DANIELS
I'm Detective Philip Daniels, and
please have a seat. I only want to
explain this once.
The entire group moves into the living room area and Daniels
shuts the door.
They each find seats.
DANIELS
Neil was murdered and we're assuming
by the same man who murdered Karen
Carter, Carol Babbett, Dean Harold
Williams, and Edith Abram.
BLAINE
Dean Williams is dead?
Daniels nods and continues.
DANIELS
When we found Mr. Prescott, he was
in the burnt shell of his car,
which was also found to be badly
fire damaged. At first we thought
it was an accident, but after we
got the car back up onto the road
we discovered a badly damaged
bumper, trunk, and a jammed
passenger and driver's side door.
It was so badly damaged that the
doors were jammed. There was no
body in the second vehicle.
SYDNEY
Was it painful?
DANIELS
From what I saw and have been told,
I can make a guess at no. His
seatbelt wasn't on and at the angle
he was leaning, he knocked himself
out on the dashboard.
SYDNEY
At least it wasn't painful.
GALE
The last three times the killer
followed a set pattern, like a
movie trilogy. If only Randy were
still alive. He could tell us about
the forth movie of a series.
DANIELS
Does anyone else you know have that
kind of knowledge?
Everyone immedietly looks at Blaine.
BLAINE
The first movie sets the tone,
introduces the characters, five of
which usually survive to tell the
tale. The first act. The sequel is
always bigger and bloodier, and
reduces the survivng characters
down from five to maybe three, or
from three to two or one. The
second act. The end of the trilogy
always reveals something shocking,
unexpected. It can usually mean the
end of all but one main character.
The final act. The fourth movie is
different. In the fourth movie,
it's plot is usually never connected
to the original trilogy, and any
surviving main characters are
usually dead by the end. That is,
of course, unless they follow the
rule.
SYDNEY
What rule?
BLAINE
The first movie makes the rules,
the second movie breaks the rules,
and the movie has two rules:
survival and death. The fourth
movie has but one rule:
(dramatic pause, ECU
of Blaine's face)
Everybody dies.
DANIELS
Well we'll do our best to keep you
all alive and catch this killer.
We're going to evacuate the floor
except for you six.
INT. RANDOM ROOMS
We see what he describes.
DANIELS (V.O.)
There will be a few officers in
random rooms, which will change
everyday.
INT. HOTEL HALLWAY
DANIELS (V.O.)
And no less than three armed police
officers in the hallway at a time.
INT. HONEYMOON SUITE
SYDNEY
Somehow, I don't feel any safer.
EXT. BALCONY - LATER THAT NIGHT
Sydney, dressed in a silver nightgown, stands on the balcony,
watching the surf hit the sand.
Blaine comes up behind her and puts his hand around her waist.
SYDNEY
We're not getting married yet, are
we?
BLAINE
No.
She turns and looks at him.
SYDNEY
I want to go for a walk on the
beach. We haven't done that yet.
BLAINE
Then let's go.
CUT TO:
EXT. BEACH - NIGHT
Sydney and Blaine walk in the surf, letting the churning
water flow around their bare ankles and feet. She's still in
her nightgown, and he's in a pair of shorts and a T-shirt.
A police officer stands on their balcony, watching and
another is farther away on the beach. Other than that,
they're alone.
SYDNEY
I love this.
BLAINE
I know.
SYDNEY
The night is so beautiful, and the
surf is so warm. I wish we could
just lay out here forever.
She grins devilishly and takes off into the ocean, only a
few steps from the beach, but deep enough so the water is up
to her thighs, the water spraying around her as she splashes
in.
She turns and looks at Blaine.
She proceeds to soak him.
BLAINE
You skank!
He charges in after her.
MONTAGE
Blaine splashes Sydney who splashes him back.
He chases her into the water, almost catching her, but she
slips away.
Sydney splashes Blaine as he tries to grab her again.
Blinded, he falls into the water.
Laughing, she ducks him again and he gets another dunking.
Blaine finally manages to grab her and they splash into the
ocean. They surface, lips locked in a deep kiss, the water
cascading down their wet faces and hair.
END MONTAGE
SYDNEY
I love you Blaine Parker.
BLAINE
I love you Sydney Prescott.
EXT. BEACH - LATER
Sydney and Blaine emerge from the ocean, soaking wet, but
laughing and giggling.
SYDNEY
Now this is a honeymoon!
They kiss and hold each other.
Blaine pushes a wet strand of hair out of her face.
They kiss again.
BLAINE
Let's get out of these wet clothes.
She takes off for the hotel, Blaine after her.
The sound of a CAR makes them stop and look down the beach.
HEADLIGHTS appear int he darkness, heading steaight for...
BLAINE
Sydney!
He shoves her out of the way, and she lands roughly on the
sand.
She looks up just in time to see a yellow jeep slam into
Blaine, sending up in the hood. He rolls over the windshield
and off the side.
He hits the sand hard. He doesn't move. He's bleeding from
the back of his elbows, his face is a mask of blood. His
knuckles are scrapped, and his right leg is bent at an odd
angle.
The jeep roars off into the night.
SYDNEY
Blaine!
She scrambles to his side.
SYDNEY
Blaine?
The police officer on the beach runs up to them. He kneels
next to them.
POLICE OFFICER ON BEACH
(into walkie talkie)
I need a medical team here, pronto!
HOLD ON
Sydney, crying, as we
CUT TO:
INT. HOSPITAL ROOM - NIGHT
Blaine is lying in a hospital bed, his leg in a cast, hooked
up to all the neccessary life monitors. He has an oxygen
tube up his nose. He's unconscious.
Sydney is sitting on the bed with him.
SYDNEY
I had fun on the beach. I hate that
is had to end this way. I feel so
helpless, so alone.
(tearing up)
I lost my father, Blaine, I can't
lose you too.
A nurse walks in.
NURSE
Visiting hours are over. You should
probably go home and get some rest.
You've had just as a tramatic day
as he has.
SYDNEY
I want to stay.
NURSE
Mr. Parker needs his rest, and we
really don't need any more than
neccessary in this room should
something happen.
SYDNEY
How am I supposed to get back to
the hotel?
NURSE
A Detective Philip Daniels is
waiting outside for you.
SYDNEY
(sighs)
Fine.
INT. DANIEL'S PATROL CAR - MOVING
Sydney's sitting in the passenger seat, huddled up.
SYDNEY
Your cops sure as hell fucked up
didn't they?
DANIELS
It happened too fast. We didn't
have time to react.
SYDNEY
So you trained professionals didn't
think it was strange that a jeep
suddenly appeared late at night on
a beach?
DANIELS
I understand you're upset, and
rightfully so, but don't blame us.
An officer told me that the jeep
was heading for you, not Blaine. He
shoved you out of the way.
Sydney doesn't have an answer. She just looks out the windows.
INT. BLAINE'S HOSPITAL ROOM
Blaine is asleep.
CLOSE ON
the door handle as it turns.
The door opens.
The Ghostface walks in and silently shuts the door.
He walks up to Blaine's bed.
CLOSE ON
the killer's hand as he draws a gun.
CLOSE ON
the hammer of the gun as it's drawn back.
CLICK!
CLOSE ON
Blaine's eyes snap open.
He sits up suddenly and grabs the killer's arm.
The gun goes off.
CLOSE ON
The only turned on overhead light as it explodes, raining
down glass and plunging the room into darkness.
INT. HOSPITAL - NURSE'S STATION
A NURSE is talking to a SECURITY GUARD.
SECURITY GUARD
I hate the night shift.
BLAM! CRASH!
NURSE
What the fuck was that?!
SECURITY GUARD
Come on!
INT. BLAINE'S HOSPITAL ROOM
Pitch black. The only light coming from the window. Both
Blaine and the killer are in shadows.
The killer shoves the bed against the window.
Blaine holds on for dear life.
INT. HOSPITAL CORRIDOR
The nurse and security guard reach Blaine's room.
The nurse tries to the door.
Locked.
INT. BLAINE'S HOSPITAL ROOM
The killer manages to wriggle his gun and arm free of
Blaine's grasp and fires.
The bullet smashes THROUGH Blaine's skull and out the window
behind him, completely blowing out the window.
Blaine keels backward and falls out the broken window!
INT. HOSPITAL CORRIDOR
BLAM! CRASH!
NURSE
That was the window!
SECURITY GUARD
Stand back!
He draws his gun and shoots the lock.
He pushes the door open.
INT. BLAINE'S HOSPITAL ROOM
The room is empty.
NURSE
Where's Blaine?
The security guard checks the bathroom.
The nurse looks out the window.
NURSE
Oh my God!
EXT. HOSPITAL COURTYARD
Blaine's broken and battered body is lying on a gaming table.
His face is mutiliated from the bullet.
INT. BLAINE'S HOSPITAL ROOM
The security guard and the nurse are now both looking out
the window.
SECURITY GUARD
Shit.
SHINK!
A knife is thrust through his throat.
CLOSE ON
the security guard's eyes buldge.
He gurgles and falls.
The Ghostface turns toward the nurse.
NURSE
No...
She turns and runs for the door.
CLOSE ON
the killer's hand raises the bloody knife. He throws it.
CLOSE ON
the nurse's fleeing back as the knife impales itself.
The nurse falls.
CUT TO:
INT. DEBRA AND MARK'S ROOM - BATHROOM
Debra is in the shower.
INT. DEBRA AND MARK'S ROOM
Mark is standing outside the bathroom, leaning on the
bathroom door.
MARK
You about done yet?
DEBRA (O.C.)
Almost!
Mak sigh and walks over to the bed.
He throws back the covers.
There's a KNOCK on the door.
MARK
Must be room service.
He opens the door.
THE GHOSTFACE IS STANDING IN THE DOORWAY!
He stabs Mark in the gut.
INT. BATHROOM
Debra shuts off the water and steps out of the shower.
We only SEE her bare FEET as she slips on a very sexy piece
of lingerie.
INT. DEBRA AND SCOTT'S ROOM - CONTINUOUS
Debra opens the door and enters the room.
She sees a lump on the bed, completely covered by the sheets
and bedspread.
She walks over to the bed.
DEBRA
You're a horny thing tonight, ain't
ya?
She throws back the covers to reveal Mark, DEAD, his throats
and wrists slashed, the white sheets soaked in crimson blood!
Debra SCREAMS.
The killer steps out from behind a billowing drape that
leads to their balcony.
Debra turns and runs, but trips over an ottoman.
She rolls over and look up as the killer continues to
advance on her, holding a knife stained in blood.
She kicks the ottoman at the Ghostface who trips over it.
Debra stands and scrambles for the door to the room.
She throws it open.
INT. HOTEL HALLWAY - CONTINUOUS
Debra scrambles next door to the honeymoon suite's door.
She pounds on it.
DEBRA
Help! Help me! Somebody!
Ghostface emerges from Debra's room and stalks toward her.
Debra pounds on the door somemore, but still gets no answer.
The cops that are supposed to be in the hallway are nowhere
in sight.
Debra slumps against the door.
OFFICER
Freeze!
Debra looks up.
A cop emerged from a room to the right of the killer.
Another cop emerges from the room directly behind him.
Ghostface raises his hands, still holding the knife.
OFFICER
Drop the knife!
The killer makes like he's going to drop the knife, but
turns and impales the officer behind him.
The killer flees into the room the officer emerged from.
The other officer fires his gun but misses. He cautiously
moves toward the door.
INT. HOTEL ROOM
The cop walks in, point his gun and watching his back.
He carefully checks the bathroom.
NOTHING.
He looks all around the room.
NOTHING.
Until he notices an open window, and goes to it. He looks
outside.
The killer has escaped down the fire escape.
INT. DEBRA AND MARK'S ROOM
CLOSE UP
Mark's body as we
FADE TO:
INT. DEBRA AND MARK'S ROOM - LATER
Mark's body is now laying on a gurney with a white sheet
over it.
Two members from the coroner's office lift it up so the
wheels click into place, and then wheel him out into the
hallway.
INT. HOTEL HALLWAY
Debra is standing next to Sydney, Gale, Dewey, and Det.
Daniels, watching as they wheel Mark's body out into the
hallway.
Debra is crying.
DEWEY
How did the killer get in?
DANIELS
No idea. We had cops all over the
place.
DEBRA
No you didn't! I came out here
screaming and your cops took their
sweet time! But what does it matter
anyway?! Mark's dead!
Sydney hugs her and she cries into her shoulder.
DANIELS
I'll go radio for more officers.
We'll up the patrolling ones to six.
GALE
Thank you.
DANIELS
The best I can do.
He walks off.
The others enter the honeymoon suite.
CUT TO:
INT. DANIEL'S PATROL CAR
He opens the door and sits down in the driver's seat.
He sits back and sighs before he picks up the radio.
DANIELS
Dispatch, this is Daniels.
DISPATCH (RADIO)
What's up Daniels? Cody here,
working the desk tonight.
DANIELS
We need another squad of police
officers at the...
The GHOSTFACE rises from the backseat!
He SLITS Daniels' throat and the detective drops the radio.
He slumps forward, dead.
DISPATCH
Daniels? Come back, Daniels?
INT. HONEYMOON SUITE
Debra, Sydney, Dewey, and Gale are sitting around waiting.
Dewey is absentmindedly flipping through the channels.
He finally shuts off the TV and stands.
DEWEY
He's taking too long. I'm gonna go
see what happened.
GALE
I'll go with you.
SYDNEY
Me too.
DEBRA
I don't want to be left alone.
DEWEY
Okay then.
They walk out.
EXT. PARKING LOT - NIGHT
Gale, Sydney, and Debra are standing back as Dewey checks
out Daniels.
Dewey stands.
GALE
Is he...?
DEWEY
Dead? Yep.
A car engine REVS as a car speed through the parking lot,
straight at Dewey.
He dives out of the way.
The car SKIDS to a stop.
Ghostface gets out.
He heads for Dewey.
GALE
Dewey!
DEWEY
Run!
Debra panics and heads for the resort.
SYDNEY
Debra! Stop!
Sydney heads after her.
Gale watches helplessly as Dewey and the killer get into a
fist fight.
Ghostface draws his knife and repeatedly stabs Dewey in the
gut.
He falls over, onto the blacktop, in a growing crimson pool.
The killer turns to look at Gale.
She hauls ass for the resort.
INT. HOTEL LOBBY
There's no one in the lobby when Gale bursts in.
She spots the door to the stairwell close and runs for it.
Just as she runs through it, the killer enters the lobby.
He sees the door close, turns, and goes in another direction.
INT. HOTEL STAIRWELL - CONTINUOUS
Thirty flights of stairs that lead to the roof. The stairs
spiral up each wall, forming a square and a vertical drop.
Debra bursts through the door and heads up the stairs.
Sydney follows a second later.
Gale busts through just in time to watch Sydney chase Lacy
up to the fifth floor.
GALE
Shit.
(shouting)
Sydney!
Sydney doesn't hear.
Gale takes off up the steps.
TENTH FLOOR LANDING
Sydney tackles Debra. They go sprawling.
Debra screams and kicks Sydney off of her.
DEBRA
Get off me! Let me go!
She kicks Sydney again and scrambles to her feet. She
charges up the stairs.
Sydney goes after her.
INT. HOTEL HALLWAY
DING!
An elevator door opens and the Ghostface steps out. He walks
down the hall.
QUICK CUT TO:
INT. HOTEL STAIRWELL - FIFTH FLOOR STAIRS
Gale hauls ass up the stairs.
QUICK CUT TO:
INT. HOTEL HALLWAY
The Ghostface continues down the hall toward the door to the
stairs.
QUICK CUT TO:
INT. HOTEL STAIRWELL - SIXTH FLOOR STAIRS
Gale runs up the stairs.
QUICK CUT TO:
INT. HOTEL HALLWAY
The killer reaches the door and shoves it open.
QUICK CUT TO:
INT. HOTEL STAIRWELL - SEVENTH FLOOR LANDING - CONTINUOUS
Gale slams into the open door.
The Ghostface walks out.
Gale screams!
The killer slashes at her with his knife, but she ducks.
Gale speeds up the stairs, the killer in hot pursuit.
TWENTY SECOND FLOOR LANDING
Sydney tackles Debra again and manages to hold her down.
SYDNEY
Debra! Calm down!
DEBRA
Let me go! He's gonna kill me! He's
gonna kill me! He's gonna kill me
just like he did Mark!
SYDNEY
Unless you calm down and stop
acting stupid he will get you and
kill you!
Debra gets a grip.
Sydney helps her up.
NINETEENTH FLOOR LANDING
The killer trips Gale.
She stands quickly, and he takes a swing.
She ducks, and he swings again.
She side steps.
He tries to stab her but she moves...
And the killer spins and smashes his elbow against her head.
Disoriented, Gale stumbles backward and FALLS OVER THE
RAILING!
She manages to grab onto the railing.
POV - ARIAL FACING DOWN
She's dangling over a nineteen floor drop.
NORMAL POV
She screams.
TWENTY SECOND FLOOR LANDING
Debra and Gale hear it.
They rush to the rail and look over.
They see Gale hanging by two hands, and the Ghostface
standing over her.
Thet watch as the killer stab one of her hands.
That hands lets go.
NINETEENTH FLOOR LANDING
Gale is now hanging by one arm.
GALE
No. Please...
The killer stabs her other hand and she releases it from the
railing...
POV - GHOSTFACE
AND PLUMMETS NINETEEN FLOORS TO HER DEATH.
NORMAL POV
SYDNEY (O.C.)
No!
TWENTY SECOND FLOOR LANDING
The killer looks up and spots them.
He begins to take the steps two at a time.
DEBRA
Shit!
SYDNEY
The fire escape on the roof! Run!
They take off running up the stairs, the killer in hot
pursuit.
They make it to the
TWENTY FIFTH FLOOR LANDING
before Debra trips on a step and falls.
Sydney doesn't see her and goes on to the twenty sixth floor.
Debra screams.
Sydney turns.
The Ghostface is already there.
He draws his gun and stands over Debra.
DEBRA
Don't kill me. Please, please don't
kill me.
Her plea is answered when he unloads an entire clip into her
head.
When he's done, whatever little bit of her head that's left
looks like raw meat and Swish cheese.
Sydney's eyes begin to cloud with tears. She's alone now.
The killer looks up at Sydney.
She opens the door and runs into the hallway.
INT. HOTEL HALLWAY - CONTINUOUS
Sydney runs into the deserted hallway.
She looks around. Empty.
She hauls ass for the elevator.
The Ghostface enters the hall.
CLOSE ON
the button panel as Sydney hits the down button.
She looks up.
CLOSE ON
the floor numbers. 5...6...7...
Sydney glances over her shoulder.
POV - SYDNEY
The killer grows closer.
Sydney looks back at the numbers.
11...12...13... STOPS AT 13!
NORMAL POV
SYDNEY
No! Come on! Come on!
The killer draws ever closer with his slow gait.
CLOSE ON
the floor numbers. 14...15...16...17.
The killer grows closer. He knows he has her.
Sydney turns back to look at the numbers.
CLOSE ON
the numbers. 20...21...22...23...
SYDNEY
Come on goddammit!
She hits the button.
She turns around.
The killer is so close that if the elevator doesn't arrive
no she's screwed.
DING!
The doors open.
She leaps in.
INT. ELEVATOR CAR - CONTINUOUS
She hits the button marked "L."
The killer reaches the car just as the doors close.
She sighs as the car starts moving.
INT. HOTEL HALLWAY
The killer turns and walks back down the hall.
INT. ELEVATOR CAR
The numbers count down.
Suddenly..
DING!
The numbers stop counting down. The car is stopped.
INT. HOTEL HALLWAY
CLOSE ON
the button panel. A BLACK GLOVED HAND...
The GHOSTFACE!
INT. ELEVATOR CAR - CONTINUOUS
The doors open.
Sydney screams.
The killer lunges.
Sydney ducks and runs.
INT. HOTEL HALLWAY - CONTINUOUS
Sydney runs down the hall.
She spots an open door. She runs in.
INT. HOTEL ROOM
Sydney tries to shut the door but the killer busts in.
Sydney runs over to the bed.
The killer stops on the opposite side.
She's cornered.
The killer lunges.
Sydney grabs a suitcase off the floor and swings.
It nails the killer smack in the head.
He grunts and falls.
Sydney runs.
INT. HOTEL HALLWAY - CONTINUOUS
Sydney runs back to the elevator.
CLOSE ON
the floor numbers. It's back at 1.
She turns and runs for the stairs.
INT. HOTEL STAIRWELL - CONTINUOUS
She runs up the stairs.
INT. HOTEL ROOM
The killer slowly gets up and stumbles from the room.
INT. HOTEL HALLWAY - CONTINUOUS
He moves to the stairwell.
INT. HOTEL STAIRWELL - CONTINUOUS
And up the stairs.
EXT. PARKING LOT - NIGHT
Police and EMTs speed into and skid to a stop in the parking
lot.
Police get out and rush into the hotel.
OFFICER
(to medical teams,
re: Dewey)
Go help him!
(to fellow officers)
Let's go!
EXT. HOTEL ROOFTOP - NIGHT
Sydney bursts through the door and slams it shut.
She runs behind the concrete strutcure that holds the door.
She starts to cry.
The door OPENS.
She stop crying.
Silence... then
FOOTSTEPS, approaching.
She silently moves around the opposite side of the concrete
structure toward the door.
When she reaches it, she turns...
ONLY TO RUN FACE TO FACE WITH THE KILLER!
She screams.
He stabs her in her pelvic region.
Sydney stumbles backward, toward the raised concrete edge.
She falls on her butt, her face contorted in pain as her
muscles clench and she feels something die.
SYDNEY
(screaming)
You killed me baby!
Then it hits her like a sack of bricks. Only one other
person knew she was pregnant...
SYDNEY
No...
The killer crouches next to her.
GHOSTFACE
Give your husband a kiss.
He pulls off the mask.
BLAINE.
SYDNEY
(whisper)
Why?
BLAINE
Why? I'll tell you why! Right after
I spent all my time making sure
Stab 3 would be a fucking
blockbuster, I got inspired to
write Stab 4, to tie up some loose
ends. I spent two years, two
fucking years on that script. Two
years of editing, of revising, of
writing, of making sure that script
was scarier, and more intense than
before! I spent all my time on that
script. And then when that
masterpiece, that work of art, is
done, I present to the studio
heads, and what do I get?
He grabs her shirt and pulls her until they're face to face.
He's strangling her.
BLAINE
The goddamn studio execs telling me
Stabmania is dead and that it
wouldn't sell! That it wouldn't
make any money! And that did
something to me Syd.
He let's her go. She falls backward, gasping for air.
BLAINE
Do you understand what happens when
a man pours his life, his essence
into a work, when a man lives
secluded for two fucking years
working on something that is
nothing short of a masterpiece,
only to have it shot down? Do you
understand what it does to someone
when they're greatest work is
rejected? DO YOU?!
Sydney flinches at his sudden outburst of anger.
When he speaks again, his voice is eerily calm.
BLAINE
That's why I found you Sydney.
That's why I spent a year courting
you. That's why I made sure you
fell in love with me. That's why I
made sure to publicize our our
wedding more than Princess Di and
Charles! All so I would make
headlines when the Stab MRMs
started up.
Sydney shakes her head violently, not wanting to believe.
SYDNEY
No! I loved you!
BLAINE
(laughs)
Love is a word that is passed
around a lot these days Sydney.
It's as easy to fake for men as an
orgasm is easy to fake for you.
(he looks at his
knife adoringly)
Here's another headline for you
Sydney: "Sydney Prescott found dead.
The killer still at large."
She goes pale.
Blaine laughs.
BLAINE
Of course the killer will never be
found, and all the evidence will
point toward no one at all.
SYDNEY
How? How did you do it? You were
attacked! You were there when the
phone calls were made! When Karen
was murdered you were in bed with
me, and when Carol was killed you
were on the plane! As for the
others, you were always here!
BLAINE
I might as well reveal it since
you're going to die anyway. It's
called the beauty of show business.
You pick up some tricks. The phone
messages were all recordings, set
to play at a certain time, mostly
when I was somewhere with an air
tight alibi. The one who attacked
me and killed Carol was nothing
more than an upstart actor guillible
enough to believe it was all a
movie. He's attacked me in my
hospital room and shot out the
light. I switched costumes with him
and blew his fucking brains out his
fucking head and he fell. He's so
messed up they'll have to believe
it was me. As for sweet Karen, I
slipped some powerful sleeping
pills in your milk. You were out
like a fucking light. I was able to
climb out the window, commit the
crime and be back in bed before it
was even sunrise. I did that a lot
Sydney.
SYDNEY
But I saw you get hit by the jeep.
BLAINE
Yes. That was my greatest
performance. And you bought it,
hook, line, and sinker. That's the
only other part of this whole
affair I faked... well other than
the love and romance.
Tears falls down Sydney's cheeks.
SYDNEY
You bastard!
Blaine stands.
BLAINE
I know.
(raises his knife)
It's time for you to die, Sydney.
He stabs her again and again. Each time in the stomach, the
chest, or the sides.
She screams.
He raises the knife for the final blow.
BLAINE
I'll see you in hell.
SYDNEY
You first.
She kicks in the butt, and he flips over the raised concrete
edge.
He flips over it and spins, trying to grab the edge.
He misses and falls to his death.
Sydney hauls herself up to look over the edge.
Blaine is lying on the roof of a car. The roof dented in.
He's dead.
Sydney slides down onto the cold rooftop.
POV - ARIAL VIEW
SYDNEY
(quiet)
Help me...
(quieter)
Please...
(whisper)
Anybody...
(barely audible)
Help...
FADE TO BLACK
EXT. PARKING LOT - NIGHT
Dewey's body is loaded into an EMT.
CUT TO:
INT. HOTEL STAIRWELL
Gale's body in loaded onto a gurney.
CUT TO:
INT. DANIEL'S PATROL CAR
Daniels body is slowly pulled from his cruiser.
CUT TO:
INT. HOTEL STAIRWELL - TWENTY FIFTH FLOOR LANDING
A white sheet is thrown over Debra's body.
CUT TO:
EXT. PARKING LOT - NIGHT
Blaine's body is taken off the roof of the car.
CUT TO:
EXT. HOTEL ROOFTOP - NIGHT
Cops find Sydney's body.
The same officer from the parking lot checks her pulse.
OFFICER
She's dead.
TV
NEWS ANCHOR #1
Our top story tonight, Sydney
Prescott is dead.
Static.
NEWS ANCHOR #2
The Woodsboro Murders seem to have
taken a new twist tonight, and are
now being called the Honeymoon
Murders as writer/director/producer
Blaine Parker was revealed to be
the man behind the deaths...
Static.
NEWS ANCHOR #3
There were no survivors from this
fourth rampage. This was a very
bloody end to a very violent saga...
FADE TO BLACK
FADE IN:
CLOSE ON
a computer screen. A screenplay is on the screen.
PULL BACK UNTIL WE'RE
INT. SYDNEY AND BLAINE'S HOUSE - COMPUTER ROOM
Sydney is sitting in the computer chair.
Blaine is standing behind her.
She was reading his script.
SYDNEY
Wow!
BLAINE
That's what the studio said.
INT. SCREENWRITING CLASSROOM
Blaine is standing in front of his class.
BLAINE
So as the clock on the wall says
it's almost time to go, I have an
announcement. For the rest of this
year and possibly some of next, I
will not be here. The studio has
given me a go on Stab 5 and myself
and Sydney are going to a small
town so I can write and relax.
But don't think this gets you out
of your mid terms and finals. The
university will mail them to me.
The bell RINGS.
BLAINE
Class dismissed!
FADE OUT
THE END.
I'm Detective Philip Daniels, and
please have a seat. I only want to
explain this once.
The entire group moves into the living room area and Daniels
shuts the door.
They each find seats.
DANIELS
Neil was murdered and we're assuming
by the same man who murdered Karen
Carter, Carol Babbett, Dean Harold
Williams, and Edith Abram.
BLAINE
Dean Williams is dead?
Daniels nods and continues.
DANIELS
When we found Mr. Prescott, he was
in the burnt shell of his car,
which was also found to be badly
fire damaged. At first we thought
it was an accident, but after we
got the car back up onto the road
we discovered a badly damaged
bumper, trunk, and a jammed
passenger and driver's side door.
It was so badly damaged that the
doors were jammed. There was no
body in the second vehicle.
SYDNEY
Was it painful?
DANIELS
From what I saw and have been told,
I can make a guess at no. His
seatbelt wasn't on and at the angle
he was leaning, he knocked himself
out on the dashboard.
SYDNEY
At least it wasn't painful.
GALE
The last three times the killer
followed a set pattern, like a
movie trilogy. If only Randy were
still alive. He could tell us about
the forth movie of a series.
DANIELS
Does anyone else you know have that
kind of knowledge?
Everyone immedietly looks at Blaine.
BLAINE
The first movie sets the tone,
introduces the characters, five of
which usually survive to tell the
tale. The first act. The sequel is
always bigger and bloodier, and
reduces the survivng characters
down from five to maybe three, or
from three to two or one. The
second act. The end of the trilogy
always reveals something shocking,
unexpected. It can usually mean the
end of all but one main character.
The final act. The fourth movie is
different. In the fourth movie,
it's plot is usually never connected
to the original trilogy, and any
surviving main characters are
usually dead by the end. That is,
of course, unless they follow the
rule.
SYDNEY
What rule?
BLAINE
The first movie makes the rules,
the second movie breaks the rules,
and the movie has two rules:
survival and death. The fourth
movie has but one rule:
(dramatic pause, ECU
of Blaine's face)
Everybody dies.
DANIELS
Well we'll do our best to keep you
all alive and catch this killer.
We're going to evacuate the floor
except for you six.
INT. RANDOM ROOMS
We see what he describes.
DANIELS (V.O.)
There will be a few officers in
random rooms, which will change
everyday.
INT. HOTEL HALLWAY
DANIELS (V.O.)
And no less than three armed police
officers in the hallway at a time.
INT. HONEYMOON SUITE
SYDNEY
Somehow, I don't feel any safer.
EXT. BALCONY - LATER THAT NIGHT
Sydney, dressed in a silver nightgown, stands on the balcony,
watching the surf hit the sand.
Blaine comes up behind her and puts his hand around her waist.
SYDNEY
We're not getting married yet, are
we?
BLAINE
No.
She turns and looks at him.
SYDNEY
I want to go for a walk on the
beach. We haven't done that yet.
BLAINE
Then let's go.
CUT TO:
EXT. BEACH - NIGHT
Sydney and Blaine walk in the surf, letting the churning
water flow around their bare ankles and feet. She's still in
her nightgown, and he's in a pair of shorts and a T-shirt.
A police officer stands on their balcony, watching and
another is farther away on the beach. Other than that,
they're alone.
SYDNEY
I love this.
BLAINE
I know.
SYDNEY
The night is so beautiful, and the
surf is so warm. I wish we could
just lay out here forever.
She grins devilishly and takes off into the ocean, only a
few steps from the beach, but deep enough so the water is up
to her thighs, the water spraying around her as she splashes
in.
She turns and looks at Blaine.
She proceeds to soak him.
BLAINE
You skank!
He charges in after her.
MONTAGE
Blaine splashes Sydney who splashes him back.
He chases her into the water, almost catching her, but she
slips away.
Sydney splashes Blaine as he tries to grab her again.
Blinded, he falls into the water.
Laughing, she ducks him again and he gets another dunking.
Blaine finally manages to grab her and they splash into the
ocean. They surface, lips locked in a deep kiss, the water
cascading down their wet faces and hair.
END MONTAGE
SYDNEY
I love you Blaine Parker.
BLAINE
I love you Sydney Prescott.
EXT. BEACH - LATER
Sydney and Blaine emerge from the ocean, soaking wet, but
laughing and giggling.
SYDNEY
Now this is a honeymoon!
They kiss and hold each other.
Blaine pushes a wet strand of hair out of her face.
They kiss again.
BLAINE
Let's get out of these wet clothes.
She takes off for the hotel, Blaine after her.
The sound of a CAR makes them stop and look down the beach.
HEADLIGHTS appear int he darkness, heading steaight for...
BLAINE
Sydney!
He shoves her out of the way, and she lands roughly on the
sand.
She looks up just in time to see a yellow jeep slam into
Blaine, sending up in the hood. He rolls over the windshield
and off the side.
He hits the sand hard. He doesn't move. He's bleeding from
the back of his elbows, his face is a mask of blood. His
knuckles are scrapped, and his right leg is bent at an odd
angle.
The jeep roars off into the night.
SYDNEY
Blaine!
She scrambles to his side.
SYDNEY
Blaine?
The police officer on the beach runs up to them. He kneels
next to them.
POLICE OFFICER ON BEACH
(into walkie talkie)
I need a medical team here, pronto!
HOLD ON
Sydney, crying, as we
CUT TO:
INT. HOSPITAL ROOM - NIGHT
Blaine is lying in a hospital bed, his leg in a cast, hooked
up to all the neccessary life monitors. He has an oxygen
tube up his nose. He's unconscious.
Sydney is sitting on the bed with him.
SYDNEY
I had fun on the beach. I hate that
is had to end this way. I feel so
helpless, so alone.
(tearing up)
I lost my father, Blaine, I can't
lose you too.
A nurse walks in.
NURSE
Visiting hours are over. You should
probably go home and get some rest.
You've had just as a tramatic day
as he has.
SYDNEY
I want to stay.
NURSE
Mr. Parker needs his rest, and we
really don't need any more than
neccessary in this room should
something happen.
SYDNEY
How am I supposed to get back to
the hotel?
NURSE
A Detective Philip Daniels is
waiting outside for you.
SYDNEY
(sighs)
Fine.
INT. DANIEL'S PATROL CAR - MOVING
Sydney's sitting in the passenger seat, huddled up.
SYDNEY
Your cops sure as hell fucked up
didn't they?
DANIELS
It happened too fast. We didn't
have time to react.
SYDNEY
So you trained professionals didn't
think it was strange that a jeep
suddenly appeared late at night on
a beach?
DANIELS
I understand you're upset, and
rightfully so, but don't blame us.
An officer told me that the jeep
was heading for you, not Blaine. He
shoved you out of the way.
Sydney doesn't have an answer. She just looks out the windows.
INT. BLAINE'S HOSPITAL ROOM
Blaine is asleep.
CLOSE ON
the door handle as it turns.
The door opens.
The Ghostface walks in and silently shuts the door.
He walks up to Blaine's bed.
CLOSE ON
the killer's hand as he draws a gun.
CLOSE ON
the hammer of the gun as it's drawn back.
CLICK!
CLOSE ON
Blaine's eyes snap open.
He sits up suddenly and grabs the killer's arm.
The gun goes off.
CLOSE ON
The only turned on overhead light as it explodes, raining
down glass and plunging the room into darkness.
INT. HOSPITAL - NURSE'S STATION
A NURSE is talking to a SECURITY GUARD.
SECURITY GUARD
I hate the night shift.
BLAM! CRASH!
NURSE
What the fuck was that?!
SECURITY GUARD
Come on!
INT. BLAINE'S HOSPITAL ROOM
Pitch black. The only light coming from the window. Both
Blaine and the killer are in shadows.
The killer shoves the bed against the window.
Blaine holds on for dear life.
INT. HOSPITAL CORRIDOR
The nurse and security guard reach Blaine's room.
The nurse tries to the door.
Locked.
INT. BLAINE'S HOSPITAL ROOM
The killer manages to wriggle his gun and arm free of
Blaine's grasp and fires.
The bullet smashes THROUGH Blaine's skull and out the window
behind him, completely blowing out the window.
Blaine keels backward and falls out the broken window!
INT. HOSPITAL CORRIDOR
BLAM! CRASH!
NURSE
That was the window!
SECURITY GUARD
Stand back!
He draws his gun and shoots the lock.
He pushes the door open.
INT. BLAINE'S HOSPITAL ROOM
The room is empty.
NURSE
Where's Blaine?
The security guard checks the bathroom.
The nurse looks out the window.
NURSE
Oh my God!
EXT. HOSPITAL COURTYARD
Blaine's broken and battered body is lying on a gaming table.
His face is mutiliated from the bullet.
INT. BLAINE'S HOSPITAL ROOM
The security guard and the nurse are now both looking out
the window.
SECURITY GUARD
Shit.
SHINK!
A knife is thrust through his throat.
CLOSE ON
the security guard's eyes buldge.
He gurgles and falls.
The Ghostface turns toward the nurse.
NURSE
No...
She turns and runs for the door.
CLOSE ON
the killer's hand raises the bloody knife. He throws it.
CLOSE ON
the nurse's fleeing back as the knife impales itself.
The nurse falls.
CUT TO:
INT. DEBRA AND MARK'S ROOM - BATHROOM
Debra is in the shower.
INT. DEBRA AND MARK'S ROOM
Mark is standing outside the bathroom, leaning on the
bathroom door.
MARK
You about done yet?
DEBRA (O.C.)
Almost!
Mak sigh and walks over to the bed.
He throws back the covers.
There's a KNOCK on the door.
MARK
Must be room service.
He opens the door.
THE GHOSTFACE IS STANDING IN THE DOORWAY!
He stabs Mark in the gut.
INT. BATHROOM
Debra shuts off the water and steps out of the shower.
We only SEE her bare FEET as she slips on a very sexy piece
of lingerie.
INT. DEBRA AND SCOTT'S ROOM - CONTINUOUS
Debra opens the door and enters the room.
She sees a lump on the bed, completely covered by the sheets
and bedspread.
She walks over to the bed.
DEBRA
You're a horny thing tonight, ain't
ya?
She throws back the covers to reveal Mark, DEAD, his throats
and wrists slashed, the white sheets soaked in crimson blood!
Debra SCREAMS.
The killer steps out from behind a billowing drape that
leads to their balcony.
Debra turns and runs, but trips over an ottoman.
She rolls over and look up as the killer continues to
advance on her, holding a knife stained in blood.
She kicks the ottoman at the Ghostface who trips over it.
Debra stands and scrambles for the door to the room.
She throws it open.
INT. HOTEL HALLWAY - CONTINUOUS
Debra scrambles next door to the honeymoon suite's door.
She pounds on it.
DEBRA
Help! Help me! Somebody!
Ghostface emerges from Debra's room and stalks toward her.
Debra pounds on the door somemore, but still gets no answer.
The cops that are supposed to be in the hallway are nowhere
in sight.
Debra slumps against the door.
OFFICER
Freeze!
Debra looks up.
A cop emerged from a room to the right of the killer.
Another cop emerges from the room directly behind him.
Ghostface raises his hands, still holding the knife.
OFFICER
Drop the knife!
The killer makes like he's going to drop the knife, but
turns and impales the officer behind him.
The killer flees into the room the officer emerged from.
The other officer fires his gun but misses. He cautiously
moves toward the door.
INT. HOTEL ROOM
The cop walks in, point his gun and watching his back.
He carefully checks the bathroom.
NOTHING.
He looks all around the room.
NOTHING.
Until he notices an open window, and goes to it. He looks
outside.
The killer has escaped down the fire escape.
INT. DEBRA AND MARK'S ROOM
CLOSE UP
Mark's body as we
FADE TO:
INT. DEBRA AND MARK'S ROOM - LATER
Mark's body is now laying on a gurney with a white sheet
over it.
Two members from the coroner's office lift it up so the
wheels click into place, and then wheel him out into the
hallway.
INT. HOTEL HALLWAY
Debra is standing next to Sydney, Gale, Dewey, and Det.
Daniels, watching as they wheel Mark's body out into the
hallway.
Debra is crying.
DEWEY
How did the killer get in?
DANIELS
No idea. We had cops all over the
place.
DEBRA
No you didn't! I came out here
screaming and your cops took their
sweet time! But what does it matter
anyway?! Mark's dead!
Sydney hugs her and she cries into her shoulder.
DANIELS
I'll go radio for more officers.
We'll up the patrolling ones to six.
GALE
Thank you.
DANIELS
The best I can do.
He walks off.
The others enter the honeymoon suite.
CUT TO:
INT. DANIEL'S PATROL CAR
He opens the door and sits down in the driver's seat.
He sits back and sighs before he picks up the radio.
DANIELS
Dispatch, this is Daniels.
DISPATCH (RADIO)
What's up Daniels? Cody here,
working the desk tonight.
DANIELS
We need another squad of police
officers at the...
The GHOSTFACE rises from the backseat!
He SLITS Daniels' throat and the detective drops the radio.
He slumps forward, dead.
DISPATCH
Daniels? Come back, Daniels?
INT. HONEYMOON SUITE
Debra, Sydney, Dewey, and Gale are sitting around waiting.
Dewey is absentmindedly flipping through the channels.
He finally shuts off the TV and stands.
DEWEY
He's taking too long. I'm gonna go
see what happened.
GALE
I'll go with you.
SYDNEY
Me too.
DEBRA
I don't want to be left alone.
DEWEY
Okay then.
They walk out.
EXT. PARKING LOT - NIGHT
Gale, Sydney, and Debra are standing back as Dewey checks
out Daniels.
Dewey stands.
GALE
Is he...?
DEWEY
Dead? Yep.
A car engine REVS as a car speed through the parking lot,
straight at Dewey.
He dives out of the way.
The car SKIDS to a stop.
Ghostface gets out.
He heads for Dewey.
GALE
Dewey!
DEWEY
Run!
Debra panics and heads for the resort.
SYDNEY
Debra! Stop!
Sydney heads after her.
Gale watches helplessly as Dewey and the killer get into a
fist fight.
Ghostface draws his knife and repeatedly stabs Dewey in the
gut.
He falls over, onto the blacktop, in a growing crimson pool.
The killer turns to look at Gale.
She hauls ass for the resort.
INT. HOTEL LOBBY
There's no one in the lobby when Gale bursts in.
She spots the door to the stairwell close and runs for it.
Just as she runs through it, the killer enters the lobby.
He sees the door close, turns, and goes in another direction.
INT. HOTEL STAIRWELL - CONTINUOUS
Thirty flights of stairs that lead to the roof. The stairs
spiral up each wall, forming a square and a vertical drop.
Debra bursts through the door and heads up the stairs.
Sydney follows a second later.
Gale busts through just in time to watch Sydney chase Lacy
up to the fifth floor.
GALE
Shit.
(shouting)
Sydney!
Sydney doesn't hear.
Gale takes off up the steps.
TENTH FLOOR LANDING
Sydney tackles Debra. They go sprawling.
Debra screams and kicks Sydney off of her.
DEBRA
Get off me! Let me go!
She kicks Sydney again and scrambles to her feet. She
charges up the stairs.
Sydney goes after her.
INT. HOTEL HALLWAY
DING!
An elevator door opens and the Ghostface steps out. He walks
down the hall.
QUICK CUT TO:
INT. HOTEL STAIRWELL - FIFTH FLOOR STAIRS
Gale hauls ass up the stairs.
QUICK CUT TO:
INT. HOTEL HALLWAY
The Ghostface continues down the hall toward the door to the
stairs.
QUICK CUT TO:
INT. HOTEL STAIRWELL - SIXTH FLOOR STAIRS
Gale runs up the stairs.
QUICK CUT TO:
INT. HOTEL HALLWAY
The killer reaches the door and shoves it open.
QUICK CUT TO:
INT. HOTEL STAIRWELL - SEVENTH FLOOR LANDING - CONTINUOUS
Gale slams into the open door.
The Ghostface walks out.
Gale screams!
The killer slashes at her with his knife, but she ducks.
Gale speeds up the stairs, the killer in hot pursuit.
TWENTY SECOND FLOOR LANDING
Sydney tackles Debra again and manages to hold her down.
SYDNEY
Debra! Calm down!
DEBRA
Let me go! He's gonna kill me! He's
gonna kill me! He's gonna kill me
just like he did Mark!
SYDNEY
Unless you calm down and stop
acting stupid he will get you and
kill you!
Debra gets a grip.
Sydney helps her up.
NINETEENTH FLOOR LANDING
The killer trips Gale.
She stands quickly, and he takes a swing.
She ducks, and he swings again.
She side steps.
He tries to stab her but she moves...
And the killer spins and smashes his elbow against her head.
Disoriented, Gale stumbles backward and FALLS OVER THE
RAILING!
She manages to grab onto the railing.
POV - ARIAL FACING DOWN
She's dangling over a nineteen floor drop.
NORMAL POV
She screams.
TWENTY SECOND FLOOR LANDING
Debra and Gale hear it.
They rush to the rail and look over.
They see Gale hanging by two hands, and the Ghostface
standing over her.
Thet watch as the killer stab one of her hands.
That hands lets go.
NINETEENTH FLOOR LANDING
Gale is now hanging by one arm.
GALE
No. Please...
The killer stabs her other hand and she releases it from the
railing...
POV - GHOSTFACE
AND PLUMMETS NINETEEN FLOORS TO HER DEATH.
NORMAL POV
SYDNEY (O.C.)
No!
TWENTY SECOND FLOOR LANDING
The killer looks up and spots them.
He begins to take the steps two at a time.
DEBRA
Shit!
SYDNEY
The fire escape on the roof! Run!
They take off running up the stairs, the killer in hot
pursuit.
They make it to the
TWENTY FIFTH FLOOR LANDING
before Debra trips on a step and falls.
Sydney doesn't see her and goes on to the twenty sixth floor.
Debra screams.
Sydney turns.
The Ghostface is already there.
He draws his gun and stands over Debra.
DEBRA
Don't kill me. Please, please don't
kill me.
Her plea is answered when he unloads an entire clip into her
head.
When he's done, whatever little bit of her head that's left
looks like raw meat and Swish cheese.
Sydney's eyes begin to cloud with tears. She's alone now.
The killer looks up at Sydney.
She opens the door and runs into the hallway.
INT. HOTEL HALLWAY - CONTINUOUS
Sydney runs into the deserted hallway.
She looks around. Empty.
She hauls ass for the elevator.
The Ghostface enters the hall.
CLOSE ON
the button panel as Sydney hits the down button.
She looks up.
CLOSE ON
the floor numbers. 5...6...7...
Sydney glances over her shoulder.
POV - SYDNEY
The killer grows closer.
Sydney looks back at the numbers.
11...12...13... STOPS AT 13!
NORMAL POV
SYDNEY
No! Come on! Come on!
The killer draws ever closer with his slow gait.
CLOSE ON
the floor numbers. 14...15...16...17.
The killer grows closer. He knows he has her.
Sydney turns back to look at the numbers.
CLOSE ON
the numbers. 20...21...22...23...
SYDNEY
Come on goddammit!
She hits the button.
She turns around.
The killer is so close that if the elevator doesn't arrive
no she's screwed.
DING!
The doors open.
She leaps in.
INT. ELEVATOR CAR - CONTINUOUS
She hits the button marked "L."
The killer reaches the car just as the doors close.
She sighs as the car starts moving.
INT. HOTEL HALLWAY
The killer turns and walks back down the hall.
INT. ELEVATOR CAR
The numbers count down.
Suddenly..
DING!
The numbers stop counting down. The car is stopped.
INT. HOTEL HALLWAY
CLOSE ON
the button panel. A BLACK GLOVED HAND...
The GHOSTFACE!
INT. ELEVATOR CAR - CONTINUOUS
The doors open.
Sydney screams.
The killer lunges.
Sydney ducks and runs.
INT. HOTEL HALLWAY - CONTINUOUS
Sydney runs down the hall.
She spots an open door. She runs in.
INT. HOTEL ROOM
Sydney tries to shut the door but the killer busts in.
Sydney runs over to the bed.
The killer stops on the opposite side.
She's cornered.
The killer lunges.
Sydney grabs a suitcase off the floor and swings.
It nails the killer smack in the head.
He grunts and falls.
Sydney runs.
INT. HOTEL HALLWAY - CONTINUOUS
Sydney runs back to the elevator.
CLOSE ON
the floor numbers. It's back at 1.
She turns and runs for the stairs.
INT. HOTEL STAIRWELL - CONTINUOUS
She runs up the stairs.
INT. HOTEL ROOM
The killer slowly gets up and stumbles from the room.
INT. HOTEL HALLWAY - CONTINUOUS
He moves to the stairwell.
INT. HOTEL STAIRWELL - CONTINUOUS
And up the stairs.
EXT. PARKING LOT - NIGHT
Police and EMTs speed into and skid to a stop in the parking
lot.
Police get out and rush into the hotel.
OFFICER
(to medical teams,
re: Dewey)
Go help him!
(to fellow officers)
Let's go!
EXT. HOTEL ROOFTOP - NIGHT
Sydney bursts through the door and slams it shut.
She runs behind the concrete strutcure that holds the door.
She starts to cry.
The door OPENS.
She stop crying.
Silence... then
FOOTSTEPS, approaching.
She silently moves around the opposite side of the concrete
structure toward the door.
When she reaches it, she turns...
ONLY TO RUN FACE TO FACE WITH THE KILLER!
She screams.
He stabs her in her pelvic region.
Sydney stumbles backward, toward the raised concrete edge.
She falls on her butt, her face contorted in pain as her
muscles clench and she feels something die.
SYDNEY
(screaming)
You killed me baby!
Then it hits her like a sack of bricks. Only one other
person knew she was pregnant...
SYDNEY
No...
The killer crouches next to her.
GHOSTFACE
Give your husband a kiss.
He pulls off the mask.
BLAINE.
SYDNEY
(whisper)
Why?
BLAINE
Why? I'll tell you why! Right after
I spent all my time making sure
Stab 3 would be a fucking
blockbuster, I got inspired to
write Stab 4, to tie up some loose
ends. I spent two years, two
fucking years on that script. Two
years of editing, of revising, of
writing, of making sure that script
was scarier, and more intense than
before! I spent all my time on that
script. And then when that
masterpiece, that work of art, is
done, I present to the studio
heads, and what do I get?
He grabs her shirt and pulls her until they're face to face.
He's strangling her.
BLAINE
The goddamn studio execs telling me
Stabmania is dead and that it
wouldn't sell! That it wouldn't
make any money! And that did
something to me Syd.
He let's her go. She falls backward, gasping for air.
BLAINE
Do you understand what happens when
a man pours his life, his essence
into a work, when a man lives
secluded for two fucking years
working on something that is
nothing short of a masterpiece,
only to have it shot down? Do you
understand what it does to someone
when they're greatest work is
rejected? DO YOU?!
Sydney flinches at his sudden outburst of anger.
When he speaks again, his voice is eerily calm.
BLAINE
That's why I found you Sydney.
That's why I spent a year courting
you. That's why I made sure you
fell in love with me. That's why I
made sure to publicize our our
wedding more than Princess Di and
Charles! All so I would make
headlines when the Stab MRMs
started up.
Sydney shakes her head violently, not wanting to believe.
SYDNEY
No! I loved you!
BLAINE
(laughs)
Love is a word that is passed
around a lot these days Sydney.
It's as easy to fake for men as an
orgasm is easy to fake for you.
(he looks at his
knife adoringly)
Here's another headline for you
Sydney: "Sydney Prescott found dead.
The killer still at large."
She goes pale.
Blaine laughs.
BLAINE
Of course the killer will never be
found, and all the evidence will
point toward no one at all.
SYDNEY
How? How did you do it? You were
attacked! You were there when the
phone calls were made! When Karen
was murdered you were in bed with
me, and when Carol was killed you
were on the plane! As for the
others, you were always here!
BLAINE
I might as well reveal it since
you're going to die anyway. It's
called the beauty of show business.
You pick up some tricks. The phone
messages were all recordings, set
to play at a certain time, mostly
when I was somewhere with an air
tight alibi. The one who attacked
me and killed Carol was nothing
more than an upstart actor guillible
enough to believe it was all a
movie. He's attacked me in my
hospital room and shot out the
light. I switched costumes with him
and blew his fucking brains out his
fucking head and he fell. He's so
messed up they'll have to believe
it was me. As for sweet Karen, I
slipped some powerful sleeping
pills in your milk. You were out
like a fucking light. I was able to
climb out the window, commit the
crime and be back in bed before it
was even sunrise. I did that a lot
Sydney.
SYDNEY
But I saw you get hit by the jeep.
BLAINE
Yes. That was my greatest
performance. And you bought it,
hook, line, and sinker. That's the
only other part of this whole
affair I faked... well other than
the love and romance.
Tears falls down Sydney's cheeks.
SYDNEY
You bastard!
Blaine stands.
BLAINE
I know.
(raises his knife)
It's time for you to die, Sydney.
He stabs her again and again. Each time in the stomach, the
chest, or the sides.
She screams.
He raises the knife for the final blow.
BLAINE
I'll see you in hell.
SYDNEY
You first.
She kicks in the butt, and he flips over the raised concrete
edge.
He flips over it and spins, trying to grab the edge.
He misses and falls to his death.
Sydney hauls herself up to look over the edge.
Blaine is lying on the roof of a car. The roof dented in.
He's dead.
Sydney slides down onto the cold rooftop.
POV - ARIAL VIEW
SYDNEY
(quiet)
Help me...
(quieter)
Please...
(whisper)
Anybody...
(barely audible)
Help...
FADE TO BLACK
EXT. PARKING LOT - NIGHT
Dewey's body is loaded into an EMT.
CUT TO:
INT. HOTEL STAIRWELL
Gale's body in loaded onto a gurney.
CUT TO:
INT. DANIEL'S PATROL CAR
Daniels body is slowly pulled from his cruiser.
CUT TO:
INT. HOTEL STAIRWELL - TWENTY FIFTH FLOOR LANDING
A white sheet is thrown over Debra's body.
CUT TO:
EXT. PARKING LOT - NIGHT
Blaine's body is taken off the roof of the car.
CUT TO:
EXT. HOTEL ROOFTOP - NIGHT
Cops find Sydney's body.
The same officer from the parking lot checks her pulse.
OFFICER
She's dead.
TV
NEWS ANCHOR #1
Our top story tonight, Sydney
Prescott is dead.
Static.
NEWS ANCHOR #2
The Woodsboro Murders seem to have
taken a new twist tonight, and are
now being called the Honeymoon
Murders as writer/director/producer
Blaine Parker was revealed to be
the man behind the deaths...
Static.
NEWS ANCHOR #3
There were no survivors from this
fourth rampage. This was a very
bloody end to a very violent saga...
FADE TO BLACK
FADE IN:
CLOSE ON
a computer screen. A screenplay is on the screen.
PULL BACK UNTIL WE'RE
INT. SYDNEY AND BLAINE'S HOUSE - COMPUTER ROOM
Sydney is sitting in the computer chair.
Blaine is standing behind her.
She was reading his script.
SYDNEY
Wow!
BLAINE
That's what the studio said.
INT. SCREENWRITING CLASSROOM
Blaine is standing in front of his class.
BLAINE
So as the clock on the wall says
it's almost time to go, I have an
announcement. For the rest of this
year and possibly some of next, I
will not be here. The studio has
given me a go on Stab 5 and myself
and Sydney are going to a small
town so I can write and relax.
But don't think this gets you out
of your mid terms and finals. The
university will mail them to me.
The bell RINGS.
BLAINE
Class dismissed!
FADE OUT
THE END.