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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