SCREAM 4 BY: MARVELOUS Matt R.

OPEN ON: BLACK. The sound of a phone rings off in the bac ground as -- the Dimension films logo flashes across the screen. Softly casting a blue color that brightens the dar ne ss. FADE IN: INT. HAROLD’S RESIDENCE - LIVING ROOM - NIGHT Focus on -- the ringing telephone. Cordless and white. It rings loudly and shows no sign of stopping. Suddenly, a hand appears. The hand belongs to, TRUDIE HAROLD. 16. Cute and innocent, has a love for horror movies.

Her face shows softness. Suddenly she clears her voice -TRUDIE Hello? Her voice is fragile and cute, it spea s into the phone with calmness. A glimpse of the room is seen behind Trudie. It’s wonderful, the walls are a perfe ct white, no sign of any crac s or dirt on them. A plasma TV sits on the wall, g lowing blue on the DVD home menu. A beautiful glass table filled with a bowl of popcorn and a can of soda. A gorgeous white couch, sits on the wooden floorboard, waiting for Trudie’s arriva l. Cases of movies; horror are spread on the couch. Also seen is the entrance to the itchen -- in the bac . And besides Trudie, are two patio doors to the bac yard. Trudie waits for an response, a little nervous. THE VOICE (o.s.) Hello. The voice is from a man, very friendly, but something is off. Trudie doesn’t notic e. TRUDIE (smiling) Who’s this? At the same time she says this the voice spea s bac --

 

She’s wearing a stunning purple tan -top, that doesn’t reveal much. And comfy blac shorts. Her long brown hair sits on her shoulder and continues down to her bac .

 

 

 

 

 

 

 

 

 

 

 

THE VOICE Who is this-Trudie laughs. Being very playful. The voice, laughs also. TRUDIE Well, you called me. THE VOICE O ay. (beat) I’m a friend. Trudie smiles, nows he’s playing a game with her.

TRUDIE Am I suppose to guess who? THE VOICE Sure..That sounds, fun. Trudie thin s, presses a finger to her chin.

Charlie? THE VOICE Nope. TRUDIE Trevor? THE VOICE Does this sound li e a Trevor to you? Trudie sighs, disappointed. TRUDIE (giving it one last shot) Uh. Jenny? THE VOICE I’m afraid not! TRUDIE Darn! Well, this was cute. (beat) But, I have to go. THE VOICE (stalling) Why? We’re having fun. TRUDIE (smiles) Well, I’m about to watch a movie. The voice oohs at her comment. THE VOICE

 

 

 

 

TRUDIE

Trudie starts to twirl her hair with her free hand. TRUDIE (whispers) A scary movie. THE VOICE What ind of scary movie? TRUDIE Dunno yet. I’m thin ing SAW IV. THE VOICE (friendly) Uh, saw it theaters. It suc s. Just gore, no character development. (spea ing faster) Body parts ripping, blood spewing-TRUDIE (ma ing a face) BLEH! THE VOICE I thin you should watch STAB. (beat) After all, it’s a true classic. Trudie thin s, loo s over to the couch, spots STAB sitting their with the other horror movies, such as The Fog, Prom Night, Halloween, Terror Train, and The Shi ning.

TRUDIE Than s for the advice. I’ll maybe-watch it. Bye now. Trudie is about to hang up -THE VOICE (quic ly) Have you ever seen it? Trudie is getting annoyed, but lets it slide. She ta es a deep breath. TRUDIE Nope. The voice sighs out disappointment. THE VOICE We live in Woodsboro. (slightly angry) How could you never seen it. It made Woodsboro the place it is today. TRUDIE Yeah, a tourist attraction.

 

 

 

 

 

 

 

     

What

ind of movie?

 

 

(beat) O ay, I’ll watch it. Bye now. Before the voice can protest -- BEEP. Trudie sets the phone on the table. She wa l s over to the couch, grabs STAB, ta es it out of the blu-ray box, and puts it in the blu-ray player. She throws the movies on the glass table, and lays down on the couch with a blan et, and waits for the movie to finish playing previews of other horror movies. RING! RING! Trudie loo s at the phone, tired. She stands and pic s it up, answer s. TRUDIE (cont’d) Hello? THE VOICE (o.s.) Why did you hang up? Trudie sighs; this guy again? TRUDIE Loo , we chatted. It was cute and fun. But, I’m busy and all. Leave me alone. (beat) Please. THE VOICE (blunt) I’ll leave you alone when you’re cho ing on your own blood. Trudie’s eyes widen. TRUDIE Excuse me? What did you say? THE VOICE I said. I’ll leave you alone. TRUDIE That’s--not what you said. The voice is quiet for a moment. THE VOICE What do you thin I said.

RING! RING! TRUDIE DANG IT! Trudie stares at the phone, ignoring the movie. Finally, Trudie gets the courage to stand and answer it. TRUDIE (cont’d)

 

Trudie hangs up, creeped out to the bone. She sits bac or the movie to start.

down, and presses play f

 

 

 

 

 

 

 

 

 

The pran is over. You got me. (beat) Leave me alone. THE VOICE (o.s.) I’m afraid it doesn’t wor that way... TRUDIE.

CASEY (o.s.) (from TV) Hello? MAN (o.s.) (from TV) Hello. Trudie loo s at the TV as the movie plays. Creepy music starts to play from the TV.

TRUDIE (stutters) How--did you now my name? The voice laughs. Trudie tenses, uneasy. THE VOICE I’m a friend. TRUDIE No, no you’re not. Trudie gulps. Thin s. She’s nervous. She loo s around, as if he may be with her. C asey and the man’s voice continues to tal offscreen. TRUDIE (Cont’d) Leave me alone. Or else, I’ll call the police! THE VOICE They’ll never ma e it in time, Trudie. You’ll all ready be dead, when they get here. Trudie whimpers. She hangs up. RING! RING! This ma es Trudie jump out of her s i n. She answers. TRUDIE STOP CALLING ME! THE VOICE (o.s.) (shouting, venom) HANG UP, ONE MORE TIME AND I WILL CUT THROUGH YOUR THROAT UNTIL I FEEL THE BONE! Trudie mouths opens in agape. Filled with shoc how this voice could become pure venom and evil.

 

Trudie can’t even response, because of the shoc

she’s in.

 

 

Trudie is stunned, she never gave him her name. So how does he

 

 

 

 

 

 

 

 

now?

 

 

TRUDIE This isn’t funny anymore. THE VOICE This never was suppose to be funny. Trudie brow sin s down. She has no idea how to react.

Trudie gasps in disgust. THE VOICE (cont’d) Your guts will be dangling on the outside! Your spine will be ripping out of your FUCKING bac ! Trudie gags. Disgusted. TRUDIE You’re insane. THE VOICE Well, sh, that’ll be our little secret. Trudie purses her lips together. TRUDIE Why are you doing this? THE VOICE You won’t ma e it to the end to find out. Trudie coughs out a sob. TRUDIE Where--where are you? THE VOICE (beat) Your front porch. CRASH AND BURN. Trudie turns to the foyer, and wal s towards it. TRUDIE Why--would you be calling from there? THE VOICE That’s the beauty of it Trudiie. The voice laughs. BEEP. Trudie loo s at the phone. He hung up. INT. FOYER

 

 

 

 

 

TRUDIE Listen. You had your fun-THE VOICE Not yet. Not until, you’re dead.

Trudie enters the foyer. Inches away from the door. The phone in her hand RINGS. She loo s down. Answers it. DINGDONG, DINGDONG, DINGDONG! TRUDIE SCREAMS. Jumping out of her s in. Holding t he phone close to her nec , SOBS. TRUDIE WHO’S THERE?! WHO’S THERE?! Trudie is on the edge of tears. Suddenly she puts the phone bac onto her ear. S obs. Trudie grips onto her shirt, tugging it, scared out of her fuc ing mind. THE VOICE (o.s.) You should never say: “who’s there?” Don’t you watch scary movies? It’s a death wish. Trudie coughs, starts to spea . Shouting. TRUDIE LISTEN ASSHOLE. YOU HAD YOUR FUN. NOW LEAVE ME THE FUCK ALONE! THE VOICE No. It doesn’t wor that way Trudie. I’ll leave you alone when you’re FUCKING GUTTED, and CHOKING ON YOUR OWN BLOOD. Trudie gasps, this finally gets her. She screams loudly, sobbing heavily. TRUDIE’S POV: The door is further away, each step. SUDDENLY -- A SHADOW RUNS ACROSS the glass part of the door. Trudie gasps loudly. EXT POV. INT. LIVING ROOM Trudie clearly saw that. TRUDIE S-shit. (into phone) What do you want? THE VOICE Let’s play a game. TRUDIE What if I don’t want to? THE VOICE THEN YOU DIE RIGHT NOW! TRUDIE

 

 

 

 

 

 

 

NO! I’ll play your game. Trudie bends down, besides the couch, away from the patio doors, but close to th e door, her escape. She unplugs the lamp. The room becomes pitch dar . THE VOICE Very good... THE VOICE (cont’d) This should be easy, you’re a fan of the horror genre. Right? It’s time for some HORROR MOVIE TRIVIA. TRUDIE I don’t now the genre so well.. Trudie sobs silently. The movie continues to play, she grabs the remote and paus es it, on CASEY BECKER’s death scene, being gutted by the tree. Gross and brutal. THE VOICE I’ll give you a warm-up question: Jason’s weapon? TRUDIE A machete. THE VOICE There. You see? You do now the genre. Michael Myers? TRUDIE Uh, butcher nife. Leatherface? TRUDIE (sobbing) Chainsaw, PLEASE! THE VOICE Freddy Krueger? TRUDIE Razor-hands! THE VOICE Alright Trudie. Final question. Name the movie that started the slasher craze: Halloween, Texas Chainsaw Massacre, Last House on the Left or Psycho? Trudie is stumped, tears runs down her face. TRUDIE PSYCHO. THE VOICE NONE OF THE ABOVE! Peeping Tom, 1960, directed by Michael Powell. First movie

THE VOICE

 

 

 

 

to ever put the audience in the iller’s THE VOICE (cont’d) POV. TRUDIE (sobbing) No! THE VOICE I’m afraid that was a wrong answer! Now, you DIE. BEEP! The dial tone rings out. Trudie almost drops the phone in shoc . She waits nothing happens. SMASH! Glass FLIES everywhere, a wooden chair smashes through the patio doors an d slides into the glass table. Items clatter everywhere. Giving Trudie a heart-a ttac . TRUDIE SCREAMS, and runs off, wanting to get the fuc out of the house. INT. KITCHEN

INT. HAROLD’S RESIDENCE - FOYER Trudie hears footsteps entering the house. She freezes, slowly unloc s the door. Slips out. Sha es in fear, quic ly. Clic . EXT. OUTSIDE Trudie throws herself against the wall. Panting, gripping the nife and the phon e heavily. TRUDIE (whispers) Oh god, oh god. Trudie slowly ma es her way down the porch steps. Loo ing around. Ma ing sure th e iller isn’t around. CREEEEEAK. The door behind Trudie opens. The assailant wal s out -- THE GHOST. H e stares at Trudie, who slowly turns to him. He holds a buc 120 in his hand. Trudie stares bac up at him. Then gives a loud BONE-CHILLING SCREAM. The ghost leaps forward, punching Trudie in the face. She falls down onto the bric path t o the fence. She groans and drops her nife. The man towers over her. Coc s his head. Trudie comes to within seconds. Loo s u p. And rolls out of the way, just as the nife plunges into the bric ground. Trudie runs for the fence, panting, as the ghost continues to try and tug the n ife free of the bric .

The sound of flesh ripping is heard, as the ghost pulls out his nife, revealing

 

Trudie starts to open the fence. When SHE SCREAMS. The ghost’s mas o her face. She loo s at him in utter shoc .

appears next t

 

 

 

 

 

 

 

 

   

 

 

 

Trudie rips open the drawer, pulls out a

nife and runs into --

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

a dar red substance out of Trudie bac . Trudie falls bac ward. Sobbing out in pain. TRUDIE (cont’d) STOP. PLEASE! Trudie crabwal s bac ward. The ghost stal s forward. Knife poised, ready to ill . The ghost sends the nife down on Trudie’s face -- but she bloc s it. Her hand con nects with a nife, ma ing Trudie give a loud, painful scream. The ghost YANKS it out of her hand. Showing no mercy at all. Trudie hits her bac on the porch, climbs its. The ghost watches. Trudie stands and wobbles up the porch. Dizzy. The ghost raises his nife and pl unges it into her bac , again. A LOUD SCREAM and a gurgle of blood escapes Trudie’s lips. Trudie stumbles away fr om the door, the ghost grabs her by the throat and SLAMS her bac ward, she SMASH ES through the porch railing, and falls halfway onto the grass. Her legs rest on the porch. The ghost drags Trudie bac up from the grass, her body thumping HARD against th e wooden porch. She pleads and begs but he continues to drag her bac inside the house into the-INT. FOYER Trudie finally tries to fight bac . Pulls her leg, and ic s the assailant in th e stomach. He falls bac ward. Trudie whimpers, trying to turn onto her chest. Trudie does so, and crawls towards the stairs. She grips the steps, trying to pu ll herself up. She’s losing blood, and fast. TRUDIE (wea ly) Come on. Trudie’s voice is filled with sorrow as she tries to encourage herself. She contin ues to crawl up the steps. Knowing she won’t ma e it. Trudie turns her head, the ghost is GONE. EXT. OUTSIDE Trudie stumbles outside, she starts to wal towards the steps. And the ghost appears RUNNING the up the porch. Trudie has no time to react as STAB. STAB. STAB. Three stabs into Trudie’s stomach. She stumbles bac ward, and falls against the wall. She turns and wea ly stumbles off blood seeping from her wounds. TRUDIE (stutters) PLEASE. Just stop-The ghost slips away.

 

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Trudie starts to cough up blood, as it dribbles down her lips. She almost at the edge of the corner to turn when -STAB! Right below the throat. The ghost appears in front of her. Trudie lets out a PAINFUL SCREAM.

INT. TRUDIE’S HOUSEHOLD - FOYER Trudie runs into the house, dizzy. She turns the ghost is following her. TRUDIE SHIT. NO! Trudie dashes for -INT. LIVING ROOM Trudie runs for the patio doors. Tripping onto the floor. Stands, the ghost foll ows her with ease. Trudie trips and smashes into the pavement of the bac yard. EXT. BACKYARD Her assailant grabs her by the bac of the nec , pulls one hand away, and lifts Trudie up, and STABS her into the throat. He throws Trudie aside, slamming her b ac into the wall of the house. Trudie slides to the ground. THUD. The ghost looms over her and loo s down at Tr udie. Bends down to her height. TRUDIE (cont’d) Please... The iller coc s his head.

TRUDIE (purses lips sadly) Why...? The ghost raises the nife. Trudie’s eyes follow. She let’s out one last sad BONE-CH ILLING SCREAM -LAP. SCREAM 4 INT. RANDALL RESIDENCE - LIVING ROOM - SAME NIGHT A nice living room, plasma screen TV, coffee table filled with horror movies, an d a nice comfy brown sofa. Two people sit on the couch, not into the movie at al l, but are into each other.

THUNDERC

 

Trudie PUNCHES him right in the mas . He falls down. Trudie turns and goes bac the way she came from, doing a half run/half limp.

 

Trudie grips the side of the house. She loo s bac noticing he’s gone. But isn’t ta ing any chances, just in case.

 

 

 

 

 

 

 

 

 

 

 

JENNY RANDALL and CHARLIE WALKER, Jenny’s 16, sexy and bitchy. Charlie’s also sexy n ot as sexy as Jenny, he’s a total douche. Same age. They’re a perfect couple. JENNY (between isses) Come. On. Charl--ieee! I. Wanna. Watch. The. Fuc in’ movie. Charlie pulls away, annoyed. CHARLIE C’mon bitch, I thought you were having fun. Jenny smir s.

JENNY I am. But, I don’t want to lose my virginity to a pathetic asshole with a small wiener. Charlie laughs. CHARLIE Baby. My wiener is way fuc in’ bigger than Justin Bieber’s. Jenny laughs and slaps his arm. Charlie smir s, proud of himself. JENNY We‘ll finish later, maybe. (beat) Jill’s coming over. CHARLIE Shit, you invited debbie-downer? JENNY Come on, don’t be so hard on her. (beat) After all, you now -- she’s still healing. CHARLIE Healing my ass. She’s just trying to get attention. He died li e what? A year ago. JENNY Ugh, please leave. CHARLIE What’s wrong, is it what I said? Jenny nods. JENNY Yes. Besides, if you stay, we’ll diss her and go fuc .

 

 

 

 

 

 

 

 

CHARLIE Or we could do a quic ie now? JENNY Cute, stud-buc et. Jenny rises, Charlie does too. She drags him on over to the patio doors, next to the itchen and dining room. She unloc s the door, and opens it for him. Bye. Charlie moves over to the patio door. Turns. Smir s. CHARLIE At least, give me something to hold me over. Jenny smiles. Raises her pin -tan top. We can tell she’s not wearing a bra. You li e? CHARLIE Fuc . Now I got a huge ass boner. Jenny smiles, isses him.

JENNY (cont’d)

JENNY

JENNY Bye, see you tomorrow. Charlie leaves. Jenny closes the door and loc s it. Jenny pulls the rest of her shirt down and into place. BZZZZ, her phone rings from her jeans. She pulls it o ut and answers. JENNY (cont’d) Hey Jill. JILL (o.s.) How did you now it was me? JENNY I don’t now, a thing called: Caller I.D.? JILL Oh, right. My bad. Anyways, Trevor’s giving me a drive right on over right now. JENNY Alright, boo. When will you be here? JILL Three mins, top. Jenny proceeds to the stairs by the living room. JENNY

 

   

 

 

 

 

 

 

 

 

 

 

Great. Going to change into pjs. 70’s, 80’s, 90’s, or 00’s horror? JILL 80’s totally. You better have Waxwor . Zach Galligan, yummy. BOY (o.s.) Am I more yummy than him? JILL (stutters) Uh. Sure. Jenny laughs. BOY BOOOOO Jill, BOOO. Now it’s Jill turn to laugh. JILL Alright, see you soon. BEEP. She hangs up, Jenny wal s up the stairs. CUT TO: INT. CAR - SAME A man sits in the driver seat. TREVOR SHELDON, a joc , tough and protecting, 17. Next to him is JILL ROBERTS, Sidney Prescott’s cousin, 16, cute, bubbly, and clum sy. She has the creepy innocent loo to her. It is obvious that Jill is wearing pjs, she’s the one who called JENNY. TREVOR Why do you hang out with her? She’s bad news for you. A big slut. JILL Trevor, calm down. She’s my best friend. TREVOR Some friend. Why can’t you be friends with Trudie? She’s sweet and friendly. JILL She hates me. TREVOR Besides the fact I dumped her and dated you. JILL Trev-Trevor. I love you, and I love how You care. But, baby-sweetie, please-I thin I’m a big girl.

TREVOR

 

 

 

 

 

Right, and big girls don’t cry. (whispers) Don’t cry... Don’t cry... Don’t cry-JILL Fergie fan much? The two laugh. It suddenly ends, as Trevor slows down the car. He sets it in par . TREVOR Here’s the place? Jill loo s. HER POV:

END POV. JILL Yeah. It’s Jenny’s place. Trevor smac s his hands playfully on the wheel.

TREVOR See you tomorrow? JILL Yeah.

TREVOR (to himself) Got’cha... JILL See you at school. Trevor smiles. Nods. TREVOR No, goodbye iss? It’s li e PG with us. JILL I’m sorry. It’s almost been a year. The nightmares are starting again-Jill sighs. JILL (cont’d) This girl’s night will be good for me. Jill opens the car door, and exits with her school bag. She appears once more to

 

 

 

 

Trevor goes in for a

iss. Jill loo s away. Leaving Trevor to hang.

 

A beautiful two story white house, a large oa ets chirp. Silent. Peaceful.

tree with a tire swing. Fun. Cric

 

 

 

 

CUT TO: INT. RANDALL RESIDENCE - LIVING ROOM - NIGHT It’s a bit later. Jenny and Jill are relaxed on the couch. Fresh popcorn in a bowl sits on the couch, between them. And they each hold soda cans. A woman wal s in -- wearing an office suit. Not paying attention to the girls. U sing her blac berry.

JENNY’S MOM You girls o ay? Jenny smiles, embarrassed. JENNY Yeah mom. Where’s dad? The woman loo s up. Free from the spell.

JENNY’S MOM On his way home. JENNY ‘Kay. Love you.

JILL I always remembered your mom was a hard wor er. JENNY Yeah. I forgot it’s been a few wee s. JILL Business trips. JENNY You’re luc y. A stay at home most of the time mom. JILL At least yours isn’t a struggling alochioc. (beat) Anyway, movie? Jenny tries to not show her happiness in the change of convosation. But fails. JENNY O ay. I narrowed it down to the top three. Ooh. Jenny flashes the films.

JILL

 

 

 

 

She smiles and wal s off into the

itchen, bac under the blac berry spell.

 

 

 

 

 

 

 

 

give Trevor a

iss on the chee . Which ma es him smile.

   

 

JENNY THE FOG, THE EVIL DEAD, and FRIGHT NIGHT. All 80’s. And all horror. JILL Isn’t The Evil Dead said to be a comedy? JENNY No one nows. It’s been fuc ed up. Said to be a comedy. Said to be a horror film. JILL Hmm. I vote FRIGHT NIGHT. Never seen it. Jenny nods. JENNY Fright Night it is. Jenny stands, pops open the box, ta es the disc and wal s over to a blu-ray play er. JILL Plot? Jenny puts the disc in, and the movie starts to load. JENNY Vampire film. Jill catches on quic . Nods.

JENNY (cont’d) You seem hesitant. JILL Hate vampires. Well, twilight. JENNY ‘Nuff said, Jill. ‘Nuff said. JILL (smiles) Whatever. Jenny sits bac down on the couch. Loud sounds play from the TV as the previews start. Faintly Jenny’s mom is seen wal ing up the stairs. JILL (cont’d) Jenny, the lights. JENNY Ugh. Do it for me? My v-card shut down. Jill scoffs. Stands.

 

 

 

 

 

 

 

JILL You are pathetic. She wal s over to the wall, where the lights are. She turns them off. It is now dar , besides the light of the TV that dance around the room.

JENNY So, Charlie was here earlier. JILL You fuc ed? Is it true about his dic ? JENNY No, we didn’t. Than s to you. Jill smiles. JILL No problem. Where’s Claire? JENNY Ugh. She dissed. Radio channel. JILL Too bad. JENNY Not li e we need her. Too innocent. Someone needs to slaughter her vagina. JILL Do you tal about anything other than sex? JENNY Nope. Does it sound li e I do? Jenny smir s. Ta es a bite out of some popcorn. Her eyes follow to the TV. She g ets giddy. Obviously the movie is about to begin. CUT TO: INT. LIVING ROOM It’s later. Around 1:00am. Both girls are passed out on the couch. Tired. Suddenly -- a phone BUZZs. Jill shifts, awa ing quic ly. Grabs the phone off the table. It’s hers. She answers. The movie is playing on repeat. Still FRIGHT NIGHT . JILL (dead tired) Hello?

JILL (cont’d)

 

 

 

 

 

 

   

 

 

 

 

Jill sits bac

 

 

 

down. Ta es a mouthful of popcorn and snac s on it.

THE VOICE (o.s.) Hello. JILL (rubs eyes) Uh, yes? THE VOICE What’s your favorite scary movie? Jill’s face etched seriousness. JILL I’m tired of this shit. Leave me alone. This is your last warning, dip shit. Or I’m going to the police. THE VOICE Ooh, I’m so scared. Sha ing in my boots. Jill hangs up. Annoyed. Throws the phone on the table. Startling Jenny awa e. JENNY Shit, Jill. What the fuc ? Jill sighs. JILL Sorry. Just some asshole. JENNY Ugh. Want to tal about it? Jill sighs. Sha es her head.

JILL No. You need your beauty sleep. You tend to be a cran y bitch without it. Jenny smir s.

JENNY I’m a cran y bitch, 24/7. Silly. Jill laughs. Relaxes. JENNY (cont’d) Now tell me. JILL Just some guy. Been calling me all wee . JENNY Want to go to the police? JILL Yes. Fran ly it’s a pran , gone to

 

 

 

 

 

 

 

 

 

 

 

far. Jenny nods, tries to understand. Ta es Jill’s hand. Holds it tightly. JENNY Want me to go tough momma bear on their asses? Jill laughs. JILL Oh god, no. Can you imagine? The two girls chuc le softly. Behind them, by the patio doors -STANDS A FIGURE. THE GHOST. He watches them...then turns away. CUT TO: INT. SHELDON’S RESIDENCE - KITCHEN - MORNING Trevor stands by the counter. Munching on some FRUITY LOOPS cereal. He ta es a h uge bite, some mil dribbles down his chin. At the table. Sits another boy. Same age. Not as handsome. Smart and serious. He’s RICKY SHELDON. RICKY Could you be anymore grosser? TREVOR (muffled) off. Dweeb.

RICKY I stand corrected. (beat) Pass me the apple? Trevor grabs an apple and throws it at Ric y. He catches it. TREVOR AND HE CATCHES IT! THE CROWD GOES WILD! Hahhhh. Hahhhh. Ric y crows a brow.

RICKY And we’re related, how? TREVOR So, how’s things between you and Claire. Ric y smir s.

RICKY Good. You and..Jill? TREVOR

 

 

Fuc

 

 

   

 

   

Eh. It’s tough on her. Y’ now. One year tomorrow. Ric y nods. A sore subject it is.

RICKY Alright. I’m going. I have a History test, first period. (stands) And Clair-Bear needs a ride to school. Ric y smiles, ta es a big bite of the apple. And runs off.

TREVOR (frowns) Clair-Bear? Gross... CUT TO: INT. CAR We’re in JENNY’s car. She drives. Jill sits next to her. JENNY (mid sentence) ..o ay, after school. Jill nods. Aw ward.

JILL Sure. But, we don’t have to-JENNY Shit, are we pic ing up Claire? JILL I don’t now..I’ll call. Jill pulls out her phone and dials a number. Presses it to her ear. GIRL (o.s.) Hello? JILL Hey--Claire. It’s Jill. GIRL Hey Jill, what’s up? JILL Need a lift to school? (beat) Me and Jenny are right around the corner. GIRL As tempting as the offer is. (beat) I’ll pass. Ric y’s getting me.

 

 

 

 

 

 

 

   

Jenny, obviously hearing this. JENNY Him, again? He’s a strict psycho frea . Claire heard that. GIRL Shut up, Jenny. Jill smir s. Jenny rolls her eyes.

JENNY See you at school, loser. GIRL Alright. Sounds great!

Jill smiles and presses off. Puts the phone away. JENNY That’s that. Jenny’s car comes to a stop at a house. JILL W-w-what are you doing? The bac seat door, opens and CHARLIE gets it. Jill groans. He shuts the door. A nd Jenny drives off.

JENNY Oh! I forgot to tell you. (smir s) Charlie’s joining us. (duh) I can see that. CHARLIE What’s wrong Jill? My dic too much for your small vagina? JILL Fuc you. Jenny giggles. JENNY It’s rare for you to drop the F-bomb Jill. JILL You get on my nerve, Wal er. CHARLIE You horomes are raging, Jill. (beat, stares at her)

 

 

 

 

 

 

 

JILL

Better calm down. Jenny eyes them. There is tension. JENNY O ay. Enough bitchy-ness. JENNY (cont’d) We don’t need to go all Jersey Shore in here. Keep your earrings on. Jenny smiles. Sets the car in drive. And drives off. The two have calmed down. Charlie’s phone rings. He pulls it out. Jill eyes him, n osy. Jenny loo s at the mirror to see Charlie.

Hello? THE VOICE (o.s.) Hello, Charlie. Charlie frowns. JENNY (whispers) Who is it? Charlie puts a hand on the phone. Whispers bac : CHARLIE Shuddup. I can’t hear him! Jenny frowns. Charlie puts the phone bac to his ear, and puts it on spea er. CHARLIE (cont’d) Who is this? THE VOICE This is the last person you’re ever going to see alive, Wal er. Jill’s eyes widen. She nows this man. She heard his voice before. And we have too ... Is it a pran or the real thing..?

CHARLIE Cute. Real cute. These stab pran s are so un-fuc ing-original. THE VOICE Want to see some originality? Wait till tonight when I gut you and expose you for the heartless shit you really are. Charlie eyes the phone. Jill stutters. JILL

 

 

 

 

 

 

 

 

 

 

CHARLIE

Hang up! Charlie does as he is told. Jenny gulps. JENNY That was...creepy. CHARLIE It was just a sic pran . JILL Chec --your call list. See the Caller I.D. Charlie does as he is told. Frowns. CHARLIE Trudie Harold. Jill coc s her head. Turns to Jenny.

JENNY O ay, Trudie’s an innocent boring bitch. She would never do something li e that...

CUT TO: INT. HOUSE - FOYER Camera SLOWLY ma es it’s way past the foyer. Showing pictures of JILL, a man and a woman, with another boy.

PAN OVER TO THE KITCHEN. KATE ROBERTS, mid 40’s. With an obsession with alcohol. Tries her best. She holds a cup of coffee and passes it to another woman. WOMAN I wouldn’t miss seeing my favorite aunt and cousin. SIDNEY PRESCOTT, glowing with health and beauty. A strong heroine. Early 30’s. KATE (smiles) How’s the boo going? Sidney nods. SIDNEY It’s going well. (beat) It’ll be released this summer.

 

 

BEAT. As they loo

at each other...

WOMAN (o.s.) Well..this is a huge surprise!

 

 

 

 

 

 

 

Kate nods. KATE Your mother would’ve been so proud of you Sidney. Sidney stares at her cup of coffee. Thin s. SIDNEY (beat) You thin ? KATE Oh of course Sidney. (coc s head) Sure she had a tough past. But-she did love you with all her heart. And always wanted the best for you. Sidney loo s up. Smiles. She’s changes the subject.

SIDNEY How are you? I mean... Kate gulps. A sore subject. KATE Well--I’m coping... Kate doesn’t say another word. Sidney gets the point. SIDNEY How’s Jill? Kate loo s to Sidney.

KATE She’s doing good. She hangs out with her friends more than me. (beat) Well... I have to go to wor . The guest room is-SIDNEY Second door on the right. I got it. Kate smiles. Sidney does to. Kate grabs her purse and wal s over to Sidney and g ives her a iss.

O ay, Aunt Kate. Sidney watches her go. Sighs. Turns to the TV, grabs the remote and turns it on as the door slams shut. ASIAN REPORTER

 

I’ll be bac

KATE in time for dinner. SIDNEY

 

 

 

 

 

 

 

 

 

The body of TRUDIE HAROLD. Was found late last night, when her parents came home. (beat; holds up Father Death mas ) This mas was found on her face. Known to be the same mas wore by the original Woodsboro iller. Sidney’s eyes widen. She stands, turning the volume up. EXT. WOODSBORO HIGH - FOUNTAIN - AFTERNOON The whole group is there. JENNY next to CHARLIE. JILL next to TREVOR. And RICKY next to CLAIRE SHIELDS, a friendly 16 year old girl. Oozes innocent. Wor s at th e radio station. Slightly bitchy. JILL I can’t believe she’s dead... CHARLIE I can’t believe how fast the fuc ing news traveled. Claire loo s to him. Frowns.

CLAIRE You don’t give a single fuc that she’s dead? How heartless can you be? RICKY (aw ward) Claire... CHARLIE Sorry Claire. I forgot how you guys were fuc buddies. RICKY Charlie, stop it. You’re acting li e a dic -head. CHARLIE Than s captain obvious. CLAIRE (ignoring him) I can’t believe it. I thin I was the last one to see her... (beat) Before she died. RICKY (ponder) Did she mention anything. Li e-some guy stal ing her or something. CLAIRE No. She was as happy and normal

 

 

 

 

 

 

 

 

 

 

 

   

 

 

 

as ever. JILL (spea ing up) She sat next to me in English. The group turns to Jill. Jenny ta es a bite out of a grape. Charlie starts to mu nch on a sandwich. CHARLIE (muffled) Well... not anymore! JENNY (nudges him) Charlie, too soon... CHARLIE Really? Too soon. TREVOR WAY. Too soon. CHARLIE I heard they found her livers inside her mouth. RICKY Gross. JENNY She was hung by her intestines. Claire has had enough. She isses Ric y, and wal s off. RICKY Way to go, guys. JILL I’ll tal to her. Jill grabs her bag and runs after Claire. CHARLIE (beat) Well... Bets on who dies next? Off Trevor’s loo . INT. WOODSBORO HIGH - HALLWAY Claire wal s down the hallway, as fast as she can. Jill runs up behind her.

JILL CLAIRE! Wait! Claire spins around, annoyed. CLAIRE What?

 

   

 

 

 

 

 

JILL I’m sorry about Charlie. He can really be an ass. CLAIRE (sighs) I guess. It’s just--so shoc ing. Someone you see in the hallways, and say hi to, from time to time. Is-(beat) dead. This ma es Jill thin .

JILL How about you come over to dinner with me and Jenny tonight? My place. CLAIRE I don’t now. I have to do the radio. JILL Come on. Girl’s night. Chinese food. Nicholas Spar movie. THE NOTEBOOK? JILL (thin s) Rachel McAdams? I don’t now... (smiles, chuc les) O ay. Claire smiles. CLAIRE I’ll be there around seven. JILL Have Ric y drive you. (beat) It’s not so safe. A iller on the loose. CLAIRE I’m innocent, not stupid. The two share a laugh. Off of Jill’s loo . INT. POLICE STATION - INTERROGATION ROOM - AFTERNOON CHARLIE, JILL, and JENNY sit next to each other. Across from them sits a police woman. DEPUTY AARON PERKINS, 22, bitchy and straight-forward. SIDNEY (o.s.) Jill? Jill raises.

CLAIRE

 

 

 

 

 

 

 

 

 

 

 

 

JILL (shoc ed) Sidney? Sidney steps inside, she and Jill share a hug. SIDNEY Sorry I’m late. I got here as fast as I could. What happened? Sidney turns to Deputy Per ins. CHARLIE Me and Jill got “pran ” calls from the guy in STAB. JENNY Or well you now your life. Sidney gives Jenny a stare. Not a rude one though. JENNY (waves) Hi, I’m Jenny. Jill’s best friend. Sidney nods. SIDNEY (aw ward) Well, it’s nice to meet you. Go on id. CHARLIE Yeah. Mine came from Trudie Harold. DEPUTY PERKINS (eyes widen) What? CHARLIE The dead girl. (beat) Can you hear me? DEPUTY PERKINS Shuddup id. (beat) HOSS GET IN HERE! JENNY Wait, I didn’t get a phone call. Does that mean I’m not going to live as long as this two? A deputy runs in. 23. He’s DEPUTY MATT HOSS, goofy and nice. Serious when he has t o be. DEPUTY HOSS

DEPUTY PERKINS

 

 

 

 

 

 

 

Yes? DEPUTY PERKINS Alert the sheriff that it’s possible the iller called these two. What? DEPUTY PERKINS It came from the victim’s phone. Deputy Hoss eyes widen, and he exits the room. SIDNEY What does this mean? DEPUTY PERKINS We’ll sign up police officer to stay by their houses. BEAT. SIDNEY Just li e old times... (sighs) It’s for the best. DEPUTY PERKINS (turns to them) Be careful, ids. JENNY OHMYGOD! Did you hear that? I’m going to die next! Jill turns to Jenny. CUT TO: INT. ROBERTS’ RESIDENCE - JILL’S ROOM - NIGHT Jill’s room is neat. Not over the top girly. Just plain and simple. Two girls sit on the bed -- they are JILL and CLAIRE. The TV on the wall plays “Sh aun of the Dead” A loud scream, as the zombie falls bac . The girls laugh. So pathetic.

SIDNEY You girls o ay? Jill nods. JILL

 

 

 

 

Jill nods. A

noc on the door. They loo . Sidney appears.

 

 

 

 

DEPUTY HOSS

CLAIRE

Yeah. Sidney smiles. Nods. SIDNEY Sorry about Trudie. Jill bites her bites. JILL Than s.

Jill nods. Sidney closes the door. CLAIRE That was not aw ward. JILL Give her a brea she’s been through hell and bac . CLAIRE Oh come on, you hate her guts. Jill frowns. Knows it’s true. JILL Yeah. RING. RING. Jill and Claire loo . Claire’s phone rings. She answers. Hello? THE VOICE (o.s.) HELLO, CLAIRE. CLAIRE RICKY? Is this you? Jill coc s a brow.

THE VOICE Does this sound li e something Ric y would do? Bitch. CLAIRE Damn it, Charlie. Is this you? Soooo, not funny. CHARLIE Fuc you, Claire. Claire scoffs and hangs up. CLAIRE Charlie thought it would be funny

 

 

 

   

I’ll let you

 

 

SIDNEY now when Jenny arrives.

CLAIRE

 

 

 

If he used the STAB voice. JILL After Trudie’s death? CLAIRE What does Jenny see in that dic ? DINGDONGGGGG. The girls eyes focus on the door. INT. ROBERTS’ RESIDENCE - FOYER Kate appears. Opens the door. REVEALING -DEPUTY PERKINS. KATE Oh, yes can I help you, ma’am? DEPUTY PERKINS (stern) I found this one lur ing around. Says she’s a friend of JILL. As if right on CUE. Jenny steps into the light. Holding a bag. JENNY I got Chinese food! Kate chuc les.

KATE Come in, Jenny. Jenny wal s inside. Turns.

JENNY See. Ms. Per ins? I’m cool. You sound drun . JENNY Oh, no. I wish though. Bye. Jenny wal s off.

DEPUTY PERKINS

KATE Sorry about her, she’s a free spirit. DEPUTY PERKINS It’s alright. If you need anything. (nods head to car) I’ll be right in the car. She wal s off. Kate thin s.

KATE

 

 

 

 

 

     

 

Wait! Deputy Per ins turns.

Deputy Per ins smile.

DEPUTY PERKINS If it’s no bother... KATE OH! No, come on in! CUT TO: INT. GYM - LOCKER ROOM - NIGHT Charlie stands in exercising outfit. Bas etball shorts, a t-shirt, and snea ers. He’s on the phone. CHARLIE Eh. I’ll maybe stop by. GIRL (o.s.) Uh. You’re going to see that bitch, Jenny. Right?

GIRL Aw. You’re so adorable. (beat) Tonight, no more oral. I’ll let you fuc the shit out of me. Charlie laughs. CHARLIE You’re so fuc ing awesome. GIRL So, how does it feel with the cops around your house? CHARLIE Li e I’m actually in Jail. Again. GIRL Ugh. Fuc them, your pot was amazing. CHARLIE Than s babe. I got to go. (thin s) Weight lifting time.

 

 

 

 

NO. Fuc

CHARLIE Jenny. I want you, babe.

 

 

 

 

 

 

   

DEPUTY PERKINS Yes ma’am? KATE Would you li e a cup of coffee?

GIRL Uh. You’re soooo tough. See you tonight, handsome. Charlie chuc les, hangs up. He’s about to put his phone away. When it RINGS. Charl ie frowns. Answers.

CHARLIE And you’re pathetic. Good-bye. THE VOICE HANG UP ON ME, AND YOU’LL DIE JUST LIKE TRUDIE HAROLD! Charlie eyes widen. He’s scared. THE VOICE (cont’d) Scared? Charlie sha es it off.

FUCK YOU. Charlie hangs up and throws the phone on the bench. Sighs and wal s off. INT. GYM - TRAINING ROOM It’s empty. No one but Charlie. He enters. Nervous. CHARLIE Hello? SILENCE. He scoffs. Pulls out his Iphone. Plugs the earplugs into his ear and th e Iphone into his poc et.

 

 

 

 

CHARLIE What? THE VOICE (o.s.) Hello Charlie. CHARLIE Real cute Claire. Your idea of revenge. Not original. THE VOICE Who said this was, Claire? (beat) Maybe it could be a man wanting blood to be shed. CHARLIE Sir, the tampons will be 12.95. THE VOICE (chuc les) Charlie, Charlie, Charlie. You really are stupid aren’t you?

 

CHARLIE

Muffled music plays from Charlie’s headphone. CHARLIE (hums along) Yeah. Yeah... Yeah... BEAT. Charlie wal s over to a bench. Lies down, grabs a weight. SUBJECTIVE POV: WATCHES Charlie as he lifts weights. The POV loo s down, revealing a big weight in their hand. Loo s heavy. The POV moves forward... END POV. A shadowy figure leans over Charlie’s face. Charlie’s eyes are closed. As he pushes the weight. A la Happy Birthday to Me. Charlie gives it a few more pumps as the figure disappears into the dar ness. Ch arlie sits up, eyes open. He settles the weight on the floor. Thu--udd. He stretches his tired arms. A loud CLATTER sounds behind him. He turns his head. Stands. CHARLIE (cont’d) Anybody fuc ing there? Silence. CHARLIE LISTEN ASSHOLE. I SAID WHO THE FUCK IS THERE? More silence. It’s eerie. Another clatter from the dar ness. CHARLIE What the... fuc ? CUT TO: INT. GYM - LOCKER ROOM - LATER Charlie enters. Tired and annoyed. He starts to ta e off his clothes and wal s t owards the shower room. CUT TO: EXT. STREET A nice, quiet street. A cop car sits next to a house, possibly Jill’s. ZOOM INTO T HE COP’S CAR. INT. COP CAR Hoss in the driver seat. Per ins in the passenger. DEPUTY HOSS Eerie quiet tonight, huh?

 

 

 

 

 

 

 

 

 

 

DEPUTY PERKINS Something’s bounded to happen. (beat) Stay alert. DEPUTY HOSS (sarcasm) Oh, it’s not li e I wasn’t already. Pft... DEPUTY PERKINS Shut the fuc up, Hoss. And eep yo’ damn eyes peeled. DEPUTY HOSS (rolls eyes) Yes mother. DEPUTY PERKINS Real cute. Hoss loo s out the window.

What?

DEPUTY PERKINS That Wal er boy, seems suspicious. Hoss rubs his chin. Thin s. DEPUTY HOSS Agreed... I mean the clues points to him. Dar past, divorced parents. Been in jail many times before. It just-fits. Hoss sighs. Per ins coc s a brow.

So? DEPUTY PERKINS Just a little strange, that’s all. DEPUTY HOSS You saying I did it? DEPUTY PERKINS No, no.

 

You sure

DEPUTY PERKINS now a lot. DEPUTY HOSS

   

Who do you thin

 

Who do you thin

DEPUTY HOSS did it? DEPUTY PERKINS DEPUTY HOSS illed Trudie?

 

 

 

 

 

 

 

 

 

DEPUTY HOSS Good. Because I didn’t. Hoss sighs. Loo s away. Angered.

Hoss opens his door, exits, and closes it. Per ins goes to spea , but stops hers elf. Sighs. CUT TO: INT. ROBERTS’ RESIDENCE - BEDROOM - SAME JILL and JENNY sit on the bed. Snac ing on Chinese food. Jenny’s phone rings. JENNY And -- I wonder who that could be. She answers. Jill watches her. Listening in. CHARLIE (o.s.) Hey, there. What’s up? JENNY Hey Charlie. Nothing. Eating Chinese food with Jill. INTERCUTS Charlie’s putting on some clothes. His school ones, his white t-shirt, blue jeans. Snea ers...

JENNY You should come over. CHARLIE I don’t thin so. Jenny twirls her hair. JENNY Come on. I’m hanging out at Jill’s. Come on by. CHARLIE I got shit to do. Stop being so desperate. Jenny frowns. Charlie puts the phone down, spea ers it. Puts on his shirt. JENNY Whatever, dic . Rain chec ? JENNY You’ve done that a million times.

CHARLIE

 

 

 

 

 

 

 

 

 

DEPUTY HOSS (cont’d) I’m going to chec the perimeter.

 

One day I’ll lose my patient--

JENNY Bite me. Where are you? CHARLIE At the gym, leaving right now. Who’s at Jill’s? JENNY Me and Jill. Claire left earlier. CHARLIE Why? Got people to ill? JENNY Haha. You’re funny Wal er. CHARLIE Than s bitch. Jenny rolls her eyes. Puts the phone on spea er, Charlie ta es his off spea er. He grabs his bag and leaves the loc er room. Jenny flashes her tits. Stands chec s herself out in the mirror. JILL You’re pathetic... JENNY (re: Jill) Shut up. The girls smile. Charlie enters the par ing lot.

CHARLIE I got to go. JENNY Why Wal er? CHARLIE Because, I have a life.

JENNY Boo-hoo. Who gives a fuc ? CHARLIE Me. My parents. Santa. The elfs too. JENNY

 

Charlie pulls out eys, clic s them. A chirp. He wal s over to a nice blac

 

 

 

CHARLIE But, you’ll come crawling bac me.

to

 

 

 

 

 

   

 

 

 

 

SUV.

 

Haha, best jo e ever. (bored) Yay. Bye. JENNY Love you. CHARLIE Mm. Right bac at ya. Charlie hangs up. And end INTERCUT. Charlie enters the blac SUV, shuts the door. Plugs in the eys. EXT. PARKING LOT Charlie’s SUV pulls out of the par ing lot and drives away. CUT TO: INT. SHELDON RESIDENCE - LIVING ROOM Both RICKY and TREVOR sit on the couch. Wearing comfy home clothes. PSYCHO the original film, plays on their TV. Trevor leans forward -- excited. Wh ile Ric y is disgusted.

TREVOR Here comes the infamous shower scene! RICKY (sarcastic) Why? Because of her tits? Trevor loo s bac . Laughs.

TREVOR Sadly, no. A LOUD SCREAM ESCAPES FROM THE TV. Trevor loo s bac . TREVOR (cont’d) OH SHIT! KILLER COMES IN AND BAM! Ric y jumps. On the TV: the infamous shower scene is playing. MARION SCREAMS. Ric y closes his eyes -- grossed out. Trevor loo s at him. TREVOR Oh come on -(sighs) It’s just chocolate. Ric y frowns.

 

 

 

 

   

CHARLIE

 

 

 

 

 

     

RICKY Don’t care. Trevor sighs. Sits bac .

Ric y eyes open -- he loo s at his brother. TREVOR (cont’d) It’s just-- I don’t now what I’d do if I lost you or Jill. You guys mean the WORLD to me. Trevor gives a wea smile. Trying to show how protective and heart-warming he is . It’s cute.

TREVOR Are you idding me?! You’re my little brother. I’ll always have your bac . And I’ll always love you no matter what happens. Ric y gives Trevor a hug -- Trevor’s a bit stunned. Doesn’t seem li e they have clos e moments together. Trevor smiles and pats Ric y’s bac . Trevor’s phone rings -- they part. Trevor loo s at the Caller I.D. TREVOR (cont’d) Shit it’s Jill. Pause on this drama scene till I get bac . Trevor smiles and wal s off, as Ric y laughs at his jo e. INT. CHARLIE’S CAR His phone rings -- he answers. CHARLIE What now Jenny? THE VOICE (o.s.) This isn’t Jenny. CHARLIE You again. Fuc off man. I don’t have time for this shit! Charlie hangs up. INT. SHELDON RESIDENCE - LIVING ROOM

 

 

RICKY Wow -- than s. I didn’t really thin you li ed me that much.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TREVOR Bro -- Ric ster. -- Ric y - Ric o. The only reason we’re watching horror movies is-- if there is another Ghostface/ Father Death iller. I want to prepare you.

 

 

   

Ric y’s phone rings. He answers, smoothly. He watches the TV, not into it. RICKY Hey, Claire. THE VOICE (o.s.) Nope. Not Claire. RICKY (frowns) Then who is this? THE VOICE Trudie’s and your iller. RICKY Mista e. I am still alive. THE VOICE For right now you are. RICKY The hell? THE VOICE This script is starting to drag. The audience wants to see someone new drop dead! So it’s up to me to bring bac the excitement! INT. CHARLIE’S CAR Charlie is once again on the phone. THE VOICE (o.s.) So it’s up to me to bring bac the excitement! CHARLIE You sic fuc ! You’ve seen one to many Kardashian shows! THE VOICE When will you realize this isn’t a jo e? INT. SHELDON RESIDENCE - LIVING ROOM THE VOICE (o.s.) And I’m a man. Out loo ing for blood. Ric y gulps.

RICKY I don’t want to die. The menacing voice laughs. Ric y stands ma ing his way to the room TREVOR went o ff into. THE VOICE

 

 

 

 

 

 

 

 

 

 

   

Don’t you thin about it. I’ll s in him alive. Ric y’s eyes water. He steps away from the room.

RICKY Please I don’t want to die. THE VOICE No one does Ric y. But death is a part of life. You can’t stop it. It just happens. You’re sic ... INT. CHARLIE’S CAR He turns the wheel. Entering a drive away. CHARLIE Leave me the FUCK alone. Charlie goes to hang up. THE VOICE (o.s.) (pure venom) Hang up on me and I’ll fuc ing rip your beating heart out of your chest. Charlie is stunned. THE VOICE (cont’d) (dar chuc le) Scared yet? CHARLIE FUCK YOU! Charlie hangs up. INT. SHELDON RESIDENCE - LIVING ROOM Ric y goes to hang up --

THE VOICE Be smart Ric y -- don’t hang up. You now what happens when you hang up. Ric y thin s. RICKY (whispers) You die? A menacing chuc le.

THE VOICE That’s right Ric y. You die. (beat)

 

 

 

 

 

 

 

 

 

 

 

 

     

RICKY

Now go upstairs. Away from your brother. Ric y nows not to fuc with this man and does as he as s. INT. WALKER RESIDENCE - CHARLIE’S ROOM A light flic s on. Charlie appears. The window across from his beams light -- he loo s. RICKY appears. Turns to him, frightened. Charlie coc s a brow. Gives a nod and wal s away. BACK OVER TO RICKY. INT. SHELDON RESIDENCE - RICKY’S ROOM RICKY Now what--? THE VOICE I’m standing in your closet. Ric y turns to it. Bites his lips.

RICKY No, you’re not. THE VOICE Go chec . RICKY It’s--impossible. Ric y puts the phone on the bed. Ma es his way to the closet. BACK TO CHARLIE. He has a shirt on now. A new outfit. He loo s bac over to Ric y’s room. Confused. He nows something is up, but what? CHARLIE What the fuc is going on? His phone rings. He turns and answers it -CHARLIE (cont’d) Leave me the fuc alone! GIRL (o.s.) Charlie? Charlie sighs. It’s the girl he was tal ing to earlier. CHARLIE Sorry -- thought you were someone else. GIRL Where the hell are you? CHARLIE

 

 

 

 

 

 

 

 

 

 

 

 

 

 

         

Sorry, I went home. GIRL So you’re not coming? CHARLIE Stop being so clingy. It’s just-(lies) my parents. Been a little tough on me. Mom’s out drin ing and partying. Dad moved away. GIRL Oh, you poor thing! I almost forgot! How long ago? CHARLIE (truthful) Hasn’t been a wee yet. GIRL Aw sweet! Ta e your time. I understand. Sorry. CHARLIE It’s alright, babe. I love you. GIRL I love you too. Charlie hangs up. BACK TO RICKY. Ric y grips the closet doors -- BEAT. HE RIPS THEM OPEN TO REVEAL -NOTHING. Ric y sighs. Pic s up the phone.

RICKY Liar, I’m over this. THE VOICE Who said I was in your closet? BEAT. Ric y’s eyes widen -- he loo s over to Charlie’s house. OH SHIT. Ric y drops his phone and it SHATTERS on the floor. He then RUNS out of the room . BACK OVER TO CHARLIE’S ROOM. EMPTY. INT. WALKER RESIDENCE - BATHROOM Charlie’s brushing his teeth. Cleans the toothbrush, puts it away. Gargles some wa ter, and spits it out. He then turns off the sin . Loo s into the mirror -- smil es.

 

 

 

 

 

 

 

 

     

A REFLECTION of the hallway is exposed behind him. A SHADOW runs by. Charlie mis ses it, too focused in how hot he is. THE HOUSE PHONE RINGS. Charlie sighs, turns off the light and exits the room. INT. LIVING ROOM Charlie enters the room -- still in his house. He pic s up the house phone answe rs. CHARLIE (sighs) Hello? CHARLIE’S MOM (o.s.) HEY CHARLIE! She’s shouting over some music. CHARLIE Mom? Where the hell are you? CHARLIE’S MOM Out. CHARLIE Mom, are you at a fuc ing bar? Charlie has sadness etched on his face. A new feature for him. CHARLIE’S MOM Charlie, I’m coping. CHARLIE No, you’re drin ing. That’s a difference. BEAT. CHARLIE’S MOM I’ll be home late. CHARLIE I love you, mom. CHARLIE’S MOM (unsure) Yeah. Yeah -- love you too. Bye. She hangs up. Charlie sighs and places the phone on the table. His doorbell ring s. Charlie turns and wal s over to the door. INT. FOYER Charlie opens the door. Ric y stands there -- tired and sweaty. SHIT CHARLIE--

RICKY

 

 

 

 

 

CHARLIE What the fuc do you want dweeb? RICKY YOU GOT TO LISTEN TO ME-The phone rings. CHARLIE Wait. Charlie wal s bac to the living room. Ric y follows. RICKY CHARLIE-A BLACK GLOVE GRABS Ric y’s mouth and pulls him out of sight. INT. LIVING ROOM Charlie pic s up the phone loo s bac to find Ric y gone. He coc s a brow. Answe rs the phone. INT. DINING ROOM THE GHOST slams the bac of the nife into RICKY’s forehead. Knoc ing him out, the Ghost lets him go and Ric y falls to the floor. INT. LIVING ROOM Charlie’s on the phone. He’s annoyed. CHARLIE Hello? Anyone there? SILENCE, as CHARLIE hears the thud. He presses END to the call and turns to wher e the thud came from. CHARLIE (cont’d) RICK? GET THE FUCK OUT! Charlie enters -INT. DINING ROOM TO FIND THE GHOST RAISING THE KNIFE AND SHOVING IT DEEP INTO RICKY’S STOMACH. CHARLIE OH WHAT THE FUCK?! The Ghost rips the nife out of Ric y’s stomach as he grunts in pain. BLOOD splats on the mas . The Ghost turns to CHARLIE -MOONLIGHT settles from the window -- casting an eerie loo to the mas . CHARLIE (cont’d) OH SHIT. OH FUCKING SHIT!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

     

Charlie runs out of the room -- The Ghost following quic ly. INT. FOYER

The Ghost grunts and pulls the nife out of the door -INT. LIVING ROOM Charlie jumps over the couch -- loo s bac to see if The Ghost is following. Nop e. Strange. Charlie gulps. CHARLIE I don’t want to die... INT. KITCHEN Charlie runs to the glass door. Opens it to be met with a STAB to the chest. CHARLIE Fuc ! Charlie throws a punch to The Ghost -- hitting him in the face. He falls bac on to the ground. EXT. WALKER HOUSEHOLD - BACKYARD Charlie falls to the ground -- dizzy. Stands and staggers off. The Ghost slowly rises -- fixing his mas . Notices his signature nife is gone. He turns around to REVEAL the bac yard. A POOL, PATIO off to the side. A SHED in the far bac , a GARDEN BED. Where the h ell is Charlie? The Ghost has an idea as he wal s forwards into us-CUT TO: INT. SHED Charlie turns the loc on the door. Falls bac against the wooden walls. Slides down and RIPS the nife out of his chest. Lets it drop to the ground. Charlie loo s up eyeing the window above him -- just in case. Charlie loo s arou nd the shed for an weapon. He got one -- grabs it -- it’s an AXE. A small one, but can help with chopping woo ds -- and body parts. CHARLIE (whispers) I don’t want to die... Charlie holds one hand to his bleeding chest -- in the other he clutches the AXE . His eyes never leave the sight of the door.

 

Charlie starts to open the door -- TURNS BACK AND JUMPS AWAY. The Ghost’s buc is lodged into the door. Charlie turns and runs off another way.

 

 

 

120

 

 

 

 

 

 

   

 

 

 

 

 

THUD. THUD. THUD. THUD. THUD! The door starts to RATTLE and BANG! The iller is trying to get inside! Charlie closes his eyes hoping the sound while stop. IT DOES. He opens them. SILENCE. Charlie coc s his head. Is he gone?

CHARLIE (cont’d) No...

Charlie sha es his head -- disbelieving the iller is gone. Charlie loo s up eyi ng the window. It’d be the most cliché, most obvious thing ever if the iller does attac from ther e. Will he? Charlie gulps. CHARLIE Come on fuc er. Charlie stands. Eyes still on the window. Waiting for the Ghost. He moves closer and closer -THE GHOST APPEARS --

Holy shit! Charlie stands clutching the axe forward. CHARLIE Where did you go? Charlie loo s out the window -CHARLIE’S POV THE BACKYARD -- or what is seen is empty. Creepy. END POV. Charlie limps over to the door -- his hand looms over the loc . He thin s about it. His fingers linger -SMASH! The door brea s in half. Splinter flies. Charlie falls bac as the GHOST leaps AT HIM. CHARLIE (cont’d) NOO-Charlie smashes the axe forward but the Ghost grabs it -- rips it from Charlie’s g rasp. The Ghost ic s Charlie against the wall -- who stands in pain. The Ghost stares at the axe -- then Charlie. He throws the axe down at Charlie Charlie grabs it, stopping it from touching his nose. CHARLIE

 

 

 

 

Charlie falls bac . Loo s bac

to the window -- HE’S GONE. CHARLIE (cont’d)

 

 

 

 

 

 

 

 

   

 

     

Oh shit. Charlie continues to push the axe away -- but the Ghost is too tough. It slowly starts to cut into Charlie’s nose -- he groans in pain. But doesn’t give u p. He nees the Ghost in the stomach.

EXT. WALKER’S HOUSEHOLD - BACKYARD - SAME Charlie limps out of the shed -- scared as hell. Charlie limps across the yard i n pain. CHARLIE SOMEONE FUCKING HELP ME-Charlie flies to the ground. Coughs up some blood, as he feels for something in his bac . AN AXE. Charlie starts to pull it open, when the Ghost who’s a few feet away ma es his way towards Charlie. CHARLIE (cont’d) (screaming) AH. SOMEONE HELP ME! The Ghost loo s down -- staring at hopeless Charlie. Charlie loo s up and SWINGS THE AXE -The Ghost catches it and ic s Charlie down. The Ghost holds onto Charlie’s hand - shoving it closer and closer to his face. CHARLIE NONONONO. Don’t do this-The Ghost slices his hand sideways -CUT TO: INT. WOODSBORO COMMUNITY HOSPITAL - HALLWAY - LATER Doctor and nurses pace down the hallway, busy. PAN INTO: INT. ROOM Ric y is lying on bed. Hurt. TREVOR, JILL, JENNY, and CLAIRE are in the room.

JENNY This can’t be one of us... The group loo s at her. She stands forward.

JENNY We’re not anguished enough -(pauses) our generation has had no major struggle.

 

 

   

 

The Ghost falls bac

 

 

 

 

in pain. Letting Charlie escape outside.

 

Claire frowns. JILL 9/11? CLAIRE Afghanistan? TREVOR Iraq? RICKY (wea ly) The Karadashian sisters? The group loo s to him. Crac s a smile. Welcome bac -JILL MAUREEN PRESCOTT. They loo at Jill, who loo s down -- saddened. I have to go-Jill exits the door. Trevor and Jenny follow calling after her. CLAIRE Guys-Ric y grabs Claire’s arm -- she turns to him.

Stay with me? CLAIRE Oh, right. Sorry baby. Did you see who it was? RICKY It was Ghost Face. From the STAB films. CLAIRE It must’ve been so scary... Ric y sighs, a tear tric les down his chee . RICKY He saved my life, Claire. CLAIRE What? RICKY (sighs) If it wasn’t for Charlie, I wouldn’t

 

 

 

 

 

 

 

CLAIRE

 

JILL (cont’d)

   

RICKY

be here. CLAIRE I always hated him. Ric y stares at Claire, deeply.

Ric y nods.

RICKY Yeah. CLAIRE I should go home. It’s late... RICKY Have a cop drive you. (beat) Safety in numbers, right? CLAIRE Yeah. Than s for having my bac . Ric y gives a small grin. Claire gives him a iss on the chee . She then leaves. INT. WOODSBORO COMMUNITY HOSPITAL - HALLWAY - LATER Claire’s tal ing to HOSS and PERKINS.

DEPUTY PERKINS I’ll give her a ride, Hoss. You watch out for the others. DEPUTY HOSS Sounds good, come bac quic ly. Sheriff wants up to protect the Roberts’ house. Per ins nods.

DEPUTY PERKINS Alright -- you got it. (loo s at Claire) You ready? CLAIRE Yes, ma’am. Than you very much. As the two wal off --

 

 

 

 

 

 

 

 

 

 

   

 

 

       

CLAIRE (cont’d) I wish I gave him a shot. I could’ve peeled bac his cold layers to find his heart. (beat) Y’ now, his mother is also drin ing a lot li e Jill’s mom. I feel so bad for them both.

CUT TO:

Hoss turns a corner -- BUMPING INTO SIDNEY PRESCOTT. DEPUTY HOSS HOLY SHIT-SIDNEY Ooh-(calms down) Sorry Deputy. DEPUTY HOSS Ah. My bad, sorry Sid--right? SIDNEY Yes. Sidney nods, feeling unconformable. DEPUTY HOSS Uh--I’m sorry what my cousin did. SIDNEY I’m sorry -- cousin? DEPUTY HOSS Mic ey. He’s my cousin. Sidney’s face falls. BEAT. DEPUTY HOSS (cont’d) (catching on) Oh -- you thin ? Pftt! I can’t even hurt a fly. I’m not a bad man, Sidney. SIDNEY Well li e Randy used to say everyone’s a suspect. Hoss nods. DEPUTY HOSS You got a point -KATE (o.s.) SIDNEY? The two turn to see KATE ROBERTS. Scared. SIDNEY Kate what’s wrong? KATE Jill, she’s gone. Trevor and Jenny can’t find her. SIDNEY What? Did you try her cell? KATE No answer--

 

 

 

DEPUTY HOSS Oh shit-SIDNEY’S PHONE RINGS. The three freeze as Sidney pulls it out. Eyes the I.D. then answers. SIDNEY Hello? THE VOICE (o.s.) Remember me Sidney? The Ghost from your past? Sidney sha es her head, feeling overwhelmed.

Sidney gives Hoss a nod, meaning “IT’S HIM” Hoss nods pulls his gun out of the hostler . THE VOICE Sidney, Sidney, Sidney. You thin you can save them? Stop trying, just sit bac and enjoy the show as it unfolds. (pure venom) I’ll ill them one by one, you can’t save them. All you can do... is watch. The voice gives a menacing laugh as the line goes dead. Sidney pulls the phone t o her side -- goes to spea . SIDNEY AUNTKATEWATCHOUT! Hoss and Kate spin around to find -THE GHOST BARRELING AT THEM. Sidney lunges -- pushing Kate aside as the Ghost th rows the nife forward -HITTING SIDNEY IN THE SHOULDER. She SCREAMS in pain. DEPUTY HOSS HOLYFUCKINGSHIT! MRS. ROBERT RUN AND GET HELP! Kate does so, Hoss raises his hand, coc s the gun. Sidney, duc ! Sidney pulls bac -- the nife slides out of her shoulder. Hoss fires a bullet -

DEPUTY HOSS (cont’d)

 

 

 

 

 

 

 

 

 

SIDNEY WHAT THE FUCK DO YOU WANT? THE VOICE Sidney, did you miss me? SIDNEY Why are you doing this? It’s me you want, leave them alone.

 

- and it barely hits the Ghost. DEPUTY HOSS DON’T MOVE.

SIDNEY You -- fuc er! Sidney lunges forward -- attac ing the Ghost. They both SLAM into the wall. The Ghost pushes Sidney against the wall -- overpowering her. He holds a hand around her nec , firmly with one hand -- and with the other he r aises the nife to stri e --

HOSS tac les The Ghost aside -- freeing Sidney from his grasp. She collapses to the floor. Grabs her throat as she ta es a deep breath. Hoss wrestles with the Ghost. The both slam into the wall. Hoss throws a punch - The Ghost duc s punching him bac . Hoss rubs a hand over his now bruised lip. DEPUTY HOSS Fuc er-The Ghost shoves the nife deep into Hoss’ shoulder. He gives a loud cry and sin s to the floor. The Ghost watches -- chillingly... THEN SPINS TO SIDNEY -Who’s GONE. BEAT as The Ghost turns and runs off -CUT TO: INT. COP CAR - LATER Per ins drives, Claire’s next to her. Aw ward tension is in the air she tries to b rea it. CLAIRE So, how long have you been a cop? Per ins gives her a loo .

DEPUTY PERKINS Do you even give a shit?

 

 

 

 

 

Sidney’s eyes follow over to the

nife -- he goes to bring it down when --

 

Tears spill out of Sidney’s eyes as Hoss falls to the ground. The Ghost loo r -- the first time in a long time.

at he

 

 

The Ghost stares at Hoss -- THEN LUNGES -- shoving the s as it slits his chee . He screams.

nife forward, Hoss bloc

 

 

 

 

 

 

 

 

 

 

 

     

CLAIRE Honestly..? No. Just brea ing the aw ward tension. DEPUTY PERKINS Least it’s better than nothing. CLAIRE Did that even ma e sense? DEPUTY PERKINS Eh. Claire chuc les. RINGRINGRINGRING. Per ins loo s over to Claire. Coc s a brow. DEPUTY PERKINS (cont’d) You gonna answer that? Claire loo s at Per ins.

CLAIRE Yeah. Yeah. DEPUTY PERKINS Then get right on it! Claire smir s. Pulls out her phone and answers -- ignoring the I.D.

CLAIRE Hello? THE VOICE (o.s.) Ric y got luc y tonight. Claire eyes widen. She cho es up. CLAIRE Who the hell are you? THE VOICE Who the FUCK do you thin I am? BLONDIE. Claire turns to Per ins.

DEPUTY PERKINS Who is it-Claire pulls the phone away. CLAIRE The iller. This grabs her attention, she eyes Claire and struggles to drive. DEPUTY PERKINS It’s called fuc in’ spea erphone. Claire hits it.

 

 

 

 

 

 

 

 

 

 

 

   

 

 

   

 

CLAIRE Why are you calling me? THE VOICE Guess. CLAIRE I-I’m next? THE VOICE Do you thin that I’m fuc ing stupid? CLAIRE Alright, asshole. Then WHO? THE VOICE Someone helpless, someone all alone. CLAIRE OHMYGOD, RICKY! Per ins has had enough, she SLAMS the bra e and turns the car around -CUT TO: INT. WOODSBORO COMMUNITY HOSPITAL - SIDNEY’S ROOM - LATER Sidney is bandaged up. She loo s worried. JILL and KATE enters the room. SIDNEY Oh god, Jill. You’re o ay. JILL Sidney, are you o ay?! SIDNEY Yes. Jill -- I was so worried about you when you disappeared. What happened? Jill pauses. Doesn’t now what to say.

JILL No reason. Sidney hints that Jill’s lying, but lets it go. KATE (stepping in) Can you leave tonight? Sidney nods. SIDNEY They said it wasn’t that bad. KATE And--Hoss?

 

 

 

 

 

 

 

 

SIDNEY Same thing. Sidney’s tired of tal ing. Just shoc ed about what happened moments ago. BEAT. As voices from the hallway get louder and louder. Kate snea s a pee . KATE It’s Claire and Deputy Per ins? JILL Huh? Jill steps into the hallway. Sidney follows, cautious. Kate pulls a small can ou t of her bag, opens it and ta es a LONG sip. Tightens the cap, puts it on her ba g, wipes her mouth and wal into the hallway. INT. WOODSBORO COMMUNITY HOSPITAL - HALLWAY - SAME JILL Claire? CLAIRE Move Jill -JILL What’s going on. Claire pushes past Jill. Turns. Stares daggers. CLAIRE Ric y’s in fuc ing TROUBLE! CUT TO INT. RICKY’S ROOM - SAME Ric y’s sleeping. A person wal s into the room -- the shadow lingers over the foot of his bed. His eyes flutter open -- as the shadow exits. CUT TO INT. HALLWAY - SAME Claire wal s down the hallway -- bumping into -TREVOR. TREVOR SHIT! Claire screams. Having a heart attac . Per ins, Jill, Kate, and Sidney appears b ehind her. Per ins raises her gun at Trevor. TREVOR (cont’d) DON’T SHOOT. I’m too young to die! Trevor notices Jill.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TREVOR Jill. JILL Trevor. Jill runs for him. He grabs her. TREVOR What the hell happened--? DEPUTY PERKINS Sorry to ruin your lovely NOTEBOOK scene, but someone may be dying. Trevor eyes Per ins. Shooting daggers.

Claire hurries down the hallway. Dashes left and out of sight, the rest of the g roup follows her. INT. WOODSBORO COMMUNITY HOSPITAL - RICKY’S ROOM - LATER Claire BURSTS into the room. Startling Ric y awa e. The rest of the gang comes i n. RICKY What’s going on? Claire hugs him. CLAIRE Than god, you’re o ay. Sidney sighs, turns to Per ins. SIDNEY You need to get an officer to watch him tonight. DEPUTY PERKINS Ahead of you, Ms. Prescott. She wal s out of sight. CLOSE ON Sidney’s WORRIED face. CUT TO: INT. ROBERTS’ RESIDENCE - KITCHEN - MORNING Kate’s ma ing herself coffee. Loo s over her shoulder, no one is in the room. She wal s over to a cabinet, pulls out some wine and pours it into the mug, then hid es it bac in the cabinet. Jill enters. Kate turns, grabs the mug and ta es a sip. KATE

 

 

 

 

 

 

 

 

TREVOR (grits) Riiiight. My bad.

 

 

 

 

Did you sleep o ay? Jill, annoyed. Grabs a bowl from another cabinet and a box of cereal. She pours some in. JILL Fine. Jill puts the box bac . Opens the fridge and ta es out some mil , pours it into the bowl. KATE So, I heard Sid’s coming to school. Jill is now done ma ing her cereal, she sits at the table, with a spoon in hand. Starts to eat.

JILL Cinema Club. Learning the rules to survive this shit fest. Kate eyes her, sits across. KATE I’m sorry about Charlie. Jill drops the spoon into the bowl, the clatter ma es Kate jump a little. JILL (changing subjects) Having a nice glass of wine? Kate puts the mug down. KATE Jill, I’m trying. You now how hard it is. Jill rolls her eyes. JILL I thin it’s harder on you. MY OWN BROTHER IS LEFT US, AND YOU TREAT JUST SOME STRANGER YOU FROM TIME! me, than DEAD. DAD ME LIKE I’M MEET TIME

Jill -- wait. Jill ignores her mother’s pleas. Kate sighs, places her hands on her face. Softly sobs. CUT TO: EXT. WOODSBORO HIGH - FOUNTAIN - AFTERNOON CLAIRE, TREVOR, JILL, and JENNY sit at the fountain. High tension in the air.

 

Kate’s eyes widen with shoc

and sadness. Jill runs out of the room. KATE

 

 

 

 

 

 

 

 

JENNY Here’s to brea ing the aw ward silence! Jenny raises a fist. The three loo at her. She frowns. Bad idea? Claire rolls her eyes. TREVOR Ric y’s getting out today. That’s great. TREVOR He said, he’ll pic you up. (beat) From the station and we’ll go over to Jill’s. JENNY Let’s give Jill a little song to show we’re happy for her awesome safety in numbers party. TREVOR You want to cheer, while a serial iller is noc ing our friends off. Claire frowns. CLAIRE Knoc ing..? JENNY Some more bodies need to drop for him to win the serial iller title. TREVOR Hope that doesn’t happen.

JENNY (cont’d)

CLAIRE

Jill sighs -- stands. Whispers to Trevor. JILL See you in Cinema Club. Jill starts off. The three watch in silent. ON Trevor’s worried expression. CUT TO: INT. POLICE STATION - OFFICE - LATER

 

We

CLAIRE now it will.

 

 

 

 

 

 

 

 

   

Hoss is cleaned up. Ready for action. Per ins stands next to him. DEPUTY PERKINS You got it sir. DEPUTY HOSS Ay, ay captain. We’ll catch this fuc er. The two exit the room. INT. POLICE STATION - HALLWAY - SAME DEPUTY HOSS (cont’d) Tonight. DEPUTY PERKINS Tonight? OFFICER Hey Hoss! DEPUTY HOSS (smiles) Jim! Buddy! (cont’d) Anyway, the boy’s death was a sign. DEPUTY PERKINS What is this, Final Destination? Hoss chuc les.

DEPUTY HOSS No, it was a sign that act two is ending, and that act three is starting real soon. DEPUTY PERKINS Alright, let’s bring this fuc er down. DEPUTY HOSS Hell yeah! High five! Hoss waits. Per ins stares at his hand, rolls her eyes and wal s away. DEPUTY HOSS (cont’d) Wait, don’t leave me hanging. (beat) You’re leaving me hanging. (beat) I don’t li e this at all. CUT TO: INT. WOODSBORO HIGH - RESTROOM - LATER Jill runs into the restroom in tears. Wal s to the end of the room, to the last stall, she enters and loc s it.

 

 

   

 

 

 

 

 

INT. STALL - SAME Jill drops her bag to the floor, and leans against the wall. The door is heard, it squea s. This grabs her attention.

Silence. She holds her arms close to her chest. JILL (cont’d) Someone there?

JILL’S POV Two BLACK boots go up in the stall closest to the door. NORMAL POV Jill stands, eyes widen. Shoc ed. Holy crap. Jill grabs her bag, when -THE VOICE (o.s.) (creepy) Jiiiiiiiillll. Jill rushes out the bathroom stall. INT. RESTROOM - SAME Jill eyes the door. It’s not so far away. But for Jill it’s miles away. THE VOICE (o.s.) JIIIIIIILLLL!!!!! Fuc it! Jill runs for the door -THE STALL door UNLOCKS. Jill’s JUST there -THE STALL DOOR FLIES OPEN -THE GHOST RUSHES AT JILL. JILL OH GOD, NO!!!! His arms REACHES out for Jill -SHE DUCKS -- as he barrels into the trash can. Tripping over it. CUT TO:

 

 

 

NOTHING. Jill gets to her

 

JILL Hello?

nees and loo s under her stall to the others.

JILL

 

INT. WOODSBORO HIGH - PRINCIPAL’S OFFICE - LATER Jill sits in a seat, across from the PRINCIPAL. JILL You have to believe me! I’m not Ma ing this up, Principal Himbry. PRINCIPAL HIMBRY -- son of the original SCREAM’s principal. PRINCIPAL HIMBRY I’m sorry Jill. The bathroom is chec ed out clean. No signs of this iller. No one saw him entering or exiting-Jill angry -- yells bac .

JILL I SAW HIM! ISN’T THAT ENOUGH PROOF? He’s angry, but lets it pass. PRINCIPAL HIMBRY Do you now how many pran s illers and pran calls have been pulled since they found that girl’s body? FIFTEEN, Jill. FIFTEEN. (beat) It could’ve been another pran . Jill sighs. Loo s up to him -- teary-eyed.

JILL But it wasn’t, sir. I swear -- it was him. Himbry sighs -- stares at her. Thin s. CUT TO: EXT. WOODSBORO HIGH - SCHOOL YARD - LATER Kids scatter, running, laughing, free. PRINCIPAL HIMBRY Woodsboro High is now closed down. Ma e sure you follow police’s curfews. Beginning tonight! Police officers are chec ing the place out. JENNY and JILL appear. Wal ing out of the school. JENNY O ay, that’s it Jill. You pee, I pee. Is that clear? JILL Aw than s, you’re the Tatum to my Sid.

 

 

 

   

 

   

 

     

 

 

 

 

JENNY Sid’s pic ing you up? Jill nods. JILL Yup. Mom’s at wor . Jenny nods. JENNY Give me a ride? JILL Sure! Jenny smiles. JENNY I love you. JILL Same. JENNY Excited for tonight? The girls stop wal ing.

JILL Tonight’s act three. I’m fuc ing scared. Jill continues on -- as Jenny watches her. JENNY Wait up! Jenny runs off after Jill. But is stopped but a teenage boy. JENNY (cont’d) What Cal? CAL, the boy, smir s.

CAL Sooo, I heard that little dic Charlie died last night. So that means you’re open right? JENNY Didn’t realize I was a hoo er. CAL You can be my hoo er. JENNY 100 buc s.

CAL

 

 

 

 

 

 

 

   

Alright. Jenny scoffs. JENNY As if, dirt bag. Now fuc off. Or say hello to the beginning of puberty again. Cal eyes widen. CAL Ooh, someone’s feisty. Jenny wal s away.

JENNY No shit Sherloc . SO. CALL ME? No answer. Two boys wal up behind Cal -- DYLAN and DEREK.

CAL

DYLAN Was that Jenny-fuc s-for-a-penny? CAL Jenny-fuc s-for-a-penny? Seriously? And FYI, yes it was her. DEREK She turned you down, didn’t she. CAL Maybe. She’s a bitch. (thin s) Probably on her period. DEREK (jo ingly) And this is why I’m gay. DYLAN So, you guys want to come over? We can watch Blac X-mas. CAL It was only fun the first few times. DEREK Ew, pass. DYLAN Whatever. Melissa destroys you all. CUT TO:

 

 

 

 

 

 

 

 

 

INT. SIDNEY’S CAR - LATER Sidney drives. Jill sits next to her. Jenny in the bac . SIDNEY Jill, are you sure you’re all right? JILL I’m fine, Sid. Loo bruise and cuts free. Jenny leans forward. JENNY She heals quic er than a vampire. Jill laughs and rolls her eyes. This ma es Sid smile a bit. JILL Sid, is it alright if the others come over tonight? Y’ now. Safety in numbers. Just a small get-together. JENNY (whispers) Kinda a party. But a suc y party. SIDNEY Wouldn’t that be the final act. JENNY Andddddd BINGO was his NAME-O. JILL Stop, and Sid -- we’d all be together. No way this guy -JENNY (correcting her) Fuc er. JILL --this fuc er would get around illing us. With everyone in one place.

Sidney can’t protest. She thin s. But-JILL (adding) We’ll be safe, obviously. Sidney crac s.

SIDNEY

SIDNEY As long as you guys are safe. JENNY FUCK YEAH! FUCK YEAH!

 

 

 

 

 

 

 

 

 

   

Jenny rolls her eyes. JENNY Whatever. Did you see Cal? As ed me out. Gross. JILL Cal’s cute. JENNY Uh, ew. Jill shrugs. The car pulls to a stop. JENNY (cont’d) This my stop. Than s guys. (beat) See you tonight, Jill. JILL Bye Jenny. Jenny opens the car door. JENNY Stay alive. JILL at you.

Jenny exits the car, and closes the door. Sidney drives off. CUT TO: INT. RADIO STATION - RADIO BOOTH - LATE AFTERNOON Claire’s on air. She spins in her chair as music plays. She cuts it out. CLAIRE Alright guys, that was the latest hit song.

 

Right bac

 

 

 

The two loo

at Jenny. JENNY (cont’d) (sexy voice) What? I can’t love me some parties? JILL Please don’t do that again. JENNY What? JILL That voice thing.

CLAIRE (cont’d) (bored) Now I’ll be accepting calls. RING. RING. Claire smir s. Clic s a button. CLAIRE You’re on the air. CAL (o.s.) No one li es you. CLAIRE Eat your mother’s coc , dic head. She clic s end. Sighs.

CLAIRE (cont’d) Anyone else? RING. RING. She clic s the button.

CLAIRE You’re on the air. THE VOICE (o.s.) Hello, Claire. CLAIRE Shit, listen asshole. Not a good time for these stab pran s? All right? THE VOICE I’m getting bored, Claire. I need a new victim. CLAIRE Try your dic . You can do something called, masturbating. Goodbye. Claire goes to hang up when -THE VOICE Don’t hang up on me. CLAIRE Then you cut the voice, and stop being stupid. THE VOICE Why would I reveal myself to the town? Trying to ma e me loo stupid? Claire rolls her eyes. CLAIRE So, what the hell do you want? THE VOICE

 

 

 

 

 

 

 

 

 

 

 

Blood to be shed. CLAIRE It’s called periods. THE VOICE When will you fuc ing realize that this is not a jo e? And that I’m going to rip your insides out! This quiets Claire. CLAIRE FUCK YOU! She clic s the button. Disturbed.

CLAIRE (cont’d) Enjoy some music, and I’ll be right bac . She clic s another button. Throws the headphones off her head and rises. Claire exits the room. INT. SOUND BOOTH - SAME Claire enters. Bored. No one sits in the chair. CLAIRE Where’s my Ric y..? Her phone buzzes. She pulls it out of her poc et. Flips it open. Reads it. She s mir s. CLAIRE Better finish up. RING. RING. Claire loo s up -- to the radio booth room through the window. Sees a light beeping from the phone. She’s nervous and hesitant. INT. RADIO BOOTH Claire’s hand waves over the button to answer the phone. She’s hesitant. From the SOUND BOOTH -- a shadow looms in the doorway. Claire doesn’t notice.

CREAAAKKKK. Claire loo s over to the door -- as it shuts.

CLAIRE The hell..? Claire moves towards the door. CLAIRE (cont’d)

 

The shadow moves closer to reveal -- THE GHOST. His mas ness. Creepy.

 

   

 

 

 

 

   

 

seen but covered in dar

 

Someone there? Ric y is that you? Silence. She’s almost there... CLAIRE Ric y? Ric y? She opens the door. CLAIRE Is this some sort of jo e..? Claire can’t see so well in the dar ness of the sound booth. The light from the ra dio booth isn’t so good. Hello..? A FLASH OF SILVER -- CONNECTS WITH CLAIRE’S THROAT. CUT TO: INT. SUPERMARKET - AISLE - SAME Sidney and Jill wal down the aisle. Sidney pushes a shopping cart.

CLAIRE

JILL I’ll grab some chips. Alright? SIDNEY O ay. Be careful. JILL Sid, it’s an open area. The iller won’t attac me in front of everyone. Sidney gives her a glare. JILL (cont’d) What? I’m telling the truth. (beat) Also, Jenny’s bringing beer. Jill wal s off. Sidney rolls her eyes and pushes her cart forward. CUT TO: INT. SHELDON RESIDENCE - LIVING ROOM - LATER Trevor’s is playing with the house phone. Puts it to his ear. TREVOR Stop ignoring me, Jill... Trevor slams the phone on the table. Angry. TREVOR (cont’d) DAMN IT, JILL! Trevor ta es a breath. Sighs. Rubs his temple as the front door opens. He loo s

 

 

 

 

 

 

 

 

 

 

 

 

up -- as Ric y enters. Closes the door.

Trevor frowns. TREVOR Weird. Maybe she left already? RICKY Where would she go? Trevor thin s.

RICKY True. I should probably call her. TREVOR We’re going to be late. Call her later. Ric y thin s.

Alright. TREVOR Besides you need to relax. Trevor grabs his brother’s shoulder. TREVOR (cont’d) Drin some beer. Go crazy. Ric y scoffs and rolls her eyes, smir ing. RICKY Alright, you got me. (beat) Let’s fuc ing party. CUT TO: INT. COP CAR - SAME Hoss drives, Per ins in the passenger.

 

You really thin

 

 

 

 

 

 

RICKY Hey. TREVOR Hey, where’s Claire? RICKY She wasn’t at the radio station.

 

TREVOR Maybe her parents got her. (beat) You now how protective they are.

 

   

RICKY

DEPUTY PERKINS it’ll end tonight?

DEPUTY HOSS For the last time, how did it end in the original? DEPUTY PERKINS Stop ma ing me loo stupid. (beat) But, a party. DEPUTY HOSS This get together with the ids is the party. Per ins eyes him, suspicious. Doesn’t say a thing though. DEPUTY PERKINS Right... Per ins loo s out the window. CUT TO: INT. RANDALL RESIDENCE - BEDROOM - SAME Jenny enters her bedroom -- bra and jeans. Tight and sexy. Her phone rings from the bed. She grabs it answer. JENNY Jill, what’s up? JILL (o.s.) Hey, need a lift? JENNY I’m good. I’ll use my car. JILL Alright. See you soon. JENNY See you soon, sexy. Jenny hangs up. Grabs her top from the bed -- throws it on. CUT TO: INT. UNKNOWN PLACE - SAME

THE VOICE (o.s.) Heads are going to roll, tonight. CUT TO: INT. ROBERTS’ RESIDENCE - LIVING ROOM - NIGHT The four are partying. STAB begins on the TV. Jenny ta es a sip of some beer -as Hoss wal s in.

 

CLAIRE stares at us. Eyes empty. Doll-li e. A big red smile across her nec lood continuing to fall from it.

 

 

 

 

 

 

 

   

-- b

DEPUTY HOSS Everything seems clear. No sign of a iller. Hoss eyes the booze. JENNY Well, than you, Mr. Sexy Police-man. Want some of my tits, to pay for it? Deputy Hoss grabs her beer. Ta es a sip. DEPUTY HOSS You shouldn’t drin .

Deputy Hoss hands her the beer bac . DEPUTY HOSS I’ll do another round, later. JENNY What no goodbye iss? Hoss exits the room, rolling his eyes. Jenny sits bac , smir ing devilishly as C asey’s screams are heard from the TV. JILL Ugh, I can’t wait this shit. RICKY STAB was your favorite. JILL That was before Trudie and Charlie were murdered. TREVOR I’ll change it. What do you want to watch? JILL The Noteboo . Ew, pass. JILL Rachel McAdams is flawless. JENNY First, flawless is so 2008. (beat) Plus, Regina George is flawless. Rachel can eat dog shit.

JENNY

 

 

 

 

 

 

You’re

JENNY illing my buzz.

 

 

 

 

Ric y scoffs, chuc les.

Jenny smiles, flips Jill off. JENNY Eat me. CUT TO: INT. KITCHEN

KATE Sid, hi. SIDNEY Hi Aunt Kate. KATE How are the ids? SIDNEY Having fun li e normal ids. KATE Aw, good for Jill. Every since her brother died in the car crash and her father left. I haven’t done a good job. (beat) I have scars, Sidney. Sidney listens, saddened. SIDNEY I’m so sorry, Kate. Kate sniffles. KATE It’s fine...I’m fine. I’m just worried about Jill. She became depressed after he died. She used to be full of life. Now she’s a monster. Kate sobs. Sidney stares -- bro en. No idea what to say... CUT TO: INT. COP CAR - SAME Hoss enters driver, Per ins is alert -- loo ing around. Hoss pulls out a crosswo rd puzzle as Per ins stare at him.

 

 

 

Kate is ma ing dinner as Sidney wal s in, boo lder.

 

 

 

 

 

 

 

 

 

 

JILL (friendly) Fine, what do you want to watch? Ms. Bitch-A-Lot.

in hand. Kate loo s over her shou

DEPUTY PERKINS What the fuc are you doing? What? Per ins gives him a stare.

DEPUTY PERKINS Doing a fuc ing crossword puzzle During a final act? Are you idding me? Hoss thin s.

DEPUTY HOSS Oh, you want to do some also? Per ins grabs it and throws it away.

DEPUTY HOSS (cont’d) Hey! I li ed that edition. The riddles were finally tough. DEPUTY PERKINS Oh, shut the fuc up and stay alert. DEPUTY HOSS O ay, Deputy bossy. Per ins rolls her eyes.

DEPUTY PERKINS Ugh, I’m going to do a perimeter chec . Per ins exits the car, and wal s off. Hoss grabs the puzzle and starts to do it. Bitch. CUT TO: INT. ROBERTS’ RESIDENCE - LIVING ROOM - SAME Ric y’s gone. So is Jill. Jenny’s bored. Trevor’s bored. Trevor finishes his beer.

DEPUTY HOSS

TREVOR That was the last of the beers. (beat) Get some more? JENNY What am I, the beer-wrench? Trevor shrugs. CUT TO: INT. GARAGE - SAME

 

 

 

 

DEPUTY HOSS

 

 

 

 

 

         

Jenny enters. Nervous. Whatever she wal s past all the creepy stored items -- to a small fridge. Good job, Jenny. She opens it -- ta es a six pac . Closes it and wal s off -- BUMPING INTO -THE GHOST. JENNY Holy shit, Claire is that you? The Ghost stares. JENNY (cont’d) Real cute. Diss the outfit. Jill and Sid will FUH-REAK out. Nothing. JENNY Ooh. You getting all Michael Myers. The Ghost continues to stare. JENNY (cont’d) O ay, you’re creeping me out.

JENNY HOLYFUCK. CUT CASPER that’s a wrap. He slices her arm. She squeals in pain -- rips the mas off. Gasps. JENNY (cont’d) It’s...you? STAB. Right into Jenny’s gut. And Jenny is no more. CUT TO: INT. KITCHEN - SAME

Sidney notices. SIDNEY Too quiet. I’ll chec it out. Sidney exit’s the itchen. Kate watches. Spins around. CUT TO:

 

 

 

Kate is still in the

itchen with Sidney. KATE Well, those ids have been very quiet.

 

 

The Ghost grabs her arm, pulls out his

nife.

 

 

JENNY

 

 

   

INT. JILL’S BEDROOM - SAME Jill enters. Panic ing. The door opens Trevor steps in. She spins around -- fa e s a smile. JILL Hey sexy. TREVOR Hey, what’s up? JILL I’m ready. TREVOR What? JILL That offer you said earlier. (nods) I’ll do it. TREVOR (grinning) Seriously? I don’t want to rush-JILL NO. I’ve been too worried and sad every since my brother died. I need to move on. TREVOR But the one year-JILL Is tonight. A special terrible night. Jill ta es Trevor pulls him by the bed.

JILL (cont’d) I love you, so much Trevor. CUT TO: EXT. STREET - COP CAR - SAME Per ins comes bac , leans in the passenger window.

DEPUTY PERKINS All clear. Per ins is confused. HOSS isn’t in the car.

DEPUTY PERKINS (cont’d) Hoss? Where the fuc are you? Per ins rolls her eyes.

DEPUTY PERKINS What an ass.

 

 

 

 

 

     

She gets into the car. Bored. DEPUTY PERKINS (cont’d) Probably too a loo around. She loo s over to his seat. INT. COP CAR - SAME PERKIN’S POV Hoss’ puzzle sits in his seat. Pen missing. Weird. NORMAL POV. DEPUTY PERKINS Hmm..? That’s totally not creepy at all. Per ins doesn’t seem the least fazed. CUT TO: EXT. STREET - ROBERTS’ HOUSEHOLD - BACKYARD - SAME Hoss is chec ing the area out. Tired. It’s been tough these past few days.

DEPUTY HOSS My bac yard is shit, compared to this one’s. That’s one sweet ass pool. That porch... THUD. THUD. THUD. This grabs his attention. THUD. THUD. THUD. WTF? DEPUTY HOSS (cont’d) Who’s there? CUT TO: INT. MONTAGE - ROBERTS’ RESIDENCE EMPTY LIVING ROOM. EMPTY KITCHEN. EMPTY HALLWAYS. EMPTY BEDROOM. END MONTAGE. The bed is messed up, obviously sign that two people were in here. Jill and Trev or. Possible sex. DEPUTY HOSS (o.s.) I SAID, WHO’S THERE? CUT TO:

 

 

 

 

 

 

EXT. PORCH Hoss wal s up the porch, hand on hostler -- WHEN -

DEPUTY HOSS (wea ) No! The glove appears again with the classic infamous nife. Stabbing Hoss in the ch est. Rips it out, he falls to the ground -- dead. A shadow appears -- loo ing down. STAB. STAB. And -- STAB! Most li ely in the st omach. Just to be sure. CUT TO: INT. ROBERTS’ RESIDENCE - UPSTAIRS - HALLWAY - SAME Jill wal s down the hallway. Scared. Alone.

JILL Trevor? Jenny? Mom? Sidney? CREAAAAKKKK. JILL (cont’d) Ric y? Jill wal s off sight. CUT TO: INT. UNKNOWN ROOM - SAME UNKNOWN POV Ric y’s face is turning blue. Two gloved hands are CHOKING him. He tugs at them.

JILL (o.s.) Is anyone here? Ric y gasps, his eyes roll bac . He stops fighting. DEAD. CUT TO: INT. LIVING ROOM - SAME Jill enters. Confused. CUT TO: INT. KITCHEN - SAME Jill then enters the itchen. Empty.

JILL MOM? SIDNEY? TREVOR? JENNY? RICKY?

   

A blac glove appears with a pen in hand -- it digs into Hoss’ nec grabs his throat, struggles to pull it out.

 

 

 

 

 

 

     

with force. He

 

   

CUT TO: INT. HALLWAY - SAME Jill wal s down the hallway, nife in hand. Nervous. Sweating. Scared. JILL SOMEBODY?! ANYBODY?! Tears roll down her face. CUT TO: INT. GARAGE - SAME The door opens -- a small bit of light. Jill enters -- loo s around. Steps in.

Guys? She sha es her head. In a garage? She loo s to the items and spots something beh ind a big green bi e -- through the wheels. JILL’S POV Jenny’s body. Flipped upside down -- hands sprawled out. Face in shoc . NORMAL POV Jill SCREAMS. Turns to face the garage door and sees -- Ric y’s dead body too. This is too much for Jill, she SCREAMS louder. Sobbing. She runs out of the room . CUT TO: INT. HALLWAY

TREVOR Jill-He falls forward -- dead. Jill watches. JILL OH GOD! OH GOD! Jill reaches for him -- but nows there’s no time. The iller is here somewhere. She runs into -INT. LIVING ROOM SIDNEY AND KATE -- are tied up, tape on their hands, legs, and mouth. JILL SIDNEY! MOM! Jill runs over to Sidney, rips the tape off.

 

Jill runs into a bloody Trevor. She watches as he drops to his

nees.

 

 

 

 

 

 

 

 

 

JILL

 

JILL (cont’d) What happened? SIDNEY Help your mother.

SIDNEY (cont’d) JILLWATCHOUT! Jill turns her head to see -- A KNIFE STABS INTO her gut. Shoc ed. Scared. She f alls bac . TREVOR appears. TREVOR I’m sorry Jill. I can’t let you do this... SIDNEY Kate stares at her daughter, dying. She sobs. TREVOR Shut up, Sid. I’m the one with the nife. SIDNEY Why are you doing this? TREVOR (moc ingly) Because you were homeeeee. (rolls eyes) Shut the fuc up. I’ll get to it. (annoyed) Bitch. Trevor turns to the hallway -- as -JENNY appears. She wal s in. Gun in hand. Trevor claps.

Jill gasps, in pain. JILL Jenny? JENNY Hurts doesn’t it? The girl you nown you’re whole life, illed your friends. Trevor plays with Jill’s hair. TREVOR I love you, baby.

 

 

 

Than

JENNY you, than you very much!

 

 

 

 

You sic

fuc !

 

 

Jill nods starts to cut her mother’s bind with the

nife.

 

 

 

 

VOICE (o.s.) FREEZE! YOU’RE CAUGHT! Jenny turns to see -- PERKINS. Wounded but alive. Wound in stomach. JENNY I illed you. DEPUTY PERKINS Well, you fuc ed up. She shoots -- Jenny flies bac . Trevor runs at Per ins tac ling her -- the gun g oes sliding from her hand. Jenny sits up. JENNY OUCH! DEPUTY PERKINS LEAVE THEM THE FUCK ALONE! Trevor punches her twice. Then goes to stab her -- SHE KICKS HIM off. He falls o n his butt. Per ins goes for her gun -- it’s gone. Jenny loo s down at her holding one gun to her chest another in her hand.

JENNY Loo ing for this? She waves it in her face. DEPUTY PERKINS Fuc you. BLAM! Right into her chest. She falls forward -- eyes staring at a sobbing Jill. DEPUTY PERKINS (cont’d) (whispers) Everything will be o ay. ON JILL’S FACE -- as she shuts her eyes -- as BLAM! Per ins is dead. Blood splats all over Jill. SIDNEY YOU SICK FUCKS! JILL Why are you doing this? Jenny loo s down at Jill. Loo s to Sidney. JENNY Because of Sidney. SIDNEY What? JENNY

 

 

 

 

 

 

 

 

 

 

   

 

Why did you do this to me? Jenny wal s towards Sidney.

Sidney eyes widen. She understands, but Kate and Jill are confused. SIDNEY I’m sorry. I’m so sorry -JENNY WHY DID YOU FUCKING DO THIS TO ME? DID YOU NOT LOVE ME? DID YOU NOT WANT ME AT ALL?! SIDNEY I was young, Jenny -JENNY I WAS A FUCKING MISTAKE! I’M A DAUGHTER OF A FUCKING SERIAL KILLER. SIDNEY I loved you, Jenny. But I couldn’t eep you. FUCK YOU! SIDNEY You illed your own friends, just because I couldn’t eep you? JENNY (grabs ears) FUCK YOU! SHUT THE FUCK UP! SIDNEY I set you up for adoption because I didn’t want you to go through what I went through. JENNY STOP! JUST FUCKING STOP!!!!! Jenny turns her head to KATE. Grabs her mouth tape and RIPS it off. Ma ing Kate scream in pain. JENNY (cont’d) Now. Jill, you’ll feel the pain I felt. JILL NONONO! SIDNEY LEAVE HER ALONE!

 

 

 

 

 

JENNY (cont’d) Billy Loomis? Ring any bells?

JENNY

Kate sobs. KATE Jill -- I’m so sorry. I love you. JILL MOMMYY. (sobs) I love you too. I love you-BLAM. A wound appears over Kate’s chest. Spreading. Jill uses all her strength to grab her mother, sobbing and screaming. She loo s bac to Jenny and Trevor. Trevor has a huge grin on his face.

JILL Then you fa ed your death to me... TREVOR Now you’re caught up. JILL Why..? I thought you loved me. TREVOR (rubs her chee ) I do. I just don’t love what you’re doing. To our baby. I deserve a say in this. YOU JUST CAN’T KILL OUR FUCKING BABY, BECAUSE IT WAS A MISTAKE. Jill sobs, as Trevor SCREAMS at her. He BEGINS TO SLAP THE SHIT OUT OF JILL. BAM . BAM. BAM. BAM. BAM. BAM. BAM! JENNY Trevor, stop. BAM. BAM. BAM. BAM. JENNY TREVOR! Jenny grabs his arm -- can barely stop him. Jill’s face is bruised as fuc . SIDNEY Jill-Trevor goes to slap Jill again, when --

 

 

 

 

 

 

 

 

 

 

 

TREVOR So, after you started crying. You fell asleep. I left the room to go finish off everyone. Hoss and Per ins would’ve made it if they had stayed the fuc away. (beat) Ric y saw me ta ing off my costume. Yelled at me, I cho ed him to death, then attac ed Sid and Kate --

BAM. Jenny fires a bullet right into his gut. He falls. SCREAMING. JENNY I WARNED YOU! STAB. Jenny gasps -- loo s down to see a nife in her gut. Jill rips the nife out -- as Jenny falls bac . Jill stands, limps to Sidney and begins cutting her tape. Her arms are free. The two begin wor ing on each leg. Trevor grabs Jill pulling her bac . Jill! He places his hand over her mouth. Jill’s eyes widen as his uses his other hand to move the nife closer to her face -SHE CHEWS ON HIS HAND. Trevor screams -- lets go. TREVOR YOU FUCKING STUPID FUCKING BITCH! He pulls away. Jill loo s at him.

SIDNEY

JILL WHO ARE YOU, ROB ZOMBIE?! TREVOR Real cute, bitch! JILL Where’s Claire? TREVOR She’s fuc ing dead. Trevor ic s Jill in the face. She angrily -- raises her nife and stabs down -hitting Trevor’s gut. HE SCREAMS. Sidney gets free from the chair -- goes to help Jill -- when Jenny tac les her t o the ground -- they smash into the chair. Brea ing it. JENNY Hello, mommy. Sidney PUNCHES Jenny in the face. Jenny growls, raises her gun goes to shoot whe n Sidney head butts her. JENNY (cont’d) AHHH! DAMN IT!!! THIS IS HOW YOU TREAT YOUR FUCKING DAUGHTER? SIDNEY You’re no daughter of mine! Jenny’s shoc . Anger fires up in her. She starts PUNCHING Sidney. Bac over to Trevor and Jill. Trevor holds Jill down as she squirms underneath.

 

 

 

 

 

 

 

 

 

 

 

 

 

   

 

TREVOR Give it up, Jill. JILL Never! TREVOR You’re quite pathetic. JILL Didn’t your mom ever tell you not to hurt girls?! Trevor raises the nife brings it down -- and it hits the floorboard.

Jill ic s up -- hitting Trevor in the crotch. He groans in pain. Jill uses her nife to stab Trevor in the stomach again. He SCREAMS falls bac on the ground. Jill leaps on Trevor. Trevor presses his hand to Jill’s stomach wound. TREVOR (cont’d) How does that feel. Jill SCREAMS in pain. Jill pulls bac and shoves the nife into his stomach AGAIN. And again. And AGAI N. Trevor’s eyes widen. Jill-Jill stares into his eyes, heart-bro en. Shhh... She shoves the nife into his throat.

TREVOR

JILL

SIDNEY Jill call the police-JENNY NOOOO! Jill turns to see -- Jenny holds the gun at Jill -Sidney attac s her noc ing her down. The bullet fires missing Jill. Jill crawls in pain to the table grabbing the home phone dials 911. Sidney quic ly grabs a nife and digs it into Jenny’s chest.

 

Trevor groans -- his eyes roll in the bac

of his head.

 

 

 

 

 

 

 

JILL (cont’d) Crap! TREVOR Just. Hold. Still.

 

 

 

 

   

 

JENNY (cont’d) FUCK! Jenny ic s Sidney off of her. Sidney hit’s the ground in pain. Jenny rises -- pul ls the nife out. Sidney rises -- runs at Jenny the two tac le -AND FALL INTO A GLASS TABLE. Jill SCREAMS. Glass pierces through Jenny’s and Sidne y’s bodies. Jenny grabs a piece of glass and shoves it at Sidney it hits her wound ed shoulder. She screams. Jill dashes -- dropping the phone, grabbing a piece of glass. Jenny grabs for her -- gun -- goes to fire -STAB. The glass goes into Jenny’s throat. Gross. Jenny drops the gun and screams. She rips it out. Not deep enough to ill her. Sidney grabs the gun -- holds it t o Jenny. Mommy? SIDNEY Jenny... Sidney’s eyes widen -- she loo s down to see a sharp glass in her chest. She loo s to Jenny. JENNY Together... Her lips tremble. JENNY (cont’d) I love you. SIDNEY I love you too... BAM. Right into Jenny’s forehead. Her hit smashes into the ground. She’s DEAD. Sidne y’s daughter is dead. Sidney rolls over. Pants, wea . Sidney closes her eyes -- ta es Jenny’s hand. Clutches it tightly. Mother and daug hter. Together...forever. Sidney a hero ta es a final breath -JILL NOOOO! FLASH TO: EXT. STREET Filled with police. Many body bags are rolled out. POLICE MAN #1 We get a live one, sir!

JENNY

 

 

 

 

 

 

 

     

OUT COMES --

FLASH TO: INT. BEDROOM Jill lies in the bed. Wea . The sheriff steps in -- wal s towards her. PAN OUT OF THE ROOM. INT. HALLWAY AND DOWN THE STAIRS. INT. LIVING ROOM PAST THE WRECKAGE -ON A SMALL TABLE AGAINST THE WALL. A OLD PHONE -- STARTS TO RING. KRRRRING. CUT TO: EXT. STREET A creepy shot of the house. KRRRRING. HOLD ON IT. KRRRRING. THE VOICE (o.s.) What’s your favorite scary movie? FADE OUT TO BLACK.

 

 

 

SIDNEY. Wea

but fighting. POLICE MAN #2 We got another live one!

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