Scream 2 Script
FADE IN:
EXT. MOVIE THEATRE - NIGHT
An old preserved movie theatre. The kind only found in
a small town. Very picturesque. The marquee in front
reads:
"SNEAK PREVIEW TONIGHT
’STAB’
Rated R"
A line has formed around the block, GUYS and GIRLS -
mostly college age.
CLOSE on a girl, MAUREEN, no more than 18. A friendly
face with innocent eyes. She stands in line with her
boyfriend PHIL, same age. A handsome counterpart.
MAUREEN
I hate scary movies.
PHIL
It’ll be okay, baby, I’ll hold your
hand.
MAUREEN
If we hurry, we can still catch the
Sandra Bullock movie.
PHIL
We got free tickets.
He pulls her close, snuggling with her.
EXT. BOX OFFICE
Maureen and Phil reach the box office, presenting their
tickets.
They pass through the front doors where an USHER stands
randomly handing out GHOST MASKS. A Hollywood variation
of a most familiar one. Phil takes one.
MAUREEN
What’s that?
USHER
The studio sent them.
INT. THEATRE - A MINUTE LATER
The small theatre is nearly packed to capacity. Maureen
and Phil enter, moving down the aisle searching for two
seats. A YOUNG GIRL SCREAMS, whizzing by them as a
GHOST MASKED GUY chases after her. The crowd LAUGHS.
Everyone is having fun.
Maureen and Phil find aisle seats down towards the
screen just as the lights DIM. People FAKE SCREAM in
terror. A very lively crowd.
ON SCREEN
Credits roll as the movie begins. The studio logo
appears followed by...
"A ROBERT RODRIGUEZ FILM"
IN THE THEATRE
Maureen turns to find a GHOST MASK in her face. Phil
has slipped it on.
MAUREEN
I don’t think so.
Phil gets in her face, playing with her. She swats him.
MAUREEN
Take it off.
PHIL
But...
MAUREEN
Now.
He obliges.
ON SCREEN
More credits.
"BASED ON THE BOOK "THE WOODSBORO MURDERS" BY GALE
WEATHERS"
Maureen looks behind her, toward the rest of the
audience. A sea of white ghost faces fill the theatre.
The publicity masks actually glow in the dark. A
chilling sight that leaves Maureen extremely spooked.
ON SCREEN
The movie begins. A house in the middle of nowhere.
Lights burn from within.
Inside the house, a YOUNG GIRL, Alicia Silverstonish is
taking a shower. The water cascades over her nubile
body. Suddenly, a FIGURE is glimpsed through the
curtain. It’s all very PSYCHO.
MAUREEN
Now why does she have to be naked?
How does that serve the plot?
PHIL
Sssshhh.
ON SCREEN
The phone RINGS. The young girl pulls the shower
curtain aside to reveal a robe hung on a hook. She
grabs it, running from the bathroom, into the living
room, grabbing the phone.
GIRL
Hello?
A menacing VOICE responds.
VOICE
Hello?
GIRL
Who is this?
VOICE
You tell me.
IN THE THEATRE
Maureen is not having a good time. She’s already
spooked.
MAUREEN
I hate this shit.
ON SCREEN
The phone rings again.
VOICE
Why did you hang up on me?
GIRL
Who is this?
IN THE THEATRE
Maureen shifts in her seat.
MAUREEN
Why doesn’t she just hang up and
call the police? Stupid..
PHIL
Shush.
MAUREEN
I’m gonna pee. You want anything?
He nods. Maureen stands and moves up the aisle.
INT. LOBBY - SECONDS LATER
Maureen emerges from the theatre and into the small
lobby. It is dark and shadowed. She moves down a long
hallway to a staircase. A "BATHROOM" sign with an arrow
points downstairs.
Maureen hits the stairs to...
INT. BASEMENT LOUNGE - SAME
A small lounge leads to two bathroom doors. Very low
lighting. Maureen descends the stairs, heading for
the...
INT. GIRL’S RESTROOM - SAME
A large bathroom. Five stalls line one wall. The door
CREAKS open. Maureen enters and shoots for a stall.
INSIDE THE STALL - MOMENTS LATER
Maureen finishes up, fastening her pants. Suddenly, the
bathroom door CREAKS open. Maureen listens. FOOTSTEPS
are heard. Loud and heavy.
Maureen eyes the crack in the stall door. Not much is
visible. Suddenly, a SHADOW sweeps by. The footsteps
stop.
Maureen finishes up quickly. She flushes, throws the
stall door open and rushes out to find...
THE BATHROOM EMPTY.
The stall doors are all closed. Maureen shoots for the
door. She rips the door open as a FIGURE rushes her...
A YOUNG GIRL followed by her FRIEND, both perky and
loud. They hurl past Maureen, LAUGHING and carrying on.
GIRL #l
I got so scared my bladder rolled.
GIRL #2
You chicken shit. It’s just a
movie.
GIRL # l
No, it really happened. It’s a true
story.
Maureen is out the door. Now thoroughly spooked.
INT. BASEMENT LOBBY - SAME
Alone, Maureen moves for the stairs when a FIGURE
emerges from the shadows. A GHOST MASKED SHAPE
appearing behind her...
LUNGING FOR HER, grabbing her, spinning her around. She
SCREAMS MADLY as the Ghost starts LAUGHING. The mask
comes off. It’s Phil.
MAUREEN
You ass.
PHIL
I’m sorry, I’m sorry but I had to.
It was too easy.
MAUREEN
You are so not funny.
Phil takes her in his arms.
PHIL
Come on, baby. Lighten up a little,
will ya?
MAUREEN
I get scared really easy, okay.
PHIL
You gotta go with it. Scary movies
are great foreplay.
He’s sincere. He leans down and plants a kiss on her.
She caves, kissing him back. Sweet and sensual.
MAUREEN
I just have a hard time with
insipid, sexist violence.
PHIL
(nibbling her neck)
We can still Sandra Bullock it.
MAUREEN
(nibbling back)
Sandra started without us. We can
stay. He kisses her again, then
breaks away.
PHIL.
Yeah? Okay. I gotta whizz. Meet me
upstairs?
MAUREEN
Want some popcorn?
PHIL
Butter.
Maureen moves up the stairs out of sight. Phil turns,
reaching for the bathroom door just as a...
GHOST MASKED FIGURE appears in his path. Phil steps
back, surprised. Suddenly, a flash of silver shoots
forth as Phil is pierced with a long sharp knife. Quick
and silent. He bellies over just as the Ghost Shape
strikes again. Phil goes down without a scream.
CUT TO:
INT. LOBBY - SECONDS LATER
Maureen is at the concession. A GIRL at the counter
hands her change and Maureen is off with soda and a tub
of popcorn.
INT. DARK THEATER - SECONDS LATER
SCREAMS and GASPS from the audience as the movie plays
on.
ON SCREEN
A patio chair comes flying through a glass door. The
young girl in the movie tears off running, SCREAMING,
flying through the room.
IN THE THEATER
The crowd is really with the movie. Some even talk to
the screen. "You dumb bitch. Get out of the house."
etc.
Maureen makes her way back to her aisle seat. She sits
down next to...
PHIL
Who sits with the mask on. The reflection from the
movie bouncing against it in the darkness.
MAUREEN
Give it up.
She sits down, with the popcorn.
MAUREEN
How many stabs did I miss?
ON SCREEN
The young girl slips out a side door, completely
terrified. In her hand, she holds a portable phone.
IN THE THEATER
Maureen offers Phil popcorn.
MAUREEN
Why doesn’t she run?
Phil turns to her, bringing his finger to his masked
lips, SSSHHING her.
ON SCREEN
The young girl runs by a window. She looks in. A GHOST
MASKED KILLER stares back. The Figure CRASHES through
the window attacking her. She fights him off, getting
away, running...
IN THE THEATER
Everyone in the theater is SCREAMING. Maureen tries her
best to detach herself from the movie. She eats her
popcorn.
MAUREEN
This is so tired.
She turns her attention to Phil.
MAUREEN
Hey, you... pasty face...
Phil ignores her. She reaches over in the darkness
putting her hand on his knee. She inches it up. The
Ghost-masked Phil just stares ahead.
MAUREEN
Whatsa the matter? Can’t I get your
ghost?
ON SCREEN
The young girl is running through the yard. The Ghost
Killer is right behind her, chasing her... she
SCREAMS...
IN THE THEATER
Maureen pretends to watch the movie while her hand
continues to move between Phil’s legs. She stares
ahead, WINCING at what’s about to happen to the girl on
screen.
She doesn’t notice as Phil pulls a long sharp hunting
knife from inside his coat jacket. Maureen’s hand moves
up Phil’s jacket... something stops her. She feels
something on her fingers... something wet. She pulls
her hand back, the reflected movie illuminating bloody
fingers.
Maureen stares at her hand...
ON SCREEN
The Ghost advances on the young girl, grabbing her,
pulling her to him, raising high a long, hunting knife.
The young girl is helpless...
IN THE THEATER
Maureen looks at Phil, confused... as if seeing for the
first time... IT’S NOT PHIL. She pulls away when, the
Ghost-masked Figure grabs her with one hand, the other
one clutching the hunting knife.
Maureen sees it, her mouth billowing forth a LOUD
SCREAM that is matched by the entire audience as they
SCREAM at the screen.
ON SCREAM
The young girl is stabbed in the heart.
IN THE THEATER
Maureen is helpless. The knife comes fast and furious,
striking her in the stomach. She falls forward, into
the aisle as...
ON SCREEN
The young girl, clutching her bloody chest... drags
herself, crawling across wet grass... the killer behind
her... raising his knife again.
IN THE THEATER
Popcorn flies as Maureen falls forward, into the aisle,
clutching her bloody stomach. She’s speechless, unable
to SCREAM. She holds her bloody hand out for all to
see, begging for help. She stumbles down the aisle.
Someone YELLS "Sit down." Maureen turns to several
PEOPLE who begin to react. She turns behind her to see
the Ghost Face coming at her again... knife raised.
ON SCREEN
The young girl is slashed again.
IN THE THEATER
The knife slices into Maureen again... then again. The
theatre audience is starting to take note as the Ghost
keeps slashing at her repeatedly with the knife. A
horrifying, sickening sight.
Maureen stumbles forward, her bloody body moving down
to the front of the theater. Suddenly, the entire
audience begins...
APPLAUD AND CHEER
Maureen, swaying from side to side, turns to the crowd
and emits a HORRENDOUS BLOOD CURDLING SCREAM as...
ON SCREEN
The young girl lets out an enormous EAR SCREECHING
SCREAM that mirrors Maureen’s as the killer attacks one
last time, stabbing her, silencing her forever.
IN THE THEATER
The Ghost slashes out one last time, direct and fierce.
Maureen falls back against the movie screen... very
much dead. Her arms flail across the screen... smearing
blood over the wide screen image of the GHOST MASK.
SMASH CUT
TO BLACK
TITLE CARD
"SCREAM 2"
FADE IN:
INT. DORM ROOM - MORNING
A typical college dorm room. Industrial strength
furniture. There’s two of everything.
A RINGING phone stirs a YOUNG GIRL in bed, asleep under
a mound of blankets and pillows. The girl starts to
rise as the phone is answered. A VOICE is heard. Brass
and sassy.
VOICE (O.S.)
Hello... uh-huh... Who is this?
Well, we identify ourselves around
here. No, you can’t. Uh-huh...
yeah, right...
The girl rolls out of bed, her hair falls away to
reveal her face - It’s SIDNEY PRESCOTT. Two years older
has brought a maturity to this beautiful young woman.
Her face posses a survivor’s edge. Stronger and more
determined, she appears to have weathered the storm.
SIDNEY
I got it.
She stands and moves to...
HALLIE
Her roommate and friend. An attractive young black
woman. Twenty at most. Brazen. Fun. Full of life. She
hands the phone to Sidney.
HALLIE
Knock yourself out.
SIDNEY
Hello?
(silence)
Hello?
VOICE
Hello Sidney.
A VOICE spits out of the phone. Deep and haunting.
Sidney doesn’t flinch.
SIDNEY
Yes?
VOICE
What’s your favorite scary movie?
SIDNEY
Who is this?
VOICE
You tell me.
Sidney grabs a small device hooked to the phone. She
takes a look at its display.
SIDNEY
Cory Gillis. 442-8730.
Silence.
SIDNEY (CONT’D)
Hot flash, Cory - prank phone calls
are a criminal offense prosecuted
under penal code 653M...
CLICK! The phone goes dead.
SIDNEY (CONT’D)
Enjoy the movie.
She hangs the phone up, turning to Hallie.
HALLIE
Time to change numbers again?
SIDNEY
Nah... I think it’ll die off. It’s
opening weekend. Let’s see how it
goes.
Sidney grabs her robe and shower bucket as Hallie
channel surfs. Various morning news programs are on
their small TV. Snippets are heard.
REPORTER
(from TV)
"... The two victims, Maureen Evans
and Phil Stevens..."
The channel switches. A YOUNG MAN is being interviewed.
Attractive, sullen. Sad.
YOUNG MAN
(from TV)
Please, I just wanna be left alone.
His voice stops Sidney cold. She turns to the
television.
HALLIE
He sure gives a lot of interviews
for someone who wants to be left
alone.
Hallie hits the remote. The man’s image disappears as
the TV goes off. Hallie turns, all smiles.
HALLIE
Get your ass in gear. You’re late.
Don’t forget we’ve got rush at the
Deltas tonight. Don’t wear anything
you don’t want trashed. Sid? Sid?
Sidney turns from the television. Momentarily lost.
Recovery is immediate.
SIDNEY
I can’t believe I let you talk me
into going Greek.
Sid moves to the door and throws it open. A GHOST
FIGURE LEAPS at her. She SCREAMS but then stops
herself.
It’s just a costume hung from her doorframe. Preset, to
scare. Another prank. Sidney rips it down, turns to
Hallie, throwing the costume at her.
SIDNEY
Pumps. Nice handbag. Whaddya think?
Sid is surprisingly cool. She exits out the door,
leaving Hallie staring at the Ghost Mask in her hands.
CUT TO:
EXT. DORMITORY - MORNING - LITTLE LATER
Sid steps outside of her dorm. The morning sun shines
down as Sid breathes in, taking in the day just as
FIFTY NEWS REPORTERS NOB HER.
REPORTER #2
Sidney, did you know the victims?
REPORTER #1
Do you feel responsible for the
murders?
SIDNEY
What murders?
Microphones are shoved in her face as Sidney is seiged
upon by journalists and TV cameras. She starts to
panic.
REPORTER #3
Do you think there will be more
murders?
Sidney is mortified. She pushes and shoves but there is
no escape. The questions come at her like lightning.
She sees a whole in the crowd and goes for it as a
REPORTER, a flashy woman - all hair and teeth, thick
sunglasses, moves in her way.
FLASHY REPORTER
Did you kill them last night, Sid?
Has it gotten to you? Have you
finally snapped?
Sidney’s eyes flare. Her fist starts to clench when...
BAM! Someone beats her to it. A fist flies out from the
crowd, connecting with the flashy woman’s face. She
drops. Sid spins around to find...
GALE WEATHERS
Standing, tight-fisted. Their eyes meet. A quick
moment. Sidney is happy to see her.
The onslaught continues. Cameras flash, reporters
shove. Gale moves in front of Sid, holding the crowd at
bay. The reporters begin to throw questions at Gale.
GALE
(to Sid)
Quick, get outta here.
SIDNEY
What’s going on?
GALE
Just go. l’ll find you later.
Sid wastes no time. She takes off, running around the
side of the building. She stops, takes a breath, but
the reporters are on her tail. She looks up to see a...
SMALL CAMPUS SECURITY VEHICLE
Appear, moving towards her. It slows down.
MAN’S VOICE
(from the vehicle)
Hop on, Sid.
Sid goes for it as two hands reach out to help her. One
smooth move and Sidney is in the arms of...
DEWEY RILEY
She looks at him. Her face a book of questions.
SIDNEY
What’s going on, Dewey?
He smiles at her. A safe, warm smile. His face as cute
as ever.
DEWEY
It’ll be alright.
CUT TO:
EXT. SECURITY CART - MINUTES LATER
The security cart trots along, passing STUDENTS coming
and going. Dressed smartly in a campus security outfit,
Dewey maneuvers the cart across the campus grounds.
Sidney rides beside him, horrified as she listens to
him.
SIDNEY
Three hundred people watched?
Nobody did anything?
DEWEY
They thought it was a publicity
stunt.
SIDNEY
Oh my God. How could it happen?
DEWEY
They don’t know. It was carefully
planned. Earlier in the day the
victims received anonymous passes
to the movie.
SIDNEY
It’s a copycat killer I knew this
would happen. That fucking movie.
The cart comes to a stop in front of a building.
DEWEY
As of now, they don’t see any
relation. But they’re checking it
out. The state, Special Task Force,
FBI - they’re all here. They’ll
find the guy.
SIDNEY
Yeah, right.
DEWEY
Look, Sid, why don’t you take off?
Disappear for a few days. I’ll come
with you.
SIDNEY
No. I will not crawl under a rock.
This is a fucked-up world and
people kill people all the time.
I’ll just get used to it.
Dewey steps down off the security cart and helps Sid
off.
DEWEY
Nothing will happen to you. I
promise.
Sid’s tough demeanor is cracking. She takes a deep
breath.
DEWEY
That’s why I’m here, right? We take
care of each other. C’mon, I’ll
walk you to class.
He starts off, for the first time, a severe limp is
visible as his left leg drags behind him.
SIDNEY
You go, it’s all stairs, I can take
it from here.
DEWEY
Don’t worry...
SIDNEY
Dewey, I’m completely equipped with
mace, alarm whistle, keyring,
knife, a degree in defensive
combat...
DEWEY
Just in case...
SIDNEY
No. This is nothing, Dewey. I’ll be
okay. Go back to work and let me
get back to my quasi pseudo-happy
existence.
Sidney reaches up and gives her pseudo-brother a kiss,
then takes off for the building. Dewey watches until
she disappears inside, then limps back to his security
cart.
CUT TO:
EXT. STUDENT UNION PARKING LOT - MINUTES LATER
A newsvan pulls up and parks next to a trough of other
newsvans and REPORTERS. Some are doing live remotes,
others ready themselves for the next onslaught.
Gale gets out of the newsvan, her cellular affixed to
her ear.
GALE
I don’t know... no one’s talking.
What’s the studio’s position? Never
happen. They’d be stupid to pull
the movie. With all this free press
- they’re gonna have huge numbers
this weekend. It’ll break box
office records. Of course I have
bumps.
Gale’s CAMERAMAN can be seen behind her, in the van
fussing with equipment.
GALE (CONT’D)
I need two minutes at six o’clock.
I wanna do a piece on the slain
kids - no sympathy shit - let’s
stick with the movie angle. I wanna
pull a clip from an old film...
Gale turns to her cameraman, snapping her fingers.
GALE (CONT’D)
Hey, what was the name of that
movie?
The guy looks up at her. It’s RANDY. Two years older
but still the charming jokester.
RANDY
HE KNOWS YOU’RE ALONE. MGN/UA.
1980. Tom Hanks’ first film.
GALE (CONT’D)
(into phone)
HE KNOWS YOU’RE ALONE. Yeah, find
it. Don’t worry, I’ve got it
covered... I have a plan. Yeah,
I’ll get it. Give it a rest - I
said I’ll get it. Later.
She hangs up, turning to Randy.
GALE (CONT’D)
Pressure’s on. You ready for this?
RANDY
I’m there, man. No worries. I got
ya covered. I’m so there. That’s
why I’m here - because I’m there.
Randy holds up his camera - stoked.
CUT TO:
INT. SCHOOL OF FILM - LATER
Sidney moves down a hallway. Not your typical school
building. Through open doorways, film equipment is
glimpsed. Editing bays and the like. She’s in the Film
Department.
She comes upon an open door and peers in. A large room,
a class is in progress. She slips in quietly.
INT. CLASSROOM - SAME
Sidney takes a seat at the back of the room. A handful
of FILM STUDENTS sit around on torn couches heavy in
discussion. Sid goes unnoticed as she watches a
whirlwind debate. A SNOTTY GUY is pontificating a
point.
SNOTTY GUY
Sequels are too handicapped. By
definition alone, they’re inferior
films.
Hallie sits on a couch next to MICKEY, 20’s, atheletic,
cool and rowdy. Arms enwrapped.
MICKEY
Bullshit generalization. Many
sequels have surpassed their
original.
SNOTTY GUY
Name one.
MICKEY
ALIENS Far better than the
original.
ANOTHER GUY
Subjective.
SOME GIRL
Life’s subjective. I much prefer
Ridley Scott.
The conversation overlaps, everyone arguing... making
their point about ALIENS VS. ALIEN.
HALLIE
No way. ALIENS rocked. "Stay away
from her - you bitch."
SNOTTY GUY
I’ll give you that one. Name
another.
MICKEY
T2.
SOME GIRL
You’ve got a hard-on for Cameron.
SNOTTY GUY
A bigger budget does not make a
better movie. TERMINATOR one is
historical.
Someone screams out, "You Sarah Connor?" as the
TEACHER, a young artsy type, speaks up.
ARTSY TEACHER
How about THE GODFATHER PART II?
Ooooohhh. The whole room goes worship silent. All in
agreement.
SNOTTY GUY
The almighty exception. Name
another.
A YOUNG MAN, handsome and smooth, jumps into the
conversation. His name is Derek.
DEREK
EMPIRE STRIKES BACK. Smarter story.
Improved effects.
From the back of the room, Sidney watches him. Fixated.
HALLIE
I liked JEDI. With the furry
things.
Everyone BOO’S. "Ewoks blow."
MICKEY
Lucas and his Romper Room stage.
HALLIE
I got. I got it. FRIDAY THE 13TH,
PART 20.
SNOTTY GUY
Case in point. The entire horror
genre was destroyed by sequels.
ARTSY TEACHER
Really? And why do you think that
is?
SNOTTY GUY
Sequels suck. Hello. It becomes
about: money and no one’s
interested in quality.
DEREK
It’s more than that. Horror films
are only as good as their villains.
How can Freddie and Jason possibly
be scary after they’ve been diluted
through five or six sequels.
TEACHER
What’s the solution? If you were
making a sequel today what would
you do differently?
The class stews on this. Derek turns, spotting Sidney
in the back of the room. She gives a half wave. He
starts for her, excusing himself.
SNOTTY GUY
The point is - I made my point.
Sequels suck.
INT. CORRIDOR - SAME
Derek and Sidney move out into the hallway. Derek
throws his arms around her protectively.
DEREK
How are you? You weren’t in class.
I called as soon as I heard...
SIDNEY
I skipped. Too many "That’s her"
looks.
DEREK
I’m sorry, baby. What can I do’?
SIDNEY
Don’t ask what you can do. No
coddling. Life rolls on status quo.
He looks at her with bedroom eyes.
DEREK
I can do that. And I can also do
this.
He moves on her, wrapping her in his arms and kissing
her passionately. She breaks away, laughing.
SIDNEY
No PDA.
But it’s a failed objection. He kisses her again and
they’re soon devouring each other like two people in
love. Right in the middle of the hallway.
CUT TO:
EXT. STUDENT UNION - LATE AFTERNOON
The place is a circus. The front steps of the student
center have been roped off to form a platform. A podium
and mike have been placed center.
CROWDS have gathered for the press conference that is
being held by the university. Reporters and cameras
have been roped off to the side. On stage, DEAN FISHER,
a sharp looking woman in her forties is talking to
spectators.
DEAN FISHER
(reading from a
prepared statement)
"... and we feel this unfortunate
isolated tragedy in no way reflects
upon our fine school and we should
trust that the authorities and FBI
are acting quickly to bring us
answers..."
Beside her stand uniformed COPS, the local SHERIFF, FBI
AGENTS. She continues on...
IN THE ROPED OFF NEWS SECTION
Gale walks through the crowd, listening to the Dean.
FEMALE VOICE (O.S.)
Gale? Can I have a second?
Gale spins around to find DEBBIE SALT, the flashy
reporter who she decked earlier, standing in front of
her.
GALE
Look, I’m sorry about the face.
DEBBIE SALT
Job hazard. Debbie Salt, stringer -
NEWSWEEK. Answer a few questions?
GALE
Fair enough.
DEBBIE SALT
What are you doing here? I thought
you had retired from field
reporting?
The woman has immediately put Gale on the defensive.
TWO OTHER REPORTERS have taken notice. Suddenly,
CAMERAS are on Gale.
GALE
Well, you know I’m dear to the
subject matter.
DEBBIE SALT
And much richer as a result.
GALE
Do I know you? You look familiar.
DEBBIE SALT
I took your vulture seminar seminar
at Berkeley last year.
GALE
Good for you.
And in seconds the vultures are upon her as Gale
Weathers is beseiged by REPORTERS. The questions spew
forth. "Why are you here?" "Is this the work of a
copycat killer?" "Have you talked to Sidney?" etc.
GALE
(ever smooth)
Guys, you’re missing the show.
And with that Gale wanders off into the crowd.
ON STAGE
The LOCAL SHERIFF, a smart looking guy in his 50’s is
fielding questions.
SHERIFF
No, we have no evidence of a serial
killer. We think the killer acted
deliberately and not at random...
ON THE LAWN
Students and concerned faculty stand. Among them are
Sidney, Derek, Hallie and Mickey. Next to them stand
JOEL, 20’s, black, sensible and friendly. A very
intelligent face.
DEREK
But what are they doing? He’s
talking but he’s not saying
anything.
JOEL
Sounds like they don’t know
anything.
HALLIE
Do you think they’ll cancel Hell
Week?
MICKEY
You’re getting nailed - you’re not
getting out of it.
From across the way, two gorgeous sorority type girls,
LOIS and MURPHY stand with their FRATERNITY JOCK
BOYFRIENDS. All looks and attitude. Their eyes are on
Sidney as they huddle in a conspiratory stance.
JOEL
Have they questioned you yet, Sid?
SIDNEY
This has nothing to do with me,
Joel. There’s an estimated 270
serial killers currently active in
the US at any given time. I can’t
control that. Who’s hungry?
HALLIE
I have rehearsal.
MICKEY
I have to watch rehearsal.
Hallie kicks him. Joel moves to Sid.
JOEL
I gotta hit the library. Anatomy.
Some of us have real majors. You
gonna be okay, Sid?
SIDNEY
You’re not allowed to ask that.
JOEL
I’ll stop by the Deltas tonight.
SIDNEY
Thanks, Joel.
Joel smiles, heading out as the two sorority girls,
Lois and Murphy saunter over.
LOIS
Hello, pledges. Enjoying
yourselves?
Instantly, Hallie stands at attention. Sidney joins
begrudgingly.
HALLIE
Yes, sister Lois. Very much so.
Thank you for asking.
MURPHY
Good. We need your help, pledges.
Are you familiar with the Deltas TP
fundraiser?
The pledges shake their heads. Suspicious. Lois
withdraws two rolls of toilet paper from her book bag
and passes them out.
LOIS (CONT’D)
In our efforts to raise money for
our favorite cause...
MURPHY
... this week’s TKE kegger...
LOIS
Ne ask that you sell individual
squares of toilet paper for a mere
nickel a piece.
MURPHY
We’ve set you each at a five dollar
quota.
MICKEY
Come on, guys. Uncool.
MURPHY
Am I getting fraternity
interference, Mickey?
SIDNEY
It’s okay. I can peddle toilet
paper.
DEREK
Sid, you don’t have to.
Sidney takes her toilet paper.
SIDNEY
No special treatment. I can do
this. C’mon Hallie.
She throws him a comforting glance. She’s okay with
this. She heads off with Hallie. Derek watches.
DEREK
How do you put up with this Greek
shit?
MICKEY
Hey, it’s cool. Hallie’s into it,
I’m into Hallie...
ACROSS THE WAY
Gale moves through the crowd as the
press conference/rally continues.
She runs dead smack into...
DEWEY
Their eyes meet. A long moment. The silence between
them is revealing.
GALE
Hello, Dwight.
DEWEY
Miss Weathers.
GALE
I’ve been trying to reach you but
you haven’t returned...
DEWEY
I’m on crowd patrol, Miss Weathers,
excuse me.
He tips his hat curtly, then starts off. She stops him.
GALE
The name’s Gale, remember’?
He turns on her. His eyes on fire.
DEWEY
Yes, Miss Weathers, your name is
embedded clearly between my ears.
GALE
I see you read the book.
DEWEY
Yes, I do retain reading skills.
Shock.
GALE
And an explanation is, of course,
out of the question.
DEWEY
Page 32. "Deputy Dewey filled the
room with his dim-witted Barney
Fifish presence." I think you’ve
explained yourself.
GALE
Oh Dewey, I’m sorry.
DEWEY
No, what you are is a money hungry,
fame- seeking liar and - forgive me
for saying - mediocre writer who
has a cold storage shed where her
heart should be.
This stings Gale.
GALE
You have every right to be upset.
DEWEY
Page 41. "Deputy Dewey oozed with
inexperience."
GALE
I never meant to imply...
DEWEY
How do you know my dim-witted
inexperience isn’t merely a subtle
form of manipulation used to lower
people’s expectations thereby
enhancing my ability to effectively
maneuver within any given
situation?
Gale is at a loss.
GALE
I’m sorry. I don’t know what else
to say except I’m sorry.
DEWEY
No, I’m the one who’s sorry. I
misjudged you. Now if you’ll excuse
me, I have some oozing to do.
Dewey turns and limps away, leaving Gale staring after
him. Her face smashed fiat.
ON STAGE
The sheriff continues fielding questions from
reporters.
SHERIFF
No, there has been no evidence that
more than one killer is
responsible...
ACROSS THE WAY
Sidney and Hallie have split up. They move through the
crowd selling toilet paper. Several STUDENTS make their
purchase.
Sidney pockets her change, looks up to see Gale,
standing alone. She goes to her.
SIDNEY
Hello, Gale.
GALE
Sidney. Hello. How are you?
SIDNEY
I’m okay. PEOPLE magazine won’t
stop calling but other than that...
GALE
I’m sorry.
SIDNEY
Yeah, well... you are the
definition of mixed emotions. I
really should hate you... I see
your movie’s getting good reviews.
GALE
It seems to be causing a stir.
What’s with the toilet paper?
SIDNEY
It’s hell week. I’m pledging the
Deltas.
GALE
It’s good to see you involved.
SIDNEY
My morn was a Delta.
Beat. People have begun to notice the two of them
talking. Reporters and spectators have slowly circled
them. Gale looks around. She spots Randy, who appears
behind Sid, with his camera. Gale gives him the nod. He
throws the camera up, hits the light.
Sid spins around, surprised to see him.
SIDNEY (CONT’D)
Randy? What are you doing here?
But then she sees someone else, standing off to the
side. A man she recognizes immediately. He looks at;
her, his face sullen, broken. Sidney loses her breath.
SIDNEY (CONT’D)
Cotton...
He moves to her.
COTTON
Hello, Sidney.
Gale motions to Randy. He maneuvers, getting the two of
them in frame. A long moment, Sidney just stares at
him. Completely off guard. She looks to Randy who aims
the camera directly at her... filming her.
SIDNEY
What are you doing?
She turns back to Gale, staring holes through her,
realizing she’s been set up. She looks back to Cotton.
She doesn’t know what to say. She turns back to Gale.
Eyes aflame.
&