INT. LIVING ROOM - CONTINUOUS
The Ghostface killer shoves the balcony door open.
KAREN
Please... no.
He pulls back his cloak.
CLOSE - A BLOWTORCH
rests in his belt.
The Ghostface shoves Karen out onto the balcony and lights
the torch.
EXT. BALCONY - NIGHT
Her clothes are engulfed first, then her hair is set ablaze,
and finally she is engulfed in a huge fireball.
INT. LIVING ROOM
The killer slides shot and locks the balcony door.
EXT. BALCONY - NIGHT
Karen, ablaze, and screaming in pure agony, pounds on the
door, desperate to be let back in and to end her pain.
Finally, in a fit of insanity brought on by the pain, she
hurls herself over the railing, desperate to end the pain.
THROUGH THE BALCONY DOOR
we see Mr. and Mrs. Carter reach the landing only in time to
watch Karen disappear over the rail.
INT. LIVING ROOM
MRS. CARTER
OH MY GOD! NO!
Mr. Carter moves toward the door...
BUT A KNIFE FLASHES OUT OF THE SHADOWS!
Mr. Carter suddenly has the large carving knife stuck to the
hilt in his forehead.
Brain matter, bits of skull, hair, flesh, and blood fall to
the floor as the knife is pulled out.
Mr. Carter keels over, dead (No shit right?)
Mrs. Carter is in hysterics.
The Ghostface flees.
INT. SYDNEY AND BLAINE'S HOUSE - DINING AREA - NEXT MORNING
Blaine is placing papers in his briefcase on the table.
Through the door OVER HIS SHOULDER we can see the kitchen,
and can HEAR the sounds of FRYING EGGS AND BACON.
We canm also faintly make out the sound of an early morning
NEWS BROADCAST.
SYDNEY (O.C.)
Where'd Dewey go?
BLAINE
Had to go back to the station.
Something about a lost set of keys
to a cruiser.
SYDNEY (O.C.)
Oh.
(beat)
When will you be home?
BLAINE
(sighs)
Not until late. I have to finish
reading and grading these papers on
why my students decided to be
screenwriters, and then a faculty
meeting.
(mutters)
Last time I don't give them a page
limit.
Sydney walks into the dining area, still in her long blue
nightgown.
She walks up behind him and puts her arms around his neck
and rests her head on his shoulder.
SYDNEY
Damn.
Blaine turns around and kisses her deeply.
She pushes into it.
He pushes her onto the table, him on top.
The phone RINGS.
SYDNEY
(breathy)
The phone...
BLAINE
Let the machine get it.
The machine clicks.
ANSWERING MACHINE VOICE (BLAINE)
This is Blaine Parker, I'm off in a
class right now, so leave your
name, number, and whether or not
this is about a screenwriting
project I gave you after the beep.
See ya.
DEWEY (ANSWERING MACHINE)
Syd? Syd, ya there? I know you're
there Syd!
Blaine's hand snakes under her nightgown. Sydney props
herself up by her elbows and their lips lock again.
DEWEY
Turn on the news! There's been a
murder!
If that didn't ruin the mood, then nothing will.
Sydney's eyes open wide and she shoves Blaine off and rushes
into the kitchen.
ON TV
Mrs. Carter, surrounded by reporters, and camera men from
various stations and station affiliates, is giving her
statement.
MRS. CARTER
(crying)
It was horrible! The last thing I
saw of my precious Karen was her
falling off the balcony!
REPORTER #1
Who do you think is responsible for
the murder of your daughter and
husband?
MRS. CARTER
(hard)
It's all that Sydney Prescott's
fault! The way she had to come back
to Woodsboro and the way she's
publicized her marriage to that
screenwriter! If it wasn't for
them, my precious Karen and my dear
Paul would still be alive! I told
her not to accept that part in Stab
3!
PULL BACK UNTIL WE'RE
INT. SYDNEY AND BLAINE'S HOUSE - KITCHEN
Sydney is watching the small TV propped up in the corner by
the stove.
She has her arms crossed. She looks upset.
Blaine walks up behind her and wraps her arms around her
waist.
BLAINE
It's not your fault.
SYDNEY
Karen was going to be one of my
bridesmaids.
She turns and buries her face in his shoulder and cries.
BLAINE
I knew Stab 3 would produce copy
cat killers, but after five years...
(beat)
I'll skip that stupid meeting so we
can go have a nice, quiet, romantic,
murder free dinner for two.
Sydney pulls her face out of his shoulder and wipes the
tears away.
She looks into his eyes.
SYDNEY
You're so good to me.
BLAINE
I really didn't want to sit around
and listen to some old fossils
discuss the budget over new lab
equipment anyways.
Sydney smiles.
Blaine kisses her.
BLAINE
Be ready at eight. I'll make the
reservations from my office.
INT. BLAINE'S OFFICE - WOODSBORO UNIVERSITY - NIGHT
A normal looking office, filled with all the necessary items
any college professor would need, and of course, a stack of
screenplays on seemingly every surface.
Blaine sat behind his desk, making the reservations by phone.
He had a stack of papers in front of him.
BLAINE
Yeah, 8 pm.
(beat)
Under Parker.
There's a KNOCK on the door.
Blaine puts his hand over the reciever.
BLAINE
It's open!
(into phone)
Okay, thanks.
He hangs up and turns in his chair to face the doorway.
BLAINE
Can I help you...?
THE GHOSTFACE is standing in front of the closed door, a
large knife in his gloved hand.
Blaine goes pale.
BLAINE
Oh shit.
The killer dives at Blaine, the knife plunging toward his
chest.
Blaine grabs the killer's knife arm and somersaults him onto
the desk.
He tries to punch the Ghostface, but the killer springs to
his feet.
Blaine grabs a PAPERWEIGHT off his desk just as the killer
brings the knife to bear again.
The Ghostface slashes at Blaine, but he turns and the knife
cuts into his right arm, leaving a deep cut that immedietly
begins to ooze blood.
BLAINE
Ow!
The killer shrugs and Blaine rings his bell with the
paperweight.
Using his good left arm, Blaine hurtles the Ghostface into a
shelf.
Books and other knickknacks falls off the shelf and onto the
killer's head.
Holding his cut arm, Blaine kicks the door open and stumbles
out.
INT. HALLWAY
Blaine stumbles into a group of students and faculty members
who came to check out the ruckus from inside.
STUDENT #1
Professor Parker, what happened?
BLAINE
Killer... Ghosface with the mask,
and the knife... BIG knife!
FACULTY MEMBER #1
Where?
BLAINE
In the office!
Blaine moves his hand away from his arm.
Blood splashes onto the carpet.
STUDENT #2
Oh my God!
STUDENT #1
Somebody call 911!
Student #1 and Faculty Member #1 rush to check Blaine's
office for the assailant.
INT. BLAINE'S OFFICE
The two enter the office, only to find papers scatters,
objects thrown about, a shelf broken, and Blaine's blood.
Other than that...
NOTHING.
SMASH CUT TO:
EXT. HOSPITAL PARKING LOT - NIGHT
It's a mad house of reporters, news trucks, and camera men,
all bearing a variety of channel numbers and logos.
People are yelling things to everybody, and scrambling to be
the first to break the story.
The next scene is done entirely in a TV CAMERA POV shot.
ON THE SPOT REPORTER #1
We're here live at Woodsboro
Memorial...
QUICK CUT TO:
ON THE SPOT REPORTER #2
... for channel 5 new, where Sydney
Prescott's soon to be husband, the
writer/director/producer/professor
QUICK CUT TO:
ON THE SPOT REPORTER #3
... Blaine Parker was admitted
earlier tonight when he was
reportedly attacked...
QUICK CUT TO:
ON THE SPOT REPORTER #4
By what people have been calling
the Real Life Stab Killer. This is
the second...
QUICK CUT TO:
ON THE SPOT REPORTER #5
... time he has been attacked, and
this is the first time he was
actually injured...
QUICK CUT TO:
ON THE SPOT REPORTER #6
Details of his injuries have not
been released...
QUICK CUT TO:
ON THE SPOT REPORTER #7
... but as soon as they are, you'll
be sure to get them first if you
stay with...
The names and numbers of all the channels run together as
we...
CUT TO:
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM
Sydney is all dressed up in a gold and silver gown, all made
up, ready for her night on the town with Blaine.
Her hair was curled into a tight bun on the back of her
head, her lips were a deep red, her eyelids a dark blue. She
wore a diamond choker around her neck and a pair of diamond
earrings...
And yet she paced like a caged tiger, a phone to her ear.
SYDNEY
I don't know where he is Carol. He
said he was going to be home at 7.
(she turns to check
the clock on the VCR)
It's already 8:45. I'm getting
worried. He always calls if he's
going to be late.
INTERCUT WITH:
INT. CAROL BABBETT'S KITCHEN
Carol Babbett, late 30s, Blaine's agent, sits at her kitchen
table with a cordless phone against her ear.
CAROL
Blaine can take care of himself.
He'll be there.
SYDNEY
I'm getting scared Carol. There's
already been a double murder, and
he's already been attacked once.
What if he's been attacked again
and is now the third victim just
waiting to be discovered?
CAROL
Now Sydney, that's crazy talk. You
sound like Blaine when he's writing
one of his scripts. Don't think
about things like that. I'll only
make it worse. Besides, some maniac
with a knife can't take down Blaine.
If he's late, he's probably got a
good reason.
SYDNEY
I know, I know. But the last time
these things happened I lost both
my boyfriends. I don't want to lose
my finacee too.
CAROL
Sydney, I'm warning you. Blaine's a
big boy. When he walks through that
door, demand to know where he's been.
SYDNEY
(smiling)
I'll make sure to do that.
CAROL
He's probably beating the living
shit out of the bastard as we speak.
END INTERCUT
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM
SYDNEY
Probably.
There's a frantic KNOCK KNOCK KNOCK KNOCK KNOCK KNOCK KNOCK!
at the door.
Sydney walks up the step to..
INT. FOYER
She peeks out the window through the closed blinds.
SYDNEY'S POV
Gale Weathers is standing out the house.
NORMAL POV
Sydney opens the door.
SYDNEY
Gale? What is it?
GALE
(frantic)
Syd, Dewey told me to come get you.
Blaine's in the emergency room!
CAROL (PHONE)
Syd, who was at the door?
SYDNEY
(into phone)
Blaine's good reason.
INT. EMERGENCY ROOM
Blaine is sitting on the hospital bed in his own private,
overly white room.
The divider is drawn.
An E.R. Doctor is stitching his deep knife wound.
Dewey is sitting on a stool in front of him.
BLAINE
I'm lucky I turned.
DEWEY
That's twice you got away. That's
not lucky. That's a miracle. What's
your secret?
BLAINE
I had to study the original murders
for Stab 3 and my Stab 4 script. I
learned a few things about the
killer and his tactics. Besides, in
LA you need to know how to protect
yourself.
(looks at the doctor)
You almost done?
E.R. DOCTOR
You're lucky you got here when you
did. Anymore blood loss and you
would have needed a transfusion.
I'm almost done, so be quiet and
sit still.
DEWEY
Who would've thought that you come
in handy? You need to teach me some
of that stuff.
Blaine gives a one shoulder shrug.
BLAINE
All you need to know is to hit him
with something heavy and run like
hell.
Sydney pulls back the divider and rushes into the room.
She's wearing an unmatching pair of slacks and shirt. Her
face is still heavily made up.
A nurse and Gale follow.
NURSE
I'm sorry. I tried to stop her, but
there so many reporters...
BLAINE
It's okay. She's not a reporter.
She's my finacee.
NURSE
Oh. I'm sorry.
The nurse leaves.
Dewey stands so Sydney can sit on the stool.
She takes Blaine's left hand.
Dewey pulls Gale out into the hall.
INT. EMERGENCY ROOM HALLWAY
GALE
I got here as fast as I could.
Those reporters outside slowed us
down wanting to interview Sydney. I
was afraid you would be done and
gone by the time we got here.
DEWEY
How could we leave with all those
reporters out there waiting to eat
up whatever injury Blaine recieved?
GALE
I'm worried about him.
DEWEY
Me too. Goddammit I wish these
things would just fucking stop!
Three times this has happened and
each time I though Syd would go
over the edge. She always loses so
much.
GALE
Me too. For Sydney's sake. For all
our sakes.
INT. BLAINE'S EMERGENCY ROOM
SYDNEY
What happened?
BLAINE
That stupid studio reject got me
again. Only got my arm this time. I
think I gave him a concussion, or
at least fractured his skull. I
don't know. The killer was gone
when they searched my office, but I
swear I hit that son of a bitch
hard. I don't see how he could've
gotten away, let alone remembered
how to walk.
SYDNEY
At least you're okay.
BLAINE
Soon as they're done with me we'll
go have our dinner.
SYDNEY
You sure you're up to it?
BLAINE
I'm not going to let a couple of
stinking stitches stop me from
showing my sweetheart the time of
her life.
(beat)
Although my plans for afterwards
are shot to hell.
INT. CAROL BABBETT'S LIVING ROOM
Carol is curled up on the coutch watching TV.
It's NICK AT NITE.
The phone RINGS.
Carol picks it up off the floor.
CAROL
Hello?
MAN (PHONE)
Bored?
CAROL
Who is this?
MAN
Just a bored person making phone
calls.
CAROL
(annoyed)
No, I don't have Prince Albert in a
can and yes, my refridgerator is
running, but I'm not going to go
catch it.
MAN
(hurt)
I wasn't pranking. I just want to
talk.
CAROL
So use the Internet.
She hangs up.
The phone RINGS again.
She answers.
MAN (PHONE)
(angry)
I DON'T APPRECIATE BEING HUNG UP ON!
Just ask Karen Carter.
Carol's eyes go wide.
CAROL
You're that copy cat! I'm calling
the police.
She hangs up.
The phone RINGS.
Carol doesnt answer.
The machine CLICKS.
ANSWERING MACHINE VOICE (CAROL)
Hi, this is Carol, I'm not in right
now so leave your name and number
after the beep.
BEEP.
MAN (ANSWERING MACHINE)
(pure evil)
I TOLD YOU I DON'T TOLERATE PEOPLE
HANGING UP ON ME!
(conversational)
You know, the beauty of cell phones
is that I can call from
(beat)
anywhere.
Carol looks around.
She's absolutely terrified now.
She gets up and walks to...
INT. FOYER
She LOCKS the front door.
MAN (ANSWERING MACHINE, O.C.)
Our conversation is over.
CLICK!
INT. KITCHEN
Carol approaches the back door and reaches for the lock when
the door
SUDDENLY BURSTS OPEN!
Carol screams and backs away quickly so the door doesn't hit
her.
Standing in the door frame is
THE GHOSTFACE.
Carol turns to run but the Ghostface grabs her shoulder.
She stomps on his foot and he releases her.
He hops up and down, holding his foot.
Carol hightails it out of the kitchen.
The Ghostface hobbles after her.
She throws down a trash can at the entrance to the kitchen.
The killer trips over it and falls flat onto the floor.
INT. LIVING ROOM
Carol runs around the sofa as the killer recovers and comes
after her.
He corners her on one side of the couch while he stands at
the opposite.
She tries to run left but he matches her every move.
She finally fakes left and he goes left. She bolts right and
into the kitchen again.
INT. KITCHEN
Carol waits for the killer to enter the kitchen before she
brings one of her kitchen chairs down over his head. The
chair explodes into shards of wood.
The killer falls in a heap.
Carol throws open the door to the garage.
INT. GARAGE
There are no cars in the garage.
She hits the garage door opener on the wall.
The closed doors begin to rumble upward.
She glances back over her shoulder.
CAROL'S POV
The Ghostface is slowly getting to his feet.
NORMAL POV
Carol runs for the slowly opening garage door.
The killer enters the garage and looks at the garage door
and the running Carol.
He hits the button and the garage door starts to close.
CAROL
NO!
She dives under the closing garage door...
BUT HER ANKLE GETS CAUGHT AS THE DOOR HITS THE GROUND!
EXT. DRIVEWAY - NIGHT
Carol's ankle is stuck. She's trapped.
She tries to pull her foot out, but she can't pull it free.
The door to her house opens.
She looks up.
The killer begins to the calmly walk out the front door and
down the porch steps. She watches in horror as a CROWBAR
slides from inside his sleeve.
He holds it one hand and kicks it as he walks.
CAROL
(sobbing)
Please just leave alone! Don't kill
me! For the love of Christ PLEASE
DON'T KILL ME!
She's screaming and crying hysterically as the Ghostface
leisurely strolls down the walk.
CAROL
(screaming)
SOMEBODY PLEASE HELP ME! SOMEBODY!
The Ghostface approaches her and stands by her head. He sets
the crowbar next to her temple and mimics taking a few
practice swings with a golf club.
He puts his finger to the mouth of his ghost mask and
"licks" it. He holds it in the air and adjust accordingly.
He looks at Carol and holds up four fingers.
CAROL
(quieter)
Please... no.
CLOSE ON
the crowbar as it's raised in the perfect golf swing.
HOLD ON
the spot where the crowbr was as it swings down.
PAN UP TO THE MOON
as we hear Carol's agonized screaming and the sick, crunching
sound of heavy metal on bone.
A splash of blood flies into the air and if the moon turned
red.
All then goes silent.
RIPPLE FADE TO:
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM - NEXT MORNING
Sydney is sitting on the couch, a cup of steaming tea on the
coffee table.
She's crying softly.
CLOSE ON THE COFFEE TABLE
A newspaper, with the headline "GHOSTFACE KILLER STRIKES
AGAIN."
Sydney is just staring at those big, bold, black words
printed on the page. Just staring with tears streaming down
her cheeks.
EXT. WOODSBORO UNIVERSITY - PARKING LOT - DAY
Blaine pulls up in his car and steps out, gingerly slipping
his arm into a sling.
He's immedietly flocked upon by reporters and news crews.
He's bombared with questions as he shoves his way through.
REPORTER #1
Blaine, can you tell us anything on
your injuries.
BLAINE
It was a stratch.
REPORTER #1
A scratch that required one hundred
and twenty six stitches?
BLAINE
What can I say? It was a deep
scratch.
REPORTER #2
How does it feel returning to the
place where you were attacked?
BLAINE
I was attacked at home too. I feel
fine.
EXT. WOODSBORO UNIVERSITY - MAIN HALL - STEPS - CONTINUOUS
Blaine reaches the top of the steps outside the main hall of
the university.
He turns to the reporters still following him.
BLAINE
All I want to do is get from my car
into my classroom without having to
play running back through a group
of linebackers. Why don't you all
go flock somewhere else?!
He turns sharply and opens the door, entering the building.
He let's the door SLAM behind him.
INT. WOODSBORO UNIVERSITY - MAIN HALL
Blaine leans against the doors and runs a hand over his face.
BLAINE'S POV
as his hand passes his eyes he finds himself face to face
with his assistant.
He jumps out of his skin.
BLAINE
Ahhh!
NORMAL POV
ASSISTANT
I'm sorry Professor Parker.
BLAINE
It's alright Susan. What is it?
ASSISTANT (SUSAN)
Dean Williams wants to see you
right away. He says it's urgent.
BLAINE
Just what I needed. A flock of
crows and now the mother hen.
INT. DEAN'S OFFICE
Dean Williams, 60, graying hair, and a stature of
sophisticated power, and the air of the "I'm your boss, you
do what I say" is staring out his window at the parking lot.
OVER HIS SHOULDER
we can see the parking lot filled with newsvans.
The door opens.
SECRETARY
Professor Parker is here.
DEAN WILLIAMS
Good. Let him in.
Blaine walks in.
The Dean turns from the window and sits in a large leather
chair behind his large darkly stained wooden desk.
He motions for Blaine to sit.
DEAN WILLIAMS
Sit.
Blaine sits in the one-size-does-not-fit-all chairs on the
other side of the desk.
BLAINE
What did I do?
DEAN WILLIAMS
Blunt, and to the point. I like
that in a professor. Blaine, let me
start out by saying I respect you
and what you do. If it wasn't for
you and your status our little
college wouldn't be a university.
Your students have nothing but the
highest regards for you, regardless
of your celebrity status. But as
much as I would like to say the
teacher comes before my school, I
cannot. Blaine, I cannot and will
not have my campus turned into a
circus, and I just can't run the
risk of you being attacked again.
So I've come up with a solution.
BLAINE
(surprised)
You're letting me go? If that's the
case then I'll... I'll...
(beat)
I don't know.
DEAN WILLIAMS
No, no. I'm not releasing you. I
simply want you to take yoru
vacation early. You've been working
far too hard and not spending
enough time with Sydney. I know you
want to be able to comfortably
support her, but you have more than
enough income to do that. So go
away for a while. Have the wedding
somewhere else besides Woodsboro. A
little rest and relaxation will do
you both a world of good.
Blaine relaxes.
BLAINE
Syd has been saying I don't spend
enough time where her...
DEAN WILLIAMS
And with the current situation in
Woodsboro, with the murders and
all...
BLAINE
I know Sydney will be happy to hear
it. Thank you.
DEAN WILLIAMS
My pleasure.
Blaine sticks his hand out and they shake hands.
Blaine stands, with the chair still stuck around his waist.
He grins sheepishly and pulls the chair off, setting it in
the same position it was before he sat down.
He leaves, shutting the door behind him.
When he's gone, Dean Williams shakes his head.
DEAN WILLIAMS
He's a weird, weird man.
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM
Sydney is still staring at the newspaper.
The silence is broken by a knock on the door.
Sydney gets up to answer.
INT. FOYER - DOOR
The door opens.
DEBRA YOUNG stands on the porch.
PULL BACK TO
INT. FOYER
Sydney is leaning against the open door.
DEBRA
I heard about it.
Debra walks in and Sydney shuts the dor.
She wraps her arms around herself and starts to cry.
Debra hugs her.
SYDNEY
This should be the happiest time of
my life, but some nutcase has to
kill two of my friends and fuck it
up. WHY?! Why does some nutcase
always have to fuck things up?!
DEBRA
(comforting)
I know Syd.
She looks around and finally discovers what's missing.
DEBRA
Where's Blaine?
Sydney breaks their embrace.
SYDNEY
He's at the university.
DEBRA
Again? Why doesn't he take a
sabbatical?
SYDNEY
He can't until the wedding. That's
the agreement he made with the Dean.
There's an uncomfortable silence.
Finally Debra breaks it.
DEBRA
They shouldn't call him the Stab
killer.
SYDNEY
What?
DEBRA
The killer. They shouldn't call him
the Stab killer. He doesn't stab
his victims. So far he's set one on
fire and bashed the other's head in
with a crowbar.
SYDNEY
(angry)
Those "victims" have names you know!
They were my friends!
DEBRA
Sorry Syd... I was just trying to
make a joke.
SYDNEY
Well it was a dumb one. He does try
to stab his victims. He tried to
stab Blaine twice.
The phone RINGS.
Sydney and Debra move out of the foyer and into
INT. LIVING ROOM
Debra picks up the phone.
MAN (PHONE)
Hello Debra.
Debra gasps.
MAN
Two down. I hope Sydney's rethinking
vowing till death do us part.
Debra hangs up quickly. She looks scared.
SYDNEY
It was him again, wasn't it?
The door opens.
Sydney and Debra turn, frightened.
DEWEY (O.C.)
Hey Syd, ya decent?
SYDNEY
In the living room.
The door CLOSES and Gale and Dewey walk down the step into
the living room.
DEWEY
Well we've been over both crime
scenes with a fine toothed comb and
there's no evidence to even let us
begin to come up with an accusation.
I could point a finger at you
(points at Debra)
and say you did it. And for all we
know, you did.
DEBRA
But I didn't.
DEWEY
Exactly. Either the killer is very
lucky or very careful...
SYDNEY
(interrupts)
Or a very diehard fan of Stab.
GALE
Where's Blaine?
SYDNEY
Still at the university. That's
where he always is.
DEWEY
Really? We drove by there on the
way here and his car wasn't there...
The door opens again.
Everyone turns toward the sound.
Blaine walks down the step whistling, his sports coat over
his arm.
BLAINE
(somewhat surprised)
Oh, hello.
GALE
Blaine, why weren't you at the
university?
BLAINE
Dean gave me time off. I was at the
travel agent. We all need to get
away from these murders and from
Woodsboro, so we're moving the
wedding to our honeymoon spot int
he Bahamas, and everyone in this
room, along with Debra's boyfriend
Mark, and of course Syd's father,
are going.
Sydney hugs him.
SYDNEY
I like the sound of that.
GALE
When do we leave?
BLAINE
The end of the week. So get your
passports in order and declare all
fruit.
SYDNEY
I'll go tell dad tonight.
BLAINE
Good. Oh, and I hope you all don't
have any plans. I made reservations
for us to all go out and celebrate.
It's amazing all you can do on a
cell phone.
CUT TO:
INT. NEIL PRESCOTT'S HOUSE - KITCHEN
Sydney and Neil are sitting at the kitchen table.
SYDNEY
Blaine's moving the wedding to a
resort the Bahamas.
NEIL
I'm worried about you. I don't
trust Blaine now, especially with
the way he leaves you at home by
yourself with that killer on the
loose while he goes that university
job of his.
SYDNEY
You never did like Blaine just
because I'm twenty six and he's
thirty three.
NEIL
I don't want you to go.
SYDNEY
I want to go. Hell, I have have to
go! It's my wedding for Christ's
sake! And I want you to be there.
Who else can give me away? I need
you there.
NEIL
I'll go, but I won't hang around
Blaine.
SYDNEY
You don't have to.
She stands and hugs him
The Ghostface killer shoves the balcony door open.
KAREN
Please... no.
He pulls back his cloak.
CLOSE - A BLOWTORCH
rests in his belt.
The Ghostface shoves Karen out onto the balcony and lights
the torch.
EXT. BALCONY - NIGHT
Her clothes are engulfed first, then her hair is set ablaze,
and finally she is engulfed in a huge fireball.
INT. LIVING ROOM
The killer slides shot and locks the balcony door.
EXT. BALCONY - NIGHT
Karen, ablaze, and screaming in pure agony, pounds on the
door, desperate to be let back in and to end her pain.
Finally, in a fit of insanity brought on by the pain, she
hurls herself over the railing, desperate to end the pain.
THROUGH THE BALCONY DOOR
we see Mr. and Mrs. Carter reach the landing only in time to
watch Karen disappear over the rail.
INT. LIVING ROOM
MRS. CARTER
OH MY GOD! NO!
Mr. Carter moves toward the door...
BUT A KNIFE FLASHES OUT OF THE SHADOWS!
Mr. Carter suddenly has the large carving knife stuck to the
hilt in his forehead.
Brain matter, bits of skull, hair, flesh, and blood fall to
the floor as the knife is pulled out.
Mr. Carter keels over, dead (No shit right?)
Mrs. Carter is in hysterics.
The Ghostface flees.
INT. SYDNEY AND BLAINE'S HOUSE - DINING AREA - NEXT MORNING
Blaine is placing papers in his briefcase on the table.
Through the door OVER HIS SHOULDER we can see the kitchen,
and can HEAR the sounds of FRYING EGGS AND BACON.
We canm also faintly make out the sound of an early morning
NEWS BROADCAST.
SYDNEY (O.C.)
Where'd Dewey go?
BLAINE
Had to go back to the station.
Something about a lost set of keys
to a cruiser.
SYDNEY (O.C.)
Oh.
(beat)
When will you be home?
BLAINE
(sighs)
Not until late. I have to finish
reading and grading these papers on
why my students decided to be
screenwriters, and then a faculty
meeting.
(mutters)
Last time I don't give them a page
limit.
Sydney walks into the dining area, still in her long blue
nightgown.
She walks up behind him and puts her arms around his neck
and rests her head on his shoulder.
SYDNEY
Damn.
Blaine turns around and kisses her deeply.
She pushes into it.
He pushes her onto the table, him on top.
The phone RINGS.
SYDNEY
(breathy)
The phone...
BLAINE
Let the machine get it.
The machine clicks.
ANSWERING MACHINE VOICE (BLAINE)
This is Blaine Parker, I'm off in a
class right now, so leave your
name, number, and whether or not
this is about a screenwriting
project I gave you after the beep.
See ya.
DEWEY (ANSWERING MACHINE)
Syd? Syd, ya there? I know you're
there Syd!
Blaine's hand snakes under her nightgown. Sydney props
herself up by her elbows and their lips lock again.
DEWEY
Turn on the news! There's been a
murder!
If that didn't ruin the mood, then nothing will.
Sydney's eyes open wide and she shoves Blaine off and rushes
into the kitchen.
ON TV
Mrs. Carter, surrounded by reporters, and camera men from
various stations and station affiliates, is giving her
statement.
MRS. CARTER
(crying)
It was horrible! The last thing I
saw of my precious Karen was her
falling off the balcony!
REPORTER #1
Who do you think is responsible for
the murder of your daughter and
husband?
MRS. CARTER
(hard)
It's all that Sydney Prescott's
fault! The way she had to come back
to Woodsboro and the way she's
publicized her marriage to that
screenwriter! If it wasn't for
them, my precious Karen and my dear
Paul would still be alive! I told
her not to accept that part in Stab
3!
PULL BACK UNTIL WE'RE
INT. SYDNEY AND BLAINE'S HOUSE - KITCHEN
Sydney is watching the small TV propped up in the corner by
the stove.
She has her arms crossed. She looks upset.
Blaine walks up behind her and wraps her arms around her
waist.
BLAINE
It's not your fault.
SYDNEY
Karen was going to be one of my
bridesmaids.
She turns and buries her face in his shoulder and cries.
BLAINE
I knew Stab 3 would produce copy
cat killers, but after five years...
(beat)
I'll skip that stupid meeting so we
can go have a nice, quiet, romantic,
murder free dinner for two.
Sydney pulls her face out of his shoulder and wipes the
tears away.
She looks into his eyes.
SYDNEY
You're so good to me.
BLAINE
I really didn't want to sit around
and listen to some old fossils
discuss the budget over new lab
equipment anyways.
Sydney smiles.
Blaine kisses her.
BLAINE
Be ready at eight. I'll make the
reservations from my office.
INT. BLAINE'S OFFICE - WOODSBORO UNIVERSITY - NIGHT
A normal looking office, filled with all the necessary items
any college professor would need, and of course, a stack of
screenplays on seemingly every surface.
Blaine sat behind his desk, making the reservations by phone.
He had a stack of papers in front of him.
BLAINE
Yeah, 8 pm.
(beat)
Under Parker.
There's a KNOCK on the door.
Blaine puts his hand over the reciever.
BLAINE
It's open!
(into phone)
Okay, thanks.
He hangs up and turns in his chair to face the doorway.
BLAINE
Can I help you...?
THE GHOSTFACE is standing in front of the closed door, a
large knife in his gloved hand.
Blaine goes pale.
BLAINE
Oh shit.
The killer dives at Blaine, the knife plunging toward his
chest.
Blaine grabs the killer's knife arm and somersaults him onto
the desk.
He tries to punch the Ghostface, but the killer springs to
his feet.
Blaine grabs a PAPERWEIGHT off his desk just as the killer
brings the knife to bear again.
The Ghostface slashes at Blaine, but he turns and the knife
cuts into his right arm, leaving a deep cut that immedietly
begins to ooze blood.
BLAINE
Ow!
The killer shrugs and Blaine rings his bell with the
paperweight.
Using his good left arm, Blaine hurtles the Ghostface into a
shelf.
Books and other knickknacks falls off the shelf and onto the
killer's head.
Holding his cut arm, Blaine kicks the door open and stumbles
out.
INT. HALLWAY
Blaine stumbles into a group of students and faculty members
who came to check out the ruckus from inside.
STUDENT #1
Professor Parker, what happened?
BLAINE
Killer... Ghosface with the mask,
and the knife... BIG knife!
FACULTY MEMBER #1
Where?
BLAINE
In the office!
Blaine moves his hand away from his arm.
Blood splashes onto the carpet.
STUDENT #2
Oh my God!
STUDENT #1
Somebody call 911!
Student #1 and Faculty Member #1 rush to check Blaine's
office for the assailant.
INT. BLAINE'S OFFICE
The two enter the office, only to find papers scatters,
objects thrown about, a shelf broken, and Blaine's blood.
Other than that...
NOTHING.
SMASH CUT TO:
EXT. HOSPITAL PARKING LOT - NIGHT
It's a mad house of reporters, news trucks, and camera men,
all bearing a variety of channel numbers and logos.
People are yelling things to everybody, and scrambling to be
the first to break the story.
The next scene is done entirely in a TV CAMERA POV shot.
ON THE SPOT REPORTER #1
We're here live at Woodsboro
Memorial...
QUICK CUT TO:
ON THE SPOT REPORTER #2
... for channel 5 new, where Sydney
Prescott's soon to be husband, the
writer/director/producer/professor
QUICK CUT TO:
ON THE SPOT REPORTER #3
... Blaine Parker was admitted
earlier tonight when he was
reportedly attacked...
QUICK CUT TO:
ON THE SPOT REPORTER #4
By what people have been calling
the Real Life Stab Killer. This is
the second...
QUICK CUT TO:
ON THE SPOT REPORTER #5
... time he has been attacked, and
this is the first time he was
actually injured...
QUICK CUT TO:
ON THE SPOT REPORTER #6
Details of his injuries have not
been released...
QUICK CUT TO:
ON THE SPOT REPORTER #7
... but as soon as they are, you'll
be sure to get them first if you
stay with...
The names and numbers of all the channels run together as
we...
CUT TO:
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM
Sydney is all dressed up in a gold and silver gown, all made
up, ready for her night on the town with Blaine.
Her hair was curled into a tight bun on the back of her
head, her lips were a deep red, her eyelids a dark blue. She
wore a diamond choker around her neck and a pair of diamond
earrings...
And yet she paced like a caged tiger, a phone to her ear.
SYDNEY
I don't know where he is Carol. He
said he was going to be home at 7.
(she turns to check
the clock on the VCR)
It's already 8:45. I'm getting
worried. He always calls if he's
going to be late.
INTERCUT WITH:
INT. CAROL BABBETT'S KITCHEN
Carol Babbett, late 30s, Blaine's agent, sits at her kitchen
table with a cordless phone against her ear.
CAROL
Blaine can take care of himself.
He'll be there.
SYDNEY
I'm getting scared Carol. There's
already been a double murder, and
he's already been attacked once.
What if he's been attacked again
and is now the third victim just
waiting to be discovered?
CAROL
Now Sydney, that's crazy talk. You
sound like Blaine when he's writing
one of his scripts. Don't think
about things like that. I'll only
make it worse. Besides, some maniac
with a knife can't take down Blaine.
If he's late, he's probably got a
good reason.
SYDNEY
I know, I know. But the last time
these things happened I lost both
my boyfriends. I don't want to lose
my finacee too.
CAROL
Sydney, I'm warning you. Blaine's a
big boy. When he walks through that
door, demand to know where he's been.
SYDNEY
(smiling)
I'll make sure to do that.
CAROL
He's probably beating the living
shit out of the bastard as we speak.
END INTERCUT
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM
SYDNEY
Probably.
There's a frantic KNOCK KNOCK KNOCK KNOCK KNOCK KNOCK KNOCK!
at the door.
Sydney walks up the step to..
INT. FOYER
She peeks out the window through the closed blinds.
SYDNEY'S POV
Gale Weathers is standing out the house.
NORMAL POV
Sydney opens the door.
SYDNEY
Gale? What is it?
GALE
(frantic)
Syd, Dewey told me to come get you.
Blaine's in the emergency room!
CAROL (PHONE)
Syd, who was at the door?
SYDNEY
(into phone)
Blaine's good reason.
INT. EMERGENCY ROOM
Blaine is sitting on the hospital bed in his own private,
overly white room.
The divider is drawn.
An E.R. Doctor is stitching his deep knife wound.
Dewey is sitting on a stool in front of him.
BLAINE
I'm lucky I turned.
DEWEY
That's twice you got away. That's
not lucky. That's a miracle. What's
your secret?
BLAINE
I had to study the original murders
for Stab 3 and my Stab 4 script. I
learned a few things about the
killer and his tactics. Besides, in
LA you need to know how to protect
yourself.
(looks at the doctor)
You almost done?
E.R. DOCTOR
You're lucky you got here when you
did. Anymore blood loss and you
would have needed a transfusion.
I'm almost done, so be quiet and
sit still.
DEWEY
Who would've thought that you come
in handy? You need to teach me some
of that stuff.
Blaine gives a one shoulder shrug.
BLAINE
All you need to know is to hit him
with something heavy and run like
hell.
Sydney pulls back the divider and rushes into the room.
She's wearing an unmatching pair of slacks and shirt. Her
face is still heavily made up.
A nurse and Gale follow.
NURSE
I'm sorry. I tried to stop her, but
there so many reporters...
BLAINE
It's okay. She's not a reporter.
She's my finacee.
NURSE
Oh. I'm sorry.
The nurse leaves.
Dewey stands so Sydney can sit on the stool.
She takes Blaine's left hand.
Dewey pulls Gale out into the hall.
INT. EMERGENCY ROOM HALLWAY
GALE
I got here as fast as I could.
Those reporters outside slowed us
down wanting to interview Sydney. I
was afraid you would be done and
gone by the time we got here.
DEWEY
How could we leave with all those
reporters out there waiting to eat
up whatever injury Blaine recieved?
GALE
I'm worried about him.
DEWEY
Me too. Goddammit I wish these
things would just fucking stop!
Three times this has happened and
each time I though Syd would go
over the edge. She always loses so
much.
GALE
Me too. For Sydney's sake. For all
our sakes.
INT. BLAINE'S EMERGENCY ROOM
SYDNEY
What happened?
BLAINE
That stupid studio reject got me
again. Only got my arm this time. I
think I gave him a concussion, or
at least fractured his skull. I
don't know. The killer was gone
when they searched my office, but I
swear I hit that son of a bitch
hard. I don't see how he could've
gotten away, let alone remembered
how to walk.
SYDNEY
At least you're okay.
BLAINE
Soon as they're done with me we'll
go have our dinner.
SYDNEY
You sure you're up to it?
BLAINE
I'm not going to let a couple of
stinking stitches stop me from
showing my sweetheart the time of
her life.
(beat)
Although my plans for afterwards
are shot to hell.
INT. CAROL BABBETT'S LIVING ROOM
Carol is curled up on the coutch watching TV.
It's NICK AT NITE.
The phone RINGS.
Carol picks it up off the floor.
CAROL
Hello?
MAN (PHONE)
Bored?
CAROL
Who is this?
MAN
Just a bored person making phone
calls.
CAROL
(annoyed)
No, I don't have Prince Albert in a
can and yes, my refridgerator is
running, but I'm not going to go
catch it.
MAN
(hurt)
I wasn't pranking. I just want to
talk.
CAROL
So use the Internet.
She hangs up.
The phone RINGS again.
She answers.
MAN (PHONE)
(angry)
I DON'T APPRECIATE BEING HUNG UP ON!
Just ask Karen Carter.
Carol's eyes go wide.
CAROL
You're that copy cat! I'm calling
the police.
She hangs up.
The phone RINGS.
Carol doesnt answer.
The machine CLICKS.
ANSWERING MACHINE VOICE (CAROL)
Hi, this is Carol, I'm not in right
now so leave your name and number
after the beep.
BEEP.
MAN (ANSWERING MACHINE)
(pure evil)
I TOLD YOU I DON'T TOLERATE PEOPLE
HANGING UP ON ME!
(conversational)
You know, the beauty of cell phones
is that I can call from
(beat)
anywhere.
Carol looks around.
She's absolutely terrified now.
She gets up and walks to...
INT. FOYER
She LOCKS the front door.
MAN (ANSWERING MACHINE, O.C.)
Our conversation is over.
CLICK!
INT. KITCHEN
Carol approaches the back door and reaches for the lock when
the door
SUDDENLY BURSTS OPEN!
Carol screams and backs away quickly so the door doesn't hit
her.
Standing in the door frame is
THE GHOSTFACE.
Carol turns to run but the Ghostface grabs her shoulder.
She stomps on his foot and he releases her.
He hops up and down, holding his foot.
Carol hightails it out of the kitchen.
The Ghostface hobbles after her.
She throws down a trash can at the entrance to the kitchen.
The killer trips over it and falls flat onto the floor.
INT. LIVING ROOM
Carol runs around the sofa as the killer recovers and comes
after her.
He corners her on one side of the couch while he stands at
the opposite.
She tries to run left but he matches her every move.
She finally fakes left and he goes left. She bolts right and
into the kitchen again.
INT. KITCHEN
Carol waits for the killer to enter the kitchen before she
brings one of her kitchen chairs down over his head. The
chair explodes into shards of wood.
The killer falls in a heap.
Carol throws open the door to the garage.
INT. GARAGE
There are no cars in the garage.
She hits the garage door opener on the wall.
The closed doors begin to rumble upward.
She glances back over her shoulder.
CAROL'S POV
The Ghostface is slowly getting to his feet.
NORMAL POV
Carol runs for the slowly opening garage door.
The killer enters the garage and looks at the garage door
and the running Carol.
He hits the button and the garage door starts to close.
CAROL
NO!
She dives under the closing garage door...
BUT HER ANKLE GETS CAUGHT AS THE DOOR HITS THE GROUND!
EXT. DRIVEWAY - NIGHT
Carol's ankle is stuck. She's trapped.
She tries to pull her foot out, but she can't pull it free.
The door to her house opens.
She looks up.
The killer begins to the calmly walk out the front door and
down the porch steps. She watches in horror as a CROWBAR
slides from inside his sleeve.
He holds it one hand and kicks it as he walks.
CAROL
(sobbing)
Please just leave alone! Don't kill
me! For the love of Christ PLEASE
DON'T KILL ME!
She's screaming and crying hysterically as the Ghostface
leisurely strolls down the walk.
CAROL
(screaming)
SOMEBODY PLEASE HELP ME! SOMEBODY!
The Ghostface approaches her and stands by her head. He sets
the crowbar next to her temple and mimics taking a few
practice swings with a golf club.
He puts his finger to the mouth of his ghost mask and
"licks" it. He holds it in the air and adjust accordingly.
He looks at Carol and holds up four fingers.
CAROL
(quieter)
Please... no.
CLOSE ON
the crowbar as it's raised in the perfect golf swing.
HOLD ON
the spot where the crowbr was as it swings down.
PAN UP TO THE MOON
as we hear Carol's agonized screaming and the sick, crunching
sound of heavy metal on bone.
A splash of blood flies into the air and if the moon turned
red.
All then goes silent.
RIPPLE FADE TO:
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM - NEXT MORNING
Sydney is sitting on the couch, a cup of steaming tea on the
coffee table.
She's crying softly.
CLOSE ON THE COFFEE TABLE
A newspaper, with the headline "GHOSTFACE KILLER STRIKES
AGAIN."
Sydney is just staring at those big, bold, black words
printed on the page. Just staring with tears streaming down
her cheeks.
EXT. WOODSBORO UNIVERSITY - PARKING LOT - DAY
Blaine pulls up in his car and steps out, gingerly slipping
his arm into a sling.
He's immedietly flocked upon by reporters and news crews.
He's bombared with questions as he shoves his way through.
REPORTER #1
Blaine, can you tell us anything on
your injuries.
BLAINE
It was a stratch.
REPORTER #1
A scratch that required one hundred
and twenty six stitches?
BLAINE
What can I say? It was a deep
scratch.
REPORTER #2
How does it feel returning to the
place where you were attacked?
BLAINE
I was attacked at home too. I feel
fine.
EXT. WOODSBORO UNIVERSITY - MAIN HALL - STEPS - CONTINUOUS
Blaine reaches the top of the steps outside the main hall of
the university.
He turns to the reporters still following him.
BLAINE
All I want to do is get from my car
into my classroom without having to
play running back through a group
of linebackers. Why don't you all
go flock somewhere else?!
He turns sharply and opens the door, entering the building.
He let's the door SLAM behind him.
INT. WOODSBORO UNIVERSITY - MAIN HALL
Blaine leans against the doors and runs a hand over his face.
BLAINE'S POV
as his hand passes his eyes he finds himself face to face
with his assistant.
He jumps out of his skin.
BLAINE
Ahhh!
NORMAL POV
ASSISTANT
I'm sorry Professor Parker.
BLAINE
It's alright Susan. What is it?
ASSISTANT (SUSAN)
Dean Williams wants to see you
right away. He says it's urgent.
BLAINE
Just what I needed. A flock of
crows and now the mother hen.
INT. DEAN'S OFFICE
Dean Williams, 60, graying hair, and a stature of
sophisticated power, and the air of the "I'm your boss, you
do what I say" is staring out his window at the parking lot.
OVER HIS SHOULDER
we can see the parking lot filled with newsvans.
The door opens.
SECRETARY
Professor Parker is here.
DEAN WILLIAMS
Good. Let him in.
Blaine walks in.
The Dean turns from the window and sits in a large leather
chair behind his large darkly stained wooden desk.
He motions for Blaine to sit.
DEAN WILLIAMS
Sit.
Blaine sits in the one-size-does-not-fit-all chairs on the
other side of the desk.
BLAINE
What did I do?
DEAN WILLIAMS
Blunt, and to the point. I like
that in a professor. Blaine, let me
start out by saying I respect you
and what you do. If it wasn't for
you and your status our little
college wouldn't be a university.
Your students have nothing but the
highest regards for you, regardless
of your celebrity status. But as
much as I would like to say the
teacher comes before my school, I
cannot. Blaine, I cannot and will
not have my campus turned into a
circus, and I just can't run the
risk of you being attacked again.
So I've come up with a solution.
BLAINE
(surprised)
You're letting me go? If that's the
case then I'll... I'll...
(beat)
I don't know.
DEAN WILLIAMS
No, no. I'm not releasing you. I
simply want you to take yoru
vacation early. You've been working
far too hard and not spending
enough time with Sydney. I know you
want to be able to comfortably
support her, but you have more than
enough income to do that. So go
away for a while. Have the wedding
somewhere else besides Woodsboro. A
little rest and relaxation will do
you both a world of good.
Blaine relaxes.
BLAINE
Syd has been saying I don't spend
enough time where her...
DEAN WILLIAMS
And with the current situation in
Woodsboro, with the murders and
all...
BLAINE
I know Sydney will be happy to hear
it. Thank you.
DEAN WILLIAMS
My pleasure.
Blaine sticks his hand out and they shake hands.
Blaine stands, with the chair still stuck around his waist.
He grins sheepishly and pulls the chair off, setting it in
the same position it was before he sat down.
He leaves, shutting the door behind him.
When he's gone, Dean Williams shakes his head.
DEAN WILLIAMS
He's a weird, weird man.
INT. SYDNEY AND BLAINE'S HOUSE - LIVING ROOM
Sydney is still staring at the newspaper.
The silence is broken by a knock on the door.
Sydney gets up to answer.
INT. FOYER - DOOR
The door opens.
DEBRA YOUNG stands on the porch.
PULL BACK TO
INT. FOYER
Sydney is leaning against the open door.
DEBRA
I heard about it.
Debra walks in and Sydney shuts the dor.
She wraps her arms around herself and starts to cry.
Debra hugs her.
SYDNEY
This should be the happiest time of
my life, but some nutcase has to
kill two of my friends and fuck it
up. WHY?! Why does some nutcase
always have to fuck things up?!
DEBRA
(comforting)
I know Syd.
She looks around and finally discovers what's missing.
DEBRA
Where's Blaine?
Sydney breaks their embrace.
SYDNEY
He's at the university.
DEBRA
Again? Why doesn't he take a
sabbatical?
SYDNEY
He can't until the wedding. That's
the agreement he made with the Dean.
There's an uncomfortable silence.
Finally Debra breaks it.
DEBRA
They shouldn't call him the Stab
killer.
SYDNEY
What?
DEBRA
The killer. They shouldn't call him
the Stab killer. He doesn't stab
his victims. So far he's set one on
fire and bashed the other's head in
with a crowbar.
SYDNEY
(angry)
Those "victims" have names you know!
They were my friends!
DEBRA
Sorry Syd... I was just trying to
make a joke.
SYDNEY
Well it was a dumb one. He does try
to stab his victims. He tried to
stab Blaine twice.
The phone RINGS.
Sydney and Debra move out of the foyer and into
INT. LIVING ROOM
Debra picks up the phone.
MAN (PHONE)
Hello Debra.
Debra gasps.
MAN
Two down. I hope Sydney's rethinking
vowing till death do us part.
Debra hangs up quickly. She looks scared.
SYDNEY
It was him again, wasn't it?
The door opens.
Sydney and Debra turn, frightened.
DEWEY (O.C.)
Hey Syd, ya decent?
SYDNEY
In the living room.
The door CLOSES and Gale and Dewey walk down the step into
the living room.
DEWEY
Well we've been over both crime
scenes with a fine toothed comb and
there's no evidence to even let us
begin to come up with an accusation.
I could point a finger at you
(points at Debra)
and say you did it. And for all we
know, you did.
DEBRA
But I didn't.
DEWEY
Exactly. Either the killer is very
lucky or very careful...
SYDNEY
(interrupts)
Or a very diehard fan of Stab.
GALE
Where's Blaine?
SYDNEY
Still at the university. That's
where he always is.
DEWEY
Really? We drove by there on the
way here and his car wasn't there...
The door opens again.
Everyone turns toward the sound.
Blaine walks down the step whistling, his sports coat over
his arm.
BLAINE
(somewhat surprised)
Oh, hello.
GALE
Blaine, why weren't you at the
university?
BLAINE
Dean gave me time off. I was at the
travel agent. We all need to get
away from these murders and from
Woodsboro, so we're moving the
wedding to our honeymoon spot int
he Bahamas, and everyone in this
room, along with Debra's boyfriend
Mark, and of course Syd's father,
are going.
Sydney hugs him.
SYDNEY
I like the sound of that.
GALE
When do we leave?
BLAINE
The end of the week. So get your
passports in order and declare all
fruit.
SYDNEY
I'll go tell dad tonight.
BLAINE
Good. Oh, and I hope you all don't
have any plans. I made reservations
for us to all go out and celebrate.
It's amazing all you can do on a
cell phone.
CUT TO:
INT. NEIL PRESCOTT'S HOUSE - KITCHEN
Sydney and Neil are sitting at the kitchen table.
SYDNEY
Blaine's moving the wedding to a
resort the Bahamas.
NEIL
I'm worried about you. I don't
trust Blaine now, especially with
the way he leaves you at home by
yourself with that killer on the
loose while he goes that university
job of his.
SYDNEY
You never did like Blaine just
because I'm twenty six and he's
thirty three.
NEIL
I don't want you to go.
SYDNEY
I want to go. Hell, I have have to
go! It's my wedding for Christ's
sake! And I want you to be there.
Who else can give me away? I need
you there.
NEIL
I'll go, but I won't hang around
Blaine.
SYDNEY
You don't have to.
She stands and hugs him