Daria 2: The Curse of the Misery Chick:
Script,
part 1
Credits
Script,
part 2
Pictures
Reviews
Commercial
NOTE: Because we recieved this script from a different source
that the previous one and it was written by a different person who
did not include the credits therein,
the credits have been put into a different
file.
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1 INT. ROOM.
The room is dark, sparsely decorated with a sofa, a few wooden chairs,
some curtained windows. The faint lighting in the room comes from
the flames in the fireplace, casting a flickering glow spookily over everything.
In the center of the floor is sprawled a young woman in black clothes and
knee-high boots, her limbs twisted and jutting out at uncomfortable angles
from her contorted body. She is motionless, a dark pool of her own
blood spreading beneath her. As we slowly zoom in on her, the view
slowly rotating, it gradually becomes apparent that the woman is DARIA.
2 SMASH CUT TO: INT. JANE'S BEDROOM--NIGHT.
JANE suddenly sits up in bed. Even in the pale moonlight streaming in through the window, we can see her eyes bug out as she hyperventilates for a few moments. Calming down, she flips on a lamp that sits on her night-stand. She is obviously unclothed beneath the sheets, and she holds them up to cover her breasts as with her free hand she takes a pad and a piece of charcoal from the night-stand and begins to sketch the image from her dream. A hand belonging to another person brushes against her.
BRITTANY
(sleepily)
Jane, could you turn the light off?
JANE
(still sketching intently)
Not now...
BRITTANY
You've had another of those dreams; haven't you?
JANE
We each get inspiration in our own way.
BRITTANY
(sitting up)
But this isn't--
(sees picture)
Eep! That isn't--
JANE
A water buffalo grazing in Central Park? No. Daria lying on the floor with a pool of blood gradually spreading from her dead body? Yes.
BRITTANY
Jane, I know I'm not that smart, though I think I'm smarter than you think I am, which is pretty smart--
JANE
(irritated)
Brittany...
BRITTANY
Jane, how many dreams like this have you had?
JANE
A few.
BRITTANY
More than a few. Every night you're having dreams about people you know getting killed. I was reading this book, and I think maybe you have some subconscious feelings you need to deal with. I mean, I thought you liked Daria.
JANE
What do you care? Next week, when Kevin apologizes, you'll forget about me and deny that this ever happened for the fifth time.
BRITTANY
Jane, this isn't emotionally healthy! You're reacting out against people you know due to their apparent emotional neglect of you and fantasizing about their downfalls. This could really eat away at you until you spiral down into depression. You need some therapy.
JANE
(setting her pad down)
Oh, Brittany, you sweet-talker, you!
JANE embraces BRITTANY, and the two proceed towards considerable
physical intimacy. The view closes in on the rough sketch on the
pad.
3 FADE TO: EXT. LAWNDALE HIGH SCHOOL, ESTABLISHING SHOT.
A bell rings.
4 CUT TO: INT. HALLWAY.
Among the students walking the halls are DARIA and JANE, both carrying their book-bags.
JANE
So how are you doing?
DARIA
Wondering if we overdid it.
JANE
I told you it would feel sore if you two did it too much.
DARIA
I'm talking about what we did to the Fashion Club, Jane, not your brother.
JANE
Stepbrother. Daria, they were a menace. They set out to ruin your life.
DARIA
Yeah, but don't you feel the least bit guilty?
JANE
May I remind you of the dichotomy between us and them? Over there are the popular crowd, those concerned so much about social status that they don't care that they make themselves or others miserable. So very like a nest of giant ants, they follow the trails their comrades and exploiters leave behind, subject to the whims of popular opinion and fashion like a flag in the wind. Music of choice: the blathering hum of their own voices speaking of trivial matters. Drug of choice: adrenaline and endorphins, brought out by engagement in dangerous and stupid acts. We fall in the other category, the outcasts, the thinkers, those who buck the trends in their iconoclastic ways because some things are just to idiotic to follow. We invent our own standards. Music of choice: the beat of our own drum. Drug of choice: books, writing, artistic expression.
DARIA
It's not that clean-cut.
JANE
True. Take the marching band, for example. In the parade last year, they stayed inside that stupid float instead of playing on top like they were supposed to. They thought their uniforms were too stupid-looking.
DARIA
Meet the little musical creatures who hide among the flowers.
(beat)
So what was that with Brittany yesterday?
JANE
She was having her regular breakup with Kevin and looking for that something special he couldn't provide.
DARIA
Intelligence?
JANE
That wasn't the word I'd use, but it certainly helps in the performance.
DARIA
I do not want to know.
JANE
That I did it with her until the sheets were soaked with her sweat?
DARIA
Jane! Where was Jesse in all this?
JANE
We have an open relationship, Daria. His only problem will be that he didn't get to watch.
DARIA
You and your crazy sex life...
JANE
Oh, I also had another of those nightmares.
DARIA
Who was dead this time? DiMartino?
JANE
Actually, you.
DARIA
Great. I'm the woman of your violent dreams.
JANE
It's great. With this one I'll have a great painting. I told you about the exhibit the gallery wants to show of this series; haven't I?
DARIA
"Death of a Generation". They'll be calling you the second coming of Maplethorpe.
JANE
I hope so. Would you be willing to pose for the painting?
DARIA
You better not have dreamed of me nude...
5 INT. A DIMLY LIT ROOM.
JANE in one corner is painting a picture based on her recent dream
by the light of a lantern. On the walls can be seen a series of grim
paintings, the light bright enough to reveal what is on the paintings but
not enough to make the people in them recognizable. Among the paintings
can be seen: a woman lying on the floor, bleeding from the head;
a man slumped against a wall, bleeding from the head, a framed picture
on the floor next to him; a man with a knife sticking through his back;
a man being thrown through a glass window; a woman with something long
and thin being shoved down her throat; a man lying on the floor with a
wire coat-hanger wrapped around his neck; a man on a sofa being strangled
from behind; a woman lying in a contorted position on a floor; a man shot
between the eyes; a woman being stabbed in the shoulder; a man being beheaded,
and many other acts of murder and mayhem.
6 EXT. THE ZEN, ESTABLISHING SHOT--NIGHT.
Pan upwards to the roof, where TOMMY SHERMAN is hiding with a bucket. He is looking downwards, waiting.
TOMMY
Come on, misery chick... Come on and get it...
Several people can be seen walking in and out of the club below. Finally one young woman with dark hair and in black can be seen approaching.
TOMMY
Yes!
TOMMY overturns the bucket, dumping many liters of pig blood
onto the woman below.
7 CUT TO: BELOW, where the one who has been drenched in blood is SANDI.
SANDI
Damn it!
(runs off)
TOMMY
Shoot! I'm sleeping alone for a week!
8 CUT TO: INT. THE ZEN.
The floor is covered with dancing people enjoying themselves, surrounded by a shell of tables. On the wall is a huge, bright banner reading "END OF THE FASHION CLUB PARTY". On stage Helpful Corn, consisting of DARIA MARIE MORGENDORFFER (lead singer), TRENT LANE (lead guitar), JESSE MORENO (rhythm guitar), JANE ANNE LANE (bass guitar), and ANDREA FLYNN (drum pads), are performing. The song ends, and people cheer.
DARIA
Thank you! We'll be back in an hour for the second set, so don't go away!
The band disbands as another band begins mounting the stage. Daria snares Trent.
DARIA
You still on for later?
TRENT
(unenthused)
Yeah.
DARIA
You don't sound too happy.
TRENT
Something doesn't feel right. I mean, look at them.
They look over at Andrea and Joey in an advanced state of making out.
TRENT
They look like they have this spark we don't.
guitarist of other band
Well, I hear that's because she'll--
Daria and Trent look at the guitarist funny.
guitarist
What?
TRENT
(to Daria)
We'll talk about this.
DARIA
Okay.
They kiss. Daria heads towards the bathroom.
9 CUT TO: THE AUDIENCE.
Among the formerly dancing people are BEAVIS and BUTT-HEAD, idiotic hosts of the Net show Beavis and Butt-Head's Sucky Show, their camera operator TODD BOOLE, and their mike-boom operator STEWART STEVENSON.
BEAVIS
Wasn't that great? We'll be back after these messages with what these people here thought of the first set.
BUTT-HEAD
Cool.
BEAVIS
OK, guys, let's take five...
TANQUERAY approaches, embraces Butt-Head.
TANQUERAY
Hey.
BUTT-HEAD
Hey.
TANQUERAY
Great show. I was hoping that after the show we could go to--
She is interrupted by a St. Bernard barking at the women's rest-room.
BUTT-HEAD
Hey, who let Cujo in here?
10 CUT TO: INT. A DISGUSTING WOMEN'S REST-ROOM.
DARIA emerges from a stall and begins washing her hands. The camera pans to the bottom of another stall, where two boots can be seen dropping down. The camera returns to DARIA. In the mirror before her, the stall door can be seen opening and TODD emerges.
TODD
Hello, Daria.
DARIA
(starting)
Damn it, Todd! What are you doing in here?
TODD
Is there something wrong with me being here?
DARIA
It's the women's bathroom. See: no urinals.
TODD
I was just hoping we could finally spend some quality time alone together.
DARIA
You've got to be kidding.
TODD
Do I look like I'm kidding? I really like you, Daria.
DARIA
Screw you!
TODD
That's exactly what I was hoping for.
TODD lunges for DARIA, who heads for the door. TODD trips her, sending her sprawling headlong on the floor. Before she can get up, he is on top of her, holding her wrists firmly together behind her with one hand.
TODD
Come on, little girl. Let's have some fun.
TODD yanks DARIA up into a standing position and drags her
into a stall, all the time with her struggling. Shoving her against
the side of the stall, he starts to go after her panties when the stall
door flies inward and hits him on the back of the head. TODD falls
over, releasing DARIA.
11 CUT TO: JANE ON THE OUTSIDE OF THE STALL.
JANE
Before you commit a felony in the bathroom, be sure the other stalls are empty first.
Relieved, DARIA hugs JANE.
12 FADE TO: BLACK.
13 INT. LOCKER ROOM, LAWNDALE HIGH SCHOOL.
The room is darkened, most the players having already left.
TOMMY SHERMAN is standing by his locker, already back into his street clothes, now busy combing his hair. We slowly stalk up on him as he picks up his book-bag and shuts the locker door. He begins to move off.
electronically disguised voice
Tommy Sherman.
TOMMY stops, and looks at the newcomer. It is SMILEY, a person in a trench-coat and a smiley-face mask, standing menacingly across from him. TOMMY is on the verge of breaking out laughing.
TOMMY
What the Hell...? Hey, Halloween's over.
(beat)
OK, ooh, you're so scary. Who's under that thing?
(beat)
Is that Upchuck?
SMILEY, who has just been standing there, shakes his/her head slowly.
TOMMY
OK, then who is it?
(beat)
Well?
(beat)
Alright, tell me who you are.
SMILEY
I've got a better question for you: how come someone who is otherwise so big is so small in the place it counts?
TOMMY
(enraged)
I'm gonna kick your ass!
SMILEY
Guess again!
SMILEY pulls out a large hunting knife out of his/her sleeve, making a loud snicker-snack as he/she does so.
SMILEY
You're an athlete. Let's see if you can run.
SMILEY lunges towards TOMMY, who starts off and rams straight into the lockers. SMILEY shakes his/her head.
SMILEY
You really suck at this.
TOMMY
Eat this!
TOMMY grabs a football and tosses it at SMILEY's head, knocking
him/her over. TOMMY runs, tripping over a bench. SMILEY gets
up, comes after TOMMY, and brings down the knife into the bench just after
TOMMY runs off.
14 CUT TO: EXT. LAWNDALE HIGH SCHOOL.
TOMMY emerges from a side door into the evening air and runs out onto the athletic field.
TOMMY
Help me! Somebody help me, please!
SMILEY bursts out the side door and comes after TOMMY. TOMMY looks back and rams straight into a goal-post, knocking him out. SMILEY stands over him and shakes his/her head.
SMILEY
Murder looked so much more exciting in the movies.
15 INT. MEETING ROOM.
Inside an exceedingly dull room dominated by a table and a few chairs sits DR. MARGARET MANSON. She has a nicotine patch on her arm and is chewing a piece of licorice. Across from her sit DR. ARVID PRESCOTT and DR. VANCE CARPENTER.
CARPENTER
Dr. Manson, you've met Dr. Prescott before; haven't you?
MASON
We met at a conference once, I think.
PRESCOTT
As you know, for the past several months Todd Audrey Boole has been under psychiatric observation. I have been asked to make a recommendation to the court whether he is fit to stand trial at this time. He is under indictment for the attempted rape of Daria Marie Morgendorffer and later for escaping from police custody and assaulting a police officer.
MANSON
The officers around here are so stupid that someone can use the "what's that over there?" trick on them to steal their guns. I'm surprised it only took them three days to catch him again.
PRESCOTT
Uh, yes. As both of you have some familiarity with Boole, I would like to get your opinions as to his mental state.
CARPENTER
Well, Boole has had a difficult life. There is evidence to suggest a combination of Turner's syndrome, borderline personality disorder, and excess sugar intake.
MANSON
Excuse me?
CARPENTER
Sugar is bad. Sugar makes you hyper. Hitler ate sugar.
MANSON
Give me a break!
CARPENTER
Boole has also suffered a significant amount of psychological trauma since early childhood. His father walked out on him when he was very young, and his mother was a deranged hockey fan. His stepfather was always telling how worthless children were and beat him regularly. His intellectual progress suffered enormously. He was unusually behind in his classes. By the time he was in third grade he was nearly as tall as the teacher. And then for a while he had exceedingly bad acne. Because of all this suffering and rejection, he was forced into an interpersonal style of acting out, being unable to delay gratification. He is so spiritually scarred that he has been left with a narrow and crude emotional range to his psyche. In order to shore up his low self-esteem, he has been putting up a façade which reflects his wish-fulfillment fantasies and subconscious cognitions regarding his own feelings of inadequacy for which he must overcompensate. He must fulfill his impulses to maintain his self-efficacy. This includes his feelings of sexual inadequacy, which is understandable given the puritanical and authoritarianly strict upbringing he was exposed to and the fact that he has only one testicle. The dissonance between the image demanded of him by the mores of our society and his genetic masculine predisposition overpowered him and resulted in the rape attempt. He was not in control of himself when he attacked Daria Morgendorffer. Under his libidinous impulses, he temporarily reverted to a state of bicamerality and simply obeyed them. There was no way he could be responsible for his actions. We ought to be compassionate and recommend he be placed in the best psychiatric care available so that his self-esteem can be properly rebuilt.
MANSON
Vance, you paid too much for that box of Cracker Jack you got your diploma out of.
PRESCOTT
Margaret!
MANSON
Todd Boole is more need of a jail cell than a psychiatric ward. He is a man without conscience. He only thinks about himself and feels no pity, no compassion, no mercy. He tried to rape Daria Morgendorffer because he wanted to, not because he was compelled to. The only thing that can be done for him is to lock him up. He is evil on two legs.
CARPENTER
(sarcastically)
What exactly are the diagnostic criteria for "evil on two legs"?
PRESCOTT
Dr. Mason, since he has been in custody, Boole has been largely catatonic and only babbles word salad. Are you telling me it's an act?
MANSON
Have you ever looked into his eyes? Give it a try, because if you do, you won't see anything remotely human in them. All you will see is a cold, calculating monster, one who without the slightest pang of guilt would kill you and make your skull into a cereal bowl. He needs to be locked away forever where he can't hurt anyone, and that means maximum security.
PRESCOTT
OK... Thank you both for your opinions. After all this, is anyone up for the local bar?
16 EXT. LIMBER PSYCHIATRIC HOSPITAL--ESTABLISHING SHOT.
The Limber Psychiatric Hospital is a huge, ugly building done in a grotesque, ornate style.
SUPER: THREE YEARS LATER
17 INT. LIMBER PSYCHIATRIC HOSPITAL--SECURITY DESK.
In a sterile room with security monitors sits a rent-a-cop. DAVID VAN DRIESSEN, a hippie teacher from Highland, approaches.
VAN DRIESSEN
Well, hey, Dan.
rent-a-cop
Mr. Van Driessen. Here to see our prize patient again?
VAN DRIESSEN
If you mean by that Todd Boole, then yes.
DAN
(standing up, picking up a huge chain of keys)
I don't see what good you're doing him. He's barely moved in years.
18 INT. PATIENT'S ROOM.
VAN DRIESSEN enters TODD's room. It is sterile, with a bed, closet, and bathroom but little else. TODD is sitting in a chair facing the window, most of his face out of view. The room is dark, and outside it is night, so there is little light streaming in.
VAN DRIESSEN
Hello, Todd. How are you today?
TODD remains motionless.
VAN DRIESSEN
I know, you're still catatonic, so I'm not expecting you to reply. But that's OK, Todd. You'll get better when it's right for you. Anyway, I've brought some readings for you. I'm going to start with passages from All I Need to Know I Learned in Kindergarten, and then I'll go on to The Tao of Pooh and The Ballad of the Lesbian Sea-Gull. I hope some of the wisdom in these words percolates down to you so when you start moving again you'll be a better person on the inside.
(pulls out a book)
OK, let me begin.
TODD turns his head to look at VAN DRIESSEN. VAN DRIESSEN is shocked.
VAN DRIESSEN
Holy moly! That's good, Todd. Keep going.
TODD stands up and turns to VAN DRIESSEN.
VAN DRIESSEN
Excellent work, Todd. Come on. I know you've got it in you.
TODD advances and begins to strangle VAN DRIESSEN, who drops his book.
VAN DRIESSEN
(barely able to speak)
Now, this is a little more aggressive than what I had in mind, Todd.
TODD begins banging VAN DRIESSEN's head against the wall.
VAN DRIESSEN
OK, fun's over. I think you should let me go now.
TODD lifts VAN DRIESSEN up by his neck and throws him through
a plate glass window. VAN DRIESSEN's screams can be heard dopplering
as he descends five floors to go splat on the hard pavement below.
19 CUT TO: SECURITY DESK.
DAN sits at his desk reading an issue of Fangoria, ignoring
the security monitors which clearly show TODD walking through the halls
at a leisurely yet menacing pace. Suddenly he emerges into the room,
picks up one of the monitors, and before DAN realizes what's going on,
TODD has slammed the monitor on his head and electrocuted him. TODD
grabs DAN's gun and walks out.
20 NEWS DESK.
news reader
Meanwhile, our top story for today: police report that last night two people were killed when twenty-six-year-old Todd Boole escaped from Limber Psychiatric Hospital. Boole was undergoing treatment for a catatonic trance he had fallen into after attempting to rape Lawndale High School student Daria Morgendorffer almost three years ago. The dead include David van Driessen, a former teacher of his from Highland High School. Van Driessen had been making weekly visits to Boole, hoping to help his therapy. Van Driessen died when he fell five stories after being thrown through a window. Police have not released the name of the other victim. People should be on the lookout for Boole. He is a Caucasian male, about five-foot-nine with a buzzed scalp and an overall scary visage. He should be considered armed and dangerous. If you see him, call the police immediately at 976-3845. Do not try to apprehend him yourself. There is a reward of one thousand dollars being offered by Van Driessen's family for information leading to the capture or death of Boole.
20 INT. DARIA AND JANE'S APARTMENT, KITCHEN.
JANE is sitting at the table eating breakfast. ZACHARY, a cat, walks along the floor. DARIA, wearing only a bathrobe, stumbles into the room. Her hair is still wet from a recent shower; she looks like the walking dead.
JANE
Good morning, sunshine. Have a nice night of binge drinking?
DARIA collapses in a chair.
DARIA
(weakly)
Must... have... coffee...
JANE
(getting up and pouring a cup)
That bad, huh? You look horrible this morning. Get hit by a truck on the way home?
(hands DARIA the cup)
DARIA
(taking a big gulp)
I wish. Then I would feel better.
(beat)
I hate this bitter rot-gut. Give me some sugar, baby.
JANE
(scooting the sugar bowl over)
So the new form of self-destruction is going to be cirrhosis?
DARIA
(dumping sugar into her coffee)
Naah. No point in adding to my suffering with hangovers.
JANE
Yet you have done so well towards that end.
DARIA
I had food poisoning. I needed to sterilize my alimentary canal.
JANE
I love it when you talk dirty, Daria.
DARIA
It's not going to happen, Jane.
JANE
Yeah, yeah. But of all the nights for you to do this...
DARIA
What, did I ruin your dinner party?
JANE
No, the photo shoot, the one where you're supposed to be a subject. And Zachary here isn't cooperative enough to be a good substitute.
DARIA
You ought to know better than to try to get a cat to do anything.
(beat)
How did you get me to agree to the photo shoot in the first place?
JANE
You might have been smoking pot at the time. Anyway, I'll have to improvise. How does "A Portrait of Self-Abuse" sound?
DARIA
Try "The Curse of the Misery Chick".
JANE
Oh, dear. More nightmares, or are you up to hallucinations?
DARIA
We shouldn't have done it, Jane.
JANE
And this from someone who doesn't have a conscience. I've got to get over to the studio to set up, so I'll have to put off talking in circles with you till later. Be over at the studio in about an hour.
DARIA
Maybe that hurricane will hit Middleton before then...
JANE
Not likely, so be there.
DARIA
Yes, mistress.
JANE
That's the spirit. Try to wear those white clothes I've laid out for you. Your usual outfits won't look too good in black-and-white.
DARIA
You want me to put on some makeup, too?
JANE
Naah. If anything, with how skinny you are, I might be able to pass you off as an anorexic.
DARIA
And you know how much I want to get that label.
JANE
Oh, before you get excited over this, the news this morning reported that Todd's broken out of the looney bin.
DARIA
Say what?
JANE
Killed someone named Van Driessen in the escape. Dropped him out of a window and made him go splat on the pavement.
DARIA
He was a teacher at Highland, a latter-day hippie. You would think with all the air in his head that he'd float.
JANE
Those spiritual types, they tend to get killed in horror movies. In any case, I need to get off my ass.
(patting DARIA's shoulder)
Don't keep me waiting, honey. Later.
(exits)
21 EXT. BUTT-HEAD'S HOUSE.
BEAVIS and BUTT-HEAD exit the house, each carrying an open can of beer, and get in a convertible Ferrari, BUTT-HEAD in the driver's seat and BEAVIS shotgun. As BUTT-HEAD starts the car, BEAVIS turns on the radio, which plays Haddaway's "What is Love?".
BUTT-HEAD
That sucks. Find something else, Beavis.
BEAVIS
Sorry.
BEAVIS fiddles with the controls and produces Steppenwolf's "Magic Carpet Ride".
BUTT-HEAD
Cool.
They each take a sip of beer, and the car pulls away from
the curb.
22 EXT. THE STREETS OF MIDDLETON.
The Ferrari weaves recklessly through light traffic as BEAVIS and BUTT-HEAD head-bang, make the pseudo-Satanic hand sign (actually Ameslan for "I love you"), and drink beer. Due to a lack of attention on the driver's part, the car does not progress straight down the lane it is in, but swerves a lot and runs a red light, narrowly missing being hit by two other cars, whose drivers do not refrain from using their horns. Coming to a minor hill, the Ferrari leaves the ground briefly (cf. The Dukes of Hazard).
BEAVIS and BUTT-HEAD
(singing along badly with the music)
Well you don't know what we could find.
Why don't you come with me, little girl,
On a magic carpet ride?
Well you don't know what we could see.
Why don't you tell your dreams to me?
Fantasy will set you free.
Close your eyes girl; look inside, girl.
Let the sound take you away.
The car stops at a stop light. NIKKI, LISA, ANGIE, and BRITTANY are standing by the curb. BUTT-HEAD smiles at them, and they smile back.
BUTT-HEAD
(to the women)
Want to come with me on a magic carpet ride, babes?
BEAVIS
(elbowing BUTT-HEAD)
You moron! Tanqueray will kill you if you even think of cheating on her.
BUTT-HEAD
(as the car starts moving again)
Jerk.
The Demented Duo resume their head-banging, pseudo-Satanic hand signs, and beer-drinking. At a particularly strong chord in the song, BEAVIS and BUTT-HEAD chuck their now-empty beer cans out the window. The cans narrowly miss hitting CURTIS, who waves his fist angrily. The Ferrari then knocks over a mailbox, and a dog has to jump out of the way to avoid being hit. Finally, BUTT-HEAD lets his car drift into the on-coming lane and hits a Honda Accord. BUTT-HEAD goes through the windshield of the Ferrari and comes to a rest on the hood. BEAVIS is spared this indignity by a properly functioning air-bag. However, when he steps out of the Ferrari, a Porsche, screeching to a halt, hits him, knocking him to the pavement.
BEAVIS
(his eyes opening wide)
I have awakened again!
BUTT-HEAD
(weakly)
Jeez.
VAL gets out of the Porsche.
VAL
Damn it! Can't you watch where you're driving?
BEAVIS
How dare you make spurious accusations against the Great Cornholio and his servant?
23 ZOOM OUT TO: DARIA.
DARIA walks down the sidewalk. She still looks tired and is dressed in a white version of her normal costume: jacket, tank top, miniskirt, and knee-high boots.
DARIA
Serves them all right. If I wasn't so miserable, I'd be laughing.
24 EXT. O'BRIEN ART BUILDING, ESTABLISHING SHOT.
The O'Brien Art Building is a one-story brick building, antiquated
and ugly.
25 INT. O'BRIEN ART BUILDING, CORRIDOR.
Down a dull corridor walks DARIA. She pauses, takes a hip
flask out, and takes a drink before replacing it in her backpack.
She finds the proper room and enters.
26 INT. O'BRIEN ART BUILDING, PHOTOGRAPHY STUDIO.
It is a white room with many lights and a white background tacked to the wall with a mattress draped with a black comforter on the floor before it. JANE is there with a very large camera.
JANE
Yo.
DARIA
Hey. I can't believe I'm dressed like this.
JANE
I wanted you wearing something which suggested you were pure and virginal in a fairly blunt way.
DARIA
Yeah, that's me, with the on-and-off relationship with your brother I've had.
JANE
Stepbrother. It will also show the gradations in shading better than flat black. Why don't you have a seat on the mattress over there?
DARIA
I'm not really sure I'm up to this.
JANE
(taking DARIA's backpack)
You'll be fine. Besides, this could be therapeutic for you.
DARIA
(sitting on the mattress)
Yeah, right.
JANE
It will. Trust me. OK, smile.
DARIA looks even more annoyed.
JANE
OK, don't smile then. Be miserable, but with feeling. That's it.
(begins snapping pictures)
Beautiful. Now change positions some.
DARIA
Me sitting here like a bump on a log isn't good enough?
JANE
I need a few nice shots for a grade. Try leaning back, tossing your hair about, stuff like that.
DARIA flops back on the mattress limply.
JANE
I suppose that's a start.
(snaps a few pictures)
How about a pose involving you putting some weight on your limbs?
DARIA
You want me to jump on the mattress?
JANE
No... You're in desperate need of loosening up.
(takes a bottle of vodka from a table)
Drink this.
DARIA
Is it cyanide?
JANE
It's vodka. You need to loosen up.
DARIA
(looking wryly at JANE)
I'm not spontaneous enough you?
JANE
If you were spontaneous, we wouldn't be using this mattress for photographs. Drink it.
DARIA gulps some of the vodka.
DARIA
Satisfied?
JANE
A little more. You've developed a bit of a tolerance.
DARIA complies, then hands it back to JANE
JANE
Thank you.
(takes a sip of vodka herself before putting it back on the table)
OK, back to work. How about you kneel on the mattress?
DARIA
(complying)
Will this make me more lifelike?
JANE
Maybe.
(snaps more pictures)
Great, now with feeling.
(snaps more pictures)
Now lean forwards and put some weight on the palms of your hands.
DARIA
(complying)
If the next thing you want to do is put a dog collar on me--
JANE
No, no. I'll get Andrea in here if I want to do that. What if... Why don't you take the jacket off and then resume that position?
DARIA
(removing jacket)
Oh, yes. Now you can see the highly obscene skin on my arms.
(tosses away jacket, resumes position)
How's this?
JANE
You look like a pile of blocks. OK, close your eyes.
DARIA
I know what you did the last time I did that.
JANE
Wrong context, Daria. I want to use a relaxation technique on you. Close your eyes.
DARIA unhappily does so.
JANE
OK, now I want you take some deep breaths... That's it. In... And out... In... And out... OK, now I want you to picture yourself in a location you feel comfortable. Imagine that you are doing something very relaxing, something that will flush all the pain and worry out of you. In... And out... In... Doing good, honey.
DARIA looks visibly more relaxed. JANE begins snapping pictures.
JANE
Keep it up, sweetie. Good. You're looking good. OK, let's try something different.
(begins fiddling with DARIA's top)
DARIA
What are you doing?
JANE
Tweaking things so I can see your cleavage.
DARIA
I wear a push-up bra, Jane. My cleavage is artificial.
JANE
You don't give yourself enough credit. Lean your torso forwards a bit. There you go.
DARIA
You're trying to make me look cheap; aren't you?
JANE
I'm trying to portray your inner self. I know there's a powerful youness inside you just waiting to burst out if you give it a chance.
DARIA
Who's this Eunice, and why can't she get a body of her own?
JANE
(coming around to DARIA's side)
Turn your head towards me and tilt it about thirty degrees.
DARIA complies, her cleavage now fairly obvious.
JANE
That's it.
(begins shooting again)
Keep it up. Show me the tiger inside. Good. Show me the fire, with feeling. Excellent. OK, drop one of the shoulder straps.
DARIA
(complying with a bit of a smile)
Am I enticing you now?
JANE
Definitely.
(begins shooting again)
There you go. OK, show me sexy. Now improvise, Daria.
As JANE shoots, DARIA changes position a few times, then pauses and pulls off her top, revealing her push-up bra.
JANE
Wow, I guess you are feeling better. You're changing gears pretty fast.
DARIA
I liked my happy thought.
JANE
All right, keep it up.
(begins shooting again)
That's it... That's it... OK, that's almost perfect. Hold still.
DARIA is leaning back on her hands while she has her legs folded up before her. JANE approaches and brushes the hair off DARIA's ear.
JANE
Your hair feels very silky today.
DARIA
It usually is. Just the conditioner I use.
JANE
That explains that wonderful smell. What do you do for your skin?
DARIA
It's called "soap".
JANE
(running her hand down DARIA's neck)
But your skin is so wonderfully smooth.
(beat; lowering one strap of DARIA's bra)
We should make this spicier.
DARIA
I can deal with that.
JANE and DARIA, their faces already close and their voices low, fall into a lip-lock and begin sucking face. JANE begins feeling up DARIA's breasts, an exchange which becomes mutual. Suddenly DARIA pulls away, looking ashamed.
JANE
What's wrong?
DARIA
(gathering her clothes up)
This isn't right...
JANE
It felt pretty right to me.
DARIA
Me, too. That's the problem.
(beat)
I'm sorry.
(rushes out)
JANE
(sighing, falling flat on her back on the mattress; beat)
Definitely won't become a therapist...
27 FADE TO: EXT. VEDDER APARTMENT BUILDING, ESTABLISHING SHOT--NIGHT.
Crickets can be heard in the background.
28 INT. DARIA AND JANE'S APARTMENT, DARIA'S BEDROOM.
In the midst of the grimly decorated room, DARIA sleeps uneasily in her bed.
female voice
Daria... Oh, Daria...
DARIA
(groggily)
Quinn?
voice
Daria...
DARIA
(opens her eyes)
Oh my god!
29 PAN TO SHOW: A MIRROR.
QUINN, looking as if she's a walking corpse, dirty and dressed in rags, floats on the other side of the mirror, her fingertips against the glass. Behind QUINN can be seen the flames of Hell.
QUINN
It was you who did this to me.
DARIA
(approaching the mirror)
No.
A hand reaches out for Daria's shoulder. She spins, finds QUINN standing behind her, along with TIFFANY and SANDI, also looking like the walking dead.
DARIA
Argh!
QUINN
You ruined my life!
DARIA
It was self-defense.
SANDI
Sure, like even you believe that.
TIFFANY
Was it self-defense all the suffering we had to go through?
SANDI
My parents haven't been able to trust me since. I've been a virtual prisoner at home.
QUINN
You, of course, know what my parents did, searching my room, stealing half my stuff, not letting me go out on dates. Who put that idea of a pregnancy test in their heads?
TIFFANY
I couldn't walk in a room without the teachers suddenly stop talking and pretend they didn't. One even called me a whore to my face.
DARIA
You set yourselves up to suffer. You have no one to blame but yourselves.
TIFFANY
Oh, yes. Tell that to my therapist. Would you like to explain the scars on my wrists to him?
SANDI
How about what happened after my parents searched my room and found my little stash of cocaine? Was I hurting anyone with it? No. But, one thing leads to the next, and I find myself in juvenile hall losing my purity to someone with halotosis.
QUINN
And all those freaks, they chose a new role model...
SANDI
...someone who claimed not to be vain or care about popularity, only into depth...
TIFFANY
...but instead made a big deal of her "natural" beauty, showing off that not-so-ordinary body through those not-so-ordinary clothes...
QUINN
...and becoming the one everyone talked about, the most popular person in school!
SANDI
Hypocritical bitch!
TIFFANY
Careful. Maybe she's not as intellectual as she thinks she is.
QUINN
And the worst of it was how every piece of low-life suddenly thought they were hot, all on account of you.
TIFFANY
Yes! "I'm an introverted member of the chess club! Does that make me a jock now?"
SANDI
"Look at me! I'm a rotten little loser with no fashion sense, and I'm a virgin! No one liked me before, but thanks to Daria, I now have the guts to spread chaos by asking you out!"
QUINN
"Hey, check me out, the loudmouthed, stupid-laughing, total freakazoid geek with bad acne! You must respect my humanity now. And you must join us in paying homage to our new goddess. We worship you, Daria!"
QUINN, SANDI, and TIFFANY
(dancing around DARIA)
We worship you! We worship you!
QUINN
Why didn't you finish the job, Daria? Sometimes dead is better.
DARIA
No!
30 SMASH CUT TO: SAME.
DARIA sits bolt upright in bed, sweating profusely.
DARIA
I can't live like this anymore!
31 INT. THE TANK.
TRENT is driving, MONIQUE riding shotgun.
TRENT
I'm sorry, Monique, but I don't think we were ever meant to be together. You're a great woman, but--
MONIQUE
You're going back to that tramp, Daria; aren't you?
TRENT
Hey! It's not I don't like you. It's more of a personality conflict.
MONIQUE
Don't lie to me, Trent! You think I'm too "perfectionist", that I get caught up in appearances to the point of forgetting substance. You hate it that I'm always trying to do something, that I'm a morning person, that I actually have some ambition. No wonder you still call out her name in the middle of the night and are never in the mood!
TRENT
Monique--
MONIQUE
(folding her arms)
I'm not talking to you.
TRENT sighs. The Tank comes to a halt.
32 EXT. VEDDER APARTMENT BUILDING.
MONIQUE exits the Tank and slams the door. The Tank drives
away as MONIQUE enters the building.
33 INT. VEDDER APARTMENT BUILDING, ELEVATOR.
MONIQUE enters the elevator and presses the button for the fifth floor. As the doors close, a gloved hand thrusts in between them, causing them to reopen. MONIQUE jumps back, only to breathe a sigh of relief as QUINN enters the elevator.
MONIQUE
For a moment there you scared me. Halloween always does that to me.
QUINN
Really?
34 CUT TO: EXT. VEDDER APARTMENT BUILDING, FRONT STEPS--NIGHT.
JANE and JESSE are talking.
JESSE
I'm sorry about tonight, Jane. This has never happened to me before.
JANE
Don't worry. It happens to every guy sooner or later.
JESSE
So this never happened with Trent or Evan?
JANE
Um... Well... We'll talk about that some other time. Call me later?
JESSE
Yeah, sure.
JESSE and JANE kiss. JESSE pulls away.
JESSE
I got to go, Jane. I'll be back again tomorrow. I promise.
JANE
You'd better be, Jesse, or I'll kill you.
JANE kisses JESSE on the lips. JANE, smiling coyly,
begins to head up the steps.
35 CUT TO: INT. VEDDER APARTMENT BUILDING, HALLWAY.
JANE walks down the hall, eventually reaching her apartment.
She enters.
36 CUT TO: INT. DARIA AND JANE'S APARTMENT.
The inside of the apartment is dimly lit and oddly disorganized. JANE immediately senses something isn't right.
JANE
Daria?
She takes a few hesitant steps forwards. Suddenly her
she hears a strange crunch beneath her feet. Freezing in her tracks,
she bends down to see what it is. Picking it up, she finds it is
a package of Pop Rocks.
37 CUT TO: JANE'S POINT OF VIEW.
We see a red light coming out from around the bathroom door.
38 CUT TO: JANE.
JANE
I don't think she's developing pictures in there.
(sprinting through the room)
Daria!
39 INT. A BATHROOM WELL-LIT BY A RED LIGHT BULB.
JANE bursts in. Empty packages of Pop Rocks are strewn all about, and in one corner is DARIA, looking dazed, holding onto an unopened two-liter bottle of Coca-Cola Classic.
JANE
Damn it, Daria! What do you think you're doing?
DARIA, who has been staring off into space, slowly turns to look at JANE.
DARIA
(disturbingly calmly)
Go away, Jane.
JANE
Are you kidding?
DARIA
I'm fine, Jane. It'll all be fine in a little while.
JANE
Hell! You are not fine! You have Pop Rocks wrappers all over the place! It doesn't exactly take a rocket scientist to figure out where they went! You're going to do it this time; aren't you? You're going to freaking kill yourself!
DARIA
What if I am?
JANE
Look, I know most of your family hates your guts for what you did. I know my stepbrother hurt you when he left you to go back to that slut Monique, but there are other
(beat)
people out there for you. Damn it! Everything bad that's happened to you isn't your fault! This isn't the end of the world!
DARIA
It is for me.
JANE
Daria--
JANE steps forwards, but immediately stops as she hears a fizzing sound. DARIA has her hand on the cap and has broken the seal.
DARIA
One more step, and I'm going to drink this, and then it'll be one big kaboom. Got it?
JANE
Daria, this isn't the answer. Take you hand off the bottle-cap.
DARIA
You're not stopping me!
JANE
Damn it, Daria! Give me the freaking Coca-Cola!
DARIA pulls off the top and begins to raise the bottle to her lips.
JANE
(slow motion, screaming)
Nooooo!
JANE dives at DARIA. Extending her hand, she knocks the bottle out of DARIA's hands, sending it bouncing on the floor and splashing its contents all over the tiles. For a moment they lie there, together in a crumpled pile. DARIA beings crying, and JANE takes her head onto her shoulder and begins to comfort her.
JANE
(making eye contact with DARIA)
There, there, honey. I'm going to be here for you. We'll get through this.
JANE's voice trails off as she and DARIA draw nearer to each
other. Entranced, their lips lock, and they share a prolonged kiss.
They break, unsure for a moment what to do from there, then return to kissing,
holding each other close, their hands pawing each other and starting to
remove each other's clothing.
40 INT. DARIA'S BEDROOM.
Although it is dark, DARIA and JANE can be seen in bed, the sheets going up to their armpits. DARIA is behind JANE, spooning her.
JANE
You know what an orgasm is called in French?
DARIA
No.
JANE
Le petit morte, the little death. So, how did it feel to die a little?
DARIA
Better than the Pop Rocks would have felt. I can't believe I did this.
JANE
Try to remember all the back-story, Daria. There were hints from the day we met. You might even argue your interest in my brother was a way of sublimating your interest in me in a socially acceptable manner.
DARIA
You and that psychology course. Still, you may be right.
JANE
You don't feel ashamed of what we did; do you?
DARIA
Not really. Given all the things I have to feel guilty about, this is nothing.
JANE
Gee, it was fun for me, too.
DARIA
That's not what I meant, Jane. I know Helen and Jake would freak out about this if they found out, but it doesn't bother me. But this isn't exactly how I pictured my life turning out.
JANE
Hitch up with someone, do it like minks, raise some rug-rats, live happily ever after?
DARIA
I'm not so sure about the kids.
JANE
I'm sure we could do the rest without any assistance.
DARIA
I hope you don't think we have to be like girlfriend and girlfriend after this.
JANE
Don't worry, Dar. I can deal with just a PG-13 relationship. I'm most interested in what makes you happy, whoever you end up with. Just please don't scare me like that again.
DARIA
And deprive you of opportunities like this?
JANE
You know you don't have to try to kill yourself to get me in bed. Besides, you know I'll still respect you in the morning.
DARIA
Jane?
JANE
Yes?
DARIA
Shut up and kiss me.
DARIA and JANE begin to engage in face-sucking again.
41 INT. HALLWAY, APARTMENT BUILDING.
TRENT, looking forlorn and carrying a dozen roses, comes walking down the hall towards the DARIA and JANE's apartment. Coming to the door, he lightly knocks, hears no answer except for ZACHARY's meowing.
TRENT
(to himself)
Must be no one home.
Reaching into his pocket, TRENT gets out his key-chain and begins opening the door.
TRENT
Good thing she never demanded the key back.
Entering, TRENT proceeds into the living room. The room is darkened. He slowly proceeds, moving towards the bedroom. ZACHARY rubs himself against TRENT's leg and then wanders off. Opening the door, TRENT looks shocked, drops the flowers, and starts to stomp away. DARIA emerges from the bedroom in only a bed-sheet.
DARIA
Trent! Wait--
(stepping on roses)
Ow ow ow! Hold on!
TRENT
(turning; surly)
What?
DARIA
Don't go. This isn't what it looks like.
TRENT
It looks like you and Janey were making a detailed study of each other's anatomy.
DARIA
OK, it is what it looks like. But you got to understand, I was so depressed that she just had to hold me, cheer me up--
TRENT
And so you two naturally took your clothes off. That's just great! Since when did you become bisexual anyway?
JANE emerges from the bedroom wearing only an oversized T-shirt.
JANE
(stepping over the roses)
What is your problem, Trent?
TRENT
Me? What have you done to Daria?
JANE
Jeez, Trent! Do I ask you what you and umpteen women you've been with have done? Get a life.
TRENT
You know what I mean. She was not into
(beat)
that before you did whatever you did to her.
JANE
Yes, she was. You ever see the way her ears turn pink whenever she watches an Audrey Hepburn movie?
DARIA
Jane!
JANE
I'm just pointing out to this sophist stepbrother of mine that it's not like I've reconfigured your neurons or anything like that. There was no brainwashing, just two people who have been under a lot of stress lately giving in to their mutual attraction and achieving some tension release. That's all.
TRENT
Since when did you like Jane?
DARIA
In case you haven't noticed, I've been very depressed lately. Our last break-up a month ago didn't help. That's just brought up all this stuff from my unconscious I didn't realize was there.
JANE
In any case, it's been obvious to pretty much everyone except you, Trent.
TRENT
Is not.
JANE
They had a betting pool at Lawndale High of when this would happen. I think Andrea's set to collect a substantial sum. In any case, why do you care? She's not your freaking girlfriend!
DARIA
Let me guess: you and Monique broke up, and you want us to get back together. That's why you brought flowers.
TRENT
Um, they were for Janey.
JANE
Red roses? That's not a flower you bring just to visit your stepsister, Trent. That was just an excuse for coming over while you try to get into Daria's pants.
DARIA
Or yours.
TRENT
Do you always have to be so cynical? Maybe for once you could see I just wanted to remain on good terms with the people I care about.
DARIA
Oh, please! Where were you the entire time I've been on Zoloft? When did you bother to speak to me unless your girlfriend of the week hadn't just dumped you?
TRENT
Fine, be that way. I hope you two are really happy together.
TRENT exits, slamming the door behind himself.
JANE
(sighs)
Men. Ruled by their hormones.
DARIA
I can't stand people like that.
DARIA and JANE suddenly embrace and fall down on the floor and out of view of the camera. JANE's shirt suddenly flies up into view.
JANE
(out of view)
Woohoo!
42 CUT TO: EXT. MIDDLETON COLLEGE--DAY.
It is a bright, sunny day. Among buildings about two centuries old with a lot of nice stonework and a large numbers of trees stroll a plethora of college students, many of them nubile young coeds. We pan across the scene to a large tree. Sitting nearby, on the hood of her car, staring off into space, is DARIA, looking very unhappy. She is dressed in black and is wearking sunglasses. The camera pauses there for a while as DARIA drinks from a hip flask. DARIA produces a harmonica from her purse and plays a sad tune. JANE approaches. She is in a red T-shirt, black shorts, and sneakers, and has obviously just been running.
JANE
Daria! Where have you been?
DARIA
What do you want, Jane?
JANE
You missed class again. I got notes, but this is getting ridiculous. You need to start showing up.
DARIA
There are three hundred students in the course and the professor knows maybe two. I'm doing fine in the class. What's your problem?
JANE
My problem is that you're taking a psychology course and can't see you're having another fit of depression. Have you been smoking again?
DARIA
No.
JANE
Try to sweep up the ashes a little better next time you're not smoking. And I just saw you take a swig of something. Have you eaten anything lately?
DARIA
Yes.
JANE
You're not doing your makeup right to avoid looking pale. You've been feeding that thing between the walls again; haven't you? The last thing you need is to be on another one of those self-destructive binges. Are you trying to kill yourself for the second time in twenty-four hours?
DARIA
Does it matter?
JANE
Of course it does. I don't think I could stand Andrea as a roommate.
DARIA
Your concern is touching. Do you think that because we've had sex that anything has really changed?
JANE
Hey, even if it isn't me, you can still do better than mope about the past. Can't you just forget about Trent for once?
DARIA
Gee, thanks for reminding me about him. I'm perfectly over your stepbrother who is completely irresponsible and can't take care of himself. Oh, Hell, he probably couldn't stand my constant nightmares either. Must be why he went back to Monique, I just didn't feel like watching over him like a zoo-keeper and couldn't keep from waking him up every two hours.
JANE
And in the time which has passed, you have sprung back to being your cheery self, which must be why you're acting out a death-wish. You need to move on, put the past behind you, and find someone else. Don't even think of going back to him, even though he broke up with Monique again.
DARIA
Yeah, like telling me to do that is going to help.
JANE
I told you to date Lurman. You two get along.
DARIA
He's my first cousin. Exactly what state do you think I'm from?
JANE
How about the perky, bouncy one?
DARIA
Angie? No way.
JANE
I meant Brittany.
DARIA
I told you: I'm not interested in that.
JANE
You need to get over this. The big Halloween event is tonight. Mack and Jodie are organizing the annual jerk hunt if you want to come along.
DARIA
Jerk hunt?
JANE
It's a tradition here that they find a deserving person every Halloween and make them suffer. I think you'll like the intended victim.
DARIA
Is it Trent?
JANE
No, though he deserves it. The void-hole hasn't paid me back all that money he's borrowed from me.
DARIA
It better be Monique then, that evil slut who destroyed Helpful Corn and ruined my life.
JANE
You're getting warmer. You need a scary costume, preferably something from a horror movie. I saw Mack's costume earlier today, and I nearly burst out laughing.
DARIA
I'm not in the mood for making others suffer. I've done it too much in my life.
JANE
You really must be depressed then. Well, you're not getting off that easy. We are going to the party in the Quad even if I have to drag you kicking and screaming. See you later, lover.
DARIA
Lucky me.
43 EXT. BUTT-HEAD'S HOUSE--ESTABLISHING
SHOT.
44 INT. BUTT-HEAD'S HOUSE--LIVING ROOM.
On the sofa in front of the TV is BUTT-HEAD. He looks horribly beaten up and has an arm and a leg in casts. While Lair of the Lesbian Vampires 2: The Sucking plays on the television, he lifts his head with great effort.
BUTT-HEAD
(weakly)
Beavis...
(beat)
Beavis, could I have a drink of water, please?
Enter BEAVIS, looking disturbed.
BEAVIS
Why have you disturbed my meditation, ye worm?
BUTT-HEAD
I'm very thirsty, Beavis. Could I have a glass of water?
BEAVIS
Great are the number of grains in the desert of time compared to the speck of a grain of a life. How much greater is the infinite to the whims of one.
BUTT-HEAD
Huh?
BEAVIS
I contemplate the Cosmos, and all you think about are the needs of the flesh. How small, how pathetic you are compared to all around you.
BUTT-HEAD
Jeez, Beavis, you don't need to cop an attitude!
BEAVIS
I am not known by that name any longer! I am the Great Cornholio!
BUTT-HEAD
The Hell you are. Get off the drug trip, and get me some water.
BEAVIS
Silence, infidel!
(kicks BUTT-HEAD off the couch, causing him to crash into a glass coffee table and breaking it)
The Great Void demands obedience! If you do not follow the will of the Great Void, you will die most ignominiously!
BUTT-HEAD
Uh... OK...
BEAVIS
We must now chant the sacred chant of the Great Void!
(chanting)
Voidholio... Voidholio...
45 CUT TO: AXL GOMPERTZ, in work overalls,
puts on a white mask (like Michael Myers). In the midst of several
blocky dormitories, he begins lumbering forward threateningly. In
the background the theme music from Halloween can be heard.
This continues for a few moments until the theme music suddenly breaks
down into cacophony, stopping as AXL freezes in his tracks, wincing at
the noise.
46 CUT TO: AXL'S FOOT, which is standing on a synthesizer.
MONIQUE MARTIN, dressed like the Grim Reaper, is sitting on the grass nearby.
MONIQUE
Hey! Watch where you're going!
47 CUT TO: AXL.
AXL
(sheepishly)
Uh, sorry.
(sneaks off)
MONIQUE shakes her head dismissively and begins playing the
piano theme from A Nightmare on Elm Street.
48 CUT TO: SEVERAL OTHER STUDENTS IN COSTUMES OF HORROR FILM CHARACTERS, including ANDREA as the Crow, EVAN as Jason Voorhees, TOM SLOANE as Freddy Krueger, ARTIE as Pinhead, COREY as the Mummy, CURTIS as Norman Bates as his mother, HEATHER as the Bride of Frankenstein, ROBERT as Dr. Frank-N-Furter, NICK as Count Dracula, MAX as Candyman, and PIGEON MAN as the Wolfman. Also present are BROOKE, who is dressed as a squirrel, MACK in a long, dark robe, JODIE in a slicker and boots, PIGEON MAN's pigeon as one of the birds from The Birds (she has a sign around her neck saying "I WAS IN THE BIRDS"), and STUPID DUDE with a bra on his head. All the students are on the move. ANDREA stops, tries reaching for her back and fails.
EVAN
What's wrong, Andrea?
ANDREA
My back itches, and I can't seem to reach it.
TOM
Here, let me help.
(scratches ANDREA's back with bladed glove)
ANDREA
That feels so much better! Thank you.
ARTIE
Hey, how's this?
(rubs his head against ANDREA's back)
ANDREA
That feels too weird.
JODIE
Knock it off! We have work to do!
49 CUT TO: EXT. THE STREETS OF MIDDLETON.
TIFFANY is walking down the street when she encounters the mob.
TIFFANY
(really fake smile)
Hi, guys! I've got to go--
JODIE
Is Quinn where you said she'd be?
TIFFANY
Well, um--
MACK
Get to the point. Remember: if you lie to us, it'll be you facing our wrath.
TIFFANY
(sadly)
Yeah.
JODIE
Excellent.
50 CUT TO: EXT. A BEAUTY PARLOR.
QUINN exits the beauty parlor as the costumed students turn a corner
in the distance. She ignores them and walks away from them.
51 CUT TO: THE COSTUMED STUDENTS.
JODIE now puts on a fisherman's hat, and MACK puts on a Ghost Face
mask. The students hasten their pace.
52 CUT TO: QUINN.
She stops at a "DON'T WALK" crossing sign. She looks around idly and notices the band of costumed students approaching quickly. The costumed students catch up with QUINN as the sign changes to "WALK" and follow her across the street but maintain a distance of several meters. A portable phone rings, and QUINN pulls the piece of noisy electronics out of her purse and answers it.
QUINN
(into phone)
Hello?
creepy voice
(through phone)
Hello.
QUINN
(into phone; after a pause)
Yes?
creepy voice
(through phone)
Who is this?
QUINN
(into phone)
Maybe you have a wrong number.
creepy voice
(through phone)
I'm not sure. Who am I talking to?
QUINN
(into phone)
Tell me who you are first.
creepy voice
(through phone)
Why?
QUINN
(into phone)
Like, duh! You called me!
creepy voice
(through phone)
Oops.
QUINN
(into phone; after a pause)
And you are...
creepy voice
(through phone)
It doesn't matter. I just want to talk to you.
QUINN
(into phone)
If this conversation's not going to go anywhere, I'm hanging up.
creepy voice
(through phone)
Tell me: since it's Halloween, why aren't you wearing a costume?
QUINN
(into phone)
How would you know that?
creepy voice
(through phone)
Because I'm looking at you right now.
QUINN looks around and notices that MACK is holding a portable phone in the proper position to speak into it.
QUINN
(facing the approaching students)
This is not funny!
COREY
This is not a joke!
(points downwards)
On this very spot--
CURTIS
(to COREY)
Uh, Corey, we're not on Ryan Street.
COREY
(pointing to 3:00)
On that very spot, in 1689, Liam Howard, an innocent man, was hung for a murder he didn't commit. And right before they strung him up, he cursed them that he would return from the dead every Halloween and raze the place to the ground unless a guilty person was punished.
JODIE
(brandishing a hook)
We know what you did in high school.
QUINN
You don't mean--
ANDREA
Let's get the jerk!
mob
Killers are coming! Killers are coming! Kill her! Kill her now!
The mob chases QUINN down the street, three blocks to the left, and down an alleyway. QUINN turns a corner and sees the mob run past her as she holds her breath. Exhaling, she starts moving perpendicular to them for a moment until she nearly rams into MACK and JODIE, making her give a short scream.
MACK
Are you scared yet, L. Quinn?
QUINN
What kind of stupid game is this, anyway?
MACK
There are certain rules that have to be followed in playing a Halloween prank. The first is to choose a worthy victim.
QUINN
I don't have to put up with this.
MACK
The second is to choose a deserved torture.
QUINN
(pulling out her cell phone)
That's it. I'm calling the police.
MACK
(knocking QUINN's cell phone to the pavement)
The third is to make sure the victim has no escape.
QUINN turns to run, but discovers that the other costumed
students are standing behind her. QUINN screams.
53 SMASH CUT TO: EXT. THE DUMPSTER BEHIND A GOOD TIME CHINESE RESTAURANT.
MACK drops a struggling QUINN into the dumpster.
QUINN
(as she hits the garbage inside)
Ow!
JODIE
Good work, people. Party in the Quad in ten minutes!
The crowd cheers and exits. A moment later a very dirty QUINN climbs slowly out of the dumpster and falls on the asphalt.
QUINN
Ow!
(starts walking away; to herself)
Damn it, Daria! Why did you have to get me into this stupid mess?
54 INT. TIFFANY AND QUINN'S APARTMENT.
SANDI, TIFFANY, JAMIE, JEFFY, and JOEY are present. TIFFANY plays something creepy on a flute as JAMIE, JEFFY, and JOEY listen. SANDI looks out the window at the Quad.
SANDI
Damn it! Who came up with this stupid tradition of a "jerk hunt"?
JAMIE
It goes back to the 60s. I think some of the hippies got drunk and decided to take justice into their own hands.
SANDI
That's just what we needed! I've been harassed for the past three years. The last thing I need is to be attacked by a bunch of idiots.
TIFFANY
(stopping playing)
Don't worry. You're not this year's target. You didn't make it past the third round in the selection committee.
SANDI
How would you know that?
TIFFANY
(shrugs)
So I filled out a few surveys. Don't worry; I voted for that stupid guy who lives next door.
JEFFY
The guy with the pigeon?
TIFFANY
His idiot roommate. He's an obnoxious slob.
JEFFY
Ah.
SANDI
Well, if I'm not this year's target, who is?
Enter QUINN from another room, holding a half-empty bottle of beer, having cleaned herself up and changed her clothes.
QUINN
I was.
(takes a drink)
JOEY
Quinn! Are you OK?
QUINN
(sits down near SANDI)
No, I'm not OK! I was dropped in a dumpster, damn it! Do you know what it's like to have to clean garbage out of your hair?
TIFFANY
Ew!
QUINN
They had to do it right after I left the beauty salon. One good hairdo down the drain. What else could go wrong today?
Two people in long robes and wearing goblin masks burst in, screaming at the top of their lungs. QUINN, TIFFANY, SANDI, JAMIE, JEFFY, and JOEY also scream until the "goblins" break into a fit of laughter.
SANDI
What's so funny?
Still laughing, the "goblins" remove their masks, revealing themselves to be HEATHER and EVAN.
HEATHER
The looks on your faces!
EVAN
We had so much fun on the "jerk hunt" we just couldn't resist adding a surprise twist!
TIFFANY
(approaching, menacingly holding her flute)
Go on, you two! Get out of my apartment! Now!
HEATHER and EVAN start to leave.
HEATHER
What's wrong with her?
EVAN
Sounds like she's got that flute stuck up her--
HEATHER
Evan!
SANDI
That's it! Jamie, we're out of here!
55 EXT. THE QUAD.
The Harpies are playing to a crowd of students, mostly in costume, before them, the song being a rendition of "Time Warp". STEWART is walking with and talking to a coed when his cell phone rings.
STEWART
Hold that thought, baby.
(answers cell phone)
Stewart Stevenson here. Talk to me.
(beat)
How did this happen?
(beat)
Butt-Head! How could you drive in that condition?
(beat)
Of course, it matters! You and Beavis were supposed to be here an hour ago!
(beat)
What do you mean "Cornholio is back"? He's supposed to be on medication! Let me speak to the Great Void's messenger...
STEWART and the coed pass by DARIA (in her ordinary clothes), who is standing around looking bored. DARIA sights JANE (dressed as Catwoman), who sidles up to her.
JANE
What do you think, honey?
DARIA
If I give you some catnip, will you go away?
JANE
Daria, you're being so depressed. You need to release some of that tension.
DARIA
I was in the Bahamas this summer, but that didn't do any good.
JANE
I'm not talking about moping on the beach. All you did was depress the entire Caribbean. You can mope anywhere.
DARIA
So, what are you proposing?
JANE
(moving closer)
Maybe you should find a special someone.
DARIA
Excuse me?
JANE
You know, someone who gets that adrenaline pumping and makes your neck flush. Someone you can release your animal passions on over and over until you can lie back and bask in the warm glow of each other's bodies.
DARIA
(moving closer herself)
Are you writing a romance novel?
JANE
Who said anything about romance?
DARIA and JANE are about to kiss when JESSE, dressed in a white T-shirt, jeans, and with a black sweater tied around his waist, approaches, somewhat discoordinated. He tries to kiss JANE, but she backs off.
JANE
What have you been drinking, Jesse?
JESSE
(slurred)
Only a few six-packs of beer. Where have you been hiding out?
JANE
Trying to cheer up Daria here.
JESSE
Hi, Daria. Your boobies are hot.
DARIA
(crossing her arms over her chest)
Yeah, whatever.
JANE
You were supposed to be here a while ago.
JESSE
I would have been here, but I'm, you know, trying to find Trent right now, trying to meet with him, see if we can, you know, get back together.
DARIA
I wouldn't have thought that was how you two were inclined.
JESSE
His vocal cords have gotten better, you know, no more nodules, and I was thinking he might be interested in, you know, reforming the band.
DARIA
Somehow I don't think it's going to work. Andrea is definitely out of the business.
JESSE
Actually, I was thinking, you know, of trying to persuade Nick and Max to leave the Harpies. They have their soft spots.
JANE
Their heads. It'd be nice to get back at that bipolar bitch who split up Helpful Corn.
JESSE
First I got to find Trent, you know. I'll catch you later.
JANE
Go get 'em, tiger.
JESSE exits.
DARIA
There goes the love of your life.
JANE
He's not the love of my life, Daria.
They hear the sound of someone imitating a stork being strangled.
56 REVERSE ANGLE TO: JESSE FLAPPING AROUND
IN A BAD IMITATION OF A BIRD, bounding off across the Quad.
57 REVERSE ANGLE TO: PREVIOUS.
DARIA
He has the dysfunctional part of a dysfunctional relationship down.
JANE
I hate it when he gets plastered. He acts so stupid.
DARIA
More than usual?
JANE
Ask me about the badger incident some time when your stomach is empty.
DARIA
And I wondered why you two stayed together.
JANE
The conversation is poor; he isn't very bright. If it wasn't for the great sex three or four times a day, I would drop him in a moment.
DARIA
I see you have your priorities straightened out.
JANE
Hey, I'm relaxed, I'm happy, and the only thing I have to worry about is what to do about my friend with suicidal tendencies. As far as I can see, the best thing for her would be to get laid.
DARIA
So why don't you tell her when you see her?
JANE
Daria, you need to flush all that negative energy out. Find someone you like, and just do it a few dozen times.
DARIA
I'm just not as comfortable as you doing that, Jane. Your brother's been the only one I've actually done it with.
(beat)
Besides last night.
JANE
Trent's my stepbrother, Daria. Surely there has to be someone else you like. How about Kevin?
DARIA
I'm not into that.
JANE
I know: no sex with stupid people. How about Monique up there?
DARIA
I'd rather see her dead.
JANE
But think of the possibilities! It's poetic justice!
DARIA
Two problems with that: one, I don't have the slightest interest in her, and two, she's probably not interested in me.
JANE
You always have to see the down side.
DARIA
Do you really think I should just give in and do something casual and meaningless?
JANE
(moving closer)
Would you?
DARIA sighs, shakes her head, and walks off.
JANE
(following)
Daria!
58 INT. BUTT-HEAD'S HOUSE.
A doorbell rings, and BEAVIS answers. It is LOLITA and TANQUERAY, the latter carrying a paper bag.
LOLITA
Beavis! We came as soon as we could.
TANQUERAY
Is he OK?
They push their way past BEAVIS without waiting for an answer and go into the living room where BUTT-HEAD is. They flock around him while BEAVIS hovers.
TANQUERAY
Oh, Butt-Head! What's happened to you? When I heard you were hit by a drunk driver, I nearly died!
LOLITA
You look much better than I expected for someone who got in a three-car pile-up.
BUTT-HEAD
(weakly)
I'll be OK, girls.
LOLITA
You bet you will, Butt-Head. We're going to take such good care of you. Tanqueray and I brought everything we need to make you nachos. Won't that be great?
BEAVIS
(approaching)
Be gone, harlots!
TANQUERAY
Pardon me?
BUTT-HEAD
(softly)
Oh, Hell.
BEAVIS
Tanqueray, you are like the mouth of a cave, open to whoever wishes to walk in.
TANQUERAY
You'd better take that back, or I'm going to kick your ass!
BEAVIS
And you, Lolita, you are like carrying an apple across a clear room, horribly easy.
LOLITA
(hurt)
Beavis, drop dead.
BEAVIS
This Beavis, I am not he. I am the Great Cornholio! I worship the Great Void!
LOLITA
Not again!
BEAVIS
The Great Void has commanded that you two bring an appeasement to his servant Cornholio!
TANQUERAY
Let me guess: We serve you grapes and strawberries while wearing skimpy underwear.
BEAVIS
(smacks TANQUERAY's face with the back of his hand)
Be quiet! One does not make sport of the Great Void!
TANQUERAY
You just signed your own death certificate, Beavis.
A fight ensues between TANQUERAY and BEAVIS, resulting in
a lot of furniture being broken and TANQUERAY getting tossed through a
window. Screaming, LOLITA runs out of the house and into the street.
59 INT. CREEPY MANSION.
A hero, the handsome and dashing ALEXANDER MADISON, with his shirt open, is faced by two female vampires in skimpy, revealing outfits, ALIZARIN CRIMSON and SANGUINE.
SANGUINE
You will die here, Alexander Madison! We shall take great pleasure drinking your blood!
ALEXANDER
Not so fast!
(pulls out a crucifix)
ALIZARIN
That doesn't work on us, you moron! We're Scientologists!
ALEXANDER
Oh, bloody Hell!
60 CUT TO: ANIMATION OF FILM MOVING.
voice-over
We'll return to Lair of the Lesbian Vampires 2: The Sucking right after these messages.
61 CUT TO: INT. HEATHER'S DORM ROOM.
The animation turns up on a large screen, which then turns to a commercial. On the couch watching it are EVAN and HEATHER snuggling up together.
EVAN
I can't believe I'm watching this.
HEATHER
Oh, yes, you're so self-disciplined that you've never indulged in a guilty pleasure before.
EVAN
I can think of some other guilty pleasures to indulge in.
HEATHER
That's easy enough.
EVAN
Do you have anything particular in mind?
HEATHER whispers something into EVAN's ear, causing his eyes to open wider. HEATHER starts to walk away.
EVAN
Where are you going, Heather?
HEATHER
Well, I have to go buy some ice cream, silly.
(beat)
Don't worry. I'll be back in a few minutes.
(kisses EVAN and exits)
62 EXT. THE QUAD.
HEATHER walks by the partying students as JANE continues the yenta act.
JANE
Maybe Lurman's adopted.
DARIA
Well, there are rumors in the family that I have a half-sibling...
JANE
Cliff!
DARIA
I'd rather date a serial killer.
JANE
Stewart!
DARIA
Too absorbed in his work, and he smells funny.
JANE
You're being such a party-pooper, Daria. Join us! Join us!
63 INT. HEATHER'S DORM ROOM.
EVAN is watching MADISON fight the lesbian vampires with a broken blood bottle. Enter SMILEY. SMILEY walks over to the bed and puts his/her hands on the back of EVAN'S neck.
EVAN
Back so soon? That really feels good, you know.
SMILEY massages EVAN's neck and upper back a bit, which EVAN
indicates he enjoys by means of groans of pleasure. Certain that
EVAN has been lulled into complacency, SMILEY grabs him by the throat and
begins strangling him. The pressure of SMILEY's hands is enough to
keep EVAN from screaming.
64 EXT. THE QUAD.
JANE
Beavis!
DARIA
I will kill you, Jane, and bury you in that awful dress I had to wear when I was a bridesmaid at my cousin Erin's wedding if you even think of suggesting Butt-Head or
(with disgust)
Todd.
JANE
Well, he did escape from the funny farm recently...
(sees a look of severe disapproval on DARIA's face)
There has to be someone around here who's at least marginally compatible with you, even just for meaningless sex.
(beat)
How about me?
DARIA
You have to be kidding.
JANE
Come on, Dar. I know you've been interested since the first time we've met.
DARIA
Damn ears.
JANE
They're the window to the soul, my friend.
DARIA
You think we should risk our friendship over sex?
JANE
If you can't do your friends, who can you sleep with?
(sees HEATHER passing by, returning from her mission to get ice cream)
Hey, Heather!
HEATHER
Hi, guys.
JANE
I'm trying to break Daria out of her latest bout of depression by fixing her up with someone. She doesn't seem to want to be with someone who she's already friends with.
DARIA
I didn't say that--
JANE
What do you think, Heather?
HEATHER
Well...
65 CUT TO: HEATHER'S POINT OF VIEW.
We catch a glimpse of SMILEY's mask and his/her violent strangling
motions through a third-floor window of Haddon Hall--the window of her
own room.
66 EXT. THE QUAD.
HEATHER
(panicking and dropping a pint of cherry vanilla ice cream)
Evan!
(runs off)
DARIA and JANE look puzzled.
DARIA
What was that all about?
JANE
Probably caught a whiff of Evan's pheromones.
DARIA
You have a dirty mind, Jane.
JANE
Thank you.
(beat)
So there'll be no risking our friendship by having a serious relationship?
DARIA
Exactly. Can't damage what you don't have.
JANE
Will I be seeing you again tonight?
DARIA
You'd better, or I'll be really cranky in the morning.
67 INT. HADDON HALL, STAIRCASE.
HEATHER, worried about what's going on, rushes up the stairs. We follow her through the hallway to room 265. She opens the door, and rushes inside. There she sees SMILEY dropping the corpse of EVAN onto the floor. HEATHER screams. SMILEY walks calmly towards her. HEATHER bolts and heads out of the suite, tripping at the threshold, exposing her cleavage and revealing to us that she is wearing high heels. SMILEY continues his/her approach. HEATHER picks herself up and runs down the hall.
SMILEY
(tripping at the threshold)
Damn it! Is it too hard for them to fix these loose floor boards?
(continues his/her pursuit of HEATHER)
HEATHER looks back at the approaching SMILEY and runs up the stairs. SMILEY follows. HEATHER, careless, tumbles over a bannister to the third floor, picks herself up, runs down the hall, looks back at the approaching SMILEY at the wrong moment, and tumbles down the stairs. SMILEY, now walking slowly down the stairs, unsheathes a long, sharp knife. HEATHER, glancing back, screams, picks herself up, runs down the hall, and crashes through a window. We follow HEATHER through the window as she falls, screaming, onto the food table below, where her fall causes the table to tip, catapulting a bowl of a thick punch made with green sherbert. The bowl lands on top of KEVIN, coating him from head to foot.
BRITTANY
Oh, Kevvy!
KEVIN
They can't do this to me!
ARTIE
Who do you think you are? Superman?
KEVIN
I'm the QB, dude!
68 THE QUAD--GROUND LEVEL.
The Harpies stop playing, the students stop dancing, and lots of people, including DARIA, JANE, and BROOKE, run up to HEATHER.
HEATHER
(curled up into a fetal position)
No! No! No!
DARIA
Heather, are you alright?
HEATHER
(sitting up; hysterically)
Someone in a rubber mask just killed Evan!
JANE
What?
DARIA
Calm down, Heather. Tell us exactly what you saw.
HEATHER
Someone in a rubber smiley-face mask put his hands around Evan's neck and choked him to death in my dorm room!
DARIA
A smiley-face mask?
HEATHER
Yes! Then he chased me out here with a knife!
JANE
There have to be a dozen people here dressed as serial killers with knives. Maybe it was a practical joke.
HEATHER
I know what I saw!
BROOKE
Where would anyone get a smiley-face mask?
HEATHER
How the Hell would I know? Evan's just been killed, and I saw it!
DARIA
Calm down, Heather. Let's all go check this out. I'm hoping it's a joke, but there's only one way to find out.
Exit DARIA, BROOKE, JANE, and HEATHER (the first two with
arms around HEATHER to provide reassuring contact). Various people
are murmuring.
69 INT. HEATHER'S APARTMENT.
There is no sign of EVAN or SMILEY, not even a spot of blood. Enter DARIA, BROOKE, JANE, and HEATHER.
JANE
Wow. What a horrible mess Smiley left us.
DARIA
Shut up, darling.
BROOKE checks in the closet and the bathroom, but notices nothing.
BROOKE
I don't see any dead body or killer.
HEATHER
But they were here!
DARIA
It's all probably just a Halloween joke. We all know Evan is a jock, and so he does tend to go overboard in whatever he does.
HEATHER
(reluctantly)
Yeah.
DARIA
This is all probably just a prank on his part, maybe something he saw in a stupid, cliched, uncreative horror movie, such as I Know What You Did Last Summer. He ought to be back in the morning.
HEATHER
Well...
BROOKE
Listen: if you're still feeling scared, you can stay over in my apartment tonight so you don't have to be alone. Would you like that?
HEATHER nods.
70 EXT. PARKING LOT, BROOKE'S CAR.
HEATHER is already in the car. BROOKE opens the driver's-side
door and gets in. She shuts the door and pops down the door locks.
71 INT. BROOKE'S CAR.
BROOKE
Don't worry, Heather. There's nothing to be afraid of.
SMILEY, not agreeing, pops his/her mask up from behind BROOKE and starts strangling her. HEATHER screams and tries to open the door, but finds it locked. We hear the crunch of BROOKE's neck breaking, and SMILEY drops her corpse on the dashboard. HEATHER screams some more. SMILEY, after a moment's thought, pulls BROOKE's body into the back-seat, climbs into the driver's seat, and starts the car.
SMILEY
Don't forget to buckle up!
72 EXT. BROOKE'S CAR.
The car pulls out of the lot and races down the street.
73 INT. BROOKE'S CAR.
HEATHER
(screaming)
Where are you taking me?
SMILEY
Over the hill and through the woods to the gates of Hell we go!
HEATHER desperately tries the door again. Failing, she grabs a knife protruding from SMILEY's pocket, but SMILEY grabs her hand in an iron grip before she can do anything with it.
SMILEY
Didn't they ever tell you never to distract the driver of a moving vehicle?
(forces the knife from HEATHER's hand and maintains a grip on her arm)
You'd better hope it doesn't rain, because I can't turn on the windshield wipers.
HEATHER hits SMILEY in the face, causing him/her to scream
and lose control of the car.
74 EXT. BROOKE'S CAR.
The car smashes into a lamppost and comes to a complete stop.
75 INT. BROOKE'S CAR.
SMILEY appears to be unconscious. HEATHER shatters the passenger-side
window with her shoes and climbs out of the car through it.
76 EXT. BROOKE'S CAR.
Seeing a pay phone, HEATHER runs over to it, picks up the receiver, and dials "911". An operator picks up on the other end.
operator
(through phone)
Hello? 911.
HEATHER
(into phone)
You've got to help me! Someone just killed my boyfriend and someone from my American history class and just tried to kill me!
operator
(through phone)
Just stay calm. Are you in immediate danger?
HEATHER
(into phone)
I think he's unconscious.
operator
(through phone)
OK. Where are you?
HEATHER
(into phone)
I'm at the corner of--
The sound of footsteps can be heard. HEATHER looks back to see SMILEY walking slowly towards her.
HEATHER
(dropping the phone)
Oh my god! He's awake!
(runs for her life)
operator
(through phone)
Hello? Are you still there?
77 FOCUS ON: HEATHER.
HEATHER runs like she's never run before and falls flat on her face. She gets back up again and runs until she's a few meters from the Quad. Suddenly, a gloved hand yanks her to a halt. HEATHER turns 180° and knees SMILEY.
SMILEY
(sarcastically)
Ow. That really hurt.
SMILEY pulls out a knife and stabs HEATHER with it in the belly. HEATHER, a look of surprise and horror on her face, collapses on the ground.
SMILEY
This blood's for you!
SMILEY walks calmly away, HEATHER's body over his shoulder.
78 EXT. THE QUAD--LATER.
SMILEY walks out of Haddon Hall and soon encounters ANGIE.
ANGIE
Wow! What a great costume!
SMILEY
Thank you.
SMILEY walks away.
79 EXT. HOUSE--NIGHT.
In the middle of the boonies, centered in a large, well-trimmed lawn, is a large Victorian house, illuminated only with moonlight. Above the crickets can be heard the voice of SANDI from an upstairs bedroom.
SANDI
Come on! Give it to me!
JAMIE
You got it, baby!
(beat; sigh)
80 CUT TO: INT. HOUSE, BEDROOM.
From the moonlight streaming into the room through a large window we can see two young people in bed: SANDI and JAMIE. They lay side by side, obviously naked under the sheet on them which covers SANDI from the armpits down but dips down almost to JAMIE's waist.
SANDI
That was incredible.
JAMIE
It's always best after the fifth time in a single night.
SANDI
You weren't kidding about that.
JAMIE
Think of all the time we're going to have to enjoy nights like this. We'll have a flock of kids, we'll travel the world, see all kinds of wonderful sights by day--
SANDI
Feel all kinds of wonderful feelings by night.
JAMIE
It's all laid out before us. The future's so bright, I gotta wear shades.
(sighs)
God, I'm thirsty. I'm going to get something from the kitchen. You want anything?
SANDI
Oh, no, I'm fine. Go ahead. After the last three hours of love-making, I'm getting sticky. Get a drink while I get a quick shower. After all, the night is still young.
JAMIE
I like the way you think, Sandi. I'll be right back. Don't get dressed.
As JAMIE leaves, SANDI glances at her hand, now bearing a glittery engagement ring.
SANDI
(quietly, to herself)
Mrs. Sandi D. Griffin-White.
(smiles; beat; exits to the side)
81 INT. KITCHEN.
JAMIE, wearing a bathrobe, enters the darkened kitchen. He takes a beer from the refrigerator, closes it, and begins drinking the beer. It is very quiet save the dramatic music when suddenly an electronically disguised voice speaks.
voice
Jamie Eustace White.
JAMIE
(starting)
Who's there!
JAMIE can now see a vague figure standing in the shadows.
figure
Only you are truly here, Jamie.
JAMIE
What the Hell are you doing in my kitchen?
figure
I'm a figment, Jamie. I'm a product of your mind. Otherwise how would I know deep, dark secrets, such as you have a stash of dirty magazines under your bed, or that it's only four inches long?
JAMIE
(sounding very unnerved)
I don't know who you are or what you want, but this isn't funny, and if you don't leave immediately, I'll--
figure
Call the police? I knew you would say that. But then again, you were always annoyingly predictable.
JAMIE
Now listen here--
figure
No, you see here.
The figure advances into the moonlight streaming in from a window to reveal SMILEY. SMILEY holds out a very shiny hunting knife and toyingly moves the tip down the exposed part of JAMIE's chest.
SMILEY
I am part of you, I am inside you, and that is because I am one of your nightmares. I know your secrets, your fears, your hopes, your wishes and dreams. And if you don't play along with this little game of mine, you'll die.
JAMIE
And if I do play along?
SMILEY
(beat)
You still die.
SMILEY stabs JAMIE in the chest and then repeatedly stabs him as he screams and collapses to the floor.
SMILEY
(sarcastically)
Oh no. You've got your blood all over my nice, clean knife.
82 CUT TO: INT. SHOWER STALL.
As seen from the shoulders up, SANDI is taking a shower. An indistinct noise can be heard in the background which gets SANDI's attention. She turns off the water and listens for a moment.
SANDI
Jamie?
83 CUT TO: BEDROOM.
SANDI emerges from the bathroom with only a towel wrapped around her. She looks around, heading for the darkened hallway.
SANDI
Jamie? Is that you?
84 CUT TO: HALLWAY.
In the hall, SANDI slowly walks among the half-opened doors. Another indistinct noise can be heard. SANDI freezes up for a moment, and then a cat, FLUFFY, emerges from behind a curtain and runs up to her.
SANDI
(taking FLUFFY in her arms)
Oh, Fluffy! Was that you? You had me so scared! For a moment I thought there might be someone--
The indistinct noise can be heard again. SANDI freezes. As she slowly spins, we can see SMILEY emerging from the darkness behind her with a raised knife.
SANDI
(throwing FLUFFY in SMILEY's face)
Kill, Fluffy! Kill!
As SMILEY tries to pull the screeching cat off his/her face, SANDI runs to the end of the hallway and down the steps. As she runs through the kitchen, she slips and nearly loses her balance. The liquid on the floor is very dark, and SANDI traces it to the body of JAMIE, which is hanging on a hook on the wall. SANDI screams just as SMILEY runs into the kitchen, slips on the blood, and falls on his/her butt. SANDI takes the opportunity to run down to the darkened basement, where she hides among piles of stuff. She hears the sounds of the stairs creaking as SMILEY deliberately and slowly descends. At the base of the steps he/she pauses.
SMILEY
(speaking as he/she walks around)
Sandi Griffin, age twenty. Recently engaged to Jamie White, who will not be able to fulfill that commitment. Am I close, Sandi?
SANDI looks mortified as, crouched down, she hides while SMILEY walks all around her. Tears begin to stream down her face.
SMILEY
And speaking of amusement, how many football players were you intimate with?
(beat)
Welcome to your nightmare, Sandi. Rest assured that tonight will be the last night of the rest of your life.
SANDI
No!
Striking out headlong, SANDI grabs SMILEY by the feet, making him/her fall headlong.
SMILEY
Fudge!
Running, SANDI heads for the stairs, with SMILEY close behind. As SANDI ascends, SMILEY runs under the stairs, jumps, and grabs SANDI by the foot. SANDI falls over, suspended above the ground by SMILEY holding onto her.
SMILEY
How's it hanging, Sandi?
Releasing his/her grip, both fall. SMILEY lands on his/her butt again, but SANDI, wide-eyed, falls straight on her head.
SMILEY
(looking over the body, the towel wrapped around it still in its place)
Nice of you to drop in.
85 CUT TO: EXT. MOESCHBERGER DORMITORY,
ESTABLISHING SHOT--NIGHT.
86 CUT TO: INT. MOESCHBERGER DORMITORY, TRENT AND JESSE'S DORM ROOM.
TAYLOR, a cat, sits on a bed, playing with a ball of yarn. JESSE enters his dorm room, just returning from the showers, with only a towel around his waist. He is whistling something very annoying. He opens the mirrored door of the medicine cabinet to get some hair gel, and when he closes it, SMILEY can be seen in the reflection, and he/she does not look happy.
JESSE
(surprised, turning around)
What the?
SMILEY
(especially creepy)
Hello, Jesse.
JESSE
What the Hell is this?
SMILEY
Simply here with a score to settle.
(knees JESSE)
JESSE
(collapsing)
What the Hell's your problem?
SMILEY
Where should I start?
TAYLOR, not waiting for an answer, jumps screeching at SMILEY. SMILEY bats the cat to the floor, then steps on it, making a sickening crunch as TAYLOR's spine and ribs are shattered.
SMILEY
Now where was I? Oh, yes.
(kicks JESSE where the Sun doesn't shine)
Bad things happen.
(kicks JESSE there again)
My life goes down the tubes.
(kicks JESSE yet again)
JESSE
(in agony)
Stop it, please!
SMILEY
Ooh, I'm so moved by your plea.
(kicks JESSE's face, sprawling him out)
Whatever did I do to deserve this?
JESSE
How should I know?
SMILEY
No wonder Bi-Curious Jane likes you, Tiny: she can't handle a real man.
(kicks JESSE again)
JESSE
You bastard!
JESSE lunges for SMILEY, who topples over onto the bed, surprised. JESSE makes for SMILEY's throat. SMILEY punches him in the face and kicks him off. JESSE goes flying, banging his head on a small refrigerator. He is still for a moment.
SMILEY
Tsk, tsk, tsk. Silly boy. You didn't want to do that; did you?
JESSE
Guess again!
JESSE gets up, trips on the dead cat, rolls against SMILEY's legs, tripping SMILEY, sending him/her falling to the floor into a pile of dirty laundry. JESSE grabs SMILEY by the collar and shoves him/her into the closet through a bunch of wire coat hangers.
JESSE
Die, bastard! Die!
SMILEY
Don't count on it!
(punches JESSE in the abdomen)
JESSE falls onto the bed. SMILEY grabs him by the hair and drags him off the bed.
SMILEY
I'm not bad; I'm just having a bad-temper day.
SMILEY drags JESSE's face over the counter in front of the mirror, knocking a number of hair- and skin-care items off before letting his/her unconscious and battered victim fall to the floor. Taking a wire coat hanger from the closet, he/she deftly unwraps it, extending it out as one long piece of wire which he/she takes by the ends.
SMILEY
Prepare to die, pretty boy.
87 INT. MOESCHBERGER DORMITORY, HALLWAY.
TRENT walks down the hall. He enters his and JESSE's room. After a beat, he screams, runs out of the room, and bangs on the door to TOM's room, which happens to be across the hall. TOM opens his door.
TOM
What's the matter, Trent?
TRENT
Jesse's dead!
88 EXT. MIDDLETON COLLEGE--NIGHT.
Police sirens ring out in the background.
89 INT. DARIA and JANE'S APARTMENT, JANE'S BEDROOM.
It is dark, and barely anything can be seen. A phone rings and glows. JANE, who is in the bed, sits up suddenly and turns on the light. She answers. A sleeping DARIA can be seen next to her.
JANE
(into phone)
Why have you disturbed our slumber?
TRENT
(through phone, sounding really monotone)
Hey, Janey.
JANE
(into phone)
This better be good, Trent. I was just on the verge of getting to sleep before three in the morning.
TRENT
(through phone)
I think you need to come over here, to the dorm. Something's happened to Jesse.
JANE
(into phone)
Is he tweaking from inhaling his hair-spray again? Give him an aspirin and put him to bed.
TRENT
(through phone)
That's not what happened, Janey.
JANE
(into phone)
Is it worth calling me this late? Is he asking to be tucked in?
TRENT
(beat; through phone)
Something's happened to him.
JANE's expression suddenly changes to one of worry.
90 CUT TO: INT. HALLWAY, MOESCHBERGER DORM.
Hastily dressed, a despondent JANE moves down the hall, increasingly crowded with law-enforcement officers. She comes to JESSE's room, the epicenter of the activity. She tries entering but is stopped by an officer.
officer
Where are you going, ma'am?
JANE
I need to get in there.
officer
I'm sorry, ma'am, but this is a crime scene. You'll have to--
JANE
I said I need to get in there!
JANE shoves the officer out of the way and enters the dorm room, only to stop after a few steps. JESSE's body is lying on the bed, covered with bruises, a thick wire from a coat hanger twisted tightly around his neck. A cop and BRIAN DANIELSON, who are also in the room, look up.
DANIELSON
Excuse me...
JANE is stunned for a moment, then suddenly turns and runs out, knocking over the same officer she did on the way in. She suddenly runs into TRENT.
TRENT
Janey, I...
JANE
What's going on! Who the Hell killed Jesse! Who killed him!
TRENT
The police don't know killed Jesse and Taylor, Janey.
DANIELSON
Who's Taylor?
JANE and TRENT
The cat!
DANIELSON
Wait a minute. Nobody move! Where's the dead cat?
The sound of a toilet flushing can be heard. KEVIN tries sneaking out of the room's bathroom, everyone in the room looking at him.
KEVIN
I, um, stuffed up the toilet?
DANIELSON
Get that moron out of here!
Two officers grab KEVIN and drag him out of the room.
DANIELSON
And someone get that cat out of the toilet!
JANE
(to TRENT)
How could this happen! I just saw Jesse a few hours ago! What the Hell is going on!
TRENT
(trying to put a hand on her shoulder)
Janey--
JANE
(backing away, putting up a fist)
Don't touch me!
(runs off)
91 INT. DARIA AND JANE'S APARTMENT, LIVING ROOM.
DARIA is talking on a cellular phone.
DARIA
Trent, you don't need to be hostile. She's not back yet.
JANE enters and slams the front door.
DARIA
She just walked in, and she doesn't seem to be taking it well. I'd better talk to her.
(beat; irritated)
Good-bye, Trent.
(hangs up)
Jane, are you OK?
JANE
No! Jesse's been murdered!
(starts crying)
How am I supposed to feel when someone I've known so long has been killed?
DARIA embraces JANE.
DARIA
It's alright. I'll be here for you.
92 INT. ROOM.
JANE stands at a table, cutting up a plastic lizard doll, which
has a smiley-face painted on it, with a large knife. Blood is oozing
out of the plastic lizard and getting all over the place.
93 INT. JANE AND DARIA'S APARTMENT, BEDROOM.
It is morning, and the sunlight is streaming in through the windows. In the bed sleep DARIA and JANE. They cuddle together tightly, all the interesting parts under the sheets. For a few moments, DARIA rests her head on JANE's shoulder, and the sheets move up and down as they breathe in their angelic sleep. Suddenly the bedroom door bursts open, admitting FLEMING and DANIELSON with drawn weapons. DARIA and JANE are woken. DARIA, pulling the sheets to her chest, screams. JANE jumps out of the bed naked (shot around the interesting parts) and brandishes a nearby baseball bat.
FLEMING
Freeze! Nobody--what the Hell...?
DARIA
(recovering)
Brian?
DANIELSON
(very confused)
Daria, you never, uh...
JANE
(setting the bat down, grabbing a loose oversized T-shirt)
Great, your idiot cousin's husband from the CIA.
DANIELSON
FBI.
(lowering his weapon, flashing a badge)
Agent Danielson. Oh, this is Agent Fleming. Who the heck is this?
DARIA
Jane. Jane Lane, my
(beat)
roommate.
FLEMING
A very close roommate.
JANE
(now with the T-shirt on)
Don't they teach you idiots to knock before busting a door off its hinges?
DANIELSON
Sorry about this, Daria. No one answered the door, and we thought,
(beat)
you know, the killer struck again.
DARIA
I've already complained to maintenance about the door chime.
JANE
Aren't you supposed to announce yourselves before entering so the bad guys know the spray the door with bullets?
FLEMING
(looking irritated)
Ms. Lane, sorry to bust in on your fun, we need to ask you some questions about Jesse Moreno.
JANE
Yeah, yeah. Let's just let Dar here have some privacy.
JANE exits the room, followed closely by FLEMING. DANIELSON straggles.
DANIELSON
I'm really sorry about this, Daria.
(exits)
DARIA buries her face in her hands.
94 CUT TO: LIVING ROOM.
JANE walks through the living room into the kitchen, followed closely by the FBI agents. ZACHARY walks by, rubs himself against JANE's legs, and hisses at FLEMING and DANIELSON.
FLEMING
Where were you last night between eight and nine o'clock, Ms. Lane?
JANE
(taking a glass from the cupboard)
In the Quad at the Halloween party.
FLEMING
Anyone see you there?
JANE
(getting orange juice from the refrigerator and pouring half a glass)
Probably the entire crowd. Let me guess: you've got some stupid theory that I'm the killer.
DANIELSON
You don't seem that upset over your boyfriend's death.
JANE
I got most of that out of my system last night in a major sob-fest. And he wasn't much of a boyfriend, Brian. It was mostly a sexual relationship, very little meaning. Most guys are into that sort of stuff; aren't you?
DANIELSON grimaces; FLEMING looks unphased.
FLEMING
So you ended your relationship with Moreno last night?
JANE
(showing a hint of a grin)
I was planning on doing it sometime, but it looks like someone beat me to it. It would have been over soon anyway; we really had nothing to talk about. And, no, I didn't kill him. I was there the entire time the party went on, and that was from seven to way after midnight. Jesse showed up briefly but left, and that was the last time I saw him alive. You can ask anyone who was there, including Daria. I come home, I try to go to sleep, and suddenly I get this call from my stepbrother Trent that I need to come over there because something's happened to Jesse.
FLEMING
And then what did you do?
JANE
After I walked in on your stupid partner and saw someone had strangled my boyfriend and wrote "PRETTY BOY" on the wall? I came straight back here and met up with Daria.
DANIELSON
And then you...?
JANE
Did it.
(beat)
Sex, Brian. Hot, throbbing orgasmic experiences that went on for hours. Is that enough information?
DANIELSON blushes.
JANE
Let me ask you something, Brian: why is the FBI involved in this case?
FLEMING
That's on a need-to-know basis, Ms. Lane.
DARIA emerges from the bedroom in a bathrobe which conveniently hangs open enough in front to show a nice swath of cleavage.
DARIA
I think we need to know. Brian, you're in Behavioral Sciences. They wouldn't have called you in unless there's a--
JANE
Serial killer.
DARIA
You think Jane's a serial killer?
DANIELSON
Daria, do you remember that stunt you pulled in high school with the Sick, Sad World report?
JANE
That would be hard to forget.
DARIA
What does that have to do with this?
JANE
This wouldn't have anything to do with Tommy Sherman; would it?
FLEMING
(beat)
Why do you say that?
JANE
Two days after the broadcast, he was found hung from the goal-post. He had been gutted, and the word "TOOL" was written on his locker with his own blood. The killer was never caught.
FLEMING
You seem to remember a lot about it.
DARIA
The school was swarming with cops. Everyone knew about it. But what makes you think this is the same killer?
JANE
They went to the same high school, were in the same class, something written on the wall with blood...
FLEMING
And from the people we've talked to, they have some connections in common. Both were popular, both had dated some of the same women--
JANE
You think I slept with Tommy Sherman?
DANIELSON
He was referring to Brittany Taylor, the head cheerleader--
DARIA
Brittany dated anything that moved, especially if it was stupid.
FLEMING
Actually, we heard the story about you and Sherman, Ms. Lane.
JANE
Tiffany Blum-Deckler made that one up. She was a rotten troublemaker. That's still not much of a connection, is it? Maybe if...
(beat; looks at DARIA)
Damn!
DARIA
Evan and Heather...
DARIA runs to the phone and dials.
FLEMING
Who?
JANE
People we know. Heather said she saw Evan strangled last night, but when we went to look, there was nothing there. We thought it was a bad joke.
DARIA
(slamming the phone down)
No one's answering.
JANE
Damn it!
(grabs her jeans from on the couch as DARIA reenters her bedroom)
DANIELSON
Is there something else you want to tell us?
JANE
(putting her jeans on quickly)
The one she said strangled Evan was wearing a smiley-face mask.
DANIELSON and FLEMING look at each other.
DANIELSON
Someone at Lawndale High claimed to see someone in a smiley-face mask the night of Sherman's murder.
JANE
(slipping on her boots)
And for weeks people were saying not to go out at night or Smiley would get you. Daria!
DARIA
(emerging hastily dressed from the bedroom)
I'm coming; I'm coming.
FLEMING
Where do you two think you are going?
JANE
(slipping her jacket on)
To make sure Evan and Heather are OK.
95 CUT TO: EXT. MIDDLETON UNIVERSITY CAMPUS.
JANE is driving her antique Beetle while DARIA rides shotgun. As they approach HEATHER's dorm, they suddenly run into a large number of police cars and an ambulance parked nearby. JANE parks, and the two approach on foot. Among the number of officers bustling in and out of the front entrance, ANDREA steps out. She looks pale.
DARIA
Andrea?
ANDREA slowly turns to them, her eyes glazed over. When she speaks, it's only as if through great effort.
ANDREA
There was blood, dripping down into my room below. It was running down the walls in streaks. I came to check on her. The door was open when I knocked, so I came in, and
(beat)
there they were.
DANIELSON and FLEMING approach.
JANE
Andrea, the wall, was there anything on the wall?
ANDREA tries to speak but ends up breaking into tears. As she gets comforted by DARIA and JANE, FLEMING and DANIELSON push through into the building, flashing their badges as needed to get past police. Inside HEATHER's room, lying on the bed, are two bodies, those of EVAN and HEATHER. On the walls in blood are scrawled two words: "SELL-OUT" and "PRANKSTER".
DANIELSON
Smiley.
FLEMING
Damn straight.
96 INT. INTERROGATION ROOM.
KEVIN is being interrogated by FLEMING and DANIELSON.
FLEMING
What were you doing in Trent Lane's and Jesse Moreno's dorm room?
KEVIN
Um, seeing what was going on? Cops are cool.
FLEMING
Or maybe you were trying to cover up evidence!
KEVIN
Huh?
DANIELSON
(looking over a file)
I don't think he's smart enough to understand words with that many syllables.
FLEMING
Perhaps. But he might be smart enough to kill a man and a cat!
KEVIN
I didn't kill anyone!
FLEMING
Then why did you try to flush a dead cat?
KEVIN
Well, what else are you supposed to do with dead pets?
(beat)
Can I go now?
FLEMING
Didn't it ever occur to you that even touching the cat might have been interfering with a police investigation?
KEVIN
A what?
DANIELSON
According to his file, Mr. Thompson here has a single-digit IQ and nothing going for him except for the fact that he can play football.
FLEMING
I don't care! I want a full body-cavity search of this man pronto!
DANIELSON
For what reason?
FLEMING
He just ticked me off.
97 INT. POLICE LOUNGE--DAY.
Daria, Jane, Tiffany, Joey, Quinn, and a few other college students sit around waiting to be interviewed. Some have water in glasses. Daria suddenly bursts out laughing, surprising Jane.
JANE
What is into you?
DARIA
It's so funny, I can't help it. They don't have a clue.
TIFFANY
We could all be sliced up and you think it's funny?
DARIA
Think of all the lousy things we've done. How many people have we hurt? You think the past is gone? No, it's still there. Everything we do remains, and it will come back and get us at some point. We're being chased, people, chased by the sins of the past. We're being chased...
Daria breaks down into crying, collapsing in Jane's arms. The others look dismayed.
QUINN and JOEY
Oh boy.
98 INT. INTERROGATION ROOM.
LOOMIS, FLEMING, and DANIELSON are interrogating TIFFANY.
FLEMING
What is your relationship to Jane Lane?
TIFFANY
(speaking slowly)
No-thing real-ly.
LOOMIS
But you have known her since high school.
TIFFANY
Kind of.
LOOMIS
Is there anything you can tell us about her?
TIFFANY
Heard she was a Me-thod-ist Sa-tan-ist.
DANIELSON
Okay, cut to stupid act, Ms. Blum-Deckler. We know you have an above-average IQ and maintain a B average.
TIFFANY
(normally)
Sorry, it's something I kind of do when I'm upset.
DANIELSON
You know how annoying that is?
TIFFANY
Well, no one expects anything of you if they think they're stupid. I've been doing it since I was a kid. It worked great on the parents, making them leave me alone. I think they were surprised how well I was doing--
FLEMING
Will you shut up?
TIFFANY
Sorry.
FLEMING
You're even more annoying when you're not playing stupid. Now, what do you really know about Jane Lane?
TIFFANY
Nothing, really. Well, I did know her in high school, a little.
LOOMIS
How much time did you spend with her?
TIFFANY
Barely any at all.
DANIELSON
Ms. Blum-Deckler--
TIFFANY
All right, all right, I can't keep it in anymore! My boyfriend and I, Bob, that was his name, he was called Bob, Bob somebody-or-other, we had broken up. I mean, he was nice but he was too wierd for his own good, and we like broke up at this dance, and I was all crying, and no one would talk to me because the really popular people hated me for betraying Quinn and Sandi and the unpopular people hated me because they thought I was part of the Fashion Club, so not many people really liked me, so I was crying there and crying and crying, and then Jane came up to me, and we talked and talked and she was making me feel better, so then this song came on that I really liked and we went dancing and we went da da da da all across the floor and it was a lot of fun, and afterwards we got some punch but we didn't know Upchuck spiked the punchbowl so we got really really drunk and we ended up the in the back seat of her car but I swear it only happened seven or eight--more--times--
FLEMING
I didn't need to know that.
DANIELSON
Is there anything else you can tell us about Ms. Lane?
TIFFANY
Uh-uh. No-thing.
99 EXT. MIDDLETON COLLEGE CAMPUS--DAY.
Several vans have parked all over the campus, all of them representing news organizations. Many have camera operators and reporters out before them recording stories. Before one stands VAL with a microphone, looking very impatient. THERESA, her camera operator, finally exits the van.
VAL
What were you doing in there, Theresa?
THERESA
Sorry, but the cartridge got jammed again. Makes it very difficult to operate.
VAL
The damn thing snaps in! How hard can it be?
THERESA
I didn't design this thing...
VAL
Look, just shut up and start recording. We have a job to do. Can you do that?
THERESA
Yes.
VAL
Then do it, or you're going to end up back on junior five where you came from.
THERESA gets into position and starts recording.
THERESA
And, action, your majesty.
VAL
This is Val reporting for Sick, Sad World. I'm standing here on the campus of Middleton College, the site of a recent spate of murders that has taken--cut!
THERESA
What now?
VAL
Follow me, and when I talk, start rolling.
THERESA
Yeah, yeah, whatever.
VAL approaches where DARIA is sitting, looking depressed and smoking a cigarette.
VAL
OK, Theresa. We are here with Daria Morgendorffer, one of the students from Lawndale High School, the same school where three years ago Thomas Sherman was brutally murdered. And now, not far away, the killings have started again. How does this make you feel, Daria?
DARIA
What the Hell is this?
VAL
What's it like to be surrounded by so many deaths?
DARIA
Stop recording, Val.
THERESA
(lowering camera)
I knew this was a bad idea.
VAL
(to THERESA)
You're not paid to think!
DARIA
Yeah, let Val come up with all the stupid ideas on her own.
VAL
Daria, can we speak?
DARIA
I suppose I can't stop you.
VAL
That first segment we did with you about the terror of the Fashion Club was one of the highest-rated stories we had ever done until then. Imagine what bringing you into this story could do for the ratings.
DARIA
And imagine how insulted I felt when, after Tommy Sherman died, you showed up and accused me of being part of a Satanic cult.
VAL
That was just sensationalism.
DARIA
Or libel. You can choke on your microphone before I'll help you.
VAL
Daria, please consider what I can offer you...
DARIA
Consider this!
(punches VAL in the face, storms off)
THERESA
You were asking for it, Val.
VAL
Theresa, shut up.
100 INT. INTERROGATION ROOM.
The door of the room opens, admitting JANE in a tight, slinky outfit that shows off her legs and cleavage, followed by FLEMING, DANIELSON, and the district attorney JOHN LOOMIS.
FLEMING
You sure you don't want an attorney, Ms. Lane?
JANE
(turning)
I have nothing to hide, Agent Fleming.
LOOMIS
Have a seat, Ms. Lane.
JANE sits in one chair, the others in chairs facing her.
FLEMING
Ms. Lane, would you mind telling us about the series of paintings you did for the Thomas Q. Doyle Gallery while you were in high school?
JANE
Interesting question. You see, I had always wanted to put my skills at oil painting to use in a series of pictures with the kind of dramatic impact you see in someone like Goya or Chagall. I was first inspired to do this when I visited--
LOOMIS
This is all very interesting, but we would like to know where you got the content of those paintings.
JANE
It was at this concert--
FLEMING
A concert?
JANE
Really weird alternative stuff. I think First Degree Felony was the headliner with The Nuzzles opening. Anyway, they had this mosh pit, which, for you, agent Fleming, is when a group of people stand in a circle and people on the inside are bounced around violently by them.
LOOMIS
That's just stupid.
JANE
So's the Lawrence Welk trash you probably listen to. Anyway, I was really dizzy afterwards and had to go to the medical tent for some oxygen. That, and I think the marijuana fumes were a bit much. And so in the tent I pass out, and I had this dream. I saw a stupid jock hung from his neck on a goal post, his belly cut open, and his intestines hanging out. It was awful but vivid and compelling. The next day I painted it.
LOOMIS
And not long afterwards Thomas Sherman, the quarterback at your high school, was found killed in a similar manner.
JANE
The guy was a self-centered jerk. Half the school would have loved to do that to him.
LOOMIS
But you foresaw it happen.
FLEMING
Didn't you connect the two events? If you really had a premonition, I don't see why you didn't do something about it to prevent the next killing.
JANE
By the time Tommy Sherman got killed, I had had other dreams of people who had been killed, many of them people I knew fairly well and recognized. I sketched them, I painted them, and even though they were gory they drew critical acclaim. I was disturbed when Tommy Sherman was found in a way a lot like my painting, but since there were no more killings at that time, I figured it was a coincidence.
FLEMING
But some of the other paintings could be snapshots of the more recent killings. Evan, Heather, Jeffy, Jesse. They were all in the series.
JANE
I only painted what I dreamed. I didn't make the dreams up.
LOOMIS
Yet you showed these paintings in public? They were certain to make you a suspect.
JANE
It would have been really stupid of me to paint pictures of murders I intended to do. If I wanted to kill people, I wouldn't advertise my plans in a public exhibition.
LOOMIS
Maybe that's what you planned. You paint pictures of what you plan to do because it gets you off the hook. The paintings become your alibi.
DANIELSON
I think I should point out that there are documented cases of clairvoyance that go back centuries. In some cases, such as that of Nostradamus, reliable predictions were made of events that occurred centuries later. Furthermore, forms of trauma such as Ms. Lane here has described have been known to be precursors to the development of prescient abilities.
FLEMING has a "not this stupidity again" look on his face.
JANE
Thank you, Brian, for pointing out a possibility which doesn't involve me being the killer. Of course, because the paintings were on public display, someone could have seen them and acted them out. It's not as whiz-bang as the extrasensory perception thing, but it is well within the realm of phenomena accepted to happen by the majority of scientists with intact brains.
FLEMING
Did you kill Thomas Sherman?
JANE
No. I once made a voodoo doll of him and stuck pins in it, but only Brian here would classify it as attempted murder. And, no, I did not kill any of the others who have died recently, any people, or, contrary to rumor, any of the neighborhood pets, though I did once run over a dog's tail on a bicycle by accident.
(beat)
Fleming, why are you staring at me like that?
FLEMING
(crossing his legs)
I'm not staring at you.
JANE
Yes, you are, you horny bastard.
FLEMING
Am not.
DANIELSON
Are, too. You look more at her chest and crotch than her face.
FLEMING
Am not.
JANE
Do, too. You're just waiting for me to uncross my legs and flash my holy of holies at you. You're dying to know what it looks like.
FLEMING
Am not.
DANIELSON
Are, too. I've seen your magazine collection.
FLEMING
Ms. Lane, I don't know anything like that which is not police business.
JANE
You know I'm not wearing any underwear.
DANIELSON
(turning to LOOMIS)
I told you! Pay up!
101 INT. DARIA AND JANE'S APARTMENT.
DARIA is reading when there is a knock at the door. DARIA answers it and find it is ANDREA, who looks freaked out.
DARIA
My God, what's wrong, Andrea?
ANDREA
I just realized I'm going to die!
DARIA
What are you talking about?
ANDREA
There's a slasher killer out there, and I'm the sluttiest, creepiest one of the trio. Even Jane doesn't do it with guys she's just met on-line. It's guaranteed I'm going to get killed.
DARIA
Andrea, are you sniffing anything?
ANDREA
Damn it, Daria! Don't you watch horror movies?
DARIA
No.
ANDREA
Well, I do, and based on everything I've seen, I'm the first one of us to die. I need a drink.
(heads for refrigerator)
DARIA
You're overreacting.
ANDREA
(taking a bottle from the refrigerator)
Excuse me, but I'm not the virtuous one here, the one who doesn't dress goth or wear much makeup. You've barely even been with Trent in the past few years. Probably haven't been with anyone else either.
DARIA
What does that have to do with anything?
ANDREA
(taking a big swig from the bottle)
What do you mean? Sex is a risk factor in horror movies! I've been with so many guys that I've nearly filled a spiral notebook with their names. Damn it, I was with Joey last night!
DARIA
I did not need to know that.
ANDREA
We smoked some pot and had sex three times. A slasher killer was on the loose, and I'm getting laid! Damn, he wasn't even that good, and now I'm going to die for having lousy sex!
DARIA
This is not a movie, Andrea. You are not going to die over having sex.
ANDREA
This guy was wearing a rubber mask, Daria. He's modeling what he's doing after the movies. That means all the movie rules apply. I am going to die!
DARIA
No, you are not.
ANDREA
Yes I--Oh my God! You've had sex recently! You're going to die, too!
DARIA
How would you even know--
ANDREA
You have that look, that's what. It can't be Trent, since he's been bugging me recently, so that means... Ew! You did it with Jane!
DARIA
What business of yours is who I sleep with?
ANDREA
It's--It's not something I do, and it freaks me out. I hate it when Jane talks about how Brittany was; I'd wish she'd have stuck with Jesse. But now, I really don't know if you're going to survive this.
DARIA
No one is after me, Andrea.
ANDREA
You're wrong about that. It is almost three years to the day since that segment on the Fashion Club was broadcast on Sick, Sad World. Killers love to do their business near or on important dates, especially anniversaries. The Fashion Club could be after you, Daria.
DARIA
Are you saying Sandi killed Jamie, her cat, went to campus to slash up a few people, and then came back and dropped herself on her head?
ANDREA
Possibly, but she's not the only one with a reason. What about Stacy? Isn't it convenient that she's the only one of the fearsome four not to go to Middleton?
DARIA
She's at Swedesville Tech, Andrea.
ANDREA
No, she's not. I called them up, and Stacy isn't there. Never even registered. And don't buy that innocent act from her, Daria. She lost most of her clique when the Fashion Club fell apart. So many people shunned her that Ted was basically her only friend.
DARIA
And so she goes around killing a bunch of irrelevant people first, alerting me to the fact that there's a knife-wielding maniac on the loose and allowing me to take action, instead of simply killing me and getting done with it. That's really stupid, Andrea.
ANDREA
It's a horror movie, Daria! The others are inconvenient people who get in the way, or they're the appetizers to demoralize you before the main course begins. Or maybe there's a more personal score to settle. How about Quinn?
DARIA
Quinn has issues, but she'd never do anything like that.
ANDREA
You're dark and gloomy. Maybe it runs in the family and she just expresses it differently. What about Mr. DiMartino? After the broadcast he quit and was never heard from again. Now he's returned to wipe out all those kids who made his teaching career miserable.
DARIA
Move on, Andrea. You're really stretching it.
ANDREA
Am I? How about Todd? He kills that Van Driessen idiot you told me about and escapes the mental hospital he was locked up in. Isn't it funny that he's picked this time to do that? I'm sure Van Driessen's been annoying him for some time.
DARIA
Why would Todd kill any of the victims so far? He doesn't know most of them.
ANDREA
Because they're connected to you, Daria. It's the demoralizing thing. And because he has a grudge against you due to his unrequited love, he's going to come after you sooner or later, that is, if he's the killer. Whether or not you die is an open matter, though.
DARIA
What do you mean? I had sex with Jane.
ANDREA
Yes, with Jane. There aren't many horror movies with lesbians in them. Usually if they appear at all, they're mentioned in the title in connection with vampires. Gay men usually die no matter what they do, but there's nothing established about lesbians. You being the virtuous one could save you, or having sex could kill you.
DARIA
Guess horror movies aren't that cliched at all.
ANDREA
They are, Daria. The story-lines just haven't dealt with this area very much, so the cliches haven't developed yet. Be warned: you may have really doomed yourself by sleeping with Jane. The one thing I do know is I cannot be alone during all this. I'm staying with you and Jane, and we need some more people here.
DARIA
Andrea, you're not staying here.
ANDREA
Yes, I am. When people are alone, they die. When they're in pairs, one of them usually dies. I need to be with at least two other people at all times so I can't get killed.
DARIA
This is insane.
ANDREA
If you knew you were going to die, you'd be going insane, too. My best chance is to stay around a lot of people and hope the killer decides your sexual history is worse than mine. If I'm lucky, he'll kill you and Jane, which means my chances of surviving will improve significantly.
DARIA
Your concern for my well-being is touching.
ANDREA
You would do the same, and you know it! You need to take this stuff seriously, Daria. All the people who've died are connected to you. All the major suspects are connected to you. Sooner or later, Smiley will be knocking at your door.
DARIA
Doesn't the one the killer is really after also the one who usually survives?
ANDREA
Damn it! You think I don't know that? That's why you're my shield. If you're fated to survive, then you'd God-damn better protect me!
DARIA
Uh, should you be drinking that? Drinking is one of those things that gets you killed, right?
ANDREA
It's soda. I should be safe.
DARIA
But doesn't it have caffeine?
ANDREA does a spit take.
ANDREA
Damn! I forgot about caffeine! It's a drug! I'm going to die from Mr. Pibb!
DARIA
No, you're not. Be reasonable, Andrea. Next you're going to tell me that eating chocolate is a death-wish.
ANDREA slaps herself on the forehead.
ANDREA
I had a candy bar this morning. Chocolate is psychotropic! What have I done.
(puts down vodka)
Come on; I need you.
DARIA
What now?
ANDREA
You need to come with me. I have to use the bathroom.
DARIA rolls her eyes.
102 INT. INTERROGATION ROOM.
ANDREA is being questioned by FLEMING and DANIELSON.
FLEMING
Don't play innocent with me, Ms. Flynn! Your record indicates you have been arrested no less than twenty-eight times on assault and battery and destruction of property, many of those times against the people that died!
ANDREA
Hey! That was justified, each and every time!
FLEMING
You've beaten up members of the "Fashion Club" eight times! You broke the leg of Evan Menten. You set Brooke Benford's book-bag on fire. You got into a fist-fight with Heather Lockheed--twice. You tripped up Jamie White, and you punched Jesse Moreno in the stomach. The only one of the deceased who you didn't hurt previously was Sandi D. Griffin's cat.
DANIELSON
(looking at a file)
Actually, according to this, she did "drop-kick the cat" on one occasion.
ANDREA
The Fashion Club ruined my life! Evan was a conceited jerk who couldn't shut up about what a great track star he was. Brooke was a thief who put her grubby hands in my locker. Heather was a goof-ball who didn't know when to stop playing her dumb jokes. Jamie kept bugging me with that idiotic "Methodist Satanist" jibe. Jesse was an idiot. And that stupid cat scratched me with its claws!
FLEMING
And why shouldn't we think you took the next step? You are known for violent outbursts and to carry a dagger.
ANDREA
You idiot! People in this country hate Satanists, real or alleged, especially when alleged to have committed human sacrifices. If I didn't have an aura of being dangerous, I would have died years ago.
(beat)
And why would I kill anyone?
(starts crying)
None of them deserved to die. Especially Jesse. He may have been an idiot, but he was a sweet idiot. Why would anyone do such a thing to him?
DANIELSON
Uh, there, there.
(takes FLEMING aside)
Somehow it's seeming less likely that she's the serial killer.
FLEMING
For once I agree with you.
103 EXT. CAMPUS.
DARIA walks out of a building, talking to MACK while doing so. Both are carrying books.
MACK
So is Jane going to be OK?
DARIA
I guess, Mack, assuming she isn't driven over the edge by Andrea. Like I said, their relationship was mostly physical. What's even creepier is the other murders that happened. I mean: who would want to kill Heather?
MACK
I wish I knew. Maybe someone who hates goofy people.
DARIA
Jesse wasn't goofy. He just stood there, looked good, and said monosyllables occasionally. This whole thing is just creepy.
MACK
Tell me about it. I've been walking around all day feeling like I'm being watched.
DARIA
I know the feeling. Though the more freaked out you are, the more likely you are to just be paranoid and no one actually being there. The higher, the fewer.
MACK
In any case, I got to go.
DARIA
Another class?
MACK
Doctor Prescott is enlisting my help on a project. He wants to work up a profile of the killer. Jodie's in on it, too.
DARIA
You wacky psychology majors. Say hi to her for me.
MACK
Sure thing. See you.
(makes funny hand sign)
I salute you with the sign of our secret order of evil serial killers.
DARIA
Cute, Mack. Real cute.
MACK departs. DARIA begins to continue on her way, but soon bumps into someone and has her books knocked out of her hands. Kneeling down to retrieve her books, she finds the responsible party with her. It is TRENT, who assists.
TRENT
I am so sorry about this.
DARIA
(taking her books)
I got it; I'm fine.
They stand up again.
DARIA
What are you doing on this part of campus, Trent? You don't come near the science building.
TRENT
Um, coming to see you, to apologize.
DARIA
That's a first.
TRENT
I'm sorry how I reacted earlier in front of you and Jane. What you do is your own business.
DARIA
I'm glad you got that through your head.
TRENT
Do you want to get a cup of coffee?
104 CUT TO: INT. COFFEE SHOP.
DARIA and TRENT are sitting in a coffee shop. No one else is present.
TRENT
I would hate to get woken up like that.
DARIA
I can't believe Jane was that shameless.
TRENT
I can. Social conventions aren't relevant to her. That's what makes her a good artist. You think they're going to catch this guy?
DARIA
I don't know. So many people in just one night...
TRENT
One person in one night would be too much. This is like something out of a horror movie, the kind with someone in a ski mask cutting up virgins.
A phone rings. DARIA and TRENT look to the counter where it is located, but there is no one there. Confused, DARIA gets up and answers.
DARIA
(into phone)
Higher Grounds Coffee Bar.
voice
(through phone)
Hello.
DARIA
(into phone)
Is there something I can do for you?
voice
(through phone)
What are your hours for today?
DARIA
(into phone)
Uh, look, I'm not really an employee there. The attendant here has wandered off, maybe he's trapped under a bag of coffee beans or something, so I really can't help you with that.
voice
(through phone)
Then maybe you could tell me something else.
DARIA
(into phone)
Such as?
voice
(through phone)
What kind of underwear do you have on?
DARIA
(into phone)
Excuse me?
voice
(through phone)
Someone who wears something as sensible as boots has to have a wild side. What is it, red silk edged with lace?
DARIA
(into phone)
Wait a minute; how do you know what I'm wearing?
voice
(through phone)
Because I'm watching you right now.
DARIA glances out the front window but sees no one outside.
DARIA
(into phone)
I don't know where you are, but this is really sick. Good-bye--
voice
(through phone)
You hang up, and I'll kill you right there, bitch! You and your boyfriend!
TRENT
What's going on with that guy?
DARIA
Tough talk for someone who doesn't show his face.
voice
(through phone)
As you wish.
SMILEY suddenly bursts though the front door wielding a hunting knife. DARIA screams. She and TRENT run to the back of the store, SMILEY close behind. TRENT knocks over a shelf full of bags of coffee beans in front of SMILEY, blocking his path. As they run, SMILEY swipes the knife at them. DARIA and TRENT burst out of the back of the coffee shop into a parking lot, where they run into FLEMING and DANIELSON. DARIA screams again.
TRENT
(pointing back the way he came)
There's a guy with a knife in there!
FLEMING
(shaking his head)
And all I wanted was a cup of joe.
DANIELSON
(drawing his weapon)
Come on!
FLEMING and DANIELSON enter the building as DARIA and TRENT cling to each other.
TRENT
Was that the bogeyman? That was the scariest thing I've been through since taking that last math test.
DANIELSON and FLEMING exit the building looking frustrated.
DANIELSON
No trace of a killer in there.
FLEMING
But there is the body of a kid who was paid slave wages slashed up and shoved in the employee bathroom.
DANIELSON
So much for job security.
105 INT. HOSPITAL, CORRIDOR.
JOEY, looking very anxious, comes down a corridor, looking both ways, trying to find a room. Suddenly a hospital tray comes flying out of an open door and hits the wall on the opposite side.
TIFFANY
(out of view)
You can't do this to her! Hasn't she suffered enough?
JOEY enters the room. Sitting on the bed is SANDI in a hospital gown, looking bruised but otherwise OK. Standing near her are TIFFANY and an angry-looking orderly.
orderly
Look, you little half-witted, stuck-up little twerp with the brain-power of an amoeba! I don't know what they do in whatever decadent neighborhood where you have so much money that you use it as toilet paper, but here we do not waste food in such a gratuitous manner!
TIFFANY
Listen here, you blue-collar floor-mopper, or whatever, my friend here was seriously hurt and would have died had I not stopped by her boyfriend's cabin this morning and found her. The least you can do is get her a meal that isn't made of recycled cardboard!
orderly
Screw you!
TIFFANY
Go screw yourself over!
The orderly leaves, and JOEY approaches.
SANDI
(to TIFFANY)
It was OK, Tiffany, dear. I like Jell-O.
TIFFANY
You're a human being, not an animal. It's bad enough you have to wear these gowns; they almost make you look fat.
JOEY
Hi, Sandi.
SANDI
Joey!
JOEY
I came as soon as I heard. Someone told me you were attacked and had your neck broken.
SANDI
I'm OK. It's not as bad as they thought it was.
JOEY
But you got dropped on your head!
SANDI
The doctors say I have a very solid cranium, whatever that means.
TIFFANY
She's lucky to be alive, Joseph. I'm lucky to be alive.
JOEY
What happened to you, Tiffany?
TIFFANY
Nothing yet. It's what's going to happen. Haven't you heard about the Smiley Face Killer yet?
JOEY
Who?
TIFFANY
The knife-wielding maniac!
SANDI
Oh, God! This creepy guy in a costume with a smiley-face mask. He was the one who killed Jamie and my Fluffy!
TIFFANY
And the same night people are saying they saw someone dressed like that in the Quad.
SANDI
That bastard's going to pay dearly for his crimes...
JOEY
So you think you're being stalked?
TIFFANY
Don't you remember back in high school? That night Tommy Sherman was getting some extra practice on the football field and some psycho gutted and killed him? Do you remember the guy you saw? The one you and your buddies chased before he suddenly vanished?
JOEY
No way! That guy in the mask?
SANDI
Duh! Don't you get it? Someone is after us. Someone is after the popular people!
TIFFANY
But who would do such a thing?
SANDI
Do you really want to know?
TIFFANY
Astonish me, djinn! Show me wonders!
JOEY
I'm Joey, not Jim!
QUINN
(entering the room)
Hello!
106 CUT TO: HOSPITAL CORRIDOR.
The orderly is walking down the corridor holding a tray.
orderly
(singing very badly)
I hate those bitches... I want them to die horribly after I bang them hard up their--
The orderly is suddenly yanked by SMILEY into a utility closet, screaming as he is dragged, the door is shut, and he is stabbed multiple times before there is silence.
SMILEY
(out of view)
Mmmm! Canned peaches!
107 CUT TO: SANDI'S ROOM.
TIFFANY, JOEY, and QUINN are still standing around SANDI.
JOEY
OK, how about Monique?
TIFFANY
(doubtful)
Do you really think she would do it?
JOEY
Why not? She dresses in leather, she talks about chopping people up, she carries a dagger, and once I saw her blow up a teddy bear. Definitely was a good idea abandoning her in the middle of nowhere when she quit the Fashion Club.
SANDI
(smugly)
Thanks. But if there was anyone at that school who was a closet slasher killer, it was DiMartino. He hated us all, he yelled at us, never said a nice thing in front of us and was calling us four-letter words behind our backs. I could swear, every time he yelled a word at us, one of his eyes was bulging out. I thought it would explode sometimes.
QUINN
My money is on Principal Li. I mean, think of it: she's even more ruthless than DiMartino, she was trying to keep us under surveillance and take away our God-given rights to look good and dress in the latest style, and she was probably making illegal use of the funds in the school. Maybe she's just snapped and is out to kill people who look much better than her in capri pants. Hasn't she been locked up somewhere?
TIFFANY
Hey, how about that bisexual chick, the one who, like, likes to paint and stuff?
JOEY
I would have really liked to--uh, I mean, what about her?
SANDI
Hello! She's really creepy, but she's also creative. Maybe this whole thing is like a plot she cooked up for her own amusement. Haven't you seen Basic Instinct?
QUINN
Uh, Sandi, this is real life, not a movie. Do you think Hollywood would have a clue as to what real killers do?
SANDI
No, but whoever this killer is, he knows a lot about us. Whoever he is, he's not killing the innocent.
JOEY
You can't tell me that Evan and Heather deserved what happened to them!
SANDI
Like, duh! None of us thinks they deserved death, but they'd been going at it like bunnies since their senior year.
QUINN
And I suppose you and Jamie--
SANDI
That's none of your business, Quinn!
TIFFANY
Well, what about Fluffy?
SANDI
Do you have any idea how many kittens he sired? I had to have him neutered to keep the neighbors from suing me.
TIFFANY
Ew!
Enter JEFFY, running.
JEFFY
Guys! It's getting worse!
SANDI
What? Have you been thinking about going back to that goth chick?
JEFFY
Well, actually--that's not relevant! They just found Brooke!
QUINN
What? Have she and Tom been holed up somewhere trying another marathon session?
JEFFY
It's worse than that! They found her body in her car--at the bottom of the river!
TIFFANY
Ew!
SANDI
We can't just wait around for someone to knock us off! We have to do something!
TIFFANY
We're talking about someone who kills off people who have lots of sex! That would mean out of all the people in this room...
(tries to bolt, but QUINN grabs hold of her and slaps her)
QUINN
Grab hold of yourself, Tiffany!
SANDI
Quinn's right. We can't panic now! We have to stand our ground! We're going to have to find the killer first and get rid of him before he kills us.
QUINN
Are you saying we should go into a house at night and have sex on purpose to lure a maniac?
TIFFANY and JEFFY sneak out, taking advantage of SANDI and QUINN's tendency to argue with each other.
JOEY
I volunteer!
SANDI and QUINN look at JOEY.
JOEY
What?
QUINN
Don't be silly! Not even Kevin and Brittany would be stupid enough to have sex for that reason.
(beat)
What happened to Tiffany?
108 INT. HOSPITAL, HALLWAY.
DARIA and JANE are walking through the hallway, followed by a police officer.
JANE
I can't believe you talked me into something for once! With a police escort, nonetheless!
DARIA
So sue me for having sympathy for Sandi.
JANE
Your name is Sue.
DARIA
Look on the bright side: we managed to ditch Andrea about three blocks back.
officer
(under his breath)
Why do I always get the weirdoes?
109 ROTATE CAMERA 90° TO SHOW A PERPENDICULAR CORRIDOR.
SMILEY goes running through that corridor.
110 CUT TO: DARIA AND JANE.
DARIA
Did I just see...
JANE
Yes!
The two of them go running after SMILEY.
officer
Damn!
(runs after DARIA and JANE)
111 INT. HOSPITAL, ANOTHER HALLWAY.
SMILEY runs down a hall, with DARIA and JANE still behind him/her
and the officer behind them. SMILEY flies around a sharp corner.
112 CUT TO: INT. SANDI'S HOSPITAL ROOM.
QUINN and JOEY are still present talking to SANDI.
SANDI
That plan is just as stupid, Joey.
JOEY
It is not.
QUINN
And how would the killer know we're naked and in the shower? He'd have to be in the house waiting to know it's time to strike.
JOEY
If he knows when you're having sex--
SMILEY bursts into the room and waves his/her hands above his/her head. SANDI, JOEY, and QUINN scream, JOEY jumping into bed with SANDI. SMILEY runs back out into the hall, knocking DARIA and JANE over. SMILEY continues down the hall.
JANE
This isn't exactly how I wanted to get you flat on your back, Daria.
DARIA and JANE's baby-sitter continues running after SMILEY.
113 CUT TO: INT. HOSPITAL, ANOTHER HALLWAY.
TIFFANY and JEFFY, hand-in-hand, are walking down the hallway, trying to get out unnoticed, when SMILEY appears before them. TIFFANY screams. JEFFY punches SMILEY in the stomach. TIFFANY grabs a bedpan from a cart and slams it down hard on SMILEY's head. SMILEY drops to the floor, unconscious. The police officer, DARIA, and JANE arrive running.
JANE
(bends down and peels off SMILEY's mask, revealing KEVIN)
Hey, look! It's the Dim Reaper!
114 THE HALLWAY OUTSIDE SANDI'S ROOM.
QUINN walks out of SANDI's room and meets DARIA.
QUINN
Daria? What are you doing here?
DARIA
My conscience, for some reason, demands that I go see how Sandi is doing. I have a soft spot for anyone who has been dropped.
QUINN
That's sweet of you. I've always admired your sense of kindness.
DARIA
Since when?
QUINN
Look: I know we haven't always been close--
DARIA
Usually it's a few meters between us, at least.
QUINN
Daria, I'm trying to be serious here. Despite everything that's happened between us, I've always felt we've had some sort of deep, spiritual connection.
DARIA
OK...
QUINN
(taking DARIA's hand, looking into her eyes)
Maybe we should take this bad situation as an opportunity, to use the adversity to make us bond more closely.
(moves closer)
I'm certainly up for that if you are.
DARIA
Quinn, what the Hell are you talking about?
QUINN
Damn it, Daria! You can be so frustrating to be around sometimes!
QUINN leaves as JANE approaches.
JANE
What was that about?
DARIA
You're not going to believe this, but I think Quinn just came onto me.
JANE
Ew! She's your first cousin!
DARIA
Hey, you're the one who slept with her own brother.
JANE
Stepbrother. We are not the cat people.
115 INT. A HOSPITAL ROOM.
KEVIN is lying in bed. TIFFANY, JEFFY, and FLEMING are standing around.
FLEMING
I was called down here for this?
TIFFANY
But he's the bastard that tried to kill Sandi!
Enter DANIELSON and BRITTANY.
BRITTANY
Oh, Kevvy!
(runs over to Kevin)
Are you alright?
DANIELSON
He's not the bastard who tried to kill Sandi. Brittany Taylor was with him at the time of most of the murders.
TIFFANY
But--
FLEMING
Damn it! The man's a moron! It's all over his criminal record! He doesn't have the brain-power to kill people!
Enter DR. PHILLIPS.
DR. PHILLIPS
What are all you people doing in here?
TIFFANY
(points to KEVIN)
This man tried to kill--
DR. PHILLIPS
I don't care what he allegedly did. That man has a serious concussion. He could suffer brain damage.
DANIELSON
Not that anyone would notice.
FLEMING
(to DANIELSON)
For once we agree.
DR. PHILLIPS
Shut up! He needs rest, so I want all of you to get out of here unless there's some real emergency which somehow requires you to be here.
FLEMING
Fine by us.
Exit FLEMING and DANIELSON.
TIFFANY
But--
DR. PHILLIPS
Now!
TIFFANY (very dissatisfied) and JEFFY exit.
DR. PHILLIPS
(to BRITTANY)
You, too.
BRITTANY
But I'm his girlfriend! He needs me!
DR. PHILLIPS
Please.
KEVIN
(weakly)
It's OK, babe.
BRITTANY
Alright, but I'll be nearby if there's anything you need.
Exit BRITTANY and DR. PHILLIPS. After a moment, enter QUINN.
QUINN
Hello, Kevin.
KEVIN
Hi, Quinn.
QUINN
(approaches)
There's always been something about you that's excited me.
KEVIN
Huh?
QUINN
Don't tell me you haven't ever felt it, too. You're a big, strong man. I'm a beautiful woman. Ever wonder what would it would be like if we let happen what comes naturally?
KEVIN
Er...
QUINN
(puts a finger to her lips)
No more words.
(slips into bed with KEVIN)
116 INT. HOSPITAL, HALLWAY.
BRITTANY walks down the hall, accompanied by MACK and JODIE.
BRITTANY
(on the verge of tears)
I can't believe this happened to my Kevvy! It was just a harmless joke.
MACK
I can't believe I'm going to visit him after he pulled a stupid stunt like this.
JODIE
I can't believe I'm going with you to see him after he pulled a stupid stunt like this. Why do you hang around him, again?
MACK
Pity, I think. I'm afraid he'd do something even more moronic if I didn't keep an eye on him and end up six feet under.
BRITTANY
Thanks! You two are great friends!
They arrive at KEVIN's room. A crash is heard, and QUINN, half-dressed and a big bruise on her face, runs out of the room.
QUINN
Smiley!
BRITTANY, JODIE, and MACK peek inside the room.
117 CUT TO: KEVIN'S ROOM.
The room is empty. The window has been broken through. MACK, BRITTANY, and JODIE enter. MACK opens the closet, and a bunch of linens fall out. They breathe a sigh of relief. BRITTANY tentatively opens the bathroom door; she screams as KEVIN falls to the floor. KEVIN has a knife protruding from his chest and many red marks on his neck. He has a blank look on his face, pretty much as he has in class. JODIE runs over to the window and peeks outside.
JODIE
Whoever did this to him, he's gone now.
MACK
(checking KEVIN's pulse)
And he's definitely gone.
BRITTANY
Oh my god! He killed Kevvy!
JODIE
You bastard!
118 INT. INTERROGATION ROOM.
QUINN is being interrogated by FLEMING and DANIELSON.
FLEMING
Let me get this straight, Ms. Morgendorffer.
QUINN
That's Michaelis.
FLEMING
Whatever. You snuck into a room containing one Kevin Bruno Thompson.
QUINN
Yes.
FLEMING
And you proceeded to commit a sexual act with said Mr. Thompson.
QUINN
(wincing)
Yes.
FLEMING
Why?
QUINN
I'm weak! I was ravenous before the Sick, Sad World incident! I haven't gotten anywhere as much action after I got out of high school! All I'd done it with this month was just Joey, who was broken up with Andrea for about twelve hours. And, oh yes, Jamie, who was fighting with Sandi. So it was just Jamie and Joey. And Jeffy; Tiffany was out of town, and he was feeling lonely and asked me if I wanted to do something with him on a Saturday night, and we were watching Scream, and David Arquette really turned me on--he's just, like, so cute--and the next thing I know we were sucking each other's tonsils out, and--
FLEMING clears his throat.
QUINN
OK, so it was just Jamie, and Joey, and Jeffy.
(beat)
And Chris and Sam. And some guy I met in the bar over margaritas, but I didn't catch his name, though he did have squarish teeth. I think. And there was Kevin, who couldn't remember the week before, who was horny, and who wasn't going anywhere. And there I was, starved for company. How could I resist the temptation?
FLEMING
I can barely believe that.
DANIELSON
That's pathetic, but believable.
(beat)
Please, go on.
QUINN
And then, after we had our blissful moment, Smiley burst in and stabbed Kevin, and he stuffed a butterfly down his throat, and he shoved him in the bathroom. Then he jumped through the window.
FLEMING
And you did what through all this?
QUINN
I tried to stop him, but he threw me against the wall. How do you think I got this bruise on my face?
FLEMING
So after this you went screaming half-naked into the hall?
QUINN
Uh, yes. Should I have done something else?
DANIELSON
No. You did fine.
FLEMING takes DANIELSON aside.
FLEMING
Do you really think she's telling the truth?
DANIELSON
Not sure about that, but the evidence does corroborate her story. There aren't any prints on the knife. And the Smiley costume was found outside.
FLEMING
Yeah. But I have a bad feeling about her.
DANIELSON
You had a bad feeling about Lane, too.
(beat)
Come to think of it, you had a bad feeling about Daria, too.
FLEMING
Fine.
DANIELSON and FLEMING approach QUINN.
FLEMING
Alright, we're releasing you. But stay in the area; you're still a suspect.
DANIELSON
(handing QUINN a card)
This has my number on it. Call me if you remember anything. Or if you need me for any reason.
FLEMING gives DANIELSON a look of severe displeasure.
119 INT. DARIA AND JANE'S APARTMENT.
DARIA and JANE sit side-by-side on the couch, looking incredibly bored as ANDREA talks nervously. ZACHARY is attacking a scratching post. ANDREA has a bottle of spring water in hand which she frequently sips from.
ANDREA
... and then the killer turned on the garage door, and she couldn't get through the pet door because her breasts were too large, and so she was stuck and got pulled up with the garage door, and she got killed when it went all the way up and broke her neck. But the more virtuous friend survived to the end of the movie.
DARIA
That wouldn't work, Andrea. If she couldn't get both shoulders through the pet door, then she should have fallen out when the garage door went up. The only thing she should have broken was her tail-bone when she fell on her ass.
JANE
True, but I enjoyed the movie though.
DARIA
Just another excuse to throw out cliches. In this case, though, because it could be construed as a parody, the writer was praised even though all he did was recycle everything that had been done before him. Is that really creative?
ANDREA
Daria, that doesn't matter! This is a truly postmodernist psychopath!
JANE
I don't get that term "postmodern". If "modern" refers to contemporary things, then how could something be "postmodern"?
ANDREA
You're missing the gravity of this situation, Jane. You remember that movie with Alicia Witt?
JANE
Oh, yes. The one with the killer basing all the murders on urban legends. Really stupid, totally implausible, could have been better. The murders could have been much better, more blood, guts, and gore.
DARIA
She was very glad I got her Re-Animator for her birthday.
JANE
But just because the slutty goth girl who was always sleeping with strange men in the room when the person who inadvertently started the trouble never survives does not mean you are doomed to die.
ANDREA
Then tell the killer that. The last thing I want is to be found sprawled across the bathroom floor in a pool of blood with my head missing.
DARIA
(standing)
OK, I've had enough. I'm calling it an early night. Ready for bed, Jane?
JANE
(standing, smirking)
Sure. Good night, Andrea.
ANDREA
You're leaving the room?
DARIA
Yes. We sleep in beds. You can take the couch out here.
ANDREA
You can't do this to me! I'll get killed! Being alone in a room is an invitation to death!
JANE
Andrea, you know we would ordinarily let you in the bedroom with us, but, you know, we're not into threesomes. And you won't be alone; Zachary will keep you company.
DARIA
Actually, you can take Jane's bed tonight. She won't be needing it. Good night.
DARIA and JANE depart the room. ANDREA pauses for a moment and then picks up the phone and dials.
ANDREA
(into phone)
Jodie?
(beat)
It's Andrea.
DARIA
(out of view)
Fly with me, lesbian sea-gull!
ANDREA
(into phone)
Never mind that! This is an emergency.
(beat)
Who's with you?
(beat)
Great! Bring them over to Daria and Jane's apartment as soon as you can...
120 INT. AN APARTMENT.
Enter PIGEON MAN and his roommate, STUPID DUDE, through the front door, carrying groceries.
PIGEON MAN
(singing)
... 'Cause you're a big, black, furry creature from Mars,
A big, black, furry creature from Mars,
A big, black, furry--
(beat)
What's that smell?
STUPID DUDE
(sniffs)
Chicken.
121 INT. A KITCHEN.
PIGEON MAN and STUPID DUDE enter the kitchen. There is a pot
on the stove. PIGEON MAN lifts off the lid, looks inside, and screams.
122 CUT TO: INT. THE POT.
Boiling inside is a dead pigeon.
123 INT. THE KITCHEN.
PIGEON MAN
Oh my god! Who killed my pet pigeon Hitchcock?
STUPID DUDE
Uh, man, that's not Hitchcock.
PIGEON MAN
What do you mean that's not Hitchcock? Do you really think I keep a few spares in the closet?
STUPID DUDE
Uh, no. It's just that--
(beat)
You remember Jaws, my Burmese python?
PIGEON MAN
Yeah?
STUPID DUDE
I left Jaws out one day, figuring she could use the exercise. When I got home, I found out she'd eaten Hitchcock. I rushed out to the store and bought a new pigeon as fast as I could.
PIGEON MAN
(crying)
My pigeon! My pigeon! You killed my pigeon!
STUPID DUDE
I'm sorry, man, but that was a month ago. I certainly didn't kill this bird.
PIGEON MAN
Then who did?
Enter SMILEY.
SMILEY
I did.
STUPID DUDE
Fear not, dude! I'll save you!
STUPID DUDE rushes at SMILEY, only to get a knife in the heart. STUPID DUDE drops to the floor. SMILEY pulls the knife out of STUPID DUDE's chest and wipes the blood off of the blade.
SMILEY
And now that I've killed your pigeon and stupid friend, I'm going to kill you and your girlfriend Tiffany Blum-Deckler.
PIGEON MAN
What are you talking about? You moron, Tiffany's not my girlfriend.
SMILEY
Then what are you doing in her apartment?
PIGEON MAN
This my apartment! Tiffany lives next door.
SMILEY
Oops.
(beat)
Please accept my deepest, most sincere apologies on the death of your pet bird and your roommate.
PIGEON MAN
You killed my pigeon and my roommate, and you expect to get off with just an apology? You're a murderer! I can't forgive something like this!
SMILEY
But--
PIGEON MAN
You horrible, horrible man! I can see how you could take the life of an idiot like my roommate, but how could you take the life of a sweet, innocent pigeon, whose reason-to-be was to bring some pleasure to those around her? Have you no idea what this pigeon meant not only to me, but to the people of this neighborhood? She gave people an appreciation of the virtues of avian life-forms. She helped lower everyone's blood pressure on her twice-weekly trips to the hospital and the nursing home. Little kids would take the trouble to behave themselves just to pet her! And all you can do is merely--
SMILEY
What the Hell.
SMILEY stabs PIGEON MAN, then throws him through a window.
124 EXT. A LAWN.
The body of PIGEON MAN lies there, covered in blood.
125 INT. TIFFANY AND QUINN'S APARTMENT.
SMILEY bursts through the front door. We follow him/her as
he goes into the bedroom, where it appears that someone is in the bed,
covered by the sheets. Brandishing a hunting knife, SMILEY thrusts
downwards, over and over again, but there are neither screams nor blood.
SMILEY tears back the sheets, revealing a pile of pillows. Enraged,
SMILEY overturns the bed and storms out.
126 INT. DARIA AND JANE'S APARTMENT.
MACK, JODIE, and BRITTANY (crying on JODIE's shoulder) are now present. ZACHARY is rubbing himself against BRITTANY's legs.
MACK
You brought us here for what?
ANDREA
Safety in numbers.
MACK
Do you really think Smiley is out to get you?
ANDREA
Yes! And two of you three, too!
BRITTANY
What?
ANDREA
Think about it: who dies in horror movies? The trashy tramp--that's me--the black guy--that's you, Mack--and the big-breasted, blond bimbo--that's you, Brittany. The only one here who has any real chance of survival is you, Jodie.
JODIE
You need serious help, Andrea.
ANDREA
That's why all of you are here! As long as we all stick together, Smiley can't hurt us. No one ever dies in a group in a horror movie.
MACK
This is not a horror movie.
ANDREA
But Smiley's working according to the rules of horror movies.
MACK
If that's so--
The bedroom door opens, and JANE sticks her head out.
JANE
Could you keep it down out here? Daria and I are trying to sleep in here.
DARIA
(out of view)
You call this sleeping?
MACK
No problem. I'm out of here.
JODIE
Me, too. Come on, Brittany.
MACK, JODIE, and BRITTANY get up to leave.
ANDREA
But...
Exit MACK, JODIE, and BRITTANY.
ANDREA
Damn!
(to JANE)
Please don't leave me alone again!
JANE
Hmm...
127 RIGHT OUTSIDE DARIA AND JANE'S APARTMENT.
JANE shoves ANDREA out the front door. The sounds of locking can be heard.
ANDREA
Damn! Damn! Damn!
BRITTANY approaches.
BRITTANY
Andrea, I'm worried.
ANDREA
Who isn't?
BRITTANY
I think something
(beat)
supernatural may be going on.
ANDREA
How so?
BRITTANY
Smiley seems almost superhuman. What if he's really Tommy Sherman's ghost, come back to haunt us until his killer is brought to justice?
ANDREA
You're kidding.
BRITTANY
I'm serious. I've talked to Monique. She's a witch. She can make Tommy Sherman's spirit go away if we can get enough people together.
ANDREA's eyes brighten when she hears the word "people".
BRITTANY
I figure you'd be able to help, being a Methodist Satanist and all.
ANDREA
Don't worry, Brittany. There's no way I'll leave you to face that ghost alone...
128 EXT. ROAD--NIGHT.
Down a narrow road in a rural, wooded area drives a jeep.
It is dark outside, and the jeep turns off the main road onto a dirt road.
Far from the main road, the jeep comes to a complete stop, and the headlights
are turned off.
129 FADE TO: EXT. WOODS.
Not far from the jeep, a tent has been set up. It is lit from
the interior, and it proves to be empty.
130 PAN TO: EXT. A NEARBY STREAM.
Sounds of laughter, giggling, and splashing can be heard.
Silhouettes of the heads of two people in the water can be seen.
131 WOODS--NIGHT.
We pass forward quickly, moving among the trees.
132 FADE TO: EXT. THE TENT.
The silhouettes of two people can be seen inside close together.
The sounds of kissing can be heard.
133 WOODS--NIGHT.
We pass forward quickly, moving among the trees.
134 CUT TO: INT. TENT.
Inside are TIFFANY and JEFFY, soaking wet, in towels, sucking face.
They seem very preoccupied with it.
135 WOODS--NIGHT.
We pass forward quickly, moving among the trees, finally heading
straight into a tree.
136 SMASH CUT TO: WOODS--NIGHT.
SMILEY, riding a bicycle, runs straight into a tree.
SMILEY
(falling off the bicycle)
Argh!
137 CUT TO: INT. TENT.
JEFFY
Did you hear something?
TIFFANY takes hold on his cheeks and holds his face a short distance from hers.
TIFFANY
Who cares, Jeffy?
JEFFY
You're right. Come on.
138 CUT TO: EXT. WOODS.
We sneak up slowly on the tent. As we hear the sound of leaves
being crunched beneath feet, the forms of TIFFANY and JEFFY copulating
can be seen projected on the side of the tent and moans and gasps can be
heard.
139 CUT TO: INT. TENT.
TIFFANY and JEFFY, shown naked and only from the shoulders up, finish up and collapse in a pile. TIFFANY kisses JEFFY, then rolls off of him.
JEFFY
That was great.
TIFFANY
(seen sitting up from the back, drawing a pink slip over herself)
I just wish we didn't have to be running for our lives for it to be this good.
JEFFY
(rolling onto his side)
We're safe enough here. There's no chance Smiley will find us out here.
A snicker-snack can be heard, and a gloved hand drives a
knife through the tent, where it embeds in JEFFY's back. JEFFY falls
lifeless while TIFFANY screams and the knife is pulled back out.
140 CUT TO: SMILEY STANDING OVER THE TENT, laughing his/her lungs out. TIFFANY is still screaming inside.
SMILEY
Don't you know unprotected sex can be deadly?
TIFFANY, wearing only the slip, which conveniently goes down not much further than her crotch and is now stained with blood, crawls out of the front of the tent. Getting up, she goes running out into the darkness, still screaming.
SMILEY
(gleefully)
Oh, goodie!
SMILEY goes skipping off after TIFFANY.
141 EXT. THE WOODS.
TIFFANY runs meandering through the woods. She trips over a log, picks herself up, and notices SMILEY still coming after her. Screaming, she continues her flight. As she runs out of sight, SMILEY appears in the foreground, walking calmly after her.
SMILEY
(under his/her breath)
Run in a straight line, you idiot! You're making this too easy.
142 EXT. THE JEEP.
TIFFANY hastily opens the door and climbs into the jeep.
143 INT. THE JEEP.
TIFFANY turns the key in the ignition, but it stalls. She tries repeatedly, expressions of terror evidencing themselves on her face. SMILEY taps on the passenger-side window.
SMILEY
(holding a spark plug up to the window)
Excuse me, but don't you need this to start the jeep?
TIFFANY screams, opens the driver-side door, and runs for
her life.
144 EXT. THE WOODS.
TIFFANY, in panic, runs through the woods.
She steps on a pine cone, yelps in pain, and falls to the ground. She picks herself up but winces in pain and drops to the leaf litter again.
TIFFANY
(pulling a piece of the pine cone out of her foot)
Damn it! Couldn't I be chased by a psycho killer when I'm wearing shoes?
TIFFANY looks over her shoulder. She notices no one, but still pulls herself up and flees, only to ram straight into SMILEY, who grabs her by the throat with one hand and forces her down on her knees.
TIFFANY
Let me go! Please! I won't tell anyone!
SMILEY
I'll make sure of that!
TIFFANY
But why me? What have I done to you?
SMILEY
I think you know, Blum-Deckler. It wasn't enough for you to be popular. You had toy with others, pit them against each other so no one would notice how much you outclassed them in being petty and stupid. Who do you think you hurt the most for the sake of your fun?
TIFFANY
I don't know!
SMILEY
You do; I think you do. What's my name?
TIFFANY
What?
SMILEY
(holding a knife to her throat)
Say my name, bitch!
TIFFANY
I don't know! Moon Child!
SMILEY
Wrong answer, back-stabber! It's time to play the dying game!
TIFFANY
No!
(punches SMILEY in the stomach)
SMILEY drops to the ground in pain as TIFFANY runs off.
145 EXT. THE WOODS.
TIFFANY, now out of breath, crawls into a bush.
146 INT. THE BUSH.
TIFFANY notices nothing wrong and breathes a quiet sigh of relief.
A moment later, a gloved hand reaches into the bush and touches her on
the shoulder. TIFFANY screams as she is dragged out of the bush.
147 EXT. THE BUSH.
SMILEY
(dragging TIFFANY out of the bush)
Don't hide. I want to play a game with you.
TIFFANY
A game?
SMILEY
(pulling TIFFANY's flute out)
Remember this? I want you to show me how you stole Skyler Feldman from L. Quinn Michaelis.
TIFFANY
But I never played flute for him! He's into polka music!
SMILEY
That's not what I meant.
(shoves the flute in her face)
Do it!
TIFFANY
What?
SMILEY
Suck it, bitch!
SMILEY shoves the end of the flute in TIFFANY's mouth and
continues shoving it down her throat. The flute blocks her airway,
and her eyes bug out and her arms flail uselessly as she chokes.
Her struggles quickly stop. SMILEY pulls the end of the flute out
of her throat and wipes the blood off of it.
148 EXT. LAWNDALE GRAVEYARD--NIGHT.
On the cloudy night, the silence of the graveyard is interrupted by the footsteps of four people walking about. Armed with flashlights, they look about, finally finding the grave of TOMMY SHERMAN. One of them speaks.
MONIQUE
This is it. We'd better set up.
MONIQUE, BRITTANY, ANDREA, and QUINN begin to set up their apparatus before the headstone. QUINN lays out a pentagram using white sand on the dirt while ANDREA lays out black candles at each point. BRITTANY lights some incense, and MONIQUE gets out a goblet and a dagger. Hearing something move in the bushes, BRITTANY yelps, only to recover her composure as a black cat runs across her path. BRITTANY produces a scrambled Rubik's Cube, which she proceeds to rapidly solve. MONIQUE takes the Cube from BRITTANY and places it in the middle of the pentagram. The women then prick each others' fingers and squeeze some of the blood into the goblet, which they place on the Cube. Then they sit around it, light the candles, then join hands.
MONIQUE
Ah-dey doo-ey dahm-bah-lah. Give me the power I beg of you!
all
Hail to the watchtowers.
MONIQUE
Hail to the watchtower of the east, witness of the beginning day. I invoke thee in the name of the element of earth.
QUINN
Hail to the watchtower of the south, witness of the blowing winds. I invoke thee in the name of the element of air.
ANDREA
Hail to the watchtower of the west, witness to the beginning night. I invoke thee in the name of the element of water.
BRITTANY
Hail to the watchtower of the north, witness to the guiding stars. I invoke thee in the name of the element of fire.
MONIQUE
We take into ourselves the power to exorcize Tommy Sherman of Lawndale High, he who has risen amongst us. We cast thee back to the other realm from which thou came. Get thee back in thy grave.
(produces a Voodoo doll and does to it what she says)
We tear your head off, tear you to shreds, stomp on your remains, and scatter them to the four winds. The power of our cries compels thee.
all
The power of our cries compels thee.
MONIQUE
Ah-dey doo-ey dahm-bah-lah! Ah-dey doo-ey dahm-bah-lah! Ah-dey doo-ey dahm-bah-lah! Kla-too ba-ra-ta nik-to!
QUINN
Kla-too ba-ra-ta nik-to!
ANDREA
Kla-too ba-ra-ta nik-to!
BRITTANY
Kla-too ba-ra-ta necktie!
A loud thunderclap is heard. All eyes turn towards BRITTANY.
MONIQUE
"Necktie"!?! The word is "nik-to", not "necktie", you inflatable bimbo!
BRITTANY
Well, it was almost right!
MONIQUE
You ruined the spell, Britt. The exorcism has failed. Now we can't get him back in his grave. It's just one little word and you can't get it right. Great job, silicone queen.
BRITTANY
These are real; damn it! Wuaaaaaah!
(runs off crying)
QUINN
Well, that's it for me, then. I'd better turn in.
ANDREA
What! You can't leave!
QUINN
I don't like graveyards. I might be a bit creepy, but I have limits.
MONIQUE
I'm going, too. I think I'll go home and read that copy of Buckland's again.
ANDREA
Hey! We can't split up!
MONIQUE
Why not?
ANDREA
I told you: we split up, and Smiley will come! You always die when you're alone, and you stand a good chance of dying when someone else is around. It's only when you have three or more together that the odds get really good.
QUINN
I agreed to one magical ceremony in a graveyard because I could get a paper out of it for my comparative religion class. Baby-sitting you was not part of the deal.
MONIQUE
I consider you a friend, Andrea, but I'm not up to pandering to the paranoid delusions you've cooked up by watching too much hackneyed fiction. And I don't think that outfit was really appropriate for this ceremony. I mean: plastic, what were you thinking? You're on your own, Andrea.
ANDREA
Damn! Damn! Damn!
(runs off)
QUINN
I thought she'd never leave.
149 EXT. BUTT-HEAD'S HOUSE--ESTABLISHING
SHOT.
150 CUT TO: INT. BEAVIS'S BEDROOM.
The bedroom is in total disarray. BEAVIS is sitting in the middle of the floor in a lotus position chanting his mantra "Voidholio" over and over again. He is wearing a Viking hat with rolls of toilet paper on the horns. He stops and begins to say a blessing.
BEAVIS
Hail, Great Void! Blessed be your name.
When you're not with us, things just ain't the same.
You give us all our day's pizza and beer,
And when you're with us, we've nothing to fear.
You save us all from the bad dude from Hell,
And when we're with Lolita, we'll be happy as well.
SMILEY
(appearing in the doorway)
Amen, brother! Prepare to meet the Great Void yourself!
BEAVIS
(standing, turning towards SMILEY)
And who are you, O masked one? Have you come to worship the Great Void?
SMILEY
I'm a serial killer, you bozo! Say your prayers!
BEAVIS
Surely you are possessed!
(punches SMILEY in the face)
Out, demons! Out, I say!
SMILEY
What the Hell?
(hits BEAVIS in the stomach, knocking him to the ground)
BEAVIS
(springing up again)
The Great Void has given me enormous strength!
SMILEY unsheathes a long knife and stabs BEAVIS, who staggers for a moment but remains upright, despite the loss of blood.
BEAVIS
The Great Void has given me enormous endurance!
(hits SMILEY again)
Out, demons! I command you in the name of the Great Void and his two kids!
(chants)
Voidholio... Voidholio... Voidholio...
SMILEY
Just what I need: someone too stupid to not know when to quit.
(slashes BEAVIS in the gut, making a long, deep gash)
BEAVIS
(wobbly)
The Great Void demands that I live to exorcise your demon.
(weakly punches SMILEY)
SMILEY
Just die, you idiot!
(knocks BEAVIS flat on his back)
151 BEAVIS'S POINT OF VIEW.
SMILEY, overhead, raises his/her boot, and brings it down rapidly.
152 SMASH CUT TO: BLACK.
153 EXT. BUTT-HEAD'S HOUSE--NIGHT.
LOLITA is helping BUTT-HEAD move to a car out front. TANQUERAY is right behind them but further behind on what passes for a lawn.
LOLITA
It's alright now, Butt-Head. We're not going to let mean, nasty Beavis abuse you any more.
BUTT-HEAD
You chicks are cool.
TANQUERAY
Did you hear something?
LOLITA
Can't be. Cornholio is meditating.
BUTT-HEAD
Yeah.
TANQUERAY
I did hear something. Get him in the car while I check it out.
(runs back into the house)
LOLITA
Tanqueray!
154 INT. BUTT-HEAD'S HOUSE.
TANQUERAY comes cautiously back through the front door. The condition of the place has deteriorated since the last time she was there. There are muffled sounds coming from BEAVIS's bedroom, and she approaches and puts her ear to the door. Under the light pressure the door swings inwards. TANQUERAY looks and screams in horror as through the open doorway SMILEY can be seen standing over the bloody body of BEAVIS, knife in hand. He/she wipes the blood off the blade between two fingers.
SMILEY
Well, well. Looks like another opportunity for some fun.
TANQUERAY runs out the front door, followed by SMILEY walking
after her.
155 EXT. BUTT-HEAD'S HOUSE.
TANQUERAY
(running out the front door)
Start the freaking car, Lolita! Now!
LOLITA, in the driver's seat, complies, though the car is sluggish in starting; BUTT-HEAD is in the back seat. TANQUERAY jumps in and slams the door as SMILEY appears.
TANQUERAY
Go, go, go!
LOLITA hits the gas, but as she does so there is a loud thump as something lands on the trunk. As the car goes hurtling down the street, TANQUERAY looks out the back window.
TANQUERAY
Shoot!
On the trunk of the car is SMILEY, who is holding on by way of a knife impaled through the trunk.
TANQUERAY
We got to get him off of there!
LOLITA begins to swerve the car back and forth, but SMILEY hangs on. There are close calls as the car narrowly misses hitting other cars.
TANQUERAY
He's still holding on!
LOLITA
I'm trying, damn it!
Suddenly the car swerves to one side as LOLITA turns to miss another car, ending up on a sidewalk. As LOLITA and TANQUERAY scream, the car barrels though the glass window of a pizzeria (Pizza King) and jerks to a halt as it plows into a bunch of booths. SMILEY goes flying over the car and lands on the hood. The passengers look shaken but OK.
BUTT-HEAD
That was cool.
LOLITA
Who the Hell is that guy?
TANQUERAY
Someone who killed Beavis.
BUTT-HEAD
He killed that void-knocker?
TANQUERAY
Most sincerely. Is he still alive?
LOLITA
Looks like he's still breathing.
TANQUERAY
Anyone else want to get the Hell out of here before he comes to?
LOLITA
Motion passed.
LOLITA and TANQUERAY get out of the vehicle. They step carefully over the debris and try to help BUTT-HEAD out of the vehicle. Suddenly SMILEY sits up and leaps to his/her feet. He/she shoves LOLITA out of the way and delivers a stab to BUTT-HEAD. TANQUERAY punches SMILEY in the face while BUTT-HEAD crumples. SMILEY recovers and punches TANQUERAY, who goes flying. As LOLITA recovers and gets up, she sees SMILEY deliver several more stabs to BUTT-HEAD.
LOLITA
Oh my god!
SMILEY
(turning his/her head to look at her)
You're next!
TANQUERAY
(approaching)
No, you are!
TANQUERAY kicks SMILEY, who flips backwards over the open car door. TANQUERAY and LOLITA run into the kitchen and find a door at the back which leads to a staircase. TANQUERAY runs up the stairs while LOLITA goes down. SMILEY, meanwhile, runs through the kitchen, grabs a really big knife from a wooden block on a counter, and reaches the staircase. He/she looks both ways and sees both of them.
SMILEY
OK...
(choosing)
Eeny, meeny, miny, mo.
(runs up the stairs after TANQUERAY)
SMILEY quickly catches up with TANQUERAY and stabs her in the leg. She cries out, lowers and turns, and gives SMILEY a kick which sends him/her tumbling down the stairs. She tries to continue climbing but cannot walk and ends up climbing on all fours. At the top she climbs some distance across the floor, only to have Smiley catch up to her.
SMILEY
Going somewhere?
156 CUT TO: BASEMENT.
LOLITA wanders around the dark basement, among the boiler equipment,
pipes, etc. She slips off her jacket as she peers around anxiously.
She walks past a wooden door when suddenly a knife blade punches through
it. LOLITA screams and stands there screaming while SMILEY manages
to break his/her way through the door before she begins to run, throwing
her jacket in his/her face. She dashes to an elevator and desperately
presses the button while SMILEY lumbers slowly after her. The elevator
doors open, and LOLITA dashes in and begins hitting the close button desperately.
The doors begin to close as SMILEY draws near, but before they completely
shut, he/she blocks the closing with his/her hand, and the doors open.
While LOLITA makes sniveling, whiny noises, SMILEY enters the elevator
and presses the button for the top floor.
157 CUT TO: TOP FLOOR.
A knife at her throat, SMILEY drags LOLITA through office space towards a window. LOLITA meanwhile pleads for her life.
LOLITA
Don't kill me, please! I'm too young and beautiful to die!
SMILEY
That's what Heather and Tiffany thought, too.
LOLITA
Whatever you want, I can get it for you: money, sex--
SMILEY
You don't have any money, and you're not my type.
LOLITA
What do you want from me?
SMILEY
To see you splattered like a squash.
158 EXT. BUILDING.
LOLITA, screaming, crashes through a window.
159 ROTATE CAMERA DOWNWARDS 90°.
We see a nice, new car parked by the curb. On the hood of
the car is sprawled out LOLITA.
160 CUT TO: JOEY WITH ANDREA IN A BAR.
SMILEY appears briefly in the background, unnoticed by anyone.
ANDREA
I'm not kidding, Joey. Now is the time to get the Hell out of here before Smiley gets us.
JOEY
Smiley is not going to get me. I can take care of myself.
ANDREA
What are you going to do? Reason with him? "No, please don't kill me, Mr. Smiley Face! I want to be in the sequel!" How many people has he stabbed to death so far? Do you honestly think you can defend yourself against him?
JOEY
I think you are forgetting something important here. Jeffy, Jamie, and Evan were wusses. I am not. Tiffany and Heather were girls. I am not one either. I am a man, a real man, full of muscle and testosterone, and I assure you I am not going to fall prey to some psycho in a stupid mask the way they did. Who do serial killers go after? They go after wusses and girls, not real men. I am a real man; therefore I will not get killed.
ANDREA
You're a real idiot; that's what you are. Evan was many things, but not a wuss. And how many times did Tiffany beat people up? Are you so conceited that you think your ego will protect you?
JOEY
Do I sense some hostility here? If you're really so worried, why are you dressed like that?
ANDREA
Argh! Why do I bother? I try to dress formally for a religious ceremony, and all I get is criticism!
(beat)
Fine. You want to die, go right ahead.
(begins stomping off)
JOEY
Andrea... Andrea, wait!
ANDREA
If you think I'm going to sleep with you while this stuff is going on, forget it. You want to get yourself killed by being a macho idiot, go ahead, but you're not taking me down with you.
JOEY
That's not what I'm trying to do. Where are you going?
ANDREA
What the smart person does. When a knife-wielding maniac is on the loose, the smart thing to do is to run away. I'm going to find some friends and get the Hell out here. The important thing is we are leaving, and if your brain is even a fraction of the size your butt indicates, you'll do the same, too.
JOEY
I am not scared of this guy.
ANDREA
Don't you watch horror movies? You are flaunting your disrespect of the situation, and people who do that usually don't live to take it back. You are going to die, Joey, unless you wise up really fast.
JOEY
This is so stupid, Andrea...
ANDREA
No, you're stupid, Joey. I'll see you in Hell!
(exits)
JOEY
(calling after her)
Andrea!
(beat)
Andrea, come back!
(beat; to self)
Shoot!
JOEY, distressed, hardly believing what has happened, heads
for a rest-room.
161 INT. REST-ROOM.
JOEY is splashing cold water on his face. Suddenly SMILEY bursts out of a stall, brandishing a knife.
SMILEY
Boo!
JOEY's eyes bug out as SMILEY laughs maniacally.
SMILEY
Welcome to your nightmare!
JOEY runs to get the door open when suddenly SMILEY jabs the knife into it.
SMILEY
Don't leave! The party's just getting started!
SMILEY punches JOEY in the face, sending him flying onto
his butt. Pulling the knife out of the door, he/she brings the knife
down towards JOEY's face, but the latter rolls out of the way just in time.
SMILEY, doing so, falls down on top of the embedded knife's handle, and
cries out as he/she does so. JOEY opens the door and slams it behind
himself.
161 INT. BAR, PASSAGEWAY.
JEFFY runs through the passageway. He runs into a man in a sweater with broad red and green stripes and leaning on a broom talking to a janitor in a blue jump-suit.
JEFFY
Aaaaarrrrrggggghhhhh!!!!!
(runs away)
man
What was his problem?
janitor
Beats the hell out of me. So went to visit my sister...
162 INT. BAR, PASSAGEWAY.
SMILEY pops out in front of JOEY and shoves him into the wall.
He/she grabs his neck with one hand, squeezing tightly. JOEY's eyes
bug out and he struggles to pry his/her hand away. Awful-sounding
gasps escape his throat until he suffocates and SMILEY releases him.
Dead, JOEY collapses on the floor like a rag doll.
163 EXT. BAR.
ANDREA walks out the front door and mounts a motorcycle out front. As she puts on her helmet, SMILEY bursts out the front door, knife in hand.
SMILEY
(imitating Ed McMahon)
Here's Smiley!
ANDREA, a look of shock on her face, tries starting her motorcycle, but it stutters several times as SMILEY approaches slowly.
SMILEY
Going so soon? I wouldn't hear of it!
ANDREA
(under her breath)
Damned battery.
Finally the bike starts, and ANDREA pulls away from the curb, her tires squealing. SMILEY, sighting ARTIE on the other side of the street parking a pizza delivery van, rushes over to him and holds his/her knife to his throat.
SMILEY
Your pizza van or your life!
ARTIE
But they'll take it out of my salary!
SMILEY
I've got places to go and people to kill!
(opens the door, pulls ARTIE out of the van, climbs in, and drives off)
ARTIE
My boss is going to kill me!
164 EXT. RYAN STREET.
ANDREA's motorcycle weaves in and out of traffic.
165 ANDREA'S POINT OF VIEW, REAR-VIEW MIRROR.
A pizza van can be seen gaining on her.
166 ANDREA ON HER MOTORCYCLE.
ANDREA
Damn!
SMILEY's pizza van continues to get closer, cutting off several
cars. ANDREA makes a hard left turn onto a side street, which SMILEY
is hard-pressed to follow and smashes a car in the process.
167 ANDREA'S POINT OF VIEW, REAR-VIEW MIRROR.
The pizza van is still gaining on her.
168 ANDREA ON HER MOTORCYCLE.
ANDREA
Damn! Damn! Damn!
ANDREA suddenly turns off the road and into an all-night
Good Time Chinese restaurant (as indicated by a neon sign in the front
window).
169 INT. GOOD TIME CHINESE RESTAURANT.
The few customers inside scatter. ANDREA is thrown from her bike as it skids, knocks over a few tables, and demolishes a purchasing counter and itself before it comes to a stop. GUY FOX (he has a name tag), the messy-haired night manager, is not pleased.
GUY
(approaching; British accent)
What in bloody Hell is going on over here? This isn't a rodeo!
ANDREA
(picking herself up)
Ow!
(favors her left leg, leans on an upright table)
I'm sorry. I was just being chased by slasher-killer in a pizza truck.
GUY
What sort of bloody idiot do you think I am? Is that lame-ass story the best you can do?
ANDREA
Hello? We're talking Smiley here.
GUY
Yeah, right. I'd be broke if I believed every bloody bastard who came in here claiming to be chased by a serial killer.
waitress with name tag saying "HALLY"
God, I got three such weirdoes last week. I can't believe you expect us to buy any of this.
SMILEY enters the room, his/her knife unsheathed.
ANDREA
Look out!
SMILEY slashes at everyone within arm's reach.
SMILEY
(jumping out of the van)
Come to Smiley!
Practically everyone screams and stampedes for the exit, except for a chef with a name-tag marked "X", who grabs a steak knife and tries to stab SMILEY, only to get a machete in the gut, and ANDREA, who is hampered by a hip injury.
SMILEY
Who's next?
(turns to ANDREA)
That would be you, Andrea Flynn. Don't be afraid. Be very, very afraid.
Pinning her into a corner, SMILEY holds the machete to her throat.
SMILEY
How does this make you feel, Andrea?
ANDREA
Um, scared?
SMILEY
Are you asking me or telling me?
(beat)
Any last requests?
ANDREA
Uh, yeah. Fall over, grabbing your foot and screaming.
SMILEY
What?
ANDREA stomps her heel on SMILEY's foot.
SMILEY
(falling over, grabbing his/her foot)
Argh! You bitch!
ANDREA, clearly in pain, runs into the kitchen. SMILEY, getting up, catches up with her, forcing her to go out the back of the kitchen and up a flight of stairs. The pace quickens, and he/she is nearly upon her. Soon ANDREA bursts out onto the rooftop of the building, with SMILEY close behind.
SMILEY
(approaching)
That wasn't very nice, Andrea.
ANDREA
(backing away)
This is the part where I buy it; isn't it?
SMILEY
(still approaching)
Correct.
ANDREA
(still backing away)
You sure you wouldn't want to be original and let me live?
SMILEY shakes his head.
ANDREA
Do you really want to be known as a strikingly uninspired kill--aaaaarrrrrggggghhhhh!!!!!
ANDREA screams as she falls backwards over the edge of the roof.
SMILEY
(wryly)
Idiot.
(exits)
170 CUT TO: INT. DARIA AND JANE'S APARTMENT.
JANE and DARIA are sitting in front of the television. JANE is multitasking with sketching a picture of DARIA with a pencil on paper.
DARIA
Jane, this is ridiculous.
JANE
You got a better idea? They've covered dozens of bizarre killings. There has to be something on one of these episodes we've recorded.
DARIA
(reluctantly)
OK, play the next one.
JANE fingers the remote control and the recording advances.
announcer
The Lawndale sex scandal continues! The newest revelations, next on Sick, Sad World!
DARIA
Next report.
JANE
Hell no!
VAL
(on recording)
Last month we brought you the shocking tale of a high school ruled by fear and sexual intercourse. But this is not the only shameful fact that has been kept under the carpet of this suburb. For although this appears to be a quiet town, it has not only been ruled by sex, but also by the Devil.
BRITTANY
(on recording, captioned BRITTANY TAYLOR, PREGNANT TEENAGER)
This is not my fault! We were so careful! But they put a spell on me because I'm one of the popular people, and that's why Kevvy couldn't pull out in time!
VAL
(on recording, standing in front of the school)
Not only is there a fashion club at this school, but also a Satanism club. Several of these students have banded together to form a club where they do black magic, and now anyone who stands in their way has to suffer the consequences.
JANE
(on recording, captioned JANE ANNE LANE, SATANIST)
Oh, sure, we're in a cult. Yes, me and my friends, we're all, uh, a bunch of Satanists. We worship Satan. We put hexes on people and raise dead spirits to go kill people and do bad things to our enemies. You know what I do to people I don't like? I make them crawl, I say! Crawl!
DARIA
Down, tiger.
JANE
It's amazing that, no matter how stupid the story, this channel will broadcast it if it's stupider than anything else on any other channel.
DARIA
What about UPN?
DARIA
(on recording)
There is no cult. You are all full of (beep). So go away, grow up, and don't do journalism until that happens.
VAL
(on recording)
But, Ms. Morgendorffer--
DARIA on the recording punches out VAL.
DARIA
And they haven't improved since.
JANE
You know: you're kind of cute when you're ticked off.
Beat. DARIA and JANE suddenly grab enough other and begin a fit of kissing, stripping each other's shirts off, and groping each other while the recording plays on in the background.
VAL
(on recording)
... but even worse tragedy has struck the school. Not even a week ago was the tragic death of Thomas Eugene Sherman, star player of the Lawndale High football team.
JANE
(noticing)
Uh, Daria...
DARIA, occupied in kissing JANE's neck and feeling up her breasts, makes an indistinct sound.
VAL
(on recording)
Sherman stayed later after school to practice, and afterwards, when he was alone, he was savagely attacked.
JANE
Daria!
DARIA
(muffled by JANE's neck)
Oh, Jane!
JANE
(manually rotating DARIA's head to face the screen)
Look at that!
VAL
(on recording)
When it was found, Sherman's body had been savagely mutilated. He had been stabbed multiple times, dragged for some distance, and then hung on a goal post.
DARIA
Oh my God!
JANE
(pausing recording)
Anything for ratings; isn't it?
DARIA
I know who the killer is now. I got to get this bastard.
JANE
Who?
DARIA
Quinn.
JANE
Your cousin?
DARIA
Check the shirts, Jane. The answer is on that padded chest. It all makes sense. Killing Tommy Sherman hurts Sandi, her big rival. Sandi and Tiffany are both rivals and thus good targets. Killing Heather hurts both of us. Hurting Jesse hurts you, which hurts me. The attack on Trent is obvious. I've got to stop her.
JANE
I'm coming with you.
DARIA
No, I need you to call Brian to have him meet me there. Meanwhile, I'm off.
JANE
You can't face Quinn by yourself!
DARIA
I've taken a few self-defense classes since Todd. I can take care of myself. Besides, I'll have my baby-sitter right outside.
JANE
This better not be an elaborate suicide ploy...
DARIA
It isn't. Jane, you've given me a reason to live for once. I'm not going to give that up so easily.
JANE
You really mean that?
DARIA
If people we knew weren't dying all around us I'd be smiling. Meanwhile, call Fleming, keep the door locked, oh, and one more thing.
DARIA kisses JANE full on the lips for an extended period.
DARIA
For luck. Wish me well.
(leaves)
baby-sitter cop
(out of view)
Hubba hubba!
DARIA reenters the room.
JANE
That was fast.
DARIA
I forgot my shirt.
171 RIGHT OUTSIDE QUINN AND TIFFANY'S APARTMENT.
DARIA approaches QUINN's door. There is a white Hermes scarf tied around the doorknob. DARIA is about to knock when she hears voices on the other side and the rhythmic thumping of a headboard against a wall.
DARIA
(softly, to herself)
I don't believe this!
(normally, pounding on the door)
Quinn! Open up! It's Daria!
QUINN
(out of view)
What the--! Damn!
(beat)
Give me a moment!
male voice #1
(out of view)
Your sister Daria? She's hot. You think she'd be interested?
DARIA
No!
QUINN
(out of view)
Cousin, Sam. She's my cousin.
There is the sound of locks being undone. The door opens, revealing QUINN in a silk bathrobe. She is sweaty, and her hair is a total mess.
QUINN
Can you come back later, Daria? I'm a little busy right now.
DARIA
It's important.
QUINN
Not more important than what I'm doing.
DARIA
You can sleep with Sam and Chris Griffin anytime.
QUINN
What the Hell makes you think I'm doing that?
DARIA
Other than you've done it before?
(calling around QUINN)
Sam! Come out here so I can jump on your sexy bod!
SAM (= male voice #1), a teenager wearing only his boxer shorts and socks, emerges, looking eager. He has obviously been with QUINN at least once this evening.
SAM
Hey, Daria. You're looking really awesome today!
DARIA
And you're not. I need to talk to Quinn now, so get your clothes, get your brother, and get out of here right now.
SAM
We're going back to your apartment to do it? Cool!
(calling back)
Chris! I'm going back to Daria's place to do it with her!
CHRIS
(out of view)
Awesome! You think her roommate will sleep with me?
DARIA
I'm not sleeping with you, Sam. You and Chris have ten seconds to get out of here.
QUINN
You can't throw my guests out!
DARIA
Would you like their parents to know you've been sleeping with their underage teenagers? True, they might be libertines, but it's more likely they'll see you as a statutory rapist. Maybe I should tell Sandi you're doing both of her brothers.
QUINN
Sam, you and Chris go home now. This is private stuff between me and Daria.
SAM
Damn!
(calling back)
Chris, we got to go!
CHRIS
(out of view)
Alright, alright.
SAM reenters the apartment.
QUINN
This better be good, Daria.
DARIA
You tell me, Smiley.
QUINN
Excuse me?
DARIA
You know what I mean.
QUINN
I know that I am standing at the door talking to my cousin, who has obviously gone insane.
DARIA bursts in and heads for the bedroom, running into CHRIS and SAM, both teens dressed sloppily.
CHRIS
Hey, Daria.
DARIA
Can't you and your brother fornicate with someone your own age?
CHRIS
Yeah, but Quinn is so cool. Is it true that you don't like guys like Quinn says?
DARIA
If it will keep Sam from sending me obscene messages, then yes.
CHRIS
(to SAM)
Told you so!
SAM
Damn!
(hands CHRIS some money)
Hey, Quinn, does that mean Tiffany is a lesbian, too?
DARIA
Out, guys, before I call Sandi!
CHRIS
Argh!
SAM and CHRIS run out.
DARIA
Thank God they're gone.
SAM
(out of view, calling from the hallway)
Will you still do me, Daria?
CHRIS
(out of view)
Sam, you idiot!
QUINN slams the door angrily as DARIA starts for QUINN's closet.
QUINN
(following)
Have you lost your freaking mind, Daria?
DARIA
(rifling through closet)
Where is it!
QUINN
Where's what?
DARIA
The pink shirt with the smiley face on it, the one you always wore in high school.
QUINN
For your information, I had many shirts which I wore at different times far apart in time.
DARIA
(walking)
Well, wherever it is, that stupid symbol is the same as the mask of the murderer--the smiley face, the symbol of obliviousness, which is how you like your victims.
QUINN
I have changed a tonne since high school; believe me.
DARIA
Moving up from manipulation to homicide. That's quite a leap.
QUINN
You'd better watch what you say, Daria.
DARIA
You killed Heather, Evan, and Brooke, Tiffany, Jamie, Jeffy, Joey, Kevin, Pigeon Man, Stupid Dude, and even that stupid cat of Sandi's. Who else are you going to kill? Jodie, who never bowed to you? Monique the traitor? Me, perhaps?
QUINN
Daria, you know I've changed. Believe me: I don't have anyone to blame for what happened to me but myself. You know I'm not bearing a grudge, and even if I did, I wouldn't waste my time killing people who don't even stand in my way.
DARIA
Stop lying, Quinn!
QUINN
I'm not lying!
DARIA
(getting in QUINN's face)
Tell me why you killed them, you DOB!
QUINN
(suddenly looking very frightened)
Daria, uh, maybe you ought to ask him.
QUINN points to behind DARIA.
172 PAN TO SHOW: SMILEY, holding a large knife menacingly.
SMILEY
Hello, girls. Time to die.
SMILEY stabs QUINN in the shoulder, causing her to scream. DARIA sprays something at SMILEY through the eyeholes of his/her mask, causing him/her to crumple, holding his/her face and screaming.
DARIA
Thank God for pepper spray.
SMILEY
God damn you!
QUINN
(grabbing DARIA's wrist)
Come on!
QUINN and DARIA run out of the apartment, getting away from
SMILEY, who is starting to slash around blindly but only hitting bric-a-brac.
173 CUT TO: HALLWAY.
DARIA and QUINN run out into the hallway, nearly tripping over the unconscious baby-sitter cop, and rush up the stairwell, followed closely by a very angry SMILEY. On the next floor, they run down the hall, where QUINN trips and falls headlong. DARIA helps her up and out of the way of SMILEY just before he/she can bear down on her. At the foot of the next set of stairs, SMILEY trips on the edge of his/her coat and falls. DARIA turns and, as SMILEY gets up, kicks him/her in the face, sending him/her flying back, the knife dropping to the floor noisily. As SMILEY gets up, DARIA fires the pepper spray but misses. QUINN lunges for the knife but is kicked in the abdomen by SMILEY, who grabs the knife and then runs for the stairwell. After a chase of a few levels, SMILEY races past ARTIE, who is carrying pizza boxes up the stairs and looking very confused. DARIA collides with him, sending the pizzas tumbling down to the landing in a pile.
ARTIE
(as he and DARIA collect themselves)
Uh, did you order the double cheese with mushrooms?
DARIA
God damn it!
DARIA gets up and continues the chase. In the lobby, she nearly runs into the SMILEY mask, eliciting a scream. We pull back to reveal FLEMING holding it.
FLEMING
I hate missing the party.
174 EXT. MIDDLETON COLLEGE, BY THE PSYCHOLOGY BUILDING--TWILIGHT.
JODIE approaches the psychology building when she is approached by a teary-eyed MONIQUE, wearing a black tank top that exposes her midriff and high heels, and carrying a heavy book-bag.
JODIE
Monique? Are you OK?
MONIQUE
Jodie, I need help.
JODIE
What's wrong?
MONIQUE
Trent broke up with me, and I can't get over it!
JODIE
Not again...
MONIQUE
I've tried to put him out of my mind, but he keeps haunting me. I don't even understand why he broke up with me. What does he see in Daria, anyway?
JODIE
(not paying much attention)
I don't know.
MONIQUE
I paid attention to him. I tried to satisfy his needs. I even tried to avoid playing that New Age music he hates. But what happened? Every single time we did it, he called out her name! What the Hell was she doing to him to make him act like that?
JODIE
Beats the Hell out of me.
MONIQUE
It gets worse. I read my fortune with tarot cards, and there were many of the darker members of the major arcana in key positions: Death, the Hanging Man, the Hierophant, the Fool. All indications are that something very bad is going to happen to me very soon.
JODIE
That stuff doesn't mean anything.
MONIQUE
I double-checked it against my horoscope: Aries, Mars rising, Saturn and Venus in conjunction, the Moon in the seventh house. I'm in for a turn of very bad luck.
JODIE
You really ought to know--
MACK approaches, exiting the psychology building.
MACK
Hey, Jodie. Can I consult with you for a minute?
JODIE
Just a minute, Monique.
(to MACK)
What's up?
MACK
You know about that drug we're supposed to inject some of the mice with?
JODIE
What about it?
MACK
I think they sent us the wrong one; we've got something fluorescent yellow.
JODIE
I'd better handle this.
(to MONIQUE)
I'll call you later, OK?
MONIQUE reluctantly nods. MACK and JODIE hastily enter
the psychology building. MONIQUE sadly walks away.
175 FADE TO: ELSEWHERE ON CAMPUS.
It is a bit darker now. MONIQUE is walking among the buildings. Footsteps other than her own are heard.
MONIQUE
(stopping, turning)
Who's there?
Only a shadowy figure can be seen.
figure
A deranged serial killer.
MONIQUE
Yeah, right. Is that you, Tom?
figure
Actually...
The figure steps forward, revealing SMILEY.
SMILEY
... I am a deranged serial killer.
MONIQUE screams. As she backs away, SMILEY approaches her.
SMILEY
Oh, come on! Everyone screams when they see me. Can't one of you pinheads do something a bit more original?
MONIQUE hits SMILEY in the head with her book-bag.
As SMILEY hits the pavement, MONIQUE jumps over him/her and runs away.
176 EXT. THE STREETS OF MIDDLETON.
MONIQUE, reaching a curb, trips and falls prone in the street.
A car comes to a screeching halt in front of her. After being stunned
for a moment, she picks herself up and continues running.
177 EXT. CORNER.
MONIQUE, running, heads to make a left turn around a corner--until a knife flies in front of her and embeds itself in a wall with a loud thwack! Enter SMILEY.
SMILEY
Going somewhere?
MONIQUE
(backing away)
Now just calm down.
(beat)
Can't we just discuss this?
SMILEY
(approaching)
No.
MONIQUE
But aren't you supposed to explain your evil plan before you kill me?
SMILEY
That would only be true if you were the hero. You don't even qualify as the hero's sidekick.
MONIQUE
But...!
(beat)
You know, all this scary stuff is really turning me on.
SMILEY
You're kidding; right?
MONIQUE
You're a big, strong, mysterious man. You're actually putting me in the mood.
SMILEY
Listen: I'm flattered. I really am. Believe me, I'm all for pretty girls throwing themselves at me. But I'm just not interested in you. Tattoos on the butt are a real turn-off in a woman.
MONIQUE
Hey! Who told you about that?
SMILEY
Word gets around. In any case, tearing your clothes off and doing it right here is not in the job description. Now, let's play.
MONIQUE
But can't we just
(beat)
talk? Why are you doing this? I want to know your pain.
SMILEY
Now you're just asking for it.
(beat)
Come on, Monique. Give me your best shot.
MONIQUE grabs SMILEY's mask, rotates it around so he/she cannot see through the eye-holes, knees him/her, and runs off. SMILEY does not fall to the ground, but he/she calmly adjusts his/her mask.
SMILEY
How come this never happens to Michael Myers?
(walks calmly after MONIQUE)
178 EXT. THE STREETS OF MIDDLETON.
MONIQUE picks up a loose brick and throws it through the front window of a store called "GUNS OF ROSE'S". MONIQUE reaches in the opening, pulls out a semiautomatic machine gun, and keeps shooting at SMILEY until she runs out of bullets. SMILEY drops to the sidewalk, his/her machete clattering on the cement. Seeing no sign of life, MONIQUE breathes a sigh of relief.
MONIQUE
(doing a victory dance)
Yes! Yes! Yes! I just kicked your ass! I killed you!
SMILEY suddenly springs back to life, picks up the machete, and shoves it into MONIQUE's chest. MONIQUE, a shocked look on her face, drops lifeless to the sidewalk.
SMILEY
(doing a victory dance)
Yes! Yes! Yes! I just kicked your ass! I killed you!
(beat)
Moron.
(pulls his/her machete out of MONIQUE's chest, wipes the blood off of the blade, and walks away)
179 INT. DARIA AND JANE'S APARTMENT.
JANE is sitting in front of the television, a number of books and papers spread out around her. ZACHARY prowls around, searching for something.
announcer
(on TV)
What kind of psychopaths roam the streets in your town? The disturbing answer, next on Sick, Sad World!
JANE
(dismissive)
They have nothing on this place.
180 CUT TO: SMILEY'S PERSPECTIVE.
SMILEY comes down the hallway, slowly approaching JANE from behind.
ZACHARY approaches him/her. SMILEY grabs the cat, clamps its mouth
shut with one hand, and slits its throat.
181 CUT TO: JANE.
While JANE watches television and munches popcorn instead of the studying she should be doing, SMILEY comes up slowly behind her, holding his/her knife over JANE's head.
VAL
(on television)
And so what happened to you then?
person
(on television)
It was horrible. This maniac came up behind me and tried to stab me in the head with a knife.
JANE
Come on! That only happens in horror movies!
SMILEY begins to scream and bring the knife down. JANE,
shocked, turns and hits SMILEY in the face with a thick book. SMILEY
falls backwards, allowing JANE to sprint away. SMILEY gets up and
follows her.
182 CUT TO: JANE, running towards the kitchen.
Reaching the kitchen, JANE jumps, slides over the island counter in the center of the kitchen, and then drops to her feet on the other side. SMILEY, running after her, slips and falls again, continuing to slide straight into the oven door.
JANE
I never thought waxing the floor would pay off.
JANE slips out of her shoes and grabs a rolling pin from the counter. SMILEY stands up, unsteadily, swipes at JANE a few times with the knife. He/she misses but is close. SMILEY brings the knife straight down but JANE stops it with the rolling pin and pushes it back, sending SMILEY falling onto his/her behind again. As he/she starts to get up again, she swings the rolling pin, hitting SMILEY straight in the face and knocking him/her out cold.
JANE
Somebody had to wipe that smile off your face.
Going over to the phone, JANE dials 911. The rings can be heard, followed by a picking-up sound.
voice
(through phone)
911.
JANE
(into phone)
I have a maniac in a rubber mask who just tried to stab me to death. I knocked him out with a rolling pin. Could you send the police to pick him up?
voice
(through phone)
Please hold.
While JANE is talking, in the background SMILEY can be seen sitting up, holding his/her head, and trying to stand up. He/she slips and falls forwards onto JANE.
JANE
I do not want to--damn!
SMILEY, stunned from the fall, tries choking JANE from behind.
JANE, after having her eyes bug out for a moment, punches him/her in the
face, eliciting a cry of pain, followed by him/her grabbing his/her own
face and rolling off her. JANE runs back across the kitchen floor,
soon followed by SMILEY sliding after her, looking like an unsteady surfer.
183 CUT TO: BEDROOM.
JANE runs into the bedroom, which is cluttered and messy to the point of disgusting. While she can easily navigate to the other end, SMILEY is slowed by the piles of books and art supplies and ends up slipping on a jar of paint powder and falls backwards onto a hideous sculpture. SMILEY cries out, flips him/herself up, and keeps coming even as JANE retreats to the far corner.
SMILEY
You're gonna die for that, little girl!
JANE
You have to get me first!
Enraged, SMILEY charges at JANE, who in turn jumps up on the bed and to safety. As he/she turns and brandishes a knife, JANE makes a flying kick to his/her chest. Screaming, SMILEY goes flying though a large glass window which shatters noisily, JANE falling on some dirty laundry on the floor. SMILEY's fall can be seen in slow motion as he/she descends several stories and lands on the ground with a distinct thud.
JANE
(running to the window and looking out)
That must have hurt.
JANE grabs the phone and dials 911.
voice
911.
JANE
Yeah, the knife-wielding maniac who almost killed me got up and almost killed me again. He fell out a third-story window, so you'd better send an ambulance if you wish to save--
(glances out window, notices SMILEY is no longer there)
Damn! He's gone!
184 INT. MACK AND JODIE'S APARTMENT.
JODIE and MACK enter. Both of them looked tired.
JODIE
Remind me to start the rats earlier next time.
MACK
Start the rats earlier next time.
JODIE collapses on the sofa, MACK at her feet.
MACK
God, this school is going crazy.
JODIE
I know what you mean. If it isn't the work-load, it's someone talking about Smiley.
MACK
If I hear one more thing about the Smiley Face Killer... God, I wish I could get my hands on him. I'd really kick that pansy's ass and tear his head off.
(yawns)
I think I'm going to fall asleep right here.
Loud music begins filtering in from the adjacent apartment.
JODIE
Maybe not.
185 INT. ANGIE, NIKKI, AND LISA'S APARTMENT.
Next door is the apartment live ANGIE, NIKKI, and LISA, three former Lawndale cheerleaders. BRITTANY is with them, looking very sad. Loud music plays in the background.
NIKKI
Does that help, Brittany? I always find those classic Black Sabbath songs cheer me up.
BRITTANY
A little. I just can't believe he's gone. Who would want to kill my Kevvy?
LISA
A sick freak, someone who's been watching too many horror films.
BRITTANY
I shouldn't be loading you down with my problems. I should go.
ANGIE
No, no one should be alone at a time like this. Would you like to spend the night here? The couch is comfortable.
NIKKI
No way. I'll get my sleeping bag. We can have a slumber party.
186 INT. MR. DIMARTINO'S APARTMENT.
Another apartment over is the apartment of ANTHONY DIMARTINO, former Lawndale High teacher. He jumps up angrily out of bed.
DIMARTINO
Those stupid kids! I'll kill them! I'll kill them all!
187 INT. ANGIE, NIKKI, AND LISA'S APARTMENT.
The former cheerleaders and BRITTANY are sitting on the carpet talking, all of them wearing flimsy nighties.
LISA
It's not that bad.
BRITTANY
Yes it is, Lisa! I was the head cheerleader; he was the quarterback. People like that are bound to be together. It's destiny. And now he's gone, and my one true soul-mate is lost. Who is there going to be there for me now?
ANGIE
You needed Kevin like you needed a hole in the head. You'll be better off without him.
A knocking can be heard at the door.
NIKKI
Were we expecting someone?
LISA
I don't think so.
ANGIE
Maybe it's the Smiley Face Killer coming to get us.
BRITTANY bursts out crying again.
LISA
That's so unfunny right now. Go check the door.
ANGIE
Yeah, yeah.
ANGIE gets up and opens the door, revealing MACK.
MACK
Could you--Whoa.
ANGIE
Hi, Mack. We're having a slumber party, trying to cheer up Brittany.
(beat; smiling)
You want to join us?
MACK
I, uh, I'm too tired. Could you just keep the noise down?
ANGIE
Yeah, sure. Stop by any--
There is a scream on the other side of the apartment which gets their attention. The camera pans to reveal SMILEY standing there behind NIKKI, the tip of his/her knife poking through her chest. A horrified look on her face, SMILEY allows her to slip off and fall onto the floor.
SMILEY
Who's next?
BRITTANY, ANGIE, and LISA scream. SMILEY charges and hurls his/her shoulder against the door, shutting it fast. While MACK tries to break down the door from the other side, SMILEY quickly stabs ANGIE in the chest and lets her fall down dead. BRITTANY merely jumps up and down screaming while LISA goes running off into the bathroom. SMILEY chases LISA, who is also screaming, grabs her hair, and smashes her head against the bathroom mirror several times before stabbing her in the back and dropping her corpse. Meanwhile, BRITTANY has been struggling against the door. MACK manages to kick the door in, hitting BRITTANY in the face. Grabbing a chair, he tries to dash it over SMILEY, who is coming at him with a knife, but he misses and gets stabbed in the abdomen. As MACK collapses limply onto the floor, BRITTANY runs out into the hallway. Shots ring out, and BRITTANY flies backwards. Standing a distance down the hall is MR. DIMARTINO with a shotgun.
MR. DIMARTINO
(dancing around)
I got him! I got him! I got him, I got him, I got--
(noticing it is BRITTANY he shot)
Wait a minute...
SMILEY appears in the hallway behind MR. DIMARTINO and stabs him in the back. MR. DIMARTINO jerks into a stunned position, then collapses as he coughs up some blood and falls onto the floor.
SMILEY
I always hated that guy.
SMILEY exits by the nearby stairwell as JODIE comes out into the hall and screams. BRITTANY suddenly sits up, one side of her head bleeding.
BRITTANY
(pathetically)
My head hurts.
188 INT. HALLWAY, RIGHT OUTSIDE A WOMEN'S BATHROOM.
DARIA, accompanied by a male baby-sitter cop, approach it. DARIA reaches the door and moves to enter.
baby-sitter cop
Um...
DARIA
Let me guess: you don't feel comfortable going in there.
baby-sitter cop
Yeah.
DARIA
Me neither. Alright, just wait outside then. Maybe you'll catch someone lurking out here or something.
(enters)
189 FADE TO: INT. WOMEN'S BATHROOM.
DARIA exits a stall and begins to wash her hands. There is a creaking noise for a moment. DARIA startles and turns to look back at the stalls, but nothing is there. She returns to washing her hands and then hears the creak again. This time she stops, shuts the faucet off, and shakes the water off her hands.
DARIA
Hello? Is someone there?
There is no response. DARIA looks under the stalls but sees nothing.
DARIA
(to self)
You're going crazy, Daria.
(beat)
Great, now you're talking to yourself. People will know you're crazy.
The creak occurs again. DARIA jumps.
DARIA
(to self)
I did hear that.
DARIA turns to face the stalls and sees a pair of boots lower one at a time to the floor from within one stall, followed by the rim of a black trench coat falling loosely around them. DARIA's eyes bug out.
DARIA
Oh, damn!
There is a snicker-snack and the stall door opens, revealing SMILEY. He/she approaches, brandishing a knife.
SMILEY
Mind if I drop in?
SMILEY lunges for DARIA, who heads for the exit. SMILEY stops him/herself at the sink and goes after DARIA, nearly on top of her. As he/she is about to stab her, she turns and kicks him/her in the groin. There is the sound of a thud, with SMILEY still standing.
SMILEY
Always remember to use protection.
DARIA hits SMILEY in the solar plexus, followed by a punch to the face. SMILEY goes flying back, giving DARIA a chance to run. She exits the bathroom and goes flying past the dead baby-sitter cop and down an empty hallway. SMILEY is close behind her. She overturns some desks in the hall as she passes, but SMILEY merely goes around them. She makes it into an auditorium and runs down towards the front, SMILEY still following. Reaching the chalkboard, she grabs a chalkboard protractor and swings it at SMILEY, who knocks it out of the way with his/her knife. He/she holds the knife in her face.
SMILEY
Is that how we behave in school?
DARIA
Um, Mr. Smiley, do you think we could, um, talk about this?
SMILEY
What's there to talk about? I want to play a game with you.
DARIA
A game?
SMILEY
Yeah, a game. It's called "How fast can I run in five seconds?" Five Mississippi, four Mississippi--
DARIA runs like Hell out of a nearby exit into another hallway. A moment later SMILEY bursts out of the same door and charges after her. DARIA spins and gives SMILEY a swinging kick in the face, knocking him/her over. DARIA returns to running and comes flying out a door to the outside straight into TRENT, sending his books flying and falling right on top on him on the grass.
DARIA
Trent!
TRENT
(one of his hands incidentally on her breast)
This is a warm hello.
DARIA
(climbing off him)
It's Smiley! He was just in there chasing me!
TRENT
(getting up)
And it'll be the last time this happens.
DARIA
Trent! Don't!
We follow TRENT as he enters the building. He looks around but sees nothing. He turns and goes back to where DARIA is waiting for him outside.
DARIA
(hugging TRENT)
Oh my God! You didn't have to go in there!
TRENT
It's safe. He's not there anymore. Don't worry, you're safe now.
DARIA
(breaking away)
No we're not! Don't you see? He's toying with us! This bastard can kill us at any time, and he's just toying with us!
(screaming up in the air)
Come on, Smiley! Come and get me! What are you waiting for! What are you waiting for!
190 EXT. CAMPUS--NIGHT.
FLEMING and DANIELSON are sitting in an unmarked car. As they look out over the campus, crickets can be heard in the background.
FLEMING
This is the stupidest thing you've ever talked me into, Brian.
DANIELSON
We have no suspects, no leads, and a bunch of dead bodies piled up. We have a pretty good idea of who the intended victims are, so the best thing we can do is wait around and see if the killer shows up.
FLEMING
I just hate waiting around. I want to see some action.
DANIELSON
You believe me: there'll be some action.
191 CUT TO: INT. DARIA AND JANE'S APARTMENT.
DARIA and JANE are sitting on the sofa watching Lair of the Lesbian Vampires 2: The Sucking. JANE is looking at the screen intently but DARIA is feeling up her thigh.
JANE
You're not going to get any action right now.
DARIA
(falling back on the sofa; frustrated)
Ugh! Why am I either too depressed to care or frustrated?
JANE
Chemical imbalances in the brain.
DARIA
(noticing what's on the screen)
I don't think I've ever seen that in a horror movie before.
JANE
You only watch movies if the reviews are good. Stuff like that happens in every bad horror film.
DARIA
But that's so lame.
JANE
What's your point?
On-screen, ALIZARIN CRIMSON has pinned ALEXANDER MADISON into a corner.
ALIZARIN CRIMSON (on-screen)
You have been beaten, Alexander Madison! I will take great pleasure in sucking you completely dry!
MADISON (on-screen)
You really don't think you can win, Alizarin?
ALIZARIN CRIMSON (on-screen)
Of course I do! Soon we will be everywhere, preying on weak humans like you to our hearts' content! Say good-bye to your pathetic existence!
DARIA
This has to be the worst horror film ever made.
JANE
That's a matter for debate. Some people give that distinction to Leprechaun 4: In Space. Then again, Children of the Corn was also exceedingly bad--the bad kind of bad.
DARIA
So why are we watching this?
JANE
Research. We're being stalked by a killer, so we should know all about it.
DARIA
Aside from that these movies have no semblance of reality, why this turkey?
JANE
All the good ones were taken when I got to the video store. Believe me: you really don't want to see Phantasm or I Still Know What You Did Last Summer.
DARIA
So what else did you get?
JANE
Carolina Homecoming Bloodbath and Night of the Blood-Sucking Terror Puppies.
DARIA shakes her head.
JANE
If you really want to be scared out of your wits, I also have a recent cartoon feature film.
DARIA
(getting up)
I think I need some air, get some ice cream or something.
JANE
Walking alone at night? That's a good way to get killed.
DARIA
I'll take one of our baby-sitters.
DARIA opens the front door, only to scream as a blood-splattered dead police officer falls inwards and nearly on top of her. JANE jumps up.
DARIA
Oh, damn!
JANE
There goes ice cream.
JANE grabs something from a table and unsheathes it with a loud snicker-snack. This is revealed to be a large machete, which she carries as she looks out into the hallway. There another dead officer, similarly killed, lays on the carpet.
JANE
The baby-sitters are dead.
DARIA
(checks the phone, drops it)
Phones are dead.
JANE
Lot of good police protection did us. Never worked in the movies either.
DARIA
And what did those bad movies say to do in this sort of situation?
JANE
Only one thing we can do: fight.
192 CUT TO: INT. APARTMENT BUILDING, HALLWAY.
A fire extinguisher is thrown into a glass panel, shattering it and allowing DARIA to grab the axe inside.
DARIA
(taking the axe with both hands)
I'd say this constitutes an emergency.
JANE
(still brandishing the machete)
Let's get the murdering bastard.
DARIA
You said it.
DARIA and JANE sneak through the hallway and out the front of the building onto the streets. They don't get very far before FLEMING and DANIELSON see them from the car.
FLEMING
(doing a spit-take with his coffee)
What the Hell are they doing?
DANIELSON
Looks like vigilantism.
FLEMING
Great.
FLEMING and DANIELSON exit the car and approach DARIA and JANE very quickly.
FLEMING
Where do you think you're going, ladies?
JANE
Someone killed the bodyguards, and we didn't even hear it. You think we're going to stay in there?
FLEMING
God damn it!
DANIELSON
You stay with them; I'll check it out.
(runs into building)
FLEMING
Danielson!
(to DARIA and JANE)
They're dead, and you heard nothing?
DARIA
Apparently the cops around here aren't too good with knife-wielding maniacs.
JANE
In case it hasn't dawned on you, this guy is really good at sneaking up on others.
SMILEY suddenly appears and runs at DARIA, knocking her over and sending the axe clattering to the ground. He/she is about to plunge a knife into her when a shot rings out and he/she jerks. There are additional reports, followed by SMILEY's knife clattering to the pavement. SMILEY's body lands with a thud, and DARIA, stunned, stares wide-eyed. JANE drops her machete and runs over, embracing DARIA. There is a kiss for several seconds, ending only with FLEMING clearing his throat. DARIA and JANE look towards him.
JANE
Did you have something to add?
FLEMING
You shouldn't have come out here. That maniac nearly killed you.
DARIA
And if we hadn't come out, he would have killed us in there. Thank God it's over now.
JANE
I'll second that.
FLEMING
I'm going to have a talk with that police chief. No one can be that good at sneaking up on someone.
FLEMING suddenly collapses as his head leaves his shoulders and rolls face-up on the pavement. Above him stands SMILEY, still alive, holding JANE's machete.
SMILEY
Heads will roll.
DARIA and JANE glance at each other and begin running. DARIA is running slightly faster and pulling JANE by the hand as SMILEY walks after them with the weapon. They reach the door of a dormitory, try to enter but find it locked. They begin banging on it frantically as a student wanders the lobby.
JANE
Let us in!
DARIA
Open the door, God damn it!
student
Yeah, yeah.
(opens the door)
DARIA and JANE rush in, force the door closed behind themselves.
student
You have student IDs; right?
DARIA
Isn't this Trent's dorm?
JANE
Let's hope he's in.
DARIA and JANE rush up the stairs and burst onto another floor. Two uniformed officers are standing in front of a dorm room.
JANE
Gangway!
officer #1
You can't--
DARIA does a flying kick which bursts the door open. She and JANE stare in surprise.
TRENT
(out of view)
Can't I have a little privacy when I'm changing my clothes?
JANE
Oops.
193 INT. TRENT'S DORM ROOM.
TRENT (now dressed), DARIA, and JANE are sitting around. The sounds of a program are on in the background. JANE holds tightly onto a poker.
DARIA
(hanging up phone)
OK, Brian knows where we are. Should be sending over someone to get us soon.
JANE
Uh, maybe not. Listen to this.
(turns up volume)
meteorologist (on-screen)
We repeat: Hurricane Jennifer has unexpectedly turned west in the past few hours, taking it far inland. This is going to take it right over us in the tri-county area. We are now on full hurricane alert. Anyone on the edge of this area here, you should probably get out while you still can. Those of you in Middleton should already be getting some of the stronger winds. At the rate Jennifer is moving, hurricane-force winds will be hitting within two or three hours. The college there is undoubtedly going to be shut down for a while. Those of you in Lawndale and Highland will have about four hours before hurricane-force winds strike. Further out here in Swedesville--
JANE
That's not good.
DARIA
Let's try to look at this calmly and objectively, OK?
TRENT
OK.
DARIA
We're going to get hit by a hurricane soon, our guardians are likely to get killed by the lunatic killer after us, and that lunatic also is better armed than we are.
TRENT
This is really scary, Daria.
DARIA
Sounds pretty grim. Any options from the horror movies, Jane?
JANE
The one thing which rarely appears in horror movies: running away.
TRENT
I can deal with that.
DARIA
Sounds better than anything else. How about that cabin I inherited from my folks? It's out in the countryside, far away from both the killer and the worst of the hurricane.
TRENT
One problem: The roads are going to be jammed. We don't stand a chance of getting out of leaving this hole in the ground.
JANE
What are you expecting from a governor who doesn't have emergency plans ready?
DARIA
Wait a minute. Everyone's trying to get out by the highways. What about the back roads?
JANE
Good plan. Now, how do we convince the police to let us flee for our lives? Their presence only hurts our chances.
A pounding can be heard on the door.
SMILEY
(out of view)
Give me what I want, and I'll go away!
DARIA
I don't think that's a problem anymore.
TRENT pulls the sheets off of his bed and starts to tie them together as SMILEY continues to pound on the door.
SMILEY
(out of view)
Surrender Daria!
TRENT
(tying one end of a sheet to the leg of his desk)
Stay away from her, you bastard!
DARIA
If it will save the rest of you--
JANE
Hell, no! If one of us goes down, the rest us are going out in a blaze of glory.
SMILEY bursts the door open, but JANE blocks it with the
door of the closet. JANE jumps out of the way as SMILEY's hand comes
through the opening and slashes at her with a machete. TRENT throws
one end of the makeshift ladder out the window. JANE climbs down
it as soon as possible. DARIA looks reluctant to follow. SMILEY
bursts through the blockage and rushes at DARIA. TRENT picks up a
lamp and smashes SMILEY in the face with it, dropping him/her to the floor.
Before he/she can recover, TRENT throws DARIA over his shoulder and climbs
out the window.
194 EXT. MOESCHBERGER DORMITORY, GROUND LEVEL.
TRENT and DARIA reach the ground.
JANE
Damn it, Daria! You didn't try to let that psycho kill you?
DARIA
(being put on her feet by TRENT)
If it would have helped...
TRENT
(pointing)
Later!
195 EXT. MOESCHBERGER DORMITORY, THIRD FLOOR.
SMILEY can be seen standing at the window of TRENT's dorm room.
196 EXT. MOESCHBERGER DORMITORY, GROUND LEVEL.
JANE
Quick! To the Tank!
Our heroes run off.
197 INT. THE SICK, SAD WORLD VAN.
VAL, in the shotgun seat, watches our heroes through binoculars, as THERESA, in the driver's seat, sips a cup of coffee.
VAL
Damn it! Where are they going now?
THERESA
Who cares? You've bugged those poor people enough for a lifetime.
198 VAL'S POINT OF VIEW.
We see, framed by binoculars, SMILEY run out of the Moeschberger
dormitory and out of sight.
199 INT. THE SICK, SAD WORLD VAN.
VAL
It's that Smiley Man character again. We've got to figure out where he'll strike next if we want to stay on top of this story.
THERESA
No, we don't. Ninety percent of the time you just make stuff up anyway.
VAL ignores this comment. She produces a tablet computer
and calls up a list of Sick, Sad World stories on DARIA MORGENDORFFER.
She selects one, and it plays on the computer screen.
200 FOCUS ON: COMPUTER SCREEN.
VAL on-screen stands in the woods.
VAL (on-screen)
Here we are in the very forest where the Lawndale High School Satanism Club meets to perform its grisly rituals. Peaceful it may seem, but at least once a month, something spooky happens here.
201 CUT TO: BRITTANY, ANGIE, LISA, AND NIKKI ON-SCREEN.
BRITTANY (on-screen)
It was horrible! We passed by their shrine, while camping, and we heard moaning and groaning coming out of it!
ANGIE (on-screen)
And that Jane character came out holding a chain-saw!
LISA (on-screen)
And Jesse wanted us to participate in their disgusting rituals!
NIKKI (on-screen)
And their high priestess came out and cursed us with words which we didn't understand! I bet she was casting a spell on us!
202 CUT TO: FOREST, BY A CABIN, ON-SCREEN.
VAL is standing in front of the cabin.
VAL (on-screen)
Given these stories, we felt compelled to investigate the shrine of the Lawndale High School Satanism Club ourselves.
(starts walking until she comes to JANE, splitting logs with an electric chain-saw)
Tell us, what are you doing here at the shrine of the Lawndale High School Satanism Club?
JANE (on-screen)
(putting down the chain-saw)
Oh, I'm, uh, preparing some wood for building a pyre, on which we plan to bring a human sacrifice. Are you interested in becoming a human sacrifice?
VAL (on-screen)
Not really.
JANE (on-screen)
Beelzebub will be so disappointed.
VAL (on-screen)
How often do you sacrifice humans, and who do you usually sacrifice?
JANE (on-screen)
Um, we do it about once a month. Usually we advertise in the Lawndale Lowdown for victims, though sometimes we use people in the media when we don't get any volunteers.
(beat)
Are you sure you're not interested?
VAL (on-screen)
Positive.
A singing voice can be heard approaching.
DARIA (on-screen)
(out of view)
The sun'll come out
Tomorrow.
Bet your bottom dollar
That tomorrow
There'll be sun!
Just thinkin' about
Tomorrow
Clears away the cobwebs,
And the sorrow
'Til there's none!
When I'm stuck with a day
That's gray
And--
DARIA and TRENT walk into frame.
TRENT (on-screen)
Damn. Not again.
DARIA (on-screen)
(to VAL)
What the Hell are you doing on my property?
VAL (on-screen)
We're here reporting on the Lawndale High School Satanism Club.
JANE (on-screen)
Daria here is our high priestess. What she was just singing was really a powerful spell to kill invaders.
DARIA (on-screen)
Shut up, Jane, or you'll be the next human sacrifice.
(to VAL)
Get this into your puny brain: there is no Lawndale High School Satanism Club. We are not Satanists. We do not appreciate your absurd attempts at libel. I am making a mental note to pick up a restraining order against you when I get back to Lawndale. If you continue slandering me on TV, there will be a lawsuit. Do I make myself clear?
VAL (on-screen)
But Ms. Morgendorffer--
DARIA (on-screen)
This would-be interview is over.
(punches out the camera)
SMASH CUT TO: SNOW ON-SCREEN.
CUT TO: VAL AND THERESA.
THERESA
So, how come you're not in jail?
VAL
Out of court settlement. But the important thing is that that is the logical place for Daria Morgendorffer to run to when Middleton gets dangerous.
THERESA
And why not Highland or Lawndale? Or head in some random direction?
VAL
I know Morgendorffer like the back of my hand. She'll go there.
THERESA
Like you knew she wouldn't really slap you with a lawsuit.
VAL
Shut up and drive.
203 INT. THE TANK.
TRENT is driving. DARIA is riding shotgun. JANE is in the back.
TRENT
I tell you, Janey: we ought to take Hobcaw Lane.
JANE
That would be a good a idea, but tell me one thing, Trent: where are we?
TRENT
I've been to the cabin before.
JANE
But do you know where we are?
TRENT
We'll get there.
JANE
But do you know where we are now?
TRENT
I have an unfailing sense of direction. I can guarantee you we'll get there.
JANE
You and your unfailing sense of direction got us lost, you moron!
TRENT
I did not.
JANE
You did, too, pinhead! Every time we go on a trip together, you get us lost! This is the seventh time you've done this to me!
TRENT
Well, don't blame me. You dropped the map in the river.
JANE
I wouldn't have dropped the map if you hadn't shocked me by hitting on Daria yet again when we last stopped to figure out where we were! Remind me later to install a shunt to drain all that testosterone out of your brain.
TRENT
Like it was my brilliant idea to hold the map over the river, you dodo.
JANE
I didn't hold the map over the river, you jack-arse; I lurched forwards to barf when you sickened us by--
DARIA
Shut up!
(sighs)
It's going to be a long ride.
204 INT. THE SICK, SAD WORLD VAN.
THERESA drives as VAL talks on a cellular phone.
VAL
(into phone)
Uh-huh.
(beat)
Uh-huh.
(beat)
That's all very nice, but I'm trying to investigate this story. And I'm in the middle of gale-force winds. There's no way I can be there any time soon.
(beat)
It's a great idea, but I can't work on it now.
(beat)
Because I'm working on the--
Suddenly the van is struck from the driver's side.
The air-bags go off as the van screeches out of control and hits a tree.
205 EXT. THE SICK, SAD WORLD VAN.
THERESA and VAL, looking terrible, climb out of the van, now hopelessly damaged. Overturned on the road is a Ferrari, out of which climbs BEAVIS. BEAVIS is wounded and bruised, but he is clearly alive, his eyes full of fire.
BEAVIS
Who dares wreck the Great Cornholio's sports-car?
THERESA
Oh, look, Val. Another freak to do a show about.
VAL
I already did a show about him.
BEAVIS
The Great Void is not pleased with you wrecking my car! Surely you shall die for your insolence!
THERESA
Oh, please! You were the one who wasn't staying in your lane.
BEAVIS
The Great Cornholio never does anything wrong!
VAL
This is all very nice, but just how in the Hell am I supposed to get out of the middle of nowhere?
BEAVIS
Time and place are nothing to the Great Void!
BEAVIS suddenly drops to the asphalt, a machete in his back, revealing SMILEY.
SMILEY
Time and place are nothing to the great Smiley either!
(beat; to BEAVIS)
Now stay dead, stupid!
VAL and THERESA scream and run for their lives, going off in different directions.
SMILEY
Ooh! Now which of them shall I kill first?
(follows VAL, skipping)
206 EXT. WOODS BY THE SIDE OF THE ROAD.
VAL desperately runs through the woods. Reaching a cabin, she pounds on the front door.
VAL
Let me in, please! There's a serial killer after me!
VAL looks behind herself and pounds on the door again.
Slowly, the door is unbolted from the other side and cracks open.
The door opens, and a hand protrudes and pulls VAL inside.
207 INT. THE CABIN.
SPATULA MAN bolts the door.
VAL
Spatula Man? What are you doing here?
SPATULA MAN
Hiding from the Mob. "The Machine" got out of prison two weeks ago, and he's not happy that I testified against him.
VAL
But so close to the old Morgendorffer cabin?
SPATULA MAN
Beauty of the way humans think. You can never know when they're going to do something counterintuitive.
VAL
But that's mad!
SPATULA MAN
We all go a little mad sometimes.
(beat)
Look: you're safe here. You'll be fine; that serial killer won't find you here. Why don't I get you a bathrobe and you have a shower?
207 FADE TO: LATER.
VAL is standing in the main room, reading something on a scrap of paper. Enter SPATULA MAN, unnoticed, with VAL's freshly washed clothes.
SPATULA MAN
Ah, I see you found my latest song.
VAL
Jesus!
SPATULA MAN
My name isn't Jesus.
VAL
You scared me for a moment.
SPATULA MAN
There's nothing to worry about. You're the first person to find this cabin, other than this cub-scout troop.
(beat)
So, what do you think of the song?
VAL
It's very
(beat)
odd.
SPATULA MAN
Well, that's me for you. No one liked the mushy stuff I wrote before I got into the weird stuff.
(hands VAL the clothes)
Here you go. I think I got all the dirt out.
VAL
Thanks. That wasn't really necessary.
SPATULA MAN
It's no problem. I really am a people-person. I enjoy helping people out. Having to hide out in the middle of nowhere's been Hell for me.
A ding is heard.
SPATULA MAN
Cake's ready.
(exits)
Uneasy, VAL takes another look at the song while SMILEY silently enters the room. SMILEY slips behind VAL and puts a knife to her throat and a hand over her mouth.
SMILEY
(quietly)
Make a sound, and I'll kill you instantly.
(beat)
So, you thought you could evade me. Well, you were wrong. You know, there's a cliff out that-a-way
(motions with knife)
that would be the perfect place to dump a body. It's too bad you won't live long enough to see the end-game for my plan; it would make a great story for your show.
SMILEY pushes VAL through a closed window.
CUT TO: VAL'S BLOODY BODY, LYING ON THE GROUND AMIDST GLASS
FRAGMENTS.
CUT TO: INT. CABIN.
SMILEY is gone. Enter SPATULA MAN, running.
SPATULA MAN
(looks out the window)
Oh, Hell!
(runs out of the room)
We hear a motorcycle starting and screeching as it drives
off.
208 INT. A SEVENTIES REVIVAL BAR.
STAN, a middle-aged man dances badly to disco music under a mirrored ball. Enter our favorite refugees.
STAN
Let's boogey!
JANE
Now, this is my kind of place!
DARIA
Great. There really is a boogey man.
TRENT mumbles something under his breath.
DARIA
OK, just so we don't have any more pointless fighting
(glares at TRENT and JANE)
let's split up and get directions from whomever we can.
The others nod. They split up. DARIA goes over to a table where three people sit.
DARIA
Excuse me, but I'm trying to get directions to the old Morgendorffer cabin. Can any of you help?
woman
The Morgendorffer cabin? Why would you want to go there?
DARIA
(monotone)
I'm running from a knife-wielding maniac in a rubber mask who has killed a lot of people I know and made attempts on my life and those of my surviving friends.
The others at the table laugh.
DARIA
I'm serious.
man #1
The Hell you are!
woman
A knife-wielding maniac? Maybe in a mugging in New York, but, come on! The bad guy wearing a latex mask comes after you with a butcher knife?
man #2
Gee, how many movies have we seen that in? Next you're going to tell us that, despite wearing this stupid costume, no one sees the killer but you until just before he attacks.
man #1
Or you tried running away, but the killer walked after you and beat you because you just happened to be wearing high heels.
209 CUT TO: ELSEWHERE IN THE BAR.
JANE approaches a table with two men sitting at it, a long-haired SKINNY GUY with a morose expression and a GIGGLY DORK who is playing with a hunting knife. They appear to be eating chicken fingers.
SKINNY GUY
This barbecue is good...
JANE
Excuse me.
SKINNY GUY
My God, little lady, you look so purdy that I wanna eat you up.
JANE
Um, would either of you know how to get to the Morgendorffer cabin? I think we missed the turn near Oakwood.
GIGGLY DORK
(giggling)
Hey, hey missy! You wanna see something cool?
JANE
(ignoring GIGGLY DORK)
I'd really appreciate it if you'd show me the way.
SKINNY GUY
You don't wanna go up that way. No one's out there. A sweet kid like you doesn't belong out in the middle of nowhere. You ought to go somewhere better than that.
JANE
I'd much rather see the cabin.
GIGGLY DORK
Hey, missy! See this!
(cuts open the palm of his own hand with his knife)
JANE
What kind of sick bastard are you?
GIGGLY DORK
(shoving hand in JANE's face)
Look at this!
JANE
Bug off!
(shoves GIGGLY DORK away from her onto the floor, walks away)
GIGGLY DORK
(getting back in his chair)
Pa, what's wrong with her? Doesn't she like me?
SKINNY GUY
She does. She's just repressing it.
210 CUT TO: TRENT, SITTING DOWN AT THE BAR.
TRENT
Can I ask you for directions?
bartender
You'll have to buy something.
TRENT
Give me some milk then.
bartender
Milk?
TRENT
Designated driver.
The bartender grunts and quickly produces a small carton of milk. TRENT pulls a bill out of his pocket and pays for the milk.
TRENT
You know how to get to the old Morgendorffer cabin?
bartender
No.
TRENT, disappointed, opens his milk and starts walking away from the bar, when he is confronted by STAN.
STAN
(sounding like he has a stuffy nose)
Hey, man. You looking for something?
TRENT
Yeah. I'm trying to get directions to the old Morgendorffer cabin.
STAN
You mean the one where the Spatula Man hid out when there was a death threat against him?
TRENT
Yeah. Daria mentioned something about it to me once.
STAN
I can tell you where it is. I was one of the people who helped hide him from the Mafia.
TRENT, taking a sip of his milk, does a spit-take.
TRENT
You knew the Spatula Man?
STAN
I was the one who taught him how to modulate his voice like that.
211 CUT TO: DARIA AND THE THREE PEOPLE AT THE TABLE.
woman
I know! You killed this person, and he's come back from the dead to get revenge!
man #2
Tell me: was it Freddy or Jason?
man #1
I know! You took something which belonged to a little guy in peppermint-striped stockings who can beat up cops!
woman
That was such a bad movie. Why did they ever make sequels?
DARIA
Hey!
All fall silent.
DARIA
Someone has been killing people I know very well, and now I think he's after me, and you sitting here laughing at me is not helping!
Beat. Man #1, woman, and man #2 burst out laughing again.
woman
That is so melodramatic that it's just not funny. What is that Greek play with the woman who can see the future, what's her name?
man #2
Cassandra.
man #1
I think she's more like Mulder on The X-Files. You know the same old formula plot. Something happens, Mulder and Scully go to investigate, Mulder says something totally stupid, and Scully says--
man #1, woman, and man #2
(simultaneously)
"Mulder, you stupid idiot!"
(burst out laughing again)
Infuriated, DARIA gets up and begins walking away.
man #1
Hey! Thanks for the story!
man #2
Come back and see us when the bogeyman comes after you!
woman
Say hi to the homicidal maniac for us!
Woman, man #2, and man #1 continue laughing themselves silly
and DARIA storms off.
212 PAN TO: TRENT TALKING TO STAN.
STAN
... and it's the last house on the left. You can't miss it.
TRENT
(turns towards the approaching DARIA)
Hey, Daria! This guy here knows how to get to the cabin.
STAN
(holding out his hand to DARIA)
Hello.
DARIA
(hesitatingly shaking it)
Hey.
(beat; to TRENT)
So write down the directions so we can get out of here.
TRENT
No need. I've got an unfailing memory.
JANE
(approaching)
Trent, the last time you tried remembering complex instructions, you ended up going three states in the wrong direction. Write it down just in case your unfailing memory fails again.
TRENT
Cool. Backup plan.
STAN
(to someone out of view)
Hey, you! I saw what you did, and I know who you are!
213 INT. THE TANK.
The lighting is dim with occasional flashes of lightning, the storm
raging on outside. TRENT drives while JANE rides shotgun. DARIA
rides in the back. All look very worried.
214 CUT TO: EXT. HIGHWAY--NIGHT.
The highway is moderately populated, many people trying to leave
Middleton. The Tank follows the road, passes by a summer camp, and
takes an exit onto a side road. It passes over a rickety bridge.
Later it turns off onto a gravel road surrounded on both sides by dense
curtains of trees. The road goes up a hill, emerging to show Sparkle
Lake on one side, a beaten-up cabin near a cliff on the other. The
road ahead bends towards the cabin.
215 CUT TO: INT. THE TANK.
DARIA
(bending her index finger)
Redrum! Redrum!
JANE
That is so not funny right now.
DARIA
You told me to lighten up.
216 CUT TO: EXT. CABIN.
The Tank pulls up outside the cabin. The side door opens and the occupants exit.
TRENT
(extending hands)
Must... find... brain...
JANE
(sighs)
Trent, grow up.
217 CUT TO: INT. CABIN.
The front door opens, and the occupants enter to find the place completely dark. DARIA tries the light switch, only to find it doesn't work.
DARIA
Damn. The switch is dead.
JANE
(trying the phone)
Phone's dead, too. The storm must have knocked out the lines.
TRENT
Great. No phone, no lights...
DARIA pulls out her lighter and ignites it.
DARIA
Don't thank me; just thank my bad habits.
218 FADE TO: LATER.
DARIA and TRENT are sitting around a lit fireplace, recovering from the trip.
TRENT
You think this cabin will hold up to the storm?
DARIA
Better than our relationship, I hope.
TRENT
That's mean. Don't you have any morals?
DARIA
Morality sucks.
JANE can be heard screaming in the other room.
JANE
(out of view)
You daughter of a bitch!
DARIA
That can't be good.
JANE enters the room, dragging in a disheveled TIFFANY by her hair.
TIFFANY
Hey! Watch it! You trying to give me a bald spot?
TRENT
What the Hell...?
JANE
(dropping TIFFANY on the floor)
I was trying to check the closet, and someone hiding in there stabs me in the leg with an unwrapped coat-hanger!
TIFFANY
It was self-defense!
JANE
You've seen Halloween one too many times.
DARIA
Since you're supposed to be dead, Tiffany, do I really want to know why you were hiding in the closet wearing only a slip?
TIFFANY
Jeffy and I decided to run away and hide in the woods where the Smiley Face Killer couldn't find us. Obviously I was so distraught that I totally forgot about Friday the 13th. Well, the Smiley Face Killer attacked us, and killed Jeffy, and then he tried to choke me with a flute, but I just played dead, and he went away. Then I came here and hid because it got all icky outside.
DARIA
Which is all fine except it doesn't answer two questions: Why are you wearing a slip, and how did you survive being choked with a flute?
JANE
That should be obvious, Daria. One, she was alone with Jeffy. Two, she has a low oxygen requirement.
DARIA
That's ridiculous.
TIFFANY
I've had practice. I've managed to suck face for over fifteen minutes at a stretch.
JANE
Excuse me, but if you did it with Jeffy, how did you manage to survive?
TIFFANY
(reluctantly)
Well, technically I didn't finish, so I don't think it counts.
JANE
What do you mean "technically"?
TIFFANY
(reluctantly)
I faked orgasms.
219 NEARLY PURE DARKNESS.
The hurricane is louder now, and there is still no illumination. Only the barest hints that we are looking at a bed with people in it can be seen.
TRENT
Daria?
DARIA
Yes, Trent?
TRENT
I know we both wanted to get back together, but these aren't the conditions I was expecting.
DARIA
I wasn't expecting to be back in bed with you either. As for getting back together, you've obviously forgotten everything I said when you walked in on me and Jane. Speaking of which, would you please stop groping me?
JANE
Well, sorry! I don't like that arbitrary line between cuddling and foreplay.
DARIA
That's not the problem. I just don't like it when there's someone else here.
JANE
He wouldn't know if you didn't tell him. Besides, this is nothing. Tiffany has her hand down Trent's pants.
TRENT
I thought that was you, Daria.
DARIA
Dream on.
TIFFANY
You couldn't recognize my touch from all those times we had together?
DARIA
All those times?
JANE
Is there any woman in Lawndale short of Ms. Barch you haven't been with?
TRENT
Actually...
JANE
You slut!
TIFFANY
But I was better than her; wasn't I?
DARIA
Could we change the topic before I strangle my ex-boyfriend for not being completely honest about who he's been with? That and the former member of the Fashion Club who apparently was one of his conquests?
TRENT
Sorry. There anything we can do that we've forgotten?
DARIA
Well, the situation's pretty dire. We're trapped in this building. We can't go outside because of the raging hurricane, which we didn't escape from in the first place because no one knew it was going to head towards us until the last minute. We have a serial killer who, from the pattern of whom he-or-she has already killed, probably wants us dead. And because of that last attack, we're separated from any police protection, and they can't send more because of the hurricane, assuming that they even knew where we are. We don't have any weapons, and we don't have any power, so we're defenseless and stuck in the dark. Have I forgotten anything?
TRENT
That Smiley is immune to pain?
TIFFANY
Or injury?
JANE
Well, there has to be something here we can use against him!
TRENT
You could sing and hope his head breaks open.
JANE
Hey! Why don't you just sing the blues and torment him into submission?
TRENT
Touche.
(beat)
OK, so what do we do now? Try to go out in a orgy of pleasure?
JANE
Do you want to get us all killed?
DARIA
You think Smiley will hear us moaning and calling out names?
JANE
I mean, if we had sex, we would be doomed.
DARIA
(beat)
Jane, what the Hell are you talking about?
JANE
In any scary movie, after two people have sex, they always get offed.
DARIA
OK...
TIFFANY
Though that's not the only factor. Breast size, for example.
JANE
You're right, Tiffany. Show me your boobs, Daria.
DARIA
Excuse me?
JANE
The one with the biggest breasts always dies first. I want to know exactly where I stand.
DARIA
I think you already know that from last night.
TIFFANY
Are either of you larger than a B-cup?
TRENT
I suppose this means my survival is guaranteed.
DARIA
Guys...
JANE
Not if Tiffany doesn't get her hand out of your pants.
DARIA
Cut it out!
JANE
(beat)
Is something bothering you, Daria?
DARIA
I think you've forgotten this is real life. This is not some moronic teenage slasher flick which operates by certain rules to point of predictability. Having sex or big breasts isn't going to make a damn bit of difference so far as whether we get out of this alive or not.
TIFFANY
Oh my God! You two did do it! Ewww!
JANE
Hey, that does not count!
TIFFANY
It does, too!
JANE
Lesbians are not doomed to die in horror films. If they're present, the title usually mentions them in connection with vampires.
TIFFANY
They're not seen too often in films at all. You know the biases in the media. But if Clive Barker or John Carpenter were going to make a horror film with gay characters, do you really expect--
DARIA
Didn't you just hear what I said?
TRENT
If we're doomed to die anyway, we might as well make the most of it.
JANE
I don't know what you've heard, but it doesn't work all that well in groups. You only have one set of equipment.
DARIA
(climbing out of bed around JANE)
OK, I've had my limit.
(begins heading for door)
I'll be in the other room if you all decide to become sane again.
TRENT
You know, we could take turns.
JANE
Gee, that was subtle.
220 INT. LIVING ROOM.
We can still hear TRENT, TIFFANY, and JANE bantering at a reduced volume. In a dark corner, a figure can be seen. A convenient lightning flash reveals that it is SMILEY. DARIA's eyes widen suddenly.
SMILEY
(singsong, second word especially drawn out)
I'm back!
221 CUT TO: BEDROOM.
TIFFANY
What about that scene in The Blair Witch Project where they hear this child's voice calling out and run after it?
JANE
What about it?
TIFFANY
There was a scene like that in Friday the 13th. Even at its best, the genre borrows heavily from itself.
JANE
Stuff like that goes back to ancient legends. I don't think you can outright claim they took it from a previous movie.
DARIA screaming and a gunshot can be heard from the other room.
TRENT and JANE
Daria!
(exiting quickly)
TIFFANY
(following)
Damn!
222 CUT TO: LIVING ROOM.
JANE, TIFFANY, and TRENT enter to find DARIA lying unconscious on the floor, splattered in blood. Standing over her is SMILEY, holding a gun. TIFFANY screams hysterically.
SMILEY
Capture, check, and mate.
JANE
Damn you!
TRENT
Go to Hell!
SMILEY
Take another step, and I'll shoot you down right where you stand.
TIFFANY
Why are you doing this to us?
SMILEY
Because of what you did to me.
With his/her free hand, SMILEY pulls off the mask, which is discarded, revealing he/she is really QUINN, a headset mounted beneath the mask.
QUINN
(voice still being modified by the headset)
Bit of a shocker; ain't it?
JANE
But you were with Daria when--
QUINN
(removing headset and coat, revealing a bullet-proof vest)
Nice little diversion, wasn't it? I'm off the hook because I can't be in two places at once.
JANE
Then how...
Her voice trails off as a figure steps out of the shadows. Stepping into the light, it is obviously TODD.
QUINN
Wasn't it nice of Todd to escape for me?
TODD
Hello, Jane. OK, Quinn, it's my turn. You remember the deal: you get to kill one, I get to kill the other two.
QUINN
Hmmm!
(beat)
No.
(shoots TODD between the eyes)
JANE and TRENT jump as TODD's corpse drops to the floor. TIFFANY screams.
QUINN
That's for stabbing me too deeply, you moron.
(to JANE, TIFFANY, and TRENT)
Poor Todd. He's great in bed, but a total idiot. And once I've disposed of you two, he'll be so useful. He tries to kill you, there's a struggle, and you all die.
TRENT
You're psychotic.
QUINN
(slipping off the remainder of the costume)
I like that term. It has a trendy ring to it.
TIFFANY
Don't kill me, please! I was always on your side!
QUINN
You were always on your own side.
(beat)
OK, kids, class is over. Time to go outside and play.
(gesturing)
After you.
JANE
But why did you kill all those people? What did they do to deserve this?
QUINN
You know what a compulsive perfectionist I am. Once I adopted the paradigm of horror movies as a basis for my revenge, I had to act it out completely. And that meant wasting all those worthless people.
TRENT
You wasted all that effort for the same reason your socks always match your T-shirt?
QUINN
Okay, I was dealing with my own depressive feelings. After all, what is a murderer but an extroverted suicide?
TRENT
You're quoting Monty Python!
JANE
Don't you have a single original thought of your own?
QUINN
Yes; I hate your outfit. I'm tired of talking about motivations. Everyone outside, now!
223 CUT TO: EXT. HOUSE.
As the storm rages around them, QUINN has TRENT, TIFFANY, and JANE lined up against the side of the house. TIFFANY sobs continuously.
QUINN
Let's see... A standard execution would have you facing away from the shooter, but seeing your attacker would be more in line with the modus operandi of a serial killer. Plus it would make it easier for one of you to rush Todd in a vain effort to save your lives, so I think I'll go with the latter idea.
JANE
Will you get it over with? You're going to bore me to death at this rate.
QUINN
True enough. See you in Hell!
DARIA
(charging into the scene)
Guess again, Quinn!
DARIA knocks QUINN off her feet, sending the gun flying. DARIA is quickly knocked back by QUINN, who is then charged by TRENT. QUINN knocks both of them over, crying out in pain. She pulls a knife out, slashes TIFFANY's shoulder, and is about to use it on DARIA when suddenly a shot rings out and QUINN jolts. Standing there, it can be seen she's been shot in the shoulder. She touches the wound and looks at the blood on her fingers before flopping to the ground, apparently dead. JANE can be seen holding the gun, looking as shocked as everyone else.
QUINN
(weakly)
Help me.
Dazed, JANE drops the gun. DARIA runs up and hugs her.
TIFFANY
(screaming and crying)
The bitch cut me! Can you believe that?
TRENT
It's a flesh wound, you pansy.
DARIA
Wow. The Attention-Slut is dead.
TRENT
She was a lousy lay anyhow.
JANE
Are you alright?
DARIA
(holding up her harmonica, which has a bullet embedded in it)
I told you this thing did me some good.
TRENT approaches.
TRENT
(hugging DARIA)
Nice to see you alive again, Daria.
DARIA
Rumors of my death have been greatly exaggerated. Let's get the Hell inside before things get worse.
TIFFANY
(very nervous)
Uh, guys, where's Quinn's body?
All turn to see QUINN is not where she was left.
JANE
Damn it! Where is she?
TRENT
You shot her. Can't you do anything right?
DARIA
This can't be good. Let's get inside.
They quickly head back for the house. As they turn the corner, an enraged QUINN pops out, her hair disheveled and going in all directions, brandishing a knife. Yelling, she runs towards them, stabbing TRENT in the chest, causing him to cry out in pain.
TRENT
Damn it!
TRENT knocks down QUINN as TIFFANY, hysterical, tries hiding under a bush. TRENT drops to the ground. DARIA charges forward. QUINN swipes at DARIA, who dodges but ends up tumbling on the ground. JANE tries to do a flying kick but ends up slipping and merely knocks QUINN over, sending the knife flying.
DARIA
(to TIFFANY)
Get him out of here!
TIFFANY begins dragging TRENT into the cabin.
QUINN
(popping up, pulling the gun on JANE)
Now you're gonna get it!
DARIA
(diving towards QUINN)
Think again!
DARIA knocks QUINN over, the gun flying into the bushes. QUINN rolls, grabs the knife, and runs off, getting lost in the poor visibility very quickly.
JANE
(getting up)
Damn it! Which way did she go!
DARIA and JANE start moving and quickly are separated. JANE looks unsteady running over the mud. A gunshot is heard. As JANE turns the corner, QUINN pops out and stabs her in the shoulder. JANE falls to the ground, the knife still embedded.
JANE
Argh! God damn it!
QUINN
Give me my knife back!
JANE
Then pull it out!
QUINN tries but the knife doesn't budge.
QUINN
It's stuck! Hold on!
QUINN grabs the knife with both hands and pushes on JANE's other shoulder with her foot. She pulls and the knife comes out, flying backwards as QUINN ends up falling on her butt again.
JANE
That hurt!
QUINN
(getting up)
So will this.
(pulls out a second gun)
I shot at your friend a moment ago. Glad I remembered to carry a spare. There's no one left to save your sorry butt now. Say your prayers, Jane.
JANE
You've forgotten one thing, Quinn.
QUINN
And what's that?
JANE
Daria wears a push-up bra.
QUINN
Excuse me?
DARIA charges into the scene and tumbles with QUINN, the gun going flying. QUINN disentangles herself from DARIA, pops up. They exchange blows, DARIA getting knocked over. She notices a gun nearby her. QUINN pulls another knife from her boot.
QUINN
Thanks for the wrestling, but I have others to do that with. Time to die, Daria.
DARIA
Guess again, Quinn!
DARIA grabs the gun and pumps several bullets into QUINN,
who drops the knife and staggers under their force. For a moment
she looks dazed, staggering about aimlessly. Reaching the edge of
the cliff, she falls off, disappearing into the depths below. For
several moments DARIA is stunned.
224 INT. CABIN.
TRENT is lying on the couch, TIFFANY crouched by him. Enter DARIA and JANE running.
DARIA
Trent! Are you OK?
TRENT
(weakly)
I'm sorry, Daria. Good-bye.
DARIA
Please, Trent! Don't die on me!
(holds his hand)
TRENT
I can't. I love you. I only wish we would've been happy together...
TRENT closes his eyes and breathes no more. DARIA wails
in anguish as JANE and TIFFANY embrace her.
225 EXT. ROOFTOP--NIGHT.
There is a pool on the roof, and JANE is using, lounging at the edge and drinking champagne. DARIA enters.
JANE
I see you got my note.
DARIA
Hard to miss something on fluorescent yellow paper in black marker stuck at eye level.
JANE
See, all that art education paid off.
DARIA
I never knew we had a pool up here.
JANE
You find all kinds of wonderful things when you just open yourself to the possibilities. Something to drink?
DARIA
(sitting down at the edge of the pool, takes a glass)
Thanks. So, was this a purely social request?
JANE
Partly. You've been kind of distant lately.
DARIA
I'm still mourning a bit. Quinn took out too many good people. Too many bad ones also.
(beat)
Is it my imagination or does that guy who lives across the hall from Trent--
(beat)
from where Trent lived like you?
JANE
Tom? I dated him at one point. He might be having some trouble getting over me at this point. Why, are you interested in him?
DARIA
Naah. So, where are we at this point?
JANE
That's what I was going to ask you.
JANE stares intensely at DARIA for a moment, then suddenly pulls her into the water. For a moment it looks like JANE is trying to drown DARIA, but soon it is apparent they are merely playing, bursting out laughing and sucking each others' tonsils out. The view pans over to the ice bucket near the side of the pool, which in addition to the expected ice and bottle of champagne also contains an ice pick.
DANIELSON
(voice only)
The world is filled with evil. Like mass and electric charge, evil is a fundamental characteristic of the natural world and the human soul. No matter how much we try to bottle it up, shove it aside, or transform it into something better, it always springs up again, time and time again, in one form or another. L. Quinn Michaelis's parents tried to beat the evil within her out of existence, but all they did was force it lower and lower, until one day it rose up again even stronger and deadlier than before, killing over thirty people and wounding about a dozen before she went missing herself. Is there some way to curb evil? Can we keep such a tragedy from happening again? No one knows the answer to these questions. But one thing we do know is that the evil will always remain with us.
226 INT. OFFICE--NIGHT.
A battered DANIELSON sits at a desk in an otherwise uninhabited police station room, speaking into a palmtop computer. The CHIEF enters.
CHIEF
Danielson, are you still here?
DANIELSON
Just finishing up my report.
CHIEF
You look like crap. Finish up, stop getting yourself beaten up all the time, and get the hell out of my station.
(beat)
I need a drink. You better be gone when I get back.
(exits)
DANIELSON is about to return to his work when he hears an indistinct noise. He gets up to investigate it.
DANIELSON
Hello? Who's there?
He glances around, but fails to see anyone. He does
not notice SMILEY sneaking up behind him, not turning until he hears the
loud snicker-snack of the knife.
227 SMASH CUT TO: BLACK.
228 CLOSING CREDITS.
229 INT. THE SET OF BEAVIS AND BUTT-HEAD'S SUCKY SHOW.
LOLITA and TANQUERAY, bandaged and bruised, but clearly alive, are sitting on the sofa.
LOLITA
Like, normally I like horror movies.
TANQUERAY
Yeah. Me, too.
LOLITA
But, like this film wasn't scary at all.
TANQUERAY
Tell me about it.
LOLITA
Like, what's so scary about someone in a smiley-face mask? And there weren't enough guts and gore.
TANQUERAY
Uh-huh.
LOLITA
With that in mind, on a scale of one to ten, I'd rate this film--
SMILEY
(poking his/her head up from behind the sofa)
A ten.
LOLITA and TANQUERAY scream and run away as SMILEY stands up, brandishing a long knife. A moment later, SMILEY removes his/her mask, revealing him/her to be STEWART.
STEWART
That's all folks!
Of course, you do realize that this is yet another elaborate parody and that MTV still has no intention, so far as the real authors of this work know, of making a live-action Daria movie.
Read more about it in part 2.