SCREAM 3

EHREN KRUGER

2nd DRAFT - REVISED

MAY 2, 1999

FADE IN:

A big dramatic crescendo as we --

								OPEN ON:

EXT.  HOLLYWOOD FREEWAY - SUNSET - AERIAL

Friday night traffic as usual. Things appear to be backed up all the way to 
the valley. A cacophony of car horns rise up on the soundtrack as we slowly 
DISSOLVE INTO:

INT.  FORD EXPLORER - NIGHT

A new 99' Explorer sits in the midst of the gridlock. Behind the wheel is hot 
teen heartthrob and Hollywood everybody BEN DAMON. Ben is handsome, studly, in 
his early 20s. However, aside from being just another pretty face in the city 
of angels he's also a cocky, arrogant prick. Ben's in the middle of a heated 
argument on his cell with his Agent, Cathy.

				 BEN
				(into cell)
			God dammit Cathy I have no time for this crap!
			I'm supposed to be at the premiere of STAB 2 right
			Now, arm and arm with my girlfriend cause she's got
			a bit part in that over advertised piece of shit and
			I'm just going to humor her. You mena to tell me that
			in all your squandering the best you can do for me is
			A bit role in STAB 3: RETURN TO WOODSBORO?! Come on!
			It's just another cheap slasher flick! How dare you
			offer me such a role! I've done Shakespeare! I've
			worked with directors like DePalma and Scorcesse and
			you offer me this crap?! It's insulting. I should 
			fire you and go to ICM.

				CATHY(O.S.)
			   (off phone)
			Ben, I will not sit around and listen to you bad 
			mouth me! Without me you would've never gotten as
			famous as you are today. The least you can do is
			show me a little god damn respect.

				BEN
			   (into phone)
			You want Respect, Cathy? Here's your respect.
			FUCK YOU! You're fired.
			   (Ben hangs up)
			Unfucking believable.

Ben socks the steering wheel out of frustration. The horn blares 
uncomfortably.

				BEN
			Stab 3: Return To Woodsboro. 
			Pah. What's next, Friday The 13TH PART 15:
			JASON DOES BROADWAY?

Ben's phone rings. He answers it.
	
				BEN
			   (into phone)
			What's up, B.D. with the B.D.

				WOMAN'S VOICE
			   (off phone)
			Hardly as large as I'd like it to be.

				BEN
			Christine?

				CHRISTINE(O.S.)
			No, Jennifer Love Hewitt.
			Of course it's me, silly.
			And I feel like an ass standing
			in this theater lobby all by myself.
			Where are you babe, the movie starts
			in twenty minutes.

				BEN
			Look, I'm stuck on the freeway. I think
			there was some big accident. It could be
			a little while so I don't want you to start
			freaking if I don't get there at exactly,
				(checks watch)
			Eight thirty.

				CHRISTINE(O.S.)
			All I'm saying is I'm gonna be royally
			p.o.'d if you don't catch my acting debut.

				BEN
			   (putting up faux-enthusiasm)
			Oh I wouldn't miss it for the world.
			I bet you did such a great job.

				CHRISTINE(O.S.)
			I did. Hon, although I got a total of
			six minutes screen time, they're the
			best six minutes of the movie.

				 BEN
			Heh heh I bet they are babe. I bet they are.
			Look, my battery's dying . . .
		
But of course, we notice Ben's battery is fine, he's just trying to cut the 
conversation short.

				CHRISTINE(O.S.)
			Alright Hon, talk to you when the lights go down.

Ben smiles.

				BEN
			 Sure thing.

Ben hangs up. He reclines back in his seat. Camera slowly pans out the 
windshield revealing the huge traffic pile up awaiting him. He's not going 
anywhere.

CLOSE ON GLOVE COMPARTMENT.

Ben opens the glove compartment. Papers scatter out. Ben reaches for a card.

CLOSE ON CARD -

A small white business card:   1-900-WET-4-COCK

Ben smiles, begins to dial out when suddenly, RING RING! The cell comes to 
life in his hand.

				BEN
			  (startled)
			Jesus.
			  (answers call)
			Hello?
	
				VOICE
			Hello.

				BEN
			Who is this?

				VOICE
			Who is this?

	At this point we know who the caller is. It's the nightmarish 	
	deep voice we've all come to know and hate from the first two	
	films. It's never sounded so evil. So sexy.

				BEN
			Well what number are you trying to reach?

				 VOICE
			 I don't know.

				 BEN
			I think you got the wrong number, buddy.

				 VOICE
			Do I?

				 BEN
			  (peeved)
			Uh-huh. Look bro, my battery is running out.
			Really wish I could chat, but I can't so, later.

				VOICE
			Wait, wait. Don't hang up.

				BEN
			  (angrily)
			Asshole, Can't talk.

				VOICE
			But your voice sounds so familiar.

Ben smiles.

				BEN
			Does it now?

				VOICE
You almost sound like that guy from THERE'S SOMETHING ABOUT CARRIE. Ben. Ben 
Damon.

				 BEN
			   (smiling profusely)
			Well ya got me. That's me. I'm Ben Damon.

				 VOICE
			Really? You're such a talented actor.

				BEN
			  (loves the praise)
			Thanks.

			 VOICE
			Now let's see you act your way out of this one.

The voice seems to have changed tones. It now sounds a lot harsher, angrier if 
you will.

				 BEN
			What do you mean?

				 VOICE
			I mean, I'm standing right outside the LADIES 
			ROOM door at the PLAZA THEATER. Your girlfriend 
			Christine is in there.  She's all alone. 
			Everyone's in the auditorium waiting for the film 
			to start.
			   (laughs coldly)
			I've got my knife.

*NOTE: At this point we intercut shots of the empty lobby and halls of the 
PLAZA THEATER. A POV shot standing outside the LADIES ROOM door.

				 BEN
			 (turning pale)
			Listen you sick fuck, is this your idea of a joke?

				 VOICE
			More of a game really. 

				 BEN
			What kind of a game?

				 VOICE
			You seem to be familiar with the STAB movies.
			Here's how we play. I ask you a question. 
			You get it right, your girlfriend lives. 
			You answer wrong, she dies.

				 BEN
			I swear to God if you lay a finger on her 
			I'll fucking kill you!

				 VOICE
			Maybe so, but right now, we play the game. 
			First question, Your girlfriend's counting on 
			you, Name your girlfriend's character in STAB 2?

Ben groans. He bangs his head against the steering wheel, if only  he'd have 
paid attention to Christine he might have known this.

				 VOICE
			Come on. Don't you know?

				 BEN
				  (hesitating)
			It's CICI! Cici's the name of the character 
			she plays in the movie!

				 VOICE
			Very good. Now we play ROUND 2. 

				BEN
			What?! But I did everything you said to do!

				VOICE
			That's right. And you beat ROUND 1. Now we're 
			taking the game to a whole new level.  Meet me 
			beneath the Hollywood sign in ten minutes. 
			I'll have your girlfriend. We'll be waiting.

				BEN
			What?!

				VOICE
			Good bye Ben.
	
Click. The killer hangs up. Ben flips open the phone, dials 911. Ringing and 
then . . .

				RECORDED MESSAGE
			   (off phone)
			Due to the high volume of calls this evening,
			Dispatch is temporarily shut down. If this is
			not a real emergency please call another dep-

Ben hangs up, dials CHRISTINE's number. RINGING, then--

				 VOICE
			You're not playing by the rules Ben.
			Don't you want her to live?

				 BEN
			I swear to God if you lay one hand on her!

				 VOICE
			No! You listen to me, if you're not where I want
			you in fifteen minutes I'll hollow her out.
			Do you understand? 

IN THE B.G. we hear CHRISTINE's horrific screaming.

The killer hangs up. Ben looks ahead, traffic is picking up. He puts the SUV 
into gear, peels out the nearest opening, narrowly avoiding collision. His car 
screeches down the off ramp.

								 CUT TO:

EXT.  HOLLYWOOD HILLS - NIGHT

Ben comes screeching around the corner in his FORD EXPLORER.  Tires smoking. 
Sparks flying. The HOLLYWOOD sign stands like an impending pall in the 
awaiting b.g.

								 CUT TO:

EXT.  HOLLYWOOD SIGN - NIGHT

The SUV comes to a screeching halt alongside the hilly, narrow road. Ben jumps 
out of his car, cell phone in hand. He looks up at the towering sign standing 
ahead of him, contemplates. Does he really wanna go up there? He looks into 
his SUV, gets an idea.

THE BACK --

--is opened. Ben reaches in looking for a weapon. AN OLD BEACH CHAIR. Not 
gonna do the trick. A pair of old shoes. Nope. Then he finds it, a LOUISVILLE 
SLUGGER with "ACTORS AT BAT FOR BRAIN CANCER" written across it. 

				BEN
			   (to himself)
			Thank God I decided to do some community service.

Ben takes the bat, closes up the back of the SUV. He begins to walk towards 
the sign when suddenly --

HIS CELL RINGS.

Ben answers the call.

				BEN
			  (into phone)
			Yeah.

				VOICE
			Very good. You follow directions well.
			Now for the final part of the game.
			Put down the bat and approach the sign,
			slowly.

Ben makes a disgusted face, tosses the bat into the bushes. He approaches the 
sign, keeping his eyes trained in all directions.

				BEN
			  (into phone)
			Where are you?

				VOICE
			Closer than you think.

				BEN
			  (into phone)
			Alright I'm here. What the fuck do you want
			from me?

				VOICE
			To see your reaction.

				BEN
			Reaction to what?

Ben passes under the huge, pallid "H" in the sign. What seems at first like a 
gentle raindrop, beads down Ben's forehead. He rolls back his head, his legs 
turning to jelly, his eyes widening in horror.

				BEN
			OHMYGOD! NO!
			CHRISTINE --

Has been gutted from neck to groin. She has been fastened to the cross-bar in 
the "H" with heavy rope. Her lifeless body sways ever so gently in the 
Southern California wind. Utterly horrified, Ben staggers into the shadows, 
not seeing --

THE GHOST as he rises from the void, knife in hand.  In one quick, brutal 
stab, the knife is driven into Ben's spine. Ben screams as he's turned around, 
face to face with his attacker.

				BEN
			  (screaming)
			BUT I'M THE KILLER IN STAB 3!
		
				THE GHOST
			You just lost the role Ben.
			Consider this your parting gift.

AND WITH that, the GHOST drives the bloodstained knife into Ben's heart, 
causing a vicious eruption of crimson.

									CUT TO:

	TITLE CARD.   "SCREAM 3"

									OPEN ON:

	EXT.  TOTAL ENTERTAINMENT SET - DAY

GALE WEATHERS, the flashy thirty-something news anchor and author of the 
WOODSBORO MURDERS. She sits behind a desk on the really ditzy, loud set for 
TOTAL ENTERTAINMENT, an ET style program with a live studio audience.

				 GALE
			Good morning Hollywood. And today
			officially starts the Summer movie
			season. Opening the box office this
			week is Jeff Bridges and Tim Robins
			in Arlington Street,  Eugene Levy
			and Jason Biggs in American Pastry,
			and Tori Spelling and David Schwimmer
			in STAB 2, based off my best selling
			book the WINDSOR MURDERS. 

CAMERA pans across the audience. Many of them are dressed as the GHOST. A sea 
of white screaming faces. Very eerie and unsettling.

				 GALE
			Well I see a lot of the audience has dressed
			to the occasion. Today we have director of the
			upcoming STAB 3: RETURN TO WOODSBORO, Roman
			Bridger. Why don't we give Mr. Bridger a nice
			welcome to the set of Total Entertainment.
	
The crowd goes wild with applause and faux-knife slashes as ROMAN BRIDGER, 
ravishingly handsome, 29, tall and stocky, enters stage dressed in a flashy 
white suit. He sits down on a chair beside Gale's desk, places a STAB 3 coffee 
mug beside Gale's hand.

				ROMAN
			Good morning Gale. Pleasure to be here.

				GALE
			It's a pleasure to finally meet you, Roman.

				ROMAN
			   (addressing audience)
			Well it's a honor to be here amongst so
			many fans of the genre. And I must say
			that any of you worried that Jerry Rapp,
			or Tori or David not returning to complete
			the STAB trilogy, have no fear, Roman is
			here. Aided with my excellent cast of
			newcomers I believe we're going to pull
			off one of the best Stabs yet.

				GALE
			Roman, from your enthusiasm it certainly
			seems that way.
				(a beat)
			Honestly though, 
				(smiles) 
			tell us, what's	your favorite scary movie?

				ROMAN
			  (a long pause)
			Honestly, my life.

A eclectic hush falls over the crowd. Roman appears somewhat sinister in this 
light. Gale gazes deeply into Roman's eyes.

				GALE
			Your life?

				ROMAN
			Well if you were in my shoes, dealing with 
			those big Time Sunrise Studio producers like 
			I do on a daily basis, you'd watch how quick 
			your life goes from a Walt Disney picture to 
			a Tobe Hooper flick.

Roman smiles. The true costumed horror film buffs in the audience break into 
applause. Gale, somewhat distracted, other what not caring what this second 
rate director has to say, gazes at a costumed individual at the far corner of 
the set, watching from a half-open exit door. Now it could be just her 
imagination running away with her and her atmosphere but it almost appears as 
if the figure is pantomiming slitting his throat with a gleaming blade.

A LOUD BUZZING O.S.  Gale is startled out of her skin. She looks up at a sign 
hanging over the stage. THE WORD "COMMERCIAL BREAK" is illuminated in flashing 
red light. Gale sighs, looks back to the exit. The GHOST is gone. She turns to 
Roman.

				GALE
			Would you excuse me for a moment?

				ROMAN
			  (smiling)
			Sure.

Gale bolts for --

INT.  BACKSTAGE - TOTAL ENTERTAINMENT SET - DAY

Gale races around the corner of the set, smashing right into -

DETECTIVE MARK KINCAID, L.A.P.D. Mid-thirties. Handsome with piercing eyes. He 
grabs Gale by her shoulders, shepherding her aside.

				GALE	
			Jesus Christ you scared the shit out of me.
	
				DETECTIVE KINCAID
			I'm sorry Miss Weathers. Allow me to 
			introduce myself, MARK KINCAID, L.A.P.D.
			  (flashes badge)
			Are you familiar with the actor Ben Damon, 
			or the actress CHRISTINE PERKINS?

				GALE
			Well I interviewed Damon once for the show.
			He was a real obnoxious fuck. Any way, the 
			second one, Christine Perkins, she had a part 
			in Stab 2, didn't she? She was playing CICI.

				DETECTIVE KINCAID
			Both of them were found brutally murdered this 
			morning under the Hollywood sign. Autopsy 
			reports having come back to me yet but the 
			bodies looked like something out one of the Stab films.  

				GALE
			So is that why you're here? Is that why you're 
			holding me from my show, to tell me about some 
			brutal homicide I'm not even involved in?

				DETECTIVE KINCAID
			I wish that was all Miss Weathers, but 
			there's more. The killer left a note.

				GALE
			A note?

Detective Kincaid reaches into his back pocket, pulls up a newspaper clipping 
in a ziplock evidence bag. He holds the bag up For Gale to see.

EXTREMELY CLOSE on the ARTICLE . . . "MAUREEN PRESCOTT, MOTHER AND WIFE, FOUND 
BRUTALLY RAPED AND MURDERED IN BEDROOM". A b/w photo of Sidney's mother 
Maureen stands hauntingly before the camera.

				GALE(O.S.)
			That's Sidney Prescott's mother.

				DETECTIVE KINCAID(O.S.)
			There's more.

Kincaid flips the article over. Someone has scrawled in black marker across 
the back "SIDNEY".

				DETECTIVE KINCAID
			I've tried to get in touch with Sidney Prescott,
			but she's keeping herself very well hidden.
			You're my one and only hope in finding her.
			Her life may be in grave danger.

				GALE
			I'd love to help, really I wouldn't mind being
			sliced at again by a maniacal psychopath, but
			I honestly don't know where Sidney is. After Windsor
			she dropped off the face of the Earth. The only other
			person that might know is, 
			  (gale hesitates), 
			not going to talk.

				DETECTIVE KINCAID
			And who would that be?

							CUT TO:

EXT.  SUNRISE STUDIOS BACK LOT - DAY

A red BMW convertible speeds through the back lot. Behind the wheel is DEWEY 
RIELLY. Former Police Officer, turned Technical advisor on the red hot set of 
. . . STAB 3: RETURN TO WOODSBORO.

All around the lot are promotional banners and posters for the film. Dewey 
parks his car outside a soundstage, exits.

							CUT TO:

INT.  STAB 3 SET - DAY

A huge replication of Woodsboro in a building about the size of an airplane 
hanger.  In one corner we've got the Macher and Prescott homes. In another 
corner stands the infamous Becker house where the nightmare all began. In 
other regions are sights like the Town Square and Market, an exterior for the 
Woodsboro Police Station,  A TOP STORY news van, etc.

DEWEY, Enters set, bumping into his movie alter-ego --

TOM PRINZE, a Hollywood poster boy. Very cool. Not so debonair. A shoddy copy 
of Dewey at best. However, the conversation between the two is friendly, and 
they exchange greetings.

				TOM
			Hey Dew, did you hear?

				DEWEY
			No, what?

				TOM
			Somebody iced Ben Damon and his girlfriend.

				DEWEY
			That's Hollywood Tom. One day you're
			making movies in the hills, the next day 
			you're posing for the coroner downtown on a slab.

Dewey's obviously gotten a lot colder since the last film. He walks past a 
clique of STAB 3'S MAIN CAST:

There's:

SARAH DARLING: 30, playing a 25 year old bimbo. Very hot. Very blonde. Ample 
cleavage.

ANGELINA TYLER: 20. Extremely naïve looking. She won her part in STAB 3 
playing Sidney through a phone in radio contest. She's timid, with short dark 
hair. Out of the entire cast, she is the closet to Sidney, they got.

And also the loveable

TYSON JACKSON: late 20's, African-American, all attitude.

The three flip through pages of the STAB 3 script, conversing freely about the 
production.

				 SARAH
			Goddamnit I am getting so fed up with
			these re-writes. It's like every five
			minutes there's a new script. God, and
			you just know this all because of STAB 2's
			script winding up on the internet two months
			after it wrapped shooting.

				TYSON
			And still the film is Number One at the box
			office this weekend. Beat out American Pasty
			and Arlington Street.

				ANGELINA
			I think Jeff Bridges is getting tired.

				TYSON
			Nah I think it's doing so damn well because
			one of it's players got iced. I just hope
			none of us end up dead.

				ANGELINA
			Oh that's right. Those poor poor people.
			God Ben Damon was such a hottie.

				TYSON
				 (sighs)
			And that CICI chick wasn't that bad either
			but I'm really concerned about my safety 
			now.

				SARAH
			What are you talking about?
			The murders were a completely isolated
			incident.

				TYSON
			(reading from script)
			SCENE 32. INT. CANDY'S LIVING ROOM - NIGHT.
			"What are you talking about Ricky, the
			murders were a completely isolated incident".

				SARAH
			Would you give that script a rest?	
			It's like a friggen umbilical cord to you.

				TYSON
			I'm just saying, though. What if there's
			someone out there stalking actors? Huh?
			Then what?

				ANGELINA
			There's always someone out there stalking
			actors. Look at that woman from the Commish.

				TYSON
			Melinda McGraw?

				ANGELINA
			No, the other one. The one who played his
			wife. 

				SARAH
			I know who you're talking about. Rebecca
			something.

				ANGELINA
			Yeah I think. Anyway, point is, she had a stalker.
			Sonny Bono had a stalker. David Letterman had one
			too. So did Heather Langenkamp, Brooke Sheilds,
			Jody Foster, --

				TYSON
			Listen Miss ingénue, your cheering me up to much,
			Give it a break.

Tom walks into frame, sits down next to Angelina, subtly putting his arm 
around her. She shoves him away.

				TOM
			What? What'd I do? Relax your crack sweetheart
			I didn't rip those two fucks up last night.
			Jeez.
			   (lights up a smoke)
			So what are you doing tonight?

Totally repulsed, Angelina gets up, races off set.

				TOM
			Talk about moody.

Tom leans back seductively, his crotch in full view, staring at Sarah with 
bedroom eyes.

				TOM
			And how about you good looking?
			Got any plans for later?

				SARAH
			Eww yeah, finding a guy to have sex
			with that doesn't look like you.

Sarah, following suit laid by Angelina, scampers off set. Tom looks up at 
Tyson, smoke blowing out his nostrils.

				TYSON
			Oh no. I ain't into that shit.

Tyson races off set. Tom laughs, covers his face.

							  CUT TO:

DETECTIVE KINCAID AND GALE.

They walk through the set. Gale's mesmerized. Kincaid is all business.

				 GALE
			Déjà vu-do.

The pair come to a halt on the driveway of what is supposed to be the Macher 
Residence. Everything from the smashed beer bottles in the garage, to the boat 
on the driveway is mimicked to a perfect t. Even a foam dummy Of TATUM RIELLY 
dangles from the doggy door, head squashed a bloody mess.

GALE stares at the swaying dummy, haunted.

				 VOICE(O.S.)
			Well well, someone dies and Gale Weathers
			comes running. What a shock.

GALE looks up. DEWEY stands beside her.

				DETECTIVE KINCAID
			Mr. Rielly? My name is Mark Kincaid.
			I'm with the L.A.P.D. Are you aware	of last night's
			Events?

				DEWEY
			Yeah. A real tragedy.

Dewey stares daggers through Gale. There is a real bitter coldness between the 
two.

				GALE
			Dewey, personal lives and pasts aside, 
			this is about Sidney. We need to know where she is.

				DEWEY
			What so you can just exploit her again with another
			book? Sid doesn't need you Gale.

				GALE
			  (to Kincaid)
			Show him.

				DETECTIVE KINCAID
			Mr. Rielly, this was found alongside the bodies of 
			Ben and his girlfriend.

Kincaid hands Dewey the ziplocked clipping. Dewey examines it, his fear slowly 
growing.

				DEWEY
			I promised Sid I'd keep her in seclusion.
			I promised her nobody would ever find her.
			If you don't mind Detective, I'd like to
			approach her with this on my own and see
			what she'd like to do about it.

Kincaid nods.

				DETECTIVE KINCAID
			That's fine Mr. Rielly, but if anyone else
			should die, I'm going to have to get a warrant.

				DEWEY
			Understood.
			  (a beat)
			If you'll excuse me Detective.
			  (coldly)
			Gale.

Dewey walks off camera. Kincaid puts his hand on Gale's shoulder.

				DETECTIVE KINCAID
			I'm going to have a little chat with the
			producers. Don't wander off. I may need you.

Gale nods as Kincaid disappears into the backdrop of the set. A Shrill voice 
O.S.

				WOMAN(O.S.)
			GALE WEATHERS! Oh my God!

Jennifer Jolie, an ambitious young starlet, playing GALE in the latest Stab, 
rushes towards her, with arms wide open. She's decked out in the flashy neon 
green ensemble Gale wore in the first film and even sports a fake shiner on 
her right eye. Gale is obviously pissed. She knows this actress and doesn't 
really want to be in her company very long.

				Gale
			Shit.

				Jennifer
			Listen, I know we've never met, and 
			I don't mind you never returning my calls, 
			but I have to tell you that after two films 
			I feel like I am in your mind.

				Gale
			Well, that would explain my constant headaches.  

				Jennifer
			  (defensively)
			You know I'm sorry that things didn't work out 
			on '60 Minutes II', but 'Total Entertainment' 
			that's a pretty good fall back.

				Gale
			Thank you.  I'm sorry that things didn't work out 
			with Brad Pitt, but being single, that's a pretty 
			good fall back.

				Jennifer
			Gives me more time for my work.  
			After all, Gale Weathers, you're such a complex 
			character.

				Gale
			And to be played by an actress with such 
			depth and range.  

Dewey steps back into the picture, cell phone in hand.

				Dewey
			No answer at Sid's. Where'd 
			the Detective go?

				JENNIFER
			   (excitedly)
			DEWEY!
	
Gale stares at the couple, just processing things in her head.

				Jennifer 
			  (fondles Dewey's butt)
			Gale, I think you'll really appreciate 
			my character work in this one, someone's 
			helped me understand the real you.

				Gale
			Someone?

				Jennifer
			The ruthless ambition, your private 
			self-loathing, and that lost and lonely 
			little girl inside.

				Gale
			Lost and lonely what?

				Jennifer
			You heard me. 
			  (takes Dewey's cellular) 
			Thanks Dewey.  I'll return it.

				Gale
			Lost and lonely what?

				Dewey
			Little girl inside.

				Gale
			I thought you were supposed to be in 
			Woodsboro!

				Dewey
			Well, I'm surprised you thought about me 
			at all.  Listen I gotta get back to 
			trying to get hold of Sid.
			Besides, she's more important than you ever were.

				Gale
			Wait! Dewey we can work on this together!
			As a team! Like in the past!

				Dewey
			No really Gale, that's a sweet offer, but this
			time I'd like to catch the killer before 
			the body count gets any higher.
			  (a beat)
			Toodles.

Dewey walks away leaving Gale alone. Kincaid enters frame, 	talking to two 
producers. The elder, sixty-five year old BUDDY SHAYNE, a towering, hefty man 
with gray hair. The second, bigwig horror producer JOHN MILTON, a creepy 
fifty-something with penetrating eyes and a menacing demeanor. The two talk, 
ignoring Gale the entire time.  She's almost eavesdropping on their 
conversation.

				MILTON
			I can assure you that security on the set
			will be at an all time high. Again, the
			deaths are sheer tragedy.

				DETECTIVE KINCAID
			Well, I'd hate to see the production shut down.
				(laughs)
			I myself am a big STAB fan.

				BUDDY
			Really?
				(smiles)
			Have you ever thought about acting?
			You've got just the right face.

				DETECTIVE KINCAID
			I am kind of dedicated to my job.
			Although I do enjoy taking acting
 			classes on my weekends. I grew up
			around these studios anyway. I know
			my way around. My Uncle was a screenwriter
			for PARAMOUNT.

				MILTON
			Really, what was his name?

Before Kincaid can finish, Gale buts in.

				GALE
			Excuse me Detective, I think we have some
			business to attend to.

				MILTON
			   (flabbergasted)
			GALE WEATHERS?! What are you doing here?
			No press on the set!
			   (to security)
			No press, no press on set!
			Get that woman out of here.

				SECURITY GAURD
			  (approaching)
			Yes, Mr. Milton.
			
				DETECTIVE KINCAID
			No, Mr. Milton, Miss Weathers is with me.

Milton nods his head, flags down the guard. He walks away.

				MILTON
			Well then, I guess I'll be leaving then.

				GALE
			Oh come on! Why the hostility?

				MILTON
			Listen Lois Lane, I love your show and 
			all but last month I happened to catch 
			your little segment on me and how my wife 
			left me because I'm a sex addict who 
			enjoys screwing fifteen year old girls. 
			It was a real eye opener my lawyers are 
			still thinking about bringing to your 
			superior's attentions.

				GALE
			  (shit-eating smile on her face)
			They're the ones who approved it.

Milton storms off camera, Buddy following close behind. Gale looks up at 
Kincaid.

				GALE
			Alright Kincaid, no where to?

				DETECTIVE KINCAID
			I go to the police station and do my job,
			and you go back to being Gale Weathers.

				GALE
			Oh. I thought you wanted me to stick around.

				DETECTIVE KINCAID
			Look, Miss Weathers, if there's a problem, 
			give me a call. Here's my card. I'm always there.

Kincaid hands Gale his card, begins to walk out of the building.

				GALE
			Shit. Can I even get a ride home?

								CUT TO:

	INT.  SIDNEY'S BEDROOM - NIGHT

SIDNEY PRESCOTT, the stoic, survivor. Now 24, she lies peacefully in bed, her 
black lab PETE curled up in a ball at her feet. A noise startles the animal 
awake. It sets off the bed barking hysterically at --

THE BEDROOM WINDOW

SIDNEY --

--awakens. She squints her eyes to try and make out what her dog is going into 
conniptions over. Then she sees, and her face loses any trace of color.

MAUREEN PRESCOTT'S GHOSTLY WRAITH is pressed up against the window. She's 
wearing a tattered, blood soaked night shift.  Her voice is muted but her lips 
are moving as if trying torelay a message to Sidney. Sid's hysterical crying. 
She slidesoff her bed, makes her way towards the window when suddenly --

MAUREEN slides down the glass, as if being pulled by somethingbeneath the 
window sill. Something we don't see . . . yet.

				SIDNEY
				(crying)
			   Mom!

Left behind in her wake are five bloody streaks running downthe glass. The 
streaks begin to bleed, as if each wounds themselves. They bleed right through 
the glass. Sidneyreaches out to touch them when suddenly --

THE GHOST springs up behind the window, shatters the glass panewith his fist. 
SIDNEY screams --

AWAKENING IN BED FROM HER NIGHTMARE.

Her dog's barking wildly.

THE WINDOW is fine. 

SID crawls out of bed, disappearing out of the room.

								  CUT TO:

	INT. SID'S BATHROOM - NIGHT

Sid's washing up at the sink. She wipes the tears from her eyes.She shuts off 
the running water, looks up into the mirror. Her demeanor definitely shows the 
ware and tear of all that's happened to her in her past. 

CLOSE on SIDNEY'S WRISTS.  Two ugly scars run up Sid's wrists.Battle Scars of 
a war waged between her own personal demons if you wish. Former Suicide 
Attempts former engraved on time.

								 CUT TO:

	EXT.  SID'S HOUSE - NIGHT

Sid's house is deep within the Napa Valley. Secluded amongst verdant vineyards 
and orchards that are now covered by thedarkness of night. A full moon hangs 
ominously in the sky above.
A light burns from within the two story farmhouse. A phone dialing out rises 
in pre-lap as we --

  CUT TO:

INT.  SID'S OFFICE - NIGHT

Sid sits in a cluttered office. On the wall hangs a poster forthe FALL OF TROY 
(her play from SCREAM 2) and a poster proclaiming WOMEN'S RIGHTS with 
CALIFORNIA WOMEN'S CRISIS center written beneath that.

A THREE-RING BINDER with a cover boasting CALIFORNIA WOMEN'S CRISIS CENTER is 
thrown open.

THE PHONE--

SID PUTS ON A HEADSET, dials a number. RINGING.

				SIDNEY
			   (into headset)
			This is Laura in Monterey reporting
			in for work.

				OPERATOR(O.S.)
			Alright Laura I'll patch you right 
			in to a call.

				SIDNEY
			Thanks.

A click. A woman's voice comes on the other line. It sounds very familiar.

				WOMAN(O.S.)
			Hello?

				SIDNEY
			Yes, hi I'm Laura, I'm a trained counselor.
			How can I help you.

				WOMAN(O.S.)
			Laura I think I just killed somebody.

				SIDNEY
			Are you sure?

				WOMAN(O.S.)
			Uh-huh I'm sure. I've killed someone!
			OH MY GOD I'VE ACTUALLY KILLED SOMEONE!

				SIDNEY
			Well then the people you need to call are the police.

				WOMAN(O.S.)
			No I need to call you. Just you.

				SIDNEY
			I'm sorry, your voice.

				WOMAN(O.S.)
			Don't you want to know how you can help, Sidney?
			  (a beat, Sid goes blank)
			Are you listening to me, huh?

				SIDNEY
			Who the fuck is this?

				WOMAN(O.S.)
			It's mother, Sidney, now be a good 
			girl and turn on the news. DO IT!

Sid reaches for the remote control, flips on a small TV lying across the 
office.

ON THE TV --

A REPORTER stands with the HOLLYWOOD SIGN in the b.g.

				REPORTER
			The mutilated bodies were discovered late 
			last night by the L.A.P.D, prominent actor 
			Ben Damon was slated for a role in the 
			upcoming STAB 3: RETURN TO WOODSBORO --

Sidney shuts off the TV as a familiar voice cuts through the din:

				VOICE
			Do you think it's over Sidney?
			Do you?

				SIDNEY
			W-what do you want?

				VOICE
			I want to finish what I started.
			I want to finish the game.

				SIDNEY
			You sick fuck I'm tracing this call
			as we speak! The police are gonna nail
			your ass!

				VOICE
			   (laughs coldly)
			Let them try. You'll never find me.
			I've already gotten away with murder before.
			For instance, Maureen Prescott.

				SIDNEY
			  (tears welling)
			No. You didn't kill my mother. Billy Loomis
			and Stu Macher did.

				VOICE
			Heh. So you think Sidney. So you think.
			It's all been building up to this Sid.
			Every STAB. Every SCREAM. Every ounce of
			blood that's been spilled has all been
			leading up to this moment. WELCOME TOTHE FINAL ACT.

				SIDNEY
			The final act? Well let's play asshole!

				VOICE
			No. We play in my court this time.
			Come to Hollywood. STAB 3's going to cutting 
			corners cast-wise.  And I've got my eyes set 
			on a technical advisor named Dewey Rielly.

The killer laughs coldly. Sidney wanes.

				SIDNEY
			  (crying)
			If you lay a hand on him I'll fucking kill you!

				VOICE
			Great. A spirited one. I'll be seeing you
			real soon Sidney. Real soon.

Click. The killer hangs up. Sid's left trembling. She rips the headset out of 
the phone, reaches into her desk for a loaded.38 special.  She stands up, and 
peers out her office window.

SIDNEY'S P.O.V. - THE DARK, OMINOUS NIGHT.

									 CUT TO:
EXT.  SUNRISE STUDIOS - NIGHT

Sarah Darling drives through the main gates in her porshe, rounds a corner.

EXT.  STAB 3 PRODUCTION OFFICES - NIGHT

Sarah parks outside the production offices, gets out of her car.

KILLER'S P.O.V - watching from the rooftop, Sarah approaching the dimly lit 
offices.

									 CUT TO:

INT.  STAB 3 PRODUCTION OFFICES - NIGHT

Sarah steps into the office. It's desolate. Silent. All over the place are 
promotional items (standees, posters, banners) for STABS 1-3. Sarah passes a 
big cardboard GHOST.

				SARAH
			STAB 3. Oh God I've gotta get myself 
			a better agent.

Sarah walks down a hallway.

				SARAH
			  (calling out)
			Anybody home?

Sarah passes Roman Bridger's office. It's half-open.

				SARAH
			Doubt that.
			  (door slams shut O.S.)
			Anyone here?

Sarah continues further down the hall when suddenly --

TYSON comes reeling out of a doorway, a huge knife jutting out his back, blood 
trickling down his mouth. Sarah lets out a bloodcurdling scream while Tyson 
breaks into hysterics.

				TYSON
			Stan! My man does great work.

Stan, a bearded, middle aged make-up effects guy steps out behind Tyson, slaps 
him a high-five.

				STAN
			Thank you. Thank you very much.

				SARAH
			Fuck you very much!
			Tyson go to hell!
			What the hell are you doing here?
			Where's Roman?

				TYSON
			Roman and everybody else went home for 
			the night. I'm here for a make-up test.

				SARAH
			Make-up. You need it.
			  (a beat)
			Hey, Roman isn't here?

				TYSON
			No.

				SARAH
			Damn. He called my roommate and told her 
			he had some important things he wanted to 
			go over with me in his office tonight.

				STAN
			  (jokingly)
			Yeah I bet.

Stan pantomimes the "blow job" gesture. Tyson laughs, slaps him another high-
five. Sarah makes a disgusted face as the two men leave the offices. Sarah 
sighs, ducks into Roman's office.

INT.  ROMAN'S OFFICE - NIGHT

Roman's office is a clutter of old movie memorabilia. Sarah plops down behind 
Roman's desk, admires his old TRANSFORMER toys and two brass MUSIC VIDEO 
AWARDS. Sarah examines the award.

				SARAH
			   (reading inscription)
			For the honorary field of directing and 
			cinematography in music videos.
			How to the point. 

The phone rings scaring the shit out of Sarah. She drops the award, causing it 
to smash against the edge of the desk, snapping the head clean off. Sarah 
hesitates, answers the call, putting it on speaker phone.

				SARAH
			Oh shit.
			  (into phone)
			Hello? Director's office.

				ROMAN
			Sarah, it's Roman, I'm sorry I'm running 
			late, I'm still on the 405, I'm about 10 
			minutes away.  

				SARAH
			Oh it's no problem, I'm just... looking at 
			your   music video awards.  

Sarah tries fixing the award with some scotch tape.

				ROMAN
			All right, since I got you on the phone, 
			let's talk about your character.

				SARAH
			What character?  I'm Candy, the chick who 
			gets killed second.  I'm only in two scenes! 

				ROMAN
			You're not happy with your part.

				SARAH
			I'm not happy that I'm 35 playing a 21 year old. 
			I'm not happy that I have to die naked!  And I'm 
			not happy that my character is too stupid not to 
			have a gun in the house after her boyfriend's been 
			cut into McNuggets.

				ROMAN
			Um hmm...  umhmm great, so let's run the 
			lines.

				SARAH
			Huh, fine.

				ROMAN
			Page 22, Candy's big moment.

				SARAH
			Page 22..  Ring ring.  Hello?

				ROMAN
			Hello.

				SARAH
			Who's this?

				ROMAN
			Who's this?

				SARAH
			This is Candy.  Hang on, let me get some 
			clothes. See!  I don't' understand why I have 
			to start the scene in the shower!  The whole 
			shower things been done, 'Vertigo' hello!  And I 
			mean, my boyfriend just died, why am I showering?

				ROMAN
			Why don't we just read the scene?  Candy, is 
			that like candy cane or candy apple?

				SARAH
			Whatever.  Come on, who is this?  I think you have 
			the wrong number.

				ROMAN
			But you know my favorite name? 

				SARAH
			I'm hanging up right now.

				ROMAN
			It's Sarah.

				SARAH
			Roman that's not the line.

				ROMAN
			It is in my script. 

				SARAH
			Has there been another goddamn rewrite?   
			How  the fuck are we supposed to learn our 
			lines when there's a new script every 15 minutes? 

				ROMAN
			It's not just a new script, it's a new movie.

				SARAH
			What?  What movie?

				ROMAN
			My movie.

A pause, then a familiar dark natured noise enters our ears, the killer's 
sinister voice.

				VOICE
			It's called, Sarah gets sliced like a 
			fucking pig.
			Still in character, Sarah?

Sarah tosses down the phone, bolts out of the office.

INT.  HALLWAY - NIGHT

Sarah stops in her tracks. Through the smoked glass of the front door she sees 
a shape approaching. She screams, spins around, runs for the prop room. 

INT.  PROP ROOM - NIGHT

Sarah locks the door, backs up right into --

AN ARMY OF GHOSTS!

AT LEAST THIRTY GHOST COSTUMES dangle from hooks on costume racks. Sarah 
catches her breath, dives into one of the racks.  She pulls up her cell phone, 
starts to dial.

INT.  STAB 3 - PRODUCTION OFFICES - NIGHT

A SECURITY GUARD opens the front door, pokes his head into the offices.

				SECURITY GUARD
			Mr. Bridger?

No answer. The guard nods, backs out of the offices, locking them with SARAH 
and the killer inside!

  CUT TO:

INT.  PROP ROOM - NIGHT

Sarah's waiting on eggs as a digitized pre-programmed commissarymenu for 
Sunrise Studios drags out.

				SARAH
			Shit.

Sarah momentarily glances behind her, just noticing, a pair of black work 
boots stepping off the costume rack. Before Sarah has a chance to scream, the 
ghost jumps down and shoves the rack hard sending a screaming Sarah into the 
next room. She goes flying out, slamming into a metal table covered with prop 
weapons.

THE GHOST --

Stomps into the second prop room, knife raised. Sarah leaps up, starts to 
chuck the prop knives at her attacker, screaming furiously.

THE PROP knives, hit the ghost, and bend as they bounce off his body and onto 
the floor. The killer shakes his head angrily, stalks towards his prey.

				SARAH
			  (screaming)
			No! No! Noooo!

The ghost drives his knife into Sarah's chest, once, twice, and delivers a 
final killing blow to her Adam's apple. She staggers forward. Her killer grabs 
her by her long buxom hair, and hucks her into a glass door.

THE DOOR EXPLODES, SARAH'S BODY falling through, shards of glass tearing out 
her back.

THE KILLER, stands in the shattered doorway, bloody knife in hand. An alarm 
resonates in the b.g. The killer wipes his knife clean, races off screen.

A NICE PSYCHO-ESQUE close up of the dead Sarah's eye as Blood swirls into the 
pupil.

   SHOCK CUT TO:

EXT.  HIGHWAY 39 -  N. CALIFORNIA - NIGHT

The highway is desolate. It's late. Sidney speeds into frame in her HONDA 
CIVIC.

  CUT TO:

INT.  HONDA CIVIC - NIGHT

Sidney's tapping her thumbs nervously against the steering wheel as an eerie 
song filters off the radio. The only light comes from the unsettling neon 
green digital clock/radio read-out. Sidney increases speed.

  CUT TO:

EXT.  HIGHWAY 39 -  N. CALIFORNIA - NIGHT

Sid passes up a road sign indicating LOS ANGELES - 64 MILES

  CUT TO:

EXT.  SUNRISE STUDIOS BACK LOT - NIGHT - EST.

The lot Is crawling with police vehicles.

  CUT TO:

INT.   STAB 3 PRODUCTION OFFICES - NIGHT

Kincaid and Gale stare at Sarah Darling's corpse as it's zippered up into a 
black rubber body bag and carried off by forensic technicians.

				DETECTIVE KINCAID
			That's STAB 3, Miss Weathers.
			It looks like we're going to
			be getting a warrant to speak
			with Miss Prescott anyway.

				GALE
			Shit. Sarah Darling.
			   (a beat)
			I interviewed her too.
			God, it's happening again isn't it
			Detective?

				DETECTIVE KINCAID
			Yes well we have a suspect, so don't
			get that worried.

Gale's eyes light up. She grabs Kincaid's shoulders.

				GALE
			Who?

				DETECTIVE KINCAID
			I'm not at liberty to tell you that
			Miss Weathers. You're no longer working
			with the L.A.P.D. I don't even know why
			you're standing in here right now. By
			all means I should have you thrown out.

				GALE
			But you won't. You're a good man detective.
			We think alike. I know you need my help.
			And I know you know I need your help.

				DETECTIVE KINCAID
			In my fifteen years as a homicide detective
			I've never met a single soul as pushy and
			brazen as you are Miss Weathers.

				GALE
			Please, call me Gale.

				DETECTIVE KINCAID
			Deal, but I'm still Detective Kincaid,ok?

Gale smiles. DETECTIVE TOM WALLACE, Kincaid's cohort and partner. He's in his 
late thirties. Family man. Wallaceenters frame with a folder in his hands.

				DETECTIVE WALLACE
			Mark, Bridger's in custody. We traced his
			phone records. He's the last person to
			speak to Sarah Darling before she died.
			Or at least call her home.

				GALE
			Wait a minute, Roman's your suspect?

				DETECTIVE WALLACE
			Listen, Diane Sawyer, this here is classified 
			information. Why don't you go investigate 
			the bad meat at the A.P.
			This is police work, not Pulitzer material.

				GALE
			Hey, fuck off.

				DETECTIVE KINCAID
			No, cool it Wallace. She's working with me.

				DETECTIVE WALLACE
			  (cocky)
				Well then. Looks like I'll go dust for
				finger prints with Barbara Walters.

Wallace arrogantly walks off camera. Gale looks at Kincaid.

				GALE
			So, what now?

CUT TO:

INT.  INTEROGATION ROOM - POLICE STATION - NIGHT

A frazzled Roman is seated at a long conference table while Wallace and 
Kincaid grill him with questions.

				DETECTIVE KINCAID
			Mr. Bridger, you didn't tell us you spoke
			with Sarah Darling before she died.

				ROMAN
			That's because I didn't.

				DETECTIVE WALLACE
			The guard said she was there for a meeting with you.

				ROMAN
			What meeting?

				DETECTIVE WALLACE
			We talked to her roommate, too.  Says you called Sarah
			and told her to come down to the studio.  Roommate 
			answered the phone, says it was you.

				ROMAN
			Wait a minute!  I never called her! I never told 
			her to go   anywhere!

				DETECTIVE KINCAID
			Roommate says she knows your voice, Mr. Bridger.  

				ROMAN
			Well, she wasn't speaking with me!  Look, I did 
			not call   Sarah Darling!  

				DETECTIVE KINCAID
			Sarah Darling said you did.

				ROMAN
			Someone is trying to ruin my movie.  
			Someone wants to kill   my movie!

				DETECTIVE WALLACE
			Hey, look at it this way, if anything this'll 
			be something interesting to put on the 
			director's commentary for when the film hits DVD.

				ROMAN
			  (dry laugh)
			 Ha! Too late, studio's shutting down production.
			 Called my film a risk! Do you believe this shit?
			 They're actually shelving my film because there's 
			been one ensie little murder. God, three people died 
			during the filming of The Exorcist.

				DETECTIVE KINCAID
			Well I doubt they were stabbed to death and I 
			strongly doubt the killer of them left messages 
			on the scene for the police to find.

Camera pans through a two-way mirror into . . .

INT.  VIEWING ROOM - POLICE STATION - NIGHT

GALE AND DEWEY stand, gazing through the two-way mirror. Roman can't see them. 
They watch nervously.

				DEWEY
			They found another note?

				GALE
			Uh-huh. Another News clipping. Another one  
			about Sid's mom. Dewey, whether we like it  or 
			not it looks like we're going to have to  go 
			back into our past.

				DEWEY
			You mean OUR past as in Me and Sid.
			This has nothing to do with you Gale.

				GALE
			This has everything to do with me Dewey.
			I was the one who brought the nation's  
			attention to this shit anyway. I'll be  
			damned if I'm gonna sit around and pass  
			on the buck again.

				DEWEY
			Do you really mean it this time Gale?

				GALE
			Yes. Look, let's get something straight  
			Dewey, I got into this shit cause the police  
			came looking for ME. Not cause I'm out to  
			make the SUNRISE STUDIOS SLASHINGS.

				DEWEY
			Why would the police come to you?

				GALE
			Again, I am the author of the definitive book on 
			the Woodsboro murders.!
			  (a beat)
			What about you?

				DEWEY
			What about me?

				GALE
			You said you'd never leave Woodsboro, 'The only 
			place that's real!'  But now you're here.  
			Not with me.  Dewey, I took care of you.  I waited 
			until you were well.  I couldn't stay there, I mean, 
			it's like dog years, one year in Woodsboro is 
			like seven everywhere else.

				DEWEY
			So it's off to London for a week?  New York for a 
			month? L.A Forever?

				GALE
			It was fucking '60 Minutes II'!  I couldn't say no!  I
			could've been the next Diane Sawyer!

				DEWEY
			What's wrong with just being Gale Weathers?  
			I liked her! 

				GALE
			It didn't work Dewey.  We tried,  we're different.

				DEWEY
			You used to say that was our strength.

				GALE
			Dewey, you're not just here because of  
			that second rate K-Mart, straight-to-video 
			version of me, are you? 

				DEWEY
			Brace yourself, Gale, all of this is actually not 
			About you.

				GALE
			All of what Dewey?  You do know something, 
			don't you?

				DEWEY
			Off the record.

				GALE
			Always.

				DEWEY
			Two months ago, the Woodsboro police got a call from a
			woman who said she was with 'Stab 3'.  She wanted to 
			see the file on Sid, for research.

				GALE
			And?

				DEWEY
			The boys said no.  She wouldn't give her name.  
			A month later, the station gets broken into, 
			the file room ransacked.

				GALE
			Someone stole Sid's file?

				DEWEY
			I already removed it.  I think someone on the 
			film was trying to find Sid, and that's the only 
			reason I came here. To make do a little 
			private investigating of my own and make sure no 
			one here was planning anything.

				GALE
			  (whips out cellular)
			I'm sorry, this is too good!

				DEWEY
			What part of 'Off the record' don't you understand?

				GALE
			Right. Sorry.
			  (a beat)
			Do you think he did it?
			  (RE: ROMAN)

				DEWEY
			  (his beeper goes off)
			I've got my suspicions but still, 
			nothing  you say can ever make me take 
			my eyes off one person.

				GALE
			And who is that?

But Dewey doesn't answer. Again, he's staring daggers through Gale.  Years and 
years of bottled up resentment is finally surfacing.

				DEWEY
			Jennifer needs me.

				GALE
			Jennifer?! Wait, where are you going off to?

				DEWEY
			I'm on duty.

Dewey races out the room. Gale pauses, stares at the interrogation. Wallace 
has reduced Roman to tears. It's pathetic. Gale bolts after Dewey.

CUT TO:

EXT.  SAN FERNANDO VALLEY - NIGHT

The wind rushes past the camera. A huge panoramic view of L.A.  FULL MOON 
hangs in the sky. A coyote howls in the near distance.

CUT TO:

EXT.  JENNIFER'S HOUSE - NIGHT

A nice low ranch tucked away in the valley. Dewey rolls up Jennifer's driveway 
in his truck. Gale follows behind in her VW JETTA.

				DEWEY
			  (noticing Gale)
			Stop following me.

				GALE
			I happen to work for the police god dammit!

				DEWEY
			You're not a detective.

				GALE
			Neither are you, Magnum P.I.

				DEWEY
			Gale, your engine's still running.

				GALE
			Fuck!

Dewey shakes his head in disgust, disappears into the house. Gale runs back to 
shut off her car. From out of the bushes lunges --

TOM PRINZE, loaded off his ass, still holding a half-filled bottle of JOHNNY 
WALKER BLACK LABEL SCOTCH in his hand.

				TOM
			Gale Weathers. What a surprise.

				GALE
			Tom Prinze, tanked as usual.
			That's a shocker.

				TOM
			Hey I really liked that piece you did on me
			last month. The one where you said my car
			accident was caused by me drinking and drugs,
			and how I faked the tire blow-out just so my
			insurance wouldn't sky rocket.

				GALE
			Heh, well, that's TV journalism for ya.
			Stage the news to boost ratings.

				TOM
			Really, cause that stunt lost me the
			lead role in Roman Polanski's latest
			picture. Huh, what a coincide I was
			picked up by Roman Bridger. Well,
			not exactly the Roman I wanted. Get
			my point? STAB 3 is bullshit. Fuck,
			because of your big mouth I'm here,
			drinking piss water SCOTCH with Second
			rate fucking celebrities like Jennifer
			Jollie and yourself!
			  (a beat, subtle)
			Hey, I just got an idea. Maybe I should
			Have a look at your break line. That your
			car over there?

Gale pushes Tom's chest. Stopping him.

				GALE
			I think we should go inside. I have to have
			a talk with the cast. ALL OF YOU.

				TOM
			  (laughs)
			You mean what's left of us.
			  (tosses empty bottle aside)
			Yeah I'm running on empty anyways.
			Gotta refuel.

Tom and Gale walk into the house. Something stirs in the bushes.

 CUT TO:

INT.  JENNIFER JOLLIE'S HOUSE - NIGHT

Gale and Tom enter. Jennifer is crying hysterically in Dewey's arms. She sees 
Gale, looks up with anger written all over her gaudy, over rouged face, her 
make-up running in a comical, almost homage to Mimi on the Drew Carey Show.

				JENNIFER
			You! How can I ever get any fame playing you!

				GALE
			Dewey, what the hell is she rambling about now? 
			What's wrong Jen, see yourself on one of those 
			USA NETWORK winners you did and realize how badly 
			you suck at acting?

				JENNIFER
			God damn you Gale Weathers! 
			Don't you see? The killer is choosing  his 
			victims as they die in the script!
			Ben Damon's character was the first one to get offed.
			So was his girlfriend - but she wasn't cast yet so 
			his real girlfriend was killed - then Sarah Darling's 
			Candy, and now me!

				GALE
			Wait a second, whoa! Calm down!
			Number one there were five different 
			versions of the script given out.
			Ben Damon was given a fake script because 
			he was only being offered the role.
			It only had fragments of real scenes from the 
			actual script. And what, I die in STAB 3?

Everyone is silent. Dewey nods his head. Gale rips the script from Jennifer's 
hands.

				GALE
			  (reading script)
			AND I DIE NAKED?!  UGH!
			This is complete bullshit.
			Who wrote this piece of crap?

				JENNIFER
			I know right. It was kinda weak.
			That's cause Will Kennison only wrote 
			a rough treatment of it.
			The script was written by some new guy. 
			He wrote Arlington Street.

				GALE
			Still that was a much better movie,
			I saw it at the premiere last week.
			God, what the hell am I getting sidetracked 
			with this shit for?! We've gotta get down to business.

A teary-eyed Angelina Tyler rises up from the couch, approaches the group.

				ANGELINA
			  (crying)
			What are you talking about?
			Because of this shit I'll probably never 
			act in a Hollywood film again.

Tom throws his arm around Angelina, squeezes her tightly.

				TOM
			Hey good looking, if you play your cards right, 
			I may be able to sit you down on my casting couch 
			and try you out for a few films my  production 
			company is working on.
			  (a beat)
			How do you feel about a DEEP THROAT remake?

Angelina squeals in disgust, elbows Tom, racing out of the house.  Tom groans, 
follows after her.

				TOM
			I'll be right back.

CUT TO:

EXT.   JENNIFER'S HOUSE - NIGHT

Tom walks out into the darkness, looks around. Angelina's nowherein sight.

				TOM
			  (calling out)
			Angelina! Hey! Where the hell are you?
			I was only playing! Hey look, I can really
			get you a bit part! Just come on out! Ok?
			  (pauses)
			Damn it. There goes my chances of getting
			some head from her.

 Tom whips out a joint, pops it in his mouth. He lights it, walks around the 
side of the house. A noise catches his attention.   A low, muffled squealing.

				TOM
			Aaaangelina?

Tom turns to a guest house. The door is half open, darkness  spilling out. Tom 
smirks, steps inside.

   CUT TO:

 INT. GUEST HOUSE - NIGHT

 The entire small interior of the GUEST HOUSE / DEWEY'S LIVING QUARTER'S IS 
BLACKENED BY THE NIGHT. Tom cockily waltzes about, not noticing one of the 
black shadows peeling off the wall.

IT'S THE GHOST!

				TOM
			Angelina?

 Tom stops in his tracks. He looks down. Lying in a pool of blood at his feet 
is ANGELINA TYLER! Tom screams, staggers backwards right into the arms of --

  THE GHOST --

				TOM
			You fucker!

 The GHOST slashes open Tom's arm. Tom screams, backs up into the kitchen. The 
ghost grabs him by the throat, begins choking him mid-air. He slowly begins to 
lift him off his feet, angling the knife, readying to make the kill blow. Tom 
gags. He can't even scream, the killer's crushing his voice-box, causing a  
trickle of blood down his lips.

				TOM
			  (gagging)
			Fucker!

THE GHOST brings the knife down, piercing Tom's heart, pinning him to the 
closet. Tom kicks around for a moment before finally going limp. The GHOST 
steps back, admiring his work.

  CUT TO:

INT.  JENNIFER'S HOUSE - NIGHT

Jennifer, Gale, and Dewey are pacing around nervously.

				JENNIFER
			Shit! Where the hell are Tom and Angelina?

				GALE
			 I don't know. Screw them. Look, what's important 
			is that we stick together.
			 No matter what. If anyone is next it's you or me Jen.

				DEWEY
			What about Sidney?

				JENNIFER
			What about her?

Suddenly, a knock at the door. The three are startled. Dewey looks at the 
front door.

				DEWEY
			Ssh. Maybe it's Tom or Angelina.
			I'll get it.

				JENNIFER
			What if it's the killer?

				GALE
			Oh use your brain drama queen!
			Do the killers ever knock on the fucking door? 
			Ever see Jason do that before burying an axe in 
			some big titted blonde's head? Or maybe Michael or 
			Chucky? Huh?

Jennifer sticks her tongue out at Gale. Dewey reaches into a holster tucked 
away under his jacket, drawing up his 9mm.

				DEWEY
			Don't worry. I'm prepared for anything.

				GALE
			Amen boy scout, now answer the fucking door!

Dewey nods his head, slowly makes his way towards the door. Gale and Jennifer 
huddle together, follow close behind.

				JENNIFER
			Do you smell something?

				DEWEY
			  (smirking)
			It's Gale. She farts when she gets nervous.

Gale makes an angry face, slaps Dewey upside the back of his headplay fully. 
Dewey steps up to the front door. IT'S NOT LOCKED.  He reaches for the knob, 
turns it when suddenly --

THE POWER SIZZLES OUT!

EVERYONE SCREAMS!

				DEWEY
			Alright don't panic! Just a fuse.

Dewey throws open the door. ANGELINA'S CORPSE drops into the doorway. A 
SYMPHONY OF SCREAMS.

				DEWEY
			Hurry! Everyone out the back way! Now!

Dewey, Gale, and Jennifer race for the French doors in the living room leading 
outside to the pool and backyard. A PHONE RINGS somewhere in the house.

				GALE
			Who's phone?

				JENNIFER
			Oh shit it's my cell!

				DEWEY
			Answer it!

Jennifer answers her cellular.

				JENNIFER
			  (into phone)
			Hello?

				VOICE
			Hello Jennifer. Wanna play a little game?

				JENNIFER
			It's him! It's the killer!

 Gale rips the phone out of Jennifer's hands.

				GALE
			  (into phone)
			Listen you sick bastard, what the fuck
			do you want?

				JENNIFER
			What's your favorite scary movie Gale?

				GALE
			I dunno but I can tell you that your's
			will be the home video footage of me
			sticking my foot up your ass! Now come
			out and fight like a real man you pussy!

				GHOST(O.S.)
			I just might!

THE GHOST comes running out of closet, knife swinging wildly. Jennifer 
screams, races for the patio door. The ghost lunges for Gale. Dewey draws up 
his gun, fires.

BLAM! BLAM! BLAM! BLAM! BLAM! BLAM! The GHOST takes six slugs
In the chest.  He goes smashing through a coffee table, motionless. Dewey 
backs into Gale's arms, smoke rising fromthe muzzle of the gun.

				JENNIFER
			God damn it you two! Run! Hurry!
			He's dead!

				GALE
			No! He's not dead! He's still breathing!
			Look!

				DEWEY
			Gale he's dead. Come on. Let's get out
			of here.

Dewey turns Gale towards the patio door. A noise O.S. Dewey pauses, turns 
around --

THE GHOST IS GONE.

Dewey looks to the patio door.

SO IS JENNIFER.

				DEWEY
			OH. OH GOD. GALE --

				GALE
			What?

				DEWEY
			  (screaming)
			GALE BEHIND YOU!

The ghost barrels out from under the couch, knife raised. Dewey winds back, 
kicks a chair out in the Ghost's path. The ghost trips, goes crashing through 
the chair, coming smashing down onto the floor, knife burying into the 
hardwood. Dewey and Gale run for the patio when suddenly --

JENNIFER comes dodging out of the kitchen wielding a butcher knife.

				JENNIFER
			(screaming)
			DIE MOTHER FUCKER!
			DIE! DIE! DIE!

Jennifer slips on something, goes backflipping to the ground. Gale grabs her. 
Helps her up.

				GALE
			Come on!

THE GHOST comes to life, grabbing a lighter off an end table. He lights  a 
trail of gasoline, running from the floor to the kitchen (i.e. the smell 
Jennifer mentioned earlier and what she slipped on seconds ago). A HUGE flame 
trail lunges towards the two women. They scream.

				DEWEY
			OH SHIT! RUN!

CUT TO:

EXT.  BACKYARD - JENNIFER'S HOUSE - NIGHT

Jennifer, Gale, and Dewey take off out the patio doors when suddenly KA-BOOM! 
THE WINDOWS BLOW OUT! THE ROOF SPLINTERS.

A HUGE CONFLAGRATION! The three dive into the swimming pool as debris rains 
down onto the Earth.

THE GHOST --

WATCHES FROM THE SHADOWS, FLAMES BOUNCING OFF HIS PALLID WHITE MASK.

SIRENS ARE HEARD IN THE NEAR DISTANCE.

AS THE GHOST RUNS OFF INTO THE NIGHT, HE DROPS ANOTHER NEWSPAPER CLIPPING ON 
THE GROUND. IT BLOWS IN THE WIND.

 CUT TO:

THE NEWSPAPER CLIPPING - ECU

IT'S FLIPPED OVER BY A PAIR OF HANDS.  SCRAWLED ON BACK IS:"I KILLED HER"
 WE ARE:

INT.  DETECTIVE KINCAID'S OFFICE - DAY

DETECTIVE KINCAID paces around his room. A battered and bruised Dewey and Gale 
sit beside his desk in Police Uniforms (since their old clothes has obviously 
been drenched).

				DETECTIVE KINCAID
			Whoever it is, now is taking credit 
			for Maureen Prescott's murder. 

				GALE
			But we know who killed Maureen Prescott, 
			Billy Loomis and Stu Macher.  I mean, they 
			even told Sidney how they did it!  

				DETECTIVE KINCAID
			Yeah, but, if I'm not mistaken, you said in 
			your book that Sidney got it wrong before.  
			She accused Cotton Weary of murdering her mother, 
			and he was sent away for it!  Maybe there is a 
			third killer.  Sidney Might know something 

Kincaid's eyes appear as if questioning Dewey.

				DEWEY
			I told you, I don't know where Sidney is.  
			And even if there was a third killer, 
			Sidney doesn't know about it.

				DETECTIVE KINCAID
			That is for me to decide.  I need to talk to her Mr. Riley,
			she is a key element in this case.  I have a press 
conference 
			in an hour, and I need to explain why there are four dead 
			celebrities.

				GALE
			Four? There are five.

				DETECTIVE KINCAID
			Ben Damon. Christine Perkins. Sarah Darling.
			Tom Prinze. That's four, last time I learned 
			how to count.

				DEWEY
			What about Angelina Tyler? She was there too.

				DETECTIVE KINCAID
			Police are still searching through the debris.
			Could be days before we find her . . . that is,
			if she's even there.

Kincaid seems to be getting a morbid charge out of all of this. He smirks ever 
so nefariously at Dewey.

				GALE
			OK, look.  We all know that this has something to 
			do with 'Stab 3'.  What we do not know is why the 
			killer keeps leaving articles about Maureen Prescott.

				DETECTIVE KINCAID
			Actually, there was more this time.
			This time, we found a picture too.

				DEWEY/GALE
			  (together)
			What?

Kincaid holds up a second ziplocked evidence bag. Within is a blurry 5x4 of 
MAUREEN PRESCOTT exiting a motel room with COTTON WEARY. Kincaid turns it 
over. Also, written on it's back is 'I KILLED HER'

				DETECTIVE KINCAID
			Before you jump to conclusions, the man in 
			the picture, COTTON WEARY, is out of the country 
			on business. His alibi checks out. Seems he's
			got a TV show in Australia, 100% COTTON. It's
			supposedly the biggest thing down under since
			Yahoo Serious, but that's besides the point.

				DEWEY
			What does this have to do with Sid?

				DETECTIVE KINCAID
			Who knows more about Maureen Prescott than her
			own daughter?

				DEWEY
			Well Sid's dad couldn't help you and he 
			was married to Maureen.

				DETECTIVE WALLACE
			   (chiming in)
			What's your problem?  Last night you were almost 
			charcoal.  You gonna help us or what?

				DETECTIVE KINCAID
			Do you wanna have this conversation with a polygraph?

				DEWEY
			Is that a threat, Detective?

				DETECTIVE KINCAID
			When it's a threat, you'll know it.

				DEWEY
			  (a beat)
			Is that a threat?

				GALE
			Boys, boys, why don't we compare our gun calibers 
			later?  The issue is Maureen Prescott!

				DETECTIVE KINCAID
			Wrong, this issue is Sidney Prescott!  And either 
			Mr. Riley is going to obstruct justice or is going 
			to put me in touch with her.  So, where is she?

CUT TO:

INT. HALLWAY - POLICE STATION - DAY

Dewey is on his cell phone.

				SIDNEY'S ANSWERING MACHINE(O.S.)
			  (off phone)
			Hi, you've reached the machine. Leave a message, 
			talk as long as you'd like.

				DEWEY
			Sid it's me, this is the sixth time I've called.
			  (Sid turns the corner, is ushered down the hall by a cop)
			Please pick up, I wanna make sure you're Okay.
			  (Dewey notices Sidney approaching him)
			Sid!

				SIDNEY
			DEWEY!

The two run into each other's arms, embrace tightly.

				DEWEY
			What are you doing here? I told you to
			stay hidden! It's not safe for you up here.

				SIDNEY
			Well it's not safe for me up there either.
			The killer found me Dewey. He called me
			last night.

				DEWEY
			What?

				SIDNEY
			I figured I'd be safe If I was at least up
			here with the people I care about.
			   (a beat)
			Now where's this Kincaid guy the news is
			talking about? I found this place from a
			FOX 5 TV NEWS REPORT. Heh.

				DEWEY
			Follow me.

Dewey walks Sid into Kincaid's office.

INT.  DETECTIVE KINCAID'S OFFICE - DAY

				DEWEY
			Detective Kincaid?

				DETECTIVE KINCAID
			What Rielly?

				DEWEY
			There's someone here who wants to help.

				GALE
			Oh my God! Sidney, you ran fast or what?  Hey.

				SIDNEY 
			Hi, Gale. I'm glad you're all right.

For a change, instead of an exchange of fists, the two share a warm hug.

				GALE
			Thank you.

				DEWEY
			Sid, this is detective Kincaid.  

				DETECTIVE KINCAID
			Nice to finally meet you, Sidney. 

				DEWEY
			The killer called her.  

				DETECTIVE KINCAID
			What?  When?

				GALE
			What'd he say?

				SIDNEY
			Oh, you know, the usual small talk, 
			"What's new, how ya been, how do you want 
			to die?"  

				DEWEY
			Sidney, do you have any idea how he could've 
			gotten your number?

				DETECTIVE KINCAID
			He could've monitored the calls on a scanner.  
			Did you call her from the set?  

				DEWEY
			No.

				GALE
			Do you have her number stored in your memory?
			  (Dewey thinks)
			Phone memory!

				DEWEY
			Oh.  Yeah, I guess I do.

				GALE
			Has anyone else every used your phone?

				DEWEY
			Just Jennifer.  
			   (To Kincaid_) 
			And you.  

				DETECTIVE KINCAID
			Hey, I'm the cop here.  You're in my office, Riley.

Sidney notices the clippings and the photograph of Maureen.

				DETECTIVE KINCAID
			The killer leaves a newspaper clipping at each
			murder, Sidney. Recently he's also left a photo
			of your mother. 

				SIDNEY
			Why didn't you tell me?  This is my mother, Dewey.  
			Why didn't you say something?

				DEWEY
			I was afraid they were bait, something to, 
			ya know,  trick you out of hiding.  

				SIDNEY
			Listen, Detective, I wanna see this studio
			where all this shit's going down.

				DETECTIVE KINCAID
			Are you sure?

				SIDNEY
			Absolutely.

CUT TO:

EXT.  SUNRISE STUDIOS BACK LOT - DAY

Kincaid and Dewey's cars drive through the lot. They drive over towards a row 
of trailers, park.

KINCAID disappears to do something else while GALE, DEWEY, and Sidney get out 
of Dewey's truck.

				DEWEY
			Alright Sid, over there is the STAB 3
			Production offices. That's where Sarah
			Darling was murdered last night.

				SIDNEY
			Mm, what a waste of Silicone.
			  (a beat)
			What does my mother have to do with this 
			all Dewey? We're a long way from Woodsboro.

A figure lunges out of nowhere, startling all three of them. It's a young, 
scrawny goth girl in  heavy make-up.

This is KAREN COLCHECK, 22. She holds something in her hand, a video tape 
marked SCARY MOVIES 101.

				SIDNEY
			Oh my God Karen you scared the shit out of me!
			What are you doing here?

				GALE
			Who's this.

				DEWEY
			Karen Colcheck. From Woodsboro.

				SIDNEY
			She was Randy's only girlfriend . . . ever.

				KAREN
			  (smiling)
			That's me. First and Last. 

Sidney hugs Karen. So does Dewey.

				SIDNEY
			It's been a while? You still working 
			at Bradley's?

				KAREN
			Nope. They opened up a Hollywood Video 
			down the street. It pays better.
			Anyway, I'm here because I heard on the
			news about the murders and well, I found
			this while rooting through Randy's things.

Karen holds up the video.

 CUT TO:

CLOSE-UP VIDEO MONITER.

SCREEN FLICKERS TO LIFE REVEALING THE FACE OF --

RANDY MEEKS, DEARLY DEPARTED VIDEO GEEK FROM SCREAM 1 and 2

				RANDY
			Told you I'd make a movie someday, huh?

 WE ARE:

INT. TRAILER - STUDIO LOT - DAY

Sidney, Gale, Karen, and Dewey are gathered around the inside of the small, 
cramped trailer watching the tape. 

				SIDNEY
			 Oh MY god.

				RANDY
			Well, if you're watching this tape, it means 
			as I feared, I did not survive these killings 
			here at Windsor College.   Anyway, the reason 
			I am here is to help you, so that my death 
			will not be in vain.  That my life's work, will 
			help save some other poor soul from getting mutilated.  
			If this killer does come back, and he's for real, 
			there are a few things that you gotta remember.  
			Is this simply another sequel?  Well, if it is, same 
			rules apply.  But, here's the critical thing.  If you 
			find yourself dealing with an unexpected backstory, 
			and a preponderance of exposition,  then the sequel 
			rules do not apply.  Because you are not dealing 
			with a sequel, you are dealing with the concluding 
			chapter of a trilogy.

				DEWEY
			A trilogy?

				RANDY
			That's right.  It's a rarity in the horror field, 
			but it does exist, and it's a force to be reckoned 
			with, because true trilogies are all about going back 
			to the beginning and discovering something that wasn't 
			true from the get go.  'Godfather', 'Jedi', all revealed 
			something that we thought was true, that wasn't true.   So 
			if it is a trilogy you are dealing with, here are some 
			super trilogy rules.   One, you got a killer who's gonna be 
			super human.  Stabbing him won't work, shooting him 
			won't work, basically in the third one, you gotta 
			cryogenically freeze his head, decapitate him, or blow him 
			up.   Number two; anyone including the main character can 
			die.  This means you, Sid.  I'm sorry, it's the final 
			chapter.  It can be fuckin  'Reservoir Dogs' by the 
			time this thing is through.  Number three; the past 
			will come back to bite you in the ass!  Whatever you 
			think you know about the past, forget it.  The past is 
			not at rest, any sins you think were committed in 
			the past are about to break out and destroy you. NUMBER 
			FOUR,Never, ever under any circumstances go running off 
			by yourself, cause if Friday the 13th has taught us 
			anything, it's that the next time we're gonna see you, 
			you're gonna have a fence post jutting out from your 
			back. So in closing, let me say good luck, God Speed, 
			and for some of you, I'll see you soon, cause the rules 
			say, some of you ain't gonna make it.  I didn't, not 
			if you're watching this tape. 

CUT TO:

EXT.  SUNRISE STUDIO BACK LOT - DAY

Sidney and Karen are hugging.

				SIDNEY
			Thanks Karen. You be careful.

				KAREN
			Don't worry Sid. I got tickets to see
			Family Feud. I did have a somewhat ulterior
			motive for driving all the way down here.

Karen smiles. She hugs Sidney one more time, scampers away. 

				GALE
			I've got an idea, I'll hook up with you guys 
			later.  

				DEWEY
			Do you want us to come with you?

				GALE
			I work better alone.  Why don't you do some snooping
			around the set?

Gale runs off.

				SIDNEY
			I can see nothing's changed.  

				DEWEY
			No.

CUT TO:

EXT.  SUNRISE STUDIO FILM ARCHIVES - DAY

Gale's banging on the door trying to gain access. Nobody home. Gale notices 
the card lock and the sign reading  'AUTHORIZED PERSONAL ONLY'. Gale smiles. 
Since when has this ever stopped her before. She reaches into her pocket book, 
pulling out a couple of credit cards, a video store card, etc. She tries them 
in the lock. NOTHING.

A hand reaches down, grabs Gale from behind. She lets outa blood curdling 
scream. It's only JENNIFER.

				JENNIFER
			Geez.

				GALE
			What the hell are you doing?

				JENNIFER
			Being Gale Weathers.  What the hell are you doing?

				GALE
			I am Gale Weathers!

				JENNIFER
			Here's how I see it.  I've got no house, no movie, 
			no gun, and I'm being stalked.  Because someone wants 
			to kill me?  No, because someone wants to kill you.  
			So now, starting now, I go where you go.  That way, 
			if someone wants to kill me, I'll be with you, and 
			since they really want to kill you, they won't 
			kill me, they'll kill you.  Make sense? 

				GALE
			None.

				JENNIFER
			You know in the movies, I play you as being much smarter.

				GALE
			And as a sane person.  For you that must be quite a stretch.

				JENNIFER
			That's funny.

				GALE
			Ha. Maybe I should join SNL.

				JENNIFER
			Need to get in that building?

				GALE
			  (sarcastically)
			No really?

				JENNIFER
			There a story in that building?

				GALE
			Possibly.

				JENNIFER
			  (flashing a Sunrise Studios Key Card)
			Gale Weathers would find a way. 
			  (she swipes and opens the door)

Jennifer opens the door, steps in first. Gale follows, door closing ominously 
behind them with a loud CLACK.

CUT TO:

INT.  BASEMENT HALLWAY - ARCHIVES - DAY

Gale leads the way down the dark hall.

				JENNIFER
			Basements creep me out.

				GALE
			Really, you know you'd make a fascinating
			interview. Lifestyles of the Rich and Psychotic.

				JENNIFER
			Look who's talking Moneybags. You got more
			homes than I do.

				GALE
			  (smiling)
			Oh I wish I got that one on tape.
			It'd put a smile on my face everytime
			I'm down.

				JENNIFER
			  (underbreath)
			Bitch.

The two turn the corner, stepping into -

INT.  CLERICAL AREA - ARCHIVES - DAY

BIANCA BERNADETTE, an aging, former actress in her late forties, early 
fifties, sits behind a desk doing paperwork.

Sensing someone else's presence she stops what she is doing and looks up at 
Gale and Jennifer.

				BIANCA
			Can I help you?

				GALE
			I'm Gale Weathers, author of the Woodsboro 
			and Windsor College murders, and anchorwoman 
			for TOTAL ENTERTAINMENT. Maybe you've heard of me?

Bianca shakes her head "no".

				BIANCA
			I don't watch TV and I hate books.
			Whatta you need?

				GALE
			Does the name Maureen Prescott sound familiar to you?

				BIANCA
			Nope.

				GALE
			  (groans)
			Well can you tell me if the woman in this 
			picture looks familiar to you.

Gale reaches into her pocket, slams down the picture of Sid's mom on Bianca's 
desk. Bianca looks up, totally unenthused.

				BIANCA
			Listen, I'm busy. Nobody has access to those 
			files except studio execs. Can you please go away now?

				GALE
			Well if you won't work for me, will you work 
			for the president?

Gale slaps a twenty dollar bill on the desk. Bianca looks up, a bit insulted, 
slides the money back.

				BIANCA
			The president . . . of the studio.

				JENNIFER
			Twenty dollars? Who are you Nancy Drew?

Jennifer turns to Bianca, slides off her ring. She slams the ring onto the 
desk. It's absolutely stunning.

				JENNIFER
			Go ahead. It's worth three grand easy.
			  (to Gale)
			My Gale Weather's will stop at nothing to get the story.

How can Bianca resist. She smiles, takes the ring, slips it on her finger.

				BIANCA
			Follow me.

Gale reaches for her Twenty. Bianca slaps her hand, takes it, folding it up, 
sliding it between her cleavage.

 CUT TO:

INT. FILE ROOM - ARCHIVES - DAY

				BIANCA
			  (staring at picture, flipping through file cabinet)
			I know every face in here, respect for the unknown
			actor I suppose, myself included. If you're looking
			for Maureen Prescott --

				GALE
			  (interrupting)
			 It may be Maureen Reynolds --

				BIANCA
			Well you'll find neither.
			Rina Reynolds, however,
			You will.

				JENNIFER
			  (smiling)
			Rina Reynolds. What a stage name.

				BIANCA
			You should talk, Judy Jurgenstein.

Gale takes the folder from Bianca, opens it up. Inside are 8x10 headshots of 
MAUREEN PRESCOTT when she was younger. Behind the pictures is a Xeroxed 
listing of the films she's starred in.

				 GALE
			What are these movies? 'Amazombies',
			'Space Psychos' 'Creatures from theSan Andreas Fault'?

				BIANCA
			Horror flicks. B-Movies from Milton's heyday.

				GALE/JENNIFER
			  (together)
			What?

				BIANCA
			You know, JOHN MILTON, the horror producer?
			Those were some of his early flicks.

 CUT TO:

EXT. SOUNDSTAGE - SUNRISE STUDIOS - DAY

Sidney stands beside Dewey and Detective Wallace.

				SIDNEY
			Listen Dewey I have to go to the bathroom.

				DEWEY
			Do you want me to come with you Sid?
			I mean, remember what Randy said?

				SIDNEY
			No I'll be ok. I've got my mace.
			My knife.
			  (smiles, raises up her fists)
			These two lethal weapons.

				DETECTIVE WALLACE
			Sure you don't need a police escort?
			That's what we're here for.

				SIDNEY
			No really, I'll be fine.

Dewey and Wallace nod. Sid begins to walk towards the soundstage.

				SIDNEY
			I'll be right back.

 CUT TO:

INT.  LADIES ROOM - SOUNDSTAGE BUILDING - DAY

Sidney stands at the sink washing her face. She shuts off the water reaches 
for a paper towel when suddenly, something catches her ear. Almost as if a 
man's whisperedher name 'Siiiiiddney'. Sid turns around, stares at the empty 
bathroom.

				SIDNEY
			H-hello? Anyone there?

Silence. Sid reaches into her pocket book, draws out a Gravity Knife. She 
flips open the blade, crouches down on her knees, scanning the row of stalls 
for feet.
What a relief . . . none. Sid smiles, dismisses what she thought she heard 
when she sees --

THE RUMBLING AIR CONDITIONING UNIT.

Sidney goes back to drying her face when suddenly --

				MAN(O.S.)
			  (whisper)
			Sidney.

This time it's apparent. There's somebody else in the bathroom. Sid begins to 
make her way towards the bathroom door when suddenly --

WHAM! A STALL door flies open. THE GHOST charging out at full-force. Sid hits 
the deck, sliding across the floor, deflecting the blow from the knife as the 
killer buries it into the sink counter. Sid races for the door, killer hot on 
her trail. SUDDENLY --

WHAM! The storage closet door flies open and a second GHOST comes charging 
out, knife gleaming. He dives for Sid. Sid takes up her knife, buries it in 
her attacker's shoulder. The GHOST goes reeling back into the closet. Sidney 
slams the door closed on him. She dives for the door knob when suddenly, the 
first ghost comes running back at her. She ducks as he swings his knife, 
burying it into the bathroom door. Sid bolts across the bathroom towards a 
tiny window in the far corner of the ceiling. Using the trash as a booster, 
she leaps up, slides open the window, and dives out, just as the deadly pair 
of attackers come back for more.

CUT TO:

EXT.  STUDIO LOT - DAY

Sidney comes charging around the corner of the soundstage building. She looks 
up, realizing she's just ran herself into a dead end.

				SIDNEY
			  (crying)
			Shit.

BAM! An exit door flies open. The GHOST comes charging out. Sidney screams, 
runs for a wooden fence. She begins to scale it, dropping over on the other 
side just as the killer pierces through it with his knife. Sid takes off 
running for WALLACE and DEWEY.

WALLACE AND DEWEY,

HEARING THE SCREAMS, spin around, drawing out their guns.  Wallace looks at 
Dewey.

				DEWEY
			  (re:gun)
			Don't worry, I've got a permit for it.

				SIDNEY
			  (hysterical)
			Jesus Christ Dewey help me!
			They tried to kill me in the bathroom!
			The killers!

				DETECTIVE WALLACE
			Wait a second? Killers? There's two
			of them now? Aw shit!

Wallace whips out his cellular, dials a number. Sidney falls into Dewey's 
arms, collapsing like a house of cards, crying hysterically.

				DETECTIVE WALLACE
			  (into phone)
			Yeah this is Wallace. We got a problem   down 
			here on the Sunrise Studios lot.
			No not another one. At least not yet.
			Yeah we've had an attack.
			  (to Sid)
			Do you need medical assistance?
			  (Sid nods her head 'no')
			No. Oh really. Alright, see you in a minute.

 Wallace closes up his phone.

				DEWEY
			What?

				DETECTIVE WALLACE
			Well I got some good news in a way.
			Roman Bridger didn't make those calls
			To Sarah Darling. Police let him go.
			Here's the bad news: The cellular was
			cloned, it's untraceable. We now have
			no suspects.

				GALE(O.S.)
			Dew!

Dewey and Sidney turn around to see an excited Jennifer   and Gale race into 
frame.

				GALE
			Sidney, what happened?

				DEWEY
			Nevermind, what'd you two find?

				GALE
			We did some researching in the archives.
			Sid, something dawned on me when I wrote the
			book on your mother's murder. For two years
			of her life, 1969 up until 1971 she basically
			disappeared off the face of the Earth.

				SIDNEY
			What are you talking about?

				JENNIFER
			We've found out where she went.

				GALE
			She was an actress Sidney. Minor
			B-Movies. But now we have a new
			suspect in this twisted fucking
			web . . . John Milton.

				DETECTIVE WALLACE
			The head of the studio?

				GALE
			It makes sense doesn't it? It's his
			big grandiose swan song from the genre.
			What a better way to end than with a bloodbath?

				JENNIFER
			Sidney, what happened?

				SIDNEY
			I was attacked in the bathroom.

				DEWEY
			Wallace, shouldn't you be investigating
			the bathroom?

				DETECTIVE WALLACE
			  (looks at building)
			I'm waiting for back-up.
			I don't carry bullets in my
			gun unless I know I'm gonna use em.

 Dewey nods suspiciously.  Kincaid comes rushing into  frame.

				DETECTIVE KINCAID
			Jesus Christ Sidney, what happened?
			I got a call on my cell from home.
			They told me that someone was attacked.

				DEWEY
			And what made you think it was Sidney?

				DETECTIVE KINCAID
			  (glaring)
			Sid, get in my car. You're coming   
			back to the station with me where it's   
			safe.

				GALE
			Dewey, Jennifer, I think we should pay     
			John Milton a little visit.

				DEWEY/JENNIFER
			  (together)
			Agreed.

  CUT TO:

INT.  JOHN MILTON'S OFFICE - DAY

Milton's on the phone with Roman.

				MILTON
			  (into phone)
			Roman I know you're upset. But there will
			be other movies. I know. Ah, VARIETY called
			you a Pariah? Well fuck them. I got a great
			script on my desk. It's called TRAGIC
			 MENAGE TRIOS and it was written by
			John Sayles. I'm thinking you for Director.
			What?
			  (knock at the door)
			Come in.
			  (into phone) 
			No, not to you Roman.
			Look I'll talk to you later. Bye.

Milton hangs up as Gale, Jennifer, and Dewey barge intohis office.

				DEWEY
			So you knew Sidney Prescott's mother.

			MILTON
			Just what the hell do you people think
			you're doing, barging in here like this?
			I've got important calls to make. I run
			this studio.

				GALE
			Answer the question. You knew Sidney's mom?

				MILTON
			Who?

				JENNIFER
			Rina Reynolds.

				MILTON
			Do you know how many actors have worked
			for me? Hundreds, thousands. 

				GALE
			Nobody said she was an actor.

				JENNIFER
			Good twist.
 
				MILTON 
			What's your point?

				DEWEY
			No point, I'm just gonna give Detective Kincaid a call.

				MILTON
			I remember her!  She was a bit player in a couple 
			of my movies. A nobody! So what does it matter?

				JENNIFER
			Oh, Come on!  You have made millions off the story 
			of her murder.  You're obsessed with HER and 
			you're obsessed with her DAUGHTER!  

				GALE
			Settle down Beavis.
			  (to Milton)
			Why don't you tell us the truth?

				MILTON
			What the hell are you guys getting at?  I make horror 
			films, that's what I do.  The Studio came to me 
			with 'Stab'.  They came to me, check it out.  

				DEWEY
			But you know who she was.

				MILTON
			When we did the first 'Stab" I realized I'd 
			known Maureen Prescott before, I mean as Rina.  
			I couldn't tell anyone.  Can you imagine the press?  

				GALE
			And now? I mean, murders on your set and 
			still you say nothing?

				MILTON
			Get real, that would make me a suspect!

				GALE
			Just because you knew her?

				MILTON
			Yeah.

				GALE
			I don't think so!  Just what happened to 
			Maureen when she was in Hollywood?

				MILTON
			Now you listen to me, Lois Lane, let it go.  
			It's dead and buried. Daddy took ol' Yeller 
			out behind the barn and shot him in the head a 
			long time ago.

				GALE
			Well how would you like his rotten carcass dug
			up and drug all over National TV? Why don't
			you start talking.

				MILTON
			It was in the 70's, everything was different.  
			I was well known for my parties, Rina knew what they were.  
			It was for girls like her to meet men, men who could get 
			them parts, if they made the right impression.  Nothing 
			happened to her that she didn't invite, in one way or 
			another, no matter what she said afterwards.

				GALE
			Are you saying she was-

				MILTON
			I'm saying things got out of hand.  Maybe they 
			did take advantage of her!.  Maybe the sad truth 
			is, this is not the city for innocence.  No charges 
			were brought.  And the bottom line is, Rina Reynolds 
			wouldn't play by the rules.  You wanna get ahead in 
			Hollywood, you gotta play the game, or go home. 

CUT TO:

INT.   DETECTIVE KINCAID'S OFFICE - DAY

Kincaid stands at his desk trying to put the pieces of this puzzle together. 
Sidney's seated beside him, staring at a stack of books on 'SCRIPT WRITING and 
SELLING YOUR WORK IN HOLLYWOOD'.

				SIDNEY
			What do you know about trilogies?  

				DETECTIVE KINCAID
			You mean like, movie trilogies?

				SIDNEY
			You seem to like movies, Detective.

				DETECTIVE KINCAID
			Call me Mark, would you?  Cause I'm gonna keep 
			calling you Sidney.

				SIDNEY
			I'll call you Mark when you catch the killer, 
			Detective.

				DETECTIVE KINCAID
			All I know about movie trilogies is in the third one, 
			all bets are off.

				SIDNEY
			  (noticing a huge file on her)
			Did you request this case?

				DETECTIVE KINCAID
			No, they tend to put me on the ones that deal 
			with the business.  I grew up here, and I know my 
			way around the studios.  

				SIDNEY
			Must be exciting, Beautiful place, beautiful people.

				DETECTIVE KINCAID
			To me Hollywood is about death.

				SIDNEY
			Excuse me?

				DETECTIVE KINCAID
			I'm a homicide detective, remember?  When you   
			see what I see day in and day out, the violence that 
			people do to each other, you get haunted.  
			I think you know about that.  

				SIDNEY
			What do you mean?

				DETECTIVE KINCAID
			I know what it's like to see ghosts that don't  
			Go away.  To be watching a scary movie in your head,  
			whether you want to or not,  watching it alone. 

				SIDNEY
			Ghosts are tough,  you can't shoot ghosts.

				DETECTIVE KINCAID
			Can't arrest ghosts.  But the best way to stop 
			being haunted is to be with people.  You're here, 
			you're not hiding, you've done the right thing, 
			Miss Prescott.

				SIDNEY
			Hmm.

				DETECTIVE KINCAID
			What did you know about your mother?

				SIDNEY
			I used to think I had the perfect mom, perfect 
			family.  Till I found out I was wrong.  She had a 
			secret life, and I tried to understand that, and 
			soon as I thought I had, more secrets.  I don't' 
			know who my mom was.
			  (a beat)
				Sometimes I feel like I'm just learning about my 
			mother for the first time. You know, with TV and 
			those movies and what not. God sometimes I feel 
			like I'm just learning about myself for the first 
			time. Like I'm watching my life instead of living in it.

				DETECTIVE KINCAID
			  (a long beat)
			Here's the deal, I'm off to search the soundstage. 
			That's good news.

				SIDNEY
			How is that good news?

				DETECTIVE KINCAID
			Because, that means that we're dealing with an ordinary, 
			flesh and blood killer.  And I know how to handle 
			guys like that.

				SIDNEY
			Oh yeah, how?  

				DETECTIVE KINCAID
			Catch him, or kill him. 

Kincaid readies himself to leave. He snags up his holstered gun, his car keys, 
jacket, etc.

				SIDNEY
			Hey Detective?  What's your favorite scary movie?

Detective Kincaid pauses, he leans over Sidney's chair, his penetrating eyes 
glaring right into hers.

				DETECTIVE KINCAID
			  (sotto)
			My life.

Kincaid exits, door slamming shut behind him. A beat, then --

				SIDNEY
			Mine too.

CUT TO:

 INT.  RECEPTION AREA - MILTON'S OFFICE - SUNSET

Milton steps out of his office into his reception area.  Secretary's gone for 
the night. Milton starts out of the office, disappears. 

CLOSE ON A COAT CLOSET.

The door creaks open. Gale, Jennifer, and Dewey emerge from the darkness. 
Jennifer is gagging.

				JENNIFER
			Oh God Gale, Dewey was right.
			Stop getting so nervous and you
			might stop causing me to gag!

				DEWEY/GALE
			  (together)
			SHUT UP!

Jennifer's quiet.

				JENNIFER
			I think Milton's the killer.
			I think he just went out to kill another cast member.

				 GALE
			Milton's not a killer. He's a pervert.
			 He probably went out to buy more KY JELLY for his jack
			-off parties he has with his two best friends.

				JENNIFER
			 Rob Reiner and Quentin Tarentino?

				GALE
			  (smacks her forehead out of frustration)
			Do you get any of my witty humor?
			I mean, you did play me for three movies.
			  (a beat)
			His two hands, dingus.

				DEWEY
			Ssh ladies.

Dewey leans into Milton's office door, slowly opens it. Darkness spills out. 
The three disappear inside it.

CUT TO:

INT.  HALLWAY - BUILDING - NIGHT

Milton's walking down the hallway. It's dark. Desolate. CAMERA tracks along 
the paisley velvet carpet as a phone rings O.S.

IT'S MILTON'S CELL. He answers it, pushes the elevator 'up' button anxiously.

				MILTON
			  (into phone)
			John Milton.

				VOICE
			Wanna play a game?

				MILTON
			Who is this?

				VOICE
			You tell me. You bankrolled three  movies about me.

				MILTON
			 It's you. The saboteur whose been fucking up my movie!
			  (a beat)
			 I swear to God if you don't stop I'll find you and 
			have you killed! I shut down production on that piece of 
			shit STAB 3! We had a no talent director and the 
			lousiest Sidney Prescott on the planet but that was 
			besides the point! You still killed MY movie! A John 
			Milton film! And if you ever try and cross me again you'll
			be sorry. My next movie is gonna be a grandiose step up 
			from this slasher shit! It's a film written and directed 
			by John Sayles.

Milton's going rapid fire.

				VOICE
			Oh poor John. There's not gonna be another film. 
			Well, at least not for you.

THE ELEVATOR DOOR OPENS with a ping. A flash of silver and in an instant, 
John's throat is slashed open, spilling blood. His corpse thuds to the ground. 
A pair of gloved hands drag him into the elevator. A moments pause and then--

THE GHOST storms out, disappearing down the hall.

THE ELEVATOR DOORS CLOSE ON MILTON'S CORPSE.

 CUT TO:

INT.  MILTON'S OFFICE - NIGHT

Gale's trying to get a locked drawer on Milton's desk open. It won't budge. 
Dewey steps into frame, flashlight in hand. He shines the light down on the 
lock.

				DEWEY
			Hold on Gale, I'm a pro at this.

Dewey leans in, bumping his head with Gale's.

				GALE
			Oh Dewey I'm sorry.

The two look at each other and smile. Dewey laughs sweetly. Gale reaches up, 
rubs his head.

				GALE
			Here. Let me --

JENNIFER, chimes in. Clearly annoyed.

				JENNIFER
			Excuse me Gale! What the hell   
			do you think you're doing?

Gale and Dewey can't help gazing into each other's eyes. In an instant it 
almost seems as if a long lost love has been sparked back to life.

				DEWEY
			  (shaking it off)
			Let's get this drawer open.
			If it's locked, there must be something  
			inside he's trying to hide.

Dewey takes the butt of the flashlight, brings it down  hard on the locked 
drawer. The lock's smashed off.

				GALE
			Shit. That's gonna leave a mark.

Gale slides open the drawer, reaches in. She pulls up a manilla folder. Dewey 
shines the light on the folder as Gale opens it up and reads what's inside.

				JENNIFER
			What? What'd you find?

Gale's eyes widen.

				GALE
			Paternity test results. Christ Dewey, you're never 
			going to believe who Milton's kid is. 

				DEWEY
			Who is it?

				JENNIFER
			  (nervously)
			Guys! I got a bad feeling.

				DEWEY/GALE
			  (angrily, together)
			NOT NOW!

				JENNIFER
			Guys there's someone else in the fucking room!

				DEWEY
			Huh?

Dewey and Gale look up and scream as --

THE GHOST rushes out of the shadows. Jennifer bolts for the door. The GHOST 
jams his knife in her back. She lets out a blood curdling death scream, drops 
to the floor motionless. GALE and DEWEY share a terrified scream. The killer 
wipes his blade clean, lunges for them.

				DEWEY
			  (frantic)
			Gale run!

Dewey jumps in the killer's path. The killer winds back, cracks the base of 
the knife across Dewey's skull. Dewey drops to the floor unmoving.

				GALE
			  (screaming)
			Dewey!

CLANG! The Killer's blade glistens in the moonlight. He charges for Gale. Gale 
screams, races out of the office door, slamming it closed on the killer 
sending him flying onto his back.

  CUT TO:

INT.  HALLWAY - OFFICES - NIGHT

Gale races down the hallway, frantically trying every door she passes. All of 
them locked. She reaches the elevator, hits the "down" button.  The door opens 
with a ping. Gale unleashes a horrendous scream --

MILTON --

--has been strung up from the ceiling ventilation duct, gutted from knob to 
gullet. His entrails lie in steaming heaps at his feet. 

GALE staggers away from the elevator, speechless. She screams again.

HER GHOSTLY ATTACKER is coming straight for her.

GALE fakes out the killer, dives into the elevator. He runs ahead, briefly, 
giving Gale enough time to trip him sending him landing flat on his face. Gale 
races out of the elevator doubles back down the hallway towards a door marked 
"stairs". She bolts through the door. 

 CUT TO:

INT.  STAIRWELL - OFFICES - NIGHT

Gale races down the stairs, nearly tripping and falling. She races out onto 
the ground floor.

 CUT TO:

EXT.  SUNRISE STUDIO LOT - NIGHT

Gale races out of the office building. A car horn blares. She screams.

KINCAID jams on his breaks, gets out his car. He draws up his gun.

				DETECTIVE KINCAID
			Jesus Gale what happened?

				GALE
			  (frantic)
			He killed Milton! The killer's  inside there! Oh God!
			  (realizing)
			DEWEY! Dewey's in there too!
			He needs medical help!
			He's hurt!

				DETECTIVE KINCAID
			Alright, calm down. I'm going  
			to radio in for backup right now.

				VOICE(O.S.)
			Not so fast. We're not finished.

Kincaid spins around. Gale screams. The GHOST comes charging out of nowhere, 
slashes open Kincaid's throat, stabs him in the chest. Kincaid drops onto the 
hood of his car, dead.

GALE pauses. She's screaming hysterically. The killer raises the knife 
menacingly.

				VOICE
			I wouldn't run if I were you Gale.
			It's only gonna end up with you getting
			Skewered like a fucking pig. I need you.

				GALE
			  (nervously)
			Awfully late time to be doing an interview.

				VOICE
			I need you as bait. For Sidney.

Gale closes her eyes, cries as the killer stalks towards her.

  CUT TO:

INT.  DETECTIVE KINCAID'S OFFICE - NIGHT

Sidney sits in Kincaid's office flipping through the folder marked 'SIDNEY 
PRESCOTT' It's loaded with newspaper articles and police reports and is 
basically a scrapbook of obsession. Sidney smirks. Kincaid has drawn little 
magic marker hearts around a picture of her. She's awakened from her daydream. 
The phone rings. Sid answers it.  

				SIDNEY
			  (into phone)
			Hello?

				SIDNEY'S VOICE(O.S.)
			  (off phone)
			Hello?

				SIDNEY
			Who is this?

				PHONE SIDNEY(O.S.)
			Who is this?

				SIDNEY
			Um wh-who's calling?

				PHONE SIDNEY(O.S.)
			Um wh-who's calling?

				SIDNEY
			Gale, Dewey, whoever, um, call me back, 
			I can only hear myself.

				VOICE
			  { a click }  
			I only her you too, Sidney. 

				SIDNEY
			Who is this?

				VOICE
			The question isn't who I am.  The question is, 
			who's with me. 

				GALE
			  (screaming)
			Sidney, stay away!

Sid's face floods with fear. She rushes towards the office door when suddenly, 
the voice draws her back, angrily and cautioning.

				VOICE
			Don't do it!  If you do one thing to attract 
			attention, one thing, I'll kill them both.   
			Now, do you have somewhere we can be alone?

				SIDNEY
			Yes.

				VOICE
			Go there.

Sidney stands up, goes into an inner office, Wallace's.

				VOICE
			Always hard being friends with you, Sidney.  
			When you're friends with Sidney, you die!  
			Well these friends don't have to, Sidney.  
			It's up to you.  

				SIDNEY
			How do I know their voices are --

				VOICE
			Are real?  How do you know you're not hearing things?  
			How do you know I'm not someone in your head?  
			Somewhere, you know.  

				DEWEY
			  (frantic)
			Don't come here Sidney!  

We hear the killer haul back and hit Dewey hard.

				GALE
			Dewey! No!

				VOICE
			Or do you?  

				SIDNEY
			You're dead!

				VOICE
			I don't want them, I want you!  It's simple. 
			You show yourself, they survive, you run, 
			they die! 

				GALE
			Oh God!  Oh God!

				VOICE
			Don't you want to know Sidney? Don't you want to 
			know who killed her?  Don't you want to know who 
			killed your mother? 

				COP(O.S.)
			Have you seen Kincaid?

				 COP 2(O.S.)
			NO.  But Wallace is around.

				SIDNEY
			Where?

				VOICE
			She'd have been so happy, Sidney, to know we'd be together.

				SIDNEY
			WHERE?

				VOICE
			I'll call you, when you're on your way.  

Click. The killer hangs up. Sidney breaks down crying.

				SIDNEY
			Fuck!

Wallace's keys rest on his desk. Sid ponders, takes them. She stands up when 
something inside her makes her open Wallace's drawer and dig around. She pulls 
up a fully loaded handgun.

That's the ticket. She closes the drawer, slinks out the side exit.

  CUT TO:

INT.  WALLACE'S CAR - NIGHT

Sid speeds through rain-slicked streets. Her cellular rings.

				SIDNEY
			  (into phone)
			Yeah?

				VOICE
			You follow directions good.
			Now let's wrap this production.
			Go to the Sunrise Studios backlot.
			I'll call you when you get there.

Click. The killer hangs up.

   CUT TO:

EXT.  SUNRISE STUDIOS LOT - NIGHT

Sid parks Wallace's car alongside the studio gates. She gets out, stands on 
the hood of the car, begins to scale the wrought-iron fence.

     CUT TO:

EXT.  SOUNDSTAGE - STUDIO LOT - NIGHT

Sidney creeps through the darkened, abandon lot. Again, her cellular rings. 
Again, she answers it.

				SIDNEY
			  (into phone)
			Alright, I'm here. Now what?

				VOICE
			You're doing real good. Can't
			you figure it out? I wanna finish
			this where it all began. Woodsboro.

				SIDNEY
			I thought you wanted me here?

Click the killer hangs up. Sid pockets her phone. She looks up, and is 
startled out of fright.  Posted alongside the sound stageis a huge production 
poster for STAB 3 with a life-size GHOST wielding a big knife. Sid knows she's 
in the right place. The door leading inside is half-open. Sid taps the 
holstered gun, slowly steps into the darkness.

  CUT TO:

INT.  STAB 3 SETS - NIGHT

Sidney enters. She pauses. As a million things rush through her mind. To her 
this is like the ultimate return. Everything appears as she last remembers. 
Sid steps through the dark sets. Her phone rings. She answers it.

				SIDNEY
			  (into phone)
			Alright I'm here, now show your  face so we can 
			finish this.

				VOICE
			It's good to see you again Sidney.
			I was growing real impatient.
			Go ahead. Explore. I'll catch up with you later.

The killer hangs up. Sid pockets the phone. She walks past the MACHER GARAGE 
set. Instead of a foam TATUM body dangling from the doggy door, it's KINCAID'S 
CORPSE! Sidney flinches, covers her eyes. She walks on.

INT.  BECKER HOUSE - SET - NIGHT

Sid steps through the living room of the BECKER set. It mirrors the house 
perfectly. Everything from the shattered patio door to the burnt Jiffy Pop is 
there. Sid's phone rings. She answers it.

				SIDNEY
			Yeah?

				DEWEY(O.S.)
			  (off phone)
			Help me Sid! The killer's got me!

				 SIDNEY
			Dewey?! OHMIGOD! Where are you?!

				DEWEY(O.S.)
			Sid I can see you!

				SIDNEY
			Where are you Dewey?

				DEWEY(O.S.)
			I'm out back. Tied up. Hurry Sid!
			The killer's looking for you!
			Quick untie me!

Sid bolts through the shattered patio door out onto the backyard set. Seated 
before a heated in ground pool, tied to a patio chair, beaten and gagged, is 
DEWEY RIELLY. He's unconscious and almost appears at first glance like STEVEN 
ORTH from SCREAM. Sid's jaw drops. This can't be possible. She looks down at 
the phone.

				DEWEY(O.S.)
			Good work Sid. 

Sid screams, dropping the phone out of fright. She turns around coming face to 
face with --

THE GHOST 

HE STANDS in the patio doorway. A monstrous version of the voice-changing box 
in hand. He raises up the box, clicks a button and speaks.

				GHOST
			  (Sid's voice)
			You play a good game Sidney.
			Now it's time to get down to business.

				SIDNEY
			Who are you?

				GHOST
			  (click-now he's Maureen's voice)
			Your other half.

 The GHOST rushes Sid. She screams, takes off running. She bolts across the 
darkened set, running straight up the front porch of a mock-up of her own 
childhood home. She swings open the front door, slams it closed. 

INT.  PRESCOTT HOUSE - SET - NIGHT

Sid locks and bolts the front door. She backs away from it as the killer 
begins to pounce against it, struggling to get inside. Sid hears something 
upstairs. Like muffled cries. She races up to investigate.

CUT TO:

INT.  SIDNEY'S BEDROOM - SET - NIGHT

Sid enters the set of her bedroom, slowly drawing out the gun she stole from 
Kincaid's office.

LYING on the bed, bound and gagged, is --

GALE WEATHERS

				SIDNEY
			GALE!

Sid races over, removes the gag from Gale's mouth.

				GALE
			Christ Sidney hurry up!
			That fucking lunatic is coming!

Sid fumbles with the bindings, manages to untie Gale. Gale sits up.

				SIDNEY
			Gale he's got Dewey!

				GALE
			I know! He killed Kincaid!

				SIDNEY
			I know!

				GALE
			Let's get out of here!

				SIDNEY
			   (screaming)
			GALE WATCHOUT!

KER-SMASH! The GHOST launches himself through the upstairs window. Gale and 
Sidney bolt for the bedroom door, killer hot on their tails.

 CUT TO:

DEWEY --

Dewey comes around. He lets his head loll for a moment before finally 
beginning to pull and tug on his bindings.

EXTREMELY CLOSE on Dewey freeing one of his hands from the heavy duct tape.

 CUT TO:

INT.  MAUREEN'S BEDROOM - PRESCOTT HOUSE SET - NIGHT

Gale and Sidney run into the master bedroom set, slamming the door shut and 
locking it. Sid looks around, her head already swimming from the chaos 
outside. However, what's inside utterly horrifies her. The walls, the 
furniture and the bed are splattered with blood. On the bed lies a corpse in a 
black rubber body bag (supposedly Maureen's body). The door buckles under the 
killer's blows. Gale and Sidney scream. They can't hold out much longer.

				GALE
			Jesus Christ Sidney get out of here!
			He can't get us both!

A knife splinters through the door, inches from Gale's face. She screams.

				GALE
			RUNNN!

Sid backs away, hysterical. She raises up the gun, fires into the door.  BLAM! 
BLAM! BLAM! Gale ducks out of the way. Silence.
The door ceases to move. AND THEN --

THE BODY BAG UNZIPS and the second GHOST emerges, knife in hand. The girls 
utter horrified screams. Sid raises up the gun, goes to fire when suddenly --

BAM!

The bedroom door's kicked down and the other killer enters, grabbing Sid by 
her shoulders, batting the gun from her hands.

Sid screams, punches her attacker in the chest. He winces.

The second Ghost grabs Gale, holds the knife to her throat, stopping her in 
her tracks. Sid makes a beeline for the window, leaps through the glass.

THE WINDOW SHATTERS.

Sid comes flying out onto the patio awning. She rolls over onto the astro-turf 
grass, momentarily motionless. And then she comes to. Her eyes flickering 
open, blurrily staring up at --

THE GHOST, leering out the shattered window frame.

SID stands up, takes off running towards --

THE MACHER HOUSE SET.

   CUT TO:

INT.  FOYER - MACHER HOUSE SET - NIGHT

Sid races into the foyer, slams the door closed behind her. Again, locking and 
bolting it. She looks around, everything is once again the same as it was in 
Woodsboro. This is where the climax of the original battle between good and 
evil wasfought. It's déjà vu all over again.  Footsteps O.S.

				DEWEY(O.S.)
			  (weakly)
			Sidney?

Sidney turns around --

DEWEY staggers through the living room doorway, gun in hand.

				SIDNEY
			  (eyes lighting up)
			Dewey!

Sidney embraces Dewey.

				DEWEY
			Where's Gale?

				SIDNEY
			They've got her!

				DEWEY
			Sid I want you to stay here!
			I'll be right back!
			I'm not gonna let them get Gale!

Dewey unlocks the front door, swings it open.

STANDING across the set is THE GHOST, knife raised.

				DEWEY
			  (tightening grip on gun)
			 Hold it right there you fucker!

Dewey goes to fire. CLICK. CLICK. CLICK. Out of bullets.

				DEWEY
			  (nervously)
			OH shit!

THE GHOST winds back, launches the knife. It swirls through space before 
embedding into Dewey's arm, launching him back through the doorway. Sidney 
screams. Dewey's unconscious again. The GHOST races for the open door. Sid 
screams, kicks it closed. Locking and bolting it again. A crash O.S. Sid turns 
around --

A BODY rolls down the staircase, covered in blood. It comes to a halt at 
Sidney's feet, an unmoving, rumpled figure.

IT'S ANGELINA TYLER.

She's been brutally stabbed.

				SIDNEY
			  (crying)
			Oh God.

BUT ANGELINA'S EYES OPEN. A SICK RICTUS SMILE FORMING on her lips.She pulls 
out a gun, aims it at Sidney's face.

				ANGELINA
			Time to sort things out.
			Whatta you say?

CUT TO:

INT.  MACHER LIVING ROOM - SET - NIGHT

Angelina walks Sidney into the living room at gunpoint. Gale's been handcuffed 
and tossed onto the couch.

ON THE TV --

HOME VIDEO FOOTAGE of MAUREEN PRESCOTT plays.

				SIDNEY
			It's you?! All of this is because of you?

				ANGELINA
			No. Not all of it. Sid, someone really  
			wants to meet you.  

Sid tries to run, Angelina trains the gun on her. Causing her to stop in her 
tracks.

				ANGELINA
			Uh-un Sid. You're not gonna run off.
			Not now.

				VOICE(O.S.)
			You're not going anywhere Sidney.
			It's time you came to terms with me, and with  
			mother! Maybe you never knew her at all, Sid.
			Maybe you can't get past the surface of things.

The GHOST enters frame, ripping open his costume to reveal a KEVLAR bullet 
proof vest.

				SIDNEY
			Who the hell are you?

				THE GHOST
			The other half of you! I searched for a mother too, 
			an actress named Rina Reynolds. I tried to find her 
			my whole life. And four years ago I actually tracked 
			her down, knocked on her door, thinking she'd welcome 
			me back with open arms, but she had a new life and a 
			new name, Maureen Prescott! You were the only 
			child she claimed Sidney. She shut me out in the cold 
			forever, her own son!

THE GHOST rips off his mask. IT'S ROMAN. Sidney's deathly quiet.

				ROMAN 
			 Roman Bridger, director. And brother.
			  (a beat)
			She slammed the door in my face, Sid. Said I was 
			Rina's child and Rina was dead. And it struck me, 
			what a good idea! So I watched her, made a little 
			home movie, a little family film. Seems Maureen, 
			mom, really got around. I mean, Cotton Weary was one 
			thing, everybody knew about that, but Billy's father, 
			that was the key! Your boyfriend didn't like seeing 
			his daddy in my movies. Didn't like it at all. And 
			once I supplied the motive, all the kid needed was 
			a few pointers. Have a partner to sell out in case 
			you get caught, find someone to frame, it was like 
			her was making a movie.

				SIDNEY
			All the nightmares. All the hell I went through 
			was because of you, you spineless bastard!

				ROMAN
			I'm a director Sid, I direct. For example, 
			Angelina over there,
			  (Angelina smiles)
			She's my partner. I can convince her to do 
			anything.  We've been dating since I met her in 
			Woodsboro.

				SIDNEY
			  (dryly)
			Oh my God, Angie Crick? From English class?

				ANGELINA
			That's me Sid. I always idolized you. You
			were always my hero. That's why I'm here Sidney. 
			I wanted to make you proud.

				ROMAN
			And I kinda keep her around cause it's a bit of
			a turn-on. You know, in the movies she's you Sid, so every
			time I jump her bones, I'm doing YOU, technically.

				SIDNEY
			   (repulsed)
			Listen, I have no time for this. I've heard this shit 
			before! So lets get on with it!

				ROMAN
			Wait a second Sid. Don't you go jumping the gun.
			You haven't seen the best part.
			  (pulls out tape recorder)
			With the aides of the computer revolution of y2kI've 
			been able to steal your voice.
			  (presses play)
			Ain't it cool? Listen to what the police are gonna 
			find next to your lifeless, mutilated body.

				SIDNEY
			   (off tape recorder)
			I can't take it anymore. This Hollywood exploitation
			of the nightmare I lived has to be stopped. I did this to 
			make you all repent for your sins, and now
			I'm pleased I've got my message across. Good-bye.

Sid squirms.

				ROMAN
			   (clicking off tape recorder)
			Awesome. What'd I tell ya? Heh. Did youknow that 
			John Milton, was my daddy?
			Yep, he's the one who fucked mommy dearest in the long run.
			 His parties, his flings, exploited the Hollywood nobody!
			That's whyI had to make him pay. Daddy dearest is dead.
			Mommy's dead. Looks like I'm an orphan all alone
			in this world. What a good reason to --
			STAB MYSELF!

Roman stabs himself in the arm. He screams, goes stagger back into Angelina's 
arms.

				ROMAN
			See Sidney, as amateur as Billy and Stu were,
			they laid the groundwork for this! See Sidney,
			they also set the stage for you! Introducing
			to the world Sidney the victim! Sidney the
			survivor! Sidney the star!

Roman continues stabbing himself. In the shoulder. In the side.In the leg. 
Bleeding and hazed, he hands the gore drenched knife to Angelina.

				ROMAN
			See Sid, now comes the part where we get away
			with it! The part where we win! Cause face it
			Sidney, in this world, the bad guys win!

				SIDNEY
			Roman knock it off! Do you people even know why you
			kill people? You kill people cause you choose to and
			not because of any other fucking reason!

				ANGELINA
			  (screaming)
			Roman make her stop! Make her stop baby she's
			freaking me out!

				ROMAN
			   (screaming)
			God damn it Sidney!

Roman lunges at Sidney. Sid screams, takes off through the kitchen. Gale rolls 
herself off the couch. Angela runs over and kicks her in the ribs. 

				GALE
			  (coughing)
			Hey bitch, don't ever use prop cuffs to restrain 
			Gale Weathers.

Gale pops off the handcuffs.

				GALE
			  (leaping up)
			I know all the tricks!

Gale barrels into Angelina, tackling her into the coffee table before she has 
a chance to move. Angelina struggles to raise her knife.

MEANWHILE --

ROMAN,

--chases Sid into the foyer. She races past the spot where Dewey fell earlier. 
He's gone! Roman jumps at her. Sid disappears into another room.  THE CHASE 
continues.

GALE AND ANGELINA,

Continue the fight. Gale's slamming Angelina's head against the hardwood 
floor. Angelina swipes, slashing Gale along the side, deeply. Gale screams, 
begins to crawl away. She kicks Angelina in the face. Angelina drops the 
knife. Gale stands up, begins to back away.

SIDNEY--

Comes rounding into the foyer again. Roman's right behind her.

SUDDENLY,

WHAM! The laundry room door swings open and the GHOST emerges, KNIFE in hand. 
He buries the knife deep into Roman's chest, sending him flying backwards. 
Sidney screams. The ghost stops in his tracks, pulling off his mask --

IT'S ONLY DEWEY. He can barely stand up. He's bleeding profusely from his 
wounds.

Dewey and Sid embrace.

				SIDNEY
			Dewey my God I thought you were dead.

				DEWEY
			 Don't worry Sid I'd never leave you like that.

SCREAMING O.S.  

				SIDNEY
			DEWEY! IT'S GALE!

Sidney and Dewey race into --

LIVING ROOM --

Gale's got Angelina in a headlock, right beneath the TV UNIT.

				 GALE
			  (screaming)
			THIS IS FOR THE STARDOM I NEVER HAD!
			BITCH!

Gale releases, leaps up, she pushes the TV set down onto Angelina's head. 
Angelina screams, her body trembling from the electric shocks and high 
voltage.

SID and DEWEY stand in the doorway, breathless. Gale approaches them. She and 
Dewey embrace tightly.

ANGELINA's twitching corpse goes limp.

SIDNEY, spots a gun on the mantle. She grabs it, cocks it.

--FOYER --

THE THREE SURVIVORS STEP INTO THE FOYER.  Sid looks down at Roman's corpse.

					DEWEY
			Watch out Sid. Randy said the killer's always 
			superhuman.

				SIDNEY
			He wasn't superhuman Dewey.
			He wasn't superhuman at all.

THEN A HORRIFYING SCREAM rips through the air.

ANGELINA comes racing out of the living room, face a blackened, Kentucky-fried 
mess. Everyone screams, one epic last scream. Sid raises up the gun, fires, 
hitting Angelina dead center between the eyes, sending a splash of blood and 
brain matter onto the wall behind her.

				GALE
			WHOA! HOLY SHIT IS THIS GONNA MAKE A GOOD BOOK!

Sid turns to Roman's lifeless body.

POV LOOKING UP ON SID TURNING THE GUN DOWN ON US --

				SIDNEY
			  (pissed)
			This shit is really getting repetitive,
			you know?

SID scrunches up her face in anger, pulls the trigger. BLAM! A CLEAN PERFECT 
SHOT TO ROMAN'S HEAD.

Sid drops the gun, walks off set.

   CUT TO:

EXT.  SUNRISE STUDIOS - THE NEXT MORNING

The police, fire, and ems are all on the scene of the crime.

Dewey's wheeled out of the studio on a stretcher, loaded into an ambulance.

INT.  AMBULANCE 

Gale's right beside him on a stretcher. She leans over, takes his hand.

				DEWEY
			Gale, I know this is a bad time and all but what 
			if we try it out again.
			The whole relationship thing.

				GALE
			  (smiles)
			Sure, why not. You did Save my life,Mr. Rielly.

Dewey smiles. The two kiss feverishly.

 CUT TO:

WALLACE exiting his car. He surveys the damage. Sid passes him.

				DETECTIVE WALLACE
			Jesus Christ what happened?
			I leave for two seconds to take my
			kid to the doctor, I come back and it's
			the fucking WILD BUNCH.

				SIDNEY
			It was just something that's been itching 
			to be completed for the past four years.

				DETECTIVE WALLACE
			I guess so.

				SIDNEY
			Take care Detective. Give my regards
			to the wife and kids.

Wallace nods his thanks as Sidney walks off through the studio gates, the sun 
rising overhead, as calm and as casually as if nothing's happened. SLOWLY, we 
crane up to an aerial looking down upon HOLLYWOOD. ANOTHER DAY IS BEGINNING. 
AND THIS IS THE PERFECT END FOR A TRILOGY.

CUT TO BLACK

THE END