UNTITLED SCREAM 2022 SEQUEL

Opening Scene

By PL Boucher

Based on characters created by

Kevin Williamson
&
Wes Craven
Darkness. Silence. Then--
A PIERCING SCREAM
OPEN ON:

INT. TELEVISION STUDIO - MORNING

The source of the scream: A WOMAN in her late forties, among
an excited crowd of similarly aged people, mostly women.

All enthusiastically cheering and applauding as a STAGE

MANAGER motivates them.
STAGE MANAGER
Good! Big energy, big smiles! When
you see the light and Gale comes
out, you guys go nuts.
The studio is brightly-lit and cozy. White furniture, some
plants and a sleek wooden desk. The imposing flat screen
behind shows the NY skyline.

An illuminated sign reads "GOOD MORNING WITH GALE WEATHERS"

Crew members are busy at work. The light on the "APPLAUSE"
sign turns off and the cheers die down.

STAGE MANAGER
Alright everybody, that’s great.
You can take a break, but don’t go
too far. We’ll be going live in
five minutes.

A PRODUCTION ASSISTANT named AMY (25, strong and charming)

rushes through the set towards the back of the stage. She’s
carrying a coffee cup and fumbling with a mic pack.

INT. BACKSTAGE
Amy makes her way backstage, passing more crew members.
AMY
’Scuse me, coming through!

Narrowly avoiding hitting everyone in her path, Amy makes it

to a busy DRESSING ROOM. Overlapping chatter from MAKE-UP
ARTISTS and ASSISTANTS.
A familiar figure is in the make-up chair, arguing with an
executive on her cell phone,

(CONTINUED)
CONTINUED: 2.

She turns around to reveal GALE WEATHERS. Elegant and fierce

as always.
Amy’s in the doorway, waiting for the right time to
interrupt.

GALE
You tell Bruce that I’m not doing
another segment with animals. That
monkey almost ripped my top off
last time. There’s still some
things I don’t want to show on live
TV, y’know?
AMY
It was a koala.

The room stops. Gale stares. Amy falters.

AMY
Not a monkey...Ms. Weathers.
Gale hangs up, waves away the make-up person and approaches
Amy.
GALE
Amy, I know you’re new here but
what did I tell you about
correcting me in front of people?

AMY
I’m sorry, you’re right--
Gale suddenly lightens up.

GALE
Oh honey, I’m just messing with
you! Who do you think I am? Ellen?
Amy is relieved and smiles. The whole room too. Gale wraps
her arm around Amy and they walk to the set while chatting.
GALE
You’ve got to learn how to stand up
for yourself. Even when it’s
against your very powerful and very
gorgeous boss.
 3.

INT. BACKSTAGE - HALLWAYS

ASSISTANTS put the finishing touches on Gale: brushing her
suit, fluffing her hair...
GALE
Is that my coffee?
AMY
Yes Ms. Weathers, and your new mic
pack.

Gale grabs the cup and takes a sip. She hands her the mic
pack and switches with Amy’s and clips it on.
GALE
You’re the best. And really? Still
with the "Ms. Weathers" crap?
AMY
Oh sorry. Gale.
GALE
Better. "Miss Weathers" is what the
network execs call me when I’m
renegotiating my contract.
The two women stop at the edge of the set. The gaggle of
assistants retreats and a male ANNOUNCER’s voice comes on.

ANNOUNCER (O.S.)
It’s Monday September 5th, live
from New York City, and you’re
watching "Good Morning with Gale
Weathers"!

The AUDIENCE cheers.

GALE
Alright, how do I look? On a scale
of one to Barbara Walters?

AMY
Hm, around Joy Behar.
GALE
(playful)
Oh you, bitch.
ANNOUNCER (O.S.)
Now give a warm welcome to the one
and only Gale Weathers!

(CONTINUED)
CONTINUED: 4.

GALE
Hey stick around after, I’ll grab
us some lunch from Fulci’s. My
treat.

AMY
Sure! That’d be super nice.
GALE
"Super nice". Do you see what
daytime TV has done to me?

Amy laughs and motions her to go.

INT. ’GOOD MORNING’ SET

Gale walks onto the set, confident and beaming. She waves at
the cheering audience and sits at her desk.
GALE
Hi everybody, so good to see you!
Hope you all enjoyed your weekend.
Yes, it’s Monday but it doesn’t
mean we can’t have some fun, can’t
we?
She has the audience in her pocket. They cheer again.

GALE
And boy, do we have a great show
for you today. From the new hit
series "Life Among Us", we have
Noah Black on the program.

INT. BACKSTAGE
Amy watches Gale work her magic, as if she was in the
audience herself.

GALE (ON TV)

Also, chef Kristof Schmidt will be
joining us to cook a few
back-to-school treats. And you know
how good I am in the kitchen. Do we
have the fire department on speed
dial?
A PRODUCER (a woman in her forties) snaps Amy out of it,
startling her.

(CONTINUED)
CONTINUED: 5.

PRODUCER
Hey, fangirl! You mind getting Noah
Black out of his dressing room? He
should be awake but he’s still
hungover.

AMY
Yeah sure.
PRODUCER
Don’t get too close, kid. He was
kind of grabby earlier.
AMY
Ah the glitz and glamour of
showbiz.

Amy heads back to the dressing rooms. We stay on a backstage

TV set, broadcasting the feed of Gale finishing her intro.
GALE (ON TV)
And like every Monday we’re taking
your calls for another edition of
Weekend Wrap-up.
A cutesy graphic comes up as the audience claps.

INT. BACKSTAGE - GUESTS DRESSING ROOM

Amy knocks on the door.
AMY
Mr. Black? You’re almost up.

No answer. She knocks louder. Tries the door but it’s

locked. Amy rolls her eyes.
She fumbles with a KEY CHAIN clipped to her waist. She finds
the right key and unlocks the door.

AMY
Alright, Mr. Black, I’m coming in.
You better not be trying to pull
some Louis CK shit.

She opens the door. The sparse dressing room is empty. No

sign of the actor. Amy looks around, confused.
Her eyes stop on the illuminated mirror and they go wide
when she sees the message scrawled on it:

"IT’S SHOWTIME AMY"

(CONTINUED)
CONTINUED: 6.

AMY
What the fuck...
She approaches the mirror slowly. The closet door behind her
CREAKS open but she doesn’t notice.

Amy rubs the message, trying to remove it. She notices the
CLOSET DOOR OPENING further in the reflection.
She STOPS moving. Even holds her breath. Keeping her eyes on
the door’s reflection when it SLAMS OPEN and out comes--

GHOSTFACE. Powerful, fast and deadly. The trademark white

mask atop his flowing black robes.
Amy has barely enough time to grab a NAIL FILE on the
dresser. She quickly brings her weapon up to strike, but the
killer blocks her.
In one swift move, the killer disarms her and SLAMS HIS HAND
ON AMY’S MOUTH just as a scream is escaping. Amy kicks the
air but the killer won’t let go.

GHOSTFACE drags her to the door and SLAMS it shut. Silence.

INT. ’GOOD MORNING’ SET

Gale is fielding calls from viewers. An enthusiastic FEMALE
CALLER is chatting with her.
FEMALE CALLER (O.S.)
So he actually asked me to pay for
the meal he had just puked. On me!
Can you believe it?

The audience groans and laughs. Gale winces.

GALE
I’m gonna be honest, I don’t know
what grosses me out the most: the
puke or the cheapness.
Laughs from the studio audience.
GALE
Well I’m glad you made it through
that ordeal, Jan. Okay, we have
time for one more.
Gale glances at her PRODUCER who’s holding a cue card
reading "NO NAME, MALE".

(CONTINUED)
CONTINUED: 7.

GALE
And this gentleman didn’t give us
his name so his story must be extra
embarrassing! You’re on ’Good
Morning with Gale Weathers’.

VOICE (O.S.)
Hello, Gale. It’s so nice to
finally talk to you.
GALE
So what were you up to this
weekend? Anything crazy?
VOICE (O.S.)
It was pretty uneventful, but I
gotta tell you, I’m having one
killer morning.
A hint of realization in Gale’s eyes. Could it be?
GALE
Oh, really? What happened?

VOICE (O.S.)
Well dear Gale, I never thought it
would happen to me but...I met a
girl! A pretty young thing. Tall,
feisty, redhead. As a matter of
fact, she happens to be working on
your show.
Gale’s expression darkens.
GALE
What are you talking about "on my
show"?
The mood in the studio gets heavier.

VOICE (O.S.)
I believe you know her. I wouldn’t
exactly call her a friend of yours.
I don’t think you have many of
those left alive by now, do you?
She must be your assistant then.

Gale is really alarmed now. No mistaking this voice. She

stands up.
GALE
Who is this? Who IS this?!

(CONTINUED)
CONTINUED: 8.

The AUDIENCE is uneasy. Is this a bit? The PRODUCER gets

Gale’s attention.

PRODUCER
(mouths)
What the fuck??
VOICE (O.S.)
Oh Miss Weathers, I’m crushed.
After all we’ve been through
together. You’d think you’d
recognize an old friend.
GALE
Listen, jackass. I don’t know if
this is a prank or if you’re trying
to go viral...Maybe you thought
you’d get your own hashtag for a
few hours-probably be your life’s
crowning achievement-but it’s
Monday and I’ve had enough of this
crap. Cut his feed!
She snaps her fingers at her off-camera producers.
VOICE (O.S.)
YOU CUT THIS FEED AND I’LL CUT
AMY’S THROAT FROM EAR TO EAR,
UNDERSTAND?
Gasps in the audience and a general unrest in the crowd.

INT. CONTROL ROOM

TECHNICIANS AND PERSONNEL are frantic in the cramped control
room. Rows of monitors show the unfolding action from
multiple angles.

NOAH BLACK (30s, chiseled good looks) - still hungover - is

talking to an assistant.
NOAH BLACK
There was this note from your show
on my dresser saying I had to
switch rooms with that chef guy--
MIKE the STAGE MANAGER (50s, no-nonsense) is speaking to
Gale through a headset.

MIKE
Stay calm, Gale. We still don’t
know if he’s serious. We’re trying
to find Amy.

(CONTINUED)
CONTINUED: 9.

He turns to JEFF, his ASSISTANT (late 30’s)

MIKE
Call security. Tell them to get to
Stage 26 now.

JEFF
Security? We need a goddamn hostage
negotiator or something!
MIKE
Jeff! NOW!
He leaves in a hurry.

INT. ’GOOD MORNING’ SET

Gale paces on the large set camera still following her. In

the audience, P.A.s go up and down the rows, reassuring the
audience.
GALE
If you really have Amy with you,
let me talk to her.
VOICE (O.S.)
With pleasure. I’m sure she’d
appreciate a familiar voice in her
final moments.
A beat, then AMY’s voice. Shaky and scared, breathing fast.
AMY (O.S.)
Gale?! Ohmygod please help me I
don’t know what’s--
GALE
Amy! Where are you?

AMY (O.S.)
I was in the guest dressing room
and he attacked me--
VOICE
Ah ha that’s enough. Let’s not give
away all our secrets just yet.
 10.

INT. CONTROL ROOM

On the monitors, we see Gale still speaking with the killer.
MIKE
(off mic)
Oh, shit. You don’t think he still
has her backstage somewhere?
(in headset)
Gale listen. Security will be here
soon. They...usually start their
shift around 9--
Gale rolls her eyes.
STAGE MANAGER (O.S.)
--so try and keep him on the line
until they get here. Give me a sign
if you copy.
Gale does a "jerk off" motion.
GALE
Why are you doing this? What is it
with all you fuckers?!
MIKE (O.S.)
Gale, if we can try to keep the
swearing to a minimum for our
sponsors--
Annoyed, Gale rips out her earpiece and tosses it on the
floor.
VOICE (O.S.)
You’ll know soon enough. This is
only the beginning. For now, I just
want to have some fun with an old
pro like you. And a captive
audience. Anything can happen on
live TV, right Gale?
GALE
If it’s me you want, let Amy go.
Gale shoots frantic looks to the STAGE EXIT. This is taking
too long. She starts walking towards the exit, gesturing
"It’ll be okay" to MIKE via the camera pointed on her.
 11.

INT. BACKSTAGE
Gale goes against the stream of CREW MEMBERS leaving the
studio in a rush.
VOICE (O.S.)
Why would you want to risk your
life trying to save this little
whore? For all you know, we could
be in this together.
GALE
I don’t buy that. And I’m getting
pretty good at spotting you
psychos.

VOICE (O.S.)
That’s right, you were a reporter
once. How the mighty have fallen.
From ’Top Story’ to baking cookies
on a morning show. Was it worth
driving poor Dewey away, to a
painful and...brutal death?
GALE
You keep his name out your fucking
mouth!

She walks through the empty hallways, on her guard.

INT. ’GOOD MORNING’ SET

FOUR SECURITY GUARDS walk briskly onto the set. OFFICER

NICHOLS holds a walkie to his ear, his other hand firmly on
the gun in his holster.
OFFICER NICHOLS
Andrews and Ford, you secure the
main exit. Marquez and I will
search backstage.
The OFFICERS scatter to their posts.

INT. BACKSTAGE
Gale spots a C-stand in a corner and grabs it, brandishing
it as a weapon. She’s at the GUESTS DRESSING ROOM. The door
is slightly ajar.

Gale KICKS IT open, C-stand at the ready. Nobody inside, but

the mirror is smashed and a chair upturned. She turns and
exits the room.

(CONTINUED)
CONTINUED: 12.

Down the hallway, Gale spots a door marked "DUBBING ROOM".

The light above reads "IN USE".
VOICE (O.S.)
You’d think working for a
world-class bitch like you would
take some guts. Shall we see what
Amy’s look like?
We hear Amy’s muffled cries in the background. Gale springs
into action, fearless.

INT. DUBBING ROOM

She swings open the door of the DUBBING ROOM open to reveal-

AMY. Bound to a chair. Duct tape on her mouth, blood running

down her forehead.
The walls are covered in acoustic foam, muffling her
whimpers. Gale rushes to Amy’s side and rips the tape off.

GALE
Oh God Amy! Where is he?
AMY
BEHIND YOU!

GHOSTFACE POPS OUT from behind the door and launches himself
at Gale! She turns and SLAMS the C-stand on the side of his
head. The killer is thrown across the room, into a changing
panel, with a loud crash.

INT. BACKSTAGE - GUEST DRESSING ROOM

NICHOLS and MARQUEZ are investigating when a distant ’crash’
gets their attention. They instantly run towards the noise,
guns drawn.

INT. DUBBING ROOM

Gale manages to undo the tape from Amy’s hands. Behind them,
Ghostface groggily gets back up.

GALE
(to Amy)
Run! Get to the set, the cops must
be all over it!

(CONTINUED)
CONTINUED: 13.

AMY
What about you?

GALE
I’ll be fine. Just go NOW!
Ghostface RUNS AT FULL SPEED towards Amy and swipes his
blade at her face! She dodges, and slides out the door. As
Ghostface gets back up, Gale HURLS A GLASS BOTTLE of perfume
right at his head.
GALE
Think I’m afraid of you? Just try
me, motherfucker.

Ghostface LAUNCHES himself at Gale.

INT. BACKSTAGE - HALLWAYS

Amy runs through the empty studio hallways, terrified.

She turns a corner and sees the STAGE LEFT entrance leading
to the bright GOOD MORNING set. A flash of relief across her
face as she runs to safety. Suddenly--
A SECOND GHOSTFACE ATTACKS HER, SLASHING HER THROAT

Amy gasps and brings her hand to her neck as blood pours out
of her mouth. Ghostface nonchalantly pushes her on the
ground.
She tries to scream out to the ’Good Morning’ set but a
sound barely comes.
Ghostface turns her over and leans in menacingly, inches
from her face. Amy stares into the dark pits of the mask,
terrified. The killer’s hand moves deliberately to Amy’s
waist. Her teary eyes follow the gloved hand.
Ghostface grabs Gale’s discarded mic pack from earlier. He
turns it on, adjusting a dial.

INT. DUBBING ROOM

The first GHOSTFACE has Gale’s neck from behind her. She
struggles to keep his knife from plunging into her chest.
Gale reaches behind and grabs at the mask, about to pull it
off, digging her fingernails into it when --
The door slams opens to find OFFICERS NICHOLS and MARQUEZ,
guns drawn.

(CONTINUED)
CONTINUED: 14.

OFFICHER MARQUEZ
Freeze! Put the knife down!
OFFICER NICHOLS
Let go of her!

Ghostface won’t comply, holding Gale like a human shield.

GALE
(straining)
Just shoot this prick already!

Nichols pauses for a sec, aims and FIRES THREE ROUNDS in

their direction.
Gale gasps and doubles over. Ghostface lets go of her and
slams back as the shots hit him in square in the chest. The
killer hits the wall and slumps down, motionless.
Shaky from the adrenaline, the Officers approach the killer.
OFFICER MARQUEZ
Holy shit, we got him.

OFFICER NICHOLS
Miss Weathers are you ok?
He looks down at Gale. She’s lying on the floor, motionless.
Panic spreads across Officer Nichols’ face.

GALE
(weakly)
Nice shot, Dirty Harry. Can I get a
hand?

They rush to help her up.

GALE
Hey! Keep your gun on him.
Gale approaches the unconscious killer while Marquez cuffs
him to a counter leg bolted to the ground.
OFFICER NICHOLS
Careful, Miss Weathers, sometimes
they--

GALE
Yeah, yeah, I know.
Gale grabs the Ghostface mask by the chin and pulls it up to
reveal a MAN in his LATE TWENTIES. Average and unremarkable.

(CONTINUED)
CONTINUED: 15.

GALE
Now, who the hell are you?
A LOUD FEEDBACK NOISE spews from the P.A. system. The
Officers and Gale wince. Then she realizes--

GALE
You guys found Amy, right?
They shake their head. Static on the P.A.

GALE
Alright Officer...
(reads his nametag)
Nichols. Come with me. You, stay
here and don’t take your eyes--

A pained, hoarse voice comes out of the speakers.

AMY (O.S.)
Gale? Please somebody help...
Gale’s eyes widen. She runs out of the room, Officer Nichols
at her heels.

INT. CONTROL ROOM

The CONTROL ROOM seems frozen in time. Crew members are
covering their mouths. MIKE is fiddling with switches in an
attempt to end the audio broadcast.
MIKE
(into his headset)
Where is this coming from? It must
be nearby if we’re picking it up!
Amy’s whimpers echo throughout the studio. The AUDIENCE
gasps, and murmurs rise above the crowd.

INT. BACKSTAGE - RAFTERS

Ghostface drags Amy by her feet, blood trailing behind.
She’s thrashing with what little life she has left, grabbing
at the floor, fingernails scraping the cement.

The killer hoists Amy up and SLAMS her on the metal railing
of the rafters above the studio.
 16.

INT. ’GOOD MORNING’ SET

Stage hands rush across the stage, getting to safety. The
upset audience members rush towards the exit as Amy’s cries
resonate.

PRODUCER
People, try to remain calm please!
Abruptly, Amy’s screams STOP and with it, the noise from the
crowd. OFFICER NICHOLS and GALE run onto the set. She looks
up at the control room booth and yells--
GALE
Mike! Shut it down! There’s two--
Gale notices something and freezes. A few DROPLETS OF BLOOD
form on her hand. Coming from above. She barely has time to
look up when
AMY’S MUTILATED CORPSE FALLS FROM THE RAFTERS, HUNG BY THE
NECK

Gravity makes the corpse swing back into the TV wall. CRASH!
Glass shatters and sparks shoot out. Blood drips on the
shiny floor.
Audience members scream their heads off at the ghastly
sight. They run toward the exit in a panicked stampede, some
double over from the shock. Pandemonium.
Gale holds on to her desk to keep her knees from buckling.
We linger a few seconds on AMY’S CORPSE swaying, life having
completely left her and we SMASH TO THE TITLE.