glances back in marks direction...all with sullen
eyes.
MARK
Could you shut it off please?
WOMAN
Mark I’m sorry.
MARK
It’s okay, really.
WOMAN
You need anything?
MARK
Could you tell Bob and Harvey
I caught an early flight to
Sydney.
WOMAN
Ah, the land down under. Vacation?
MARK
Nope I’m scouting locations.
EXT. CAFÉ DE SYDNEY - AFTERNOON
A comfortable, subtle, bistro. Customers sit around
outdoor tables and chairs...not your average table and
chairs but classy, fragile equipment.
At the far end of the café are two people, a MAN, and a
WOMAN. The CAMERA PANS behind them and ROLLS around to
their faces to show...
GALE WEATHERS
Vibrant, shiny...HAPPY. She picks a crouton out of her
salad...laughing...places it in the mouth of...
DEWEY RILEY
Matured, wiser, GRINNING his famous grin. He licks Gale’s
finger’s.
135
A WAITRESS walks toward their table. She places the check
down next to them. Dewey slides his hand for it but
another HAND grabs him by the arm...
VOICE
(o.c.)
It’s on me.
DEWEY
You sure?
The CAMERA does a 180 revealing...
SIDNEY PRESCOTT
Beautiful enough to light up a darkened room. A huge
weight lifted off her shoulders. FEARLESS.
SIDNEY
I owe you...TRUST ME!
GALE
All right.
She steals the bill form Dewey, leaves some money.
They all stand and walk out of the fenced in area of the
café.
A PHONE rings...SIDNEY’S CELLULAR.
She answer’s it...
SIDNEY
(into phone)
Hey honey!
(beat)
You’re at the house.
(beat)
Call the newlyweds and tell them
the house next door is finally
up for sale.
(beat)
Life is good!
She walks away, in between Dewey and Gale. She turns her
phone off focusing her attention to her friends. They walk
as a group down a thriving Sydney, Australia street. They
136
move down the road and blend in with the crowd of people
doing their respective daily activities.
A perfect way to end a perfect series.
THE END
137