1

Grant Vance
Senior Thesis
FPDA Analysis
Dr. Winkelmann

Discourses of Horror: Feminism and the Final Girl

Introduction
Film is an interesting subject filled with a number of cultural implications that are often
overlooked. It is consumed on a wide scale, formulating a variety of opinions regarding subjects
within them by their respective audience. One particular opinion frequent within audiences is the
improper portrayal of gender in characters, particularly women. In an attempt to find an archetype
that does a proper job establishing women in film, I have analyzed the film, Scream, a satirical
slasher film about the serial murders of students in Woodbury, Illinois. The main character of this
film is Sidney Prescott, representing the final girl archetype commonly found in slasher films.
Sidney is a model example of proto-postmodernsim in film, which is displayed through the lens of
third wave feminism in my feminist post-structuralist discourse analysis of the film.
Abstract
Horror films have been an integral aspect of popular culture since the inception of film.
Providing not only entertainment, but also a mirror to the fears and anxieties of society, they are a
diverse and important genre. While this reigns true, these films are not perfect, often criticized for
their violence and oft-misogynistic tendencies. The slasher subgenre is no different; however, one
particular feature that separates them from horror films in general is the character archetype of the
final girl. The final girl is controversial, as it has been claimed to have both a positive and
negative portrayal of women. Defenders of the final girl claim her intersecting discourses of
survivalist, morality and feminine establish a model feminist female character, while detractors claim
these qualities are patronizing, doing nothing more than rewarding a character fitting in with
traditional societal expectations. Throughout this paper I argue that not only is the final girl a wellestablished female character, but that the character is a pioneering example of third wave feminism in
film.
By using Wes Cravens Scream and a third wave analysis, I will show the contrast of societal
expectations of the agency of Sidney Prescotta final girl in the context of satire. In the context of
satire and meta-self-awareness Sidneys post-structuralist third wave tendencies will exemplify the
positive discourse within the common archetype of the final girl. In comparison to the other female
characters in slasher films the final girl is significantly more developed, as well as portrayed

drastically different, so second wave analysis is also necessary to distinguish the final girl from the
other female characters. Particular traits of the final girl separate them, most notably their sexuality
and moral standpoint. Female characters in film as a whole are often portrayed poorly, often leaning
toward traditional gender roles. This is not the case for the final girl, who represents a model poststructuralist third wave archetype.

Literature Review
For this study I am using a variety of slasher films in order to best establish my thesis defending
the merit of the final girl. For my primary analysis I will be analyzing the speech patterns within
dialogue from Scream. Scream is a 1996 film satirically commenting on horror films, specifically
slasher. The plot follows Sidney Prescott, a high school student dealing with the recent murder of her
mother. When murders start to occur in her hometown of Woodbury, Sidney in particular is sought
out by the mysterious ghostface killer, put in a number of perilous situations that threaten her life.
In the end it is revealed she is closer to the killings than she could have ever imagined.
The films I will be using for secondary analysis are slasher films as well, all directly referenced in
Scream. Scream is the only one of the films in my analysis that belongs in the postmodern
category, thee rest belonging in classical. The first and arguably most important is Halloween.
Halloween was released in 1978, telling the story of Laurie Strode. On the anniversary of murdering
his sister, Michael Myers comes back to Haddonfield to terrorize a new generation of suburbia. This
is a John Carpenter film that set the precedent for many of its predecessors.
Also set in suburbia is Nightmare on Elm Street. This was released in 1984, written and directed by
the filmmaker behind Scream, Wes Craven. This film follows Nancy Thompson, a local student
being haunted by the spirit of Freddy Krueger, a local sex offender who was burned to death by
Nancys parents and other members of the community in his basement. Freddys choice to attack
Nancy and her friends is his revenge.
The final film I will be referencing is Friday the 13th. This is the most unique of the films, as it
takes place in the wooded setting of Camp Crystal Lake rather than the suburbs. This film was
released in 1980, following a group of friends on their escapist vacation to a cabin in the camp. They
are slowly murdered by a mysterious killer who is revealed to be the mother of Jason Voorhees, a
handicapped camper who drowned due to negligence of the camp counselors.
My study suggests that the final girl is an early example of third wave feminism in film. Previous
research has been conducted to support this view.
In Sotiris Petridis article A Historical Approach to the Slasher Film, the basic groundwork for
the slasher film is established. Petridis outlines the history of the genre through the three different
periods: classical, postmodern and neoslasher. In doing so the basic idea of the tropes and clichs
linking the genre create a great reference point for proving the worth of particular aspects of slasher
films-- most importantly the aspects of the final girl and the portrayal of women in these films

through time. However, this article only scratches the surface of characters and plot, a weakness my
study rectifies.
In Female voices in horror: A linguistic study of female stereotyping in two slasher movies,
Marie Ivarsson Ahlin analyzes the language of different female characters in the
films Halloween and I Know What You Did Last Summer. Ahlins analysis is thorough, and provides
a great linguistic source, however, she claims they are portrayed as stereotypically feminine. Only a
small section of the analysis is devoted entirely to the final girl, and Ahlin does not acknowledge the
possibility of a post-modern interpretation.
Angela Weaver, A. Dana Menard, Christine Cabera and Angela Taylor provide a very thorough
empirical study regarding the expectations of women represented in slasher films in Embodying the
Moral Code? Thirty Years of Final Girls in Slasher Films. Through several hypotheses regarding
agency, androgyny and morality the commonality for certain characteristics in final girls (as well as
final boys) is statistically calculated and compared, compiled in order to determine if traditional
implications regarding men and women are considered. This is a very empirical, structuralist
perspective, one that I deconstruct through FPDA.
Theoretical Standpoint
For my analysis of the final girl in slasher films I will be using the lens of Feminist Poststructuralist Discourse Analysis (FPDA) in order to theorize my thesis. Using this particular theory of
discourse, I will analyze the different attributes of characters within the film Scream to look for
patterns in language that exemplify particular behaviors.
FPDA is built around the idea of a discourse, which can be described as a performative speech
pattern associated with the way different environments influence behavior. Discourses are a very
revealing to the nature of power shifts in conversation, making them a great tool in order to defend
the final girl as a representation of third wave feminism. By fleshing out the different characteristics
if the final girl discourse within Scream I will be able to make a larger point for the slasher genre as a
whole.
Scream in particular is the film I have chosen, as it in and of itself is a satire of the slasher genre.
By satirizing the common tropes and structuralist aspects of genres in general, Scream breaks its own
rules, showing how dynamic this genre can be when it escapes audience expectations. This is a theme
I would like to subvert within my research, as defying expectations is a perfect way to reflect the
positive aspects of post-structuralism

Methodology
For my analysis of female characters in slasher films I am working primarily with the script for
Wes Cravens Scream. Though I reference characters from other horror films such as Halloween and
Friday the 13th, they will be used on a connotative level for a better understanding of the final girl
archetype. Scream is used for textual analysis. I use feminist post-structuralist discourse analysis
(FPDA), an analytical technique using a lens of feminism in order to define power shifts through

modes of performative discourses, in order to showcase the various discourses of the films main
character, Sidney Prescott.
By using Sydneys intersecting discourses, I am able to build strong evidence for her as a model
of proto-postmodernism. By establishing this in the context of Scream, a horror film commenting on
the stereotypes of the slasher genre, it is clear that this archetype is prevalent. These analyses
alongside the discourses revealed by those who interact with Sydney are reinforced by the findings
already established on the genre.
Not every character is portrayed as intricately as the final girl, some harboring clich masculine
and feminine traits more typical of traditional gender roles on a denotative level. In the context of the
horror film a connotative analysis will reveal a character strongly resembling the characteristics of
third wave feminism.
Context
The films I am using for analysis all belong in the slasher genre, a subgenre of horror films often
associated with a weapon-wielding masked killer. These films were very prevalent during the
eighties and occasionally are still made today. The reason for choosing this genre as a focus is due in
part to a character archetype very familiar to the genre; the final girl.
The final girl in slasher films is a character associated with a number of traits. Typically the final
survivor (hence the name), the final girl is the moral center of stereotypical slasher film plots. While
her friends typically take part in universally recognized degenerative activities, such as inebriation
with illegal substances and premarital sex, the final girl is associated with purity. This does not mean
the final girl never breaks her own rules; however, she resists.
The specific films I am using will be Halloween, Friday the 13th, Nightmare on Elm Street and
Scream. Though I only directly analyze the script for Scream, these films are important, as they make
up many of the stereotypes the genre is associated with, helping to better solidify my point about the
genre as a whole. The reason for choosing Scream specifically is for its satirical nature, poking fun at
the traditional tropes of slasher films, while still maintaining the integrity of a traditional slasher film.
Scream is the story of Sydney, a high school girl who recently lost her mother to a treacherous
murder, suffering the circumstance of a masked murder slaying her peers on the cusp of the
anniversary of her mothers death. The central plot follows Sydney and her day to day life in the
midst of the ghost face killer. This is a satire, however, self-referencing itself as a slasher film and
also addressing very many pertinent slasher films.

Language Analysis
There are three interactions I would like to showcase in my analysis of Scream that best
showcase Sidneys role as the final girl. It is important to keep in mind that Scream is a satire of
slasher films, playing with their tropes and clichs to tell a smart, meta-story. The three interactions I
have chosen through out the film exemplify Sidneys various discourses, all-accumulating to the

final girl discourse. In using FPDA I establish Sidney as a model example of proto-postmodernsim
in film, not letting anything define her she does not allow. Sidney is a well-developed character in a
numerous amount of ways, performing discourses and linguistic patterns that establish her as the
final girl.
In order to better establish Sidney in the context of horror it is best to analyze final girl
archetypes from other slasher films in order to show the discourses Sidney is entering when they
align with a final girl discourse. The director of the film, the late Wes Craven, was not only a horror
filmmaker himself, but also an avid horror fan. Within Scream there are many direct references to
films he made and films he appreciates, all of which pertain to the slasher genre. The three most
important films that Scream honors through its commentary are Halloween, Friday the 13th and
Nightmare on Elm Street, directed by Craven himself.
The first subject of my macro connotative analysis is John Carpenters Halloweena classic
slasher film giving a good amount of inspiration to Scream. Wes Craven is such a fan of Halloween
he went as far as including a parallel sequence with the film on a T.V. during the climax of Scream.
This is an important note, as it is a strong example of Craven toying with the genre and turning it on
its head. Several references to the meta-theatricality are referenced, but none as overt as this. Sidney
even defeats one of the culprits behind the Ghostface killings by dropping a television monitor on
their head while an image of Laurie Strode (Jamie Lee Curtis), Halloweens final girl, extending a
knife toward Michael Myers in its own climatic scene, Thus highlighting its context within the realm
of slasher films. Some of the most common discourses of final girls are survivalist, loner, virgin,
fighter, wit resourceful victim. According to the rules set in place by Randy in Scream, as a long as
you dont have sex, take any substance or say Ill be right back in a horror film youre safe. Final
girls usually follow these rules, helping their chances of survival in the grand scheme of the slasher
sub-genre.
Considering Halloween directly inspires Scream, Laurie is a particularly interesting example of a
final girl. She engages in many of the same discourses as Sidney, clinging very closely to the good
girl discourse of the final girl. Laurie is a timid babysitter who adheres very closely to the three
rules. She is a virgin and her friends are constantly goading her into going on a date throughout the
entirety of the film. This shows her shy virgin discourse, following rule number one of not having
sex. Laurie also stays in and babysits on weekend nights, rather than going out and partying with her
friends. Laurie is a responsible representative of society, which plays a role into the analysis of the
final girl in general. In Angela Weaver, A. Dana Menard, Christine Cabera and Angela Taylors study,
Embodying the Moral Code? Thirty Years of Final Girls in Slasher Films, they address the
potential that final girls survive in horror films because of their adherence to a strong moral code.
Looking at the discourses of the final girl and seeing the killer as a metaphor of society punishing
teenagers for delinquent behavior, this theory makes sense, though Scream deconstructs it almost
twenty years later. Laurie comes closest to giving weight to the theory, as her intersecting discourses
of timid virgin, the responsible friend and trusted babysitter all support the idea of her being a
model societal figure.
Nightmare on Elm Street is interesting since it shares the same director as Scream. Craven is
smart in making self-referential jokes towards his own work, adding an additional layer of satire to
the film. The final girl in Nightmare on Elm Street is Nancy, a quiet, intuitive girl who spends much
of the film attempting to find ways of fighting Freddy. She is the sole survivor of her friends,
displaying a survivor discourse in conjunction with an investigator discourse. Nancy is the only
character that believes in Freddy at first, exemplifying leadership traits by taking initiative and

attempting to save lives. This also enters her into a hero discourse, risking her own life in order to
save potential victims. Her role in the film is a personification of responsibility towards the parents of
the town who took part in killing Freddy. This is interesting considering the nature of her parents
discourses, as they are very short in their speech, denying any possibility of Freddys attacks. This
forces Nancy to stand up for herself to her parents, exemplifying a coming-of-age discourse that
helps better establish her as a leader.
The final girl in my connotative analysis of slasher films is Alice Hardy in Friday the 13th. Alice is
much different from the final girls in other films, in a much different setting under different
circumstances. Her discourses are also slightly different, as they deviate from the good girl
discourse often performed by a final girl. This is a positive deviation, as it successfully shows a
female character that is not punished for performing outside discourses that are expected of her. Alice
has a boyfriend who she is sexually active with, and drinks alcohol with her friend. Though she is the
most responsible of her friends, falling into the responsible friend discourse. Though she is
different from the traditional final girl, Alice still performs many similar discourses seen in other
final girls; from a third wave perspective Nancy is a very well established character.
Now that some basic context is established through a connotative analysis of the films that
inspired Scream, I am able to move on into a close, denotative analysis of Sidneys language. I chose
three interactions for my analysis, all with different characters that establish Sidney as an ideal
female character in film through her discourses. Sidney holds the power in all of theses interactions,
using her sharp wit and strong will to maintain control.
The three characters I have chosen for my analysis are Billy Loomis, Gale Weathers and
Ghostface. Aside from Sidneys friend Tatum, Tatums older brother, Dewey, and her friend Randy,
this encapsulates all of the important characters that have competing or complimenting discourses
with Sidney, highlighting which discourses Sidney uses to stay on top. Billy is Loomis is first
Sidneys eager boyfriend. Billy is especially interesting, as it is later revealed that he is Ghostface. In
order to make a distinction between when he is Billy and when he is Ghostface I chose his
introductory scene where he climbs into surprises Sidney.
In this scene both Sidney and Billy are introduced establishing their relationship and where they
each stand as far as power goes. Sidneys wit is immediately drawn out when she asks Billy why he
came through her window:
Billy It occurred to me that I had never snuck through your bedroom window. Sidney: Well,
now that its out of your system...
Here Sidney is questioning Billys intentions, establishing she is not comfortable with him
dropping in on her and is slightly annoyed. She allows him to stay; however, giving him power
through a good girlfriend discourse. Next Billy attempts to sleep with Sidney, bringing up how she
has an avoided him physically through an analogy to censorship:
Yeah, it was edited for TV all the good stuff was cut out. And it got me thinking of us. How 2 years
ago we started off hot and heavy. Nice solid R rating on our way to a NC-17. And now...things have
changed and....lately were just edited for television.
Billy is using a discourse of persuasion, attempting to convince Sidney theyre relationship has
been sexual before and doesnt see why she continues to refuse him. Denotatively Billy is being kind
and understanding when Sidney responds with Oh so you though you would climb through my
window for some raw footage? Here she is using a sarcastic discourse, but Billy replies with a
somewhat genuine rebuttal, saying No! I wouldnt dream of breaking your underwear rule. I just

thought we could do a little on-top-of-the-clothes stuff. On a denotative level Billy is being

respectful, stating he would never dream of breaking her underwear rule and acknowledging
Sidneys stance. On a connotative level; however, Billy is still pursing Sidney physically,
disregarding her wishes. Billy is absolutely dreaming of breaking Sidneys Underwear rule,
Sidneys will is simply stronger than his attempt. Here Sidney is entering the virgin discourse
commonly associated with the final girl, using it to her advantage. In holding her virginity from Billy
she is showing him that she enters an independent discourse, establishing she has no desire to sleep
with him. In the context of horror this is interesting considering that Billy is the killer. Billy follows
the rules established by Randy, therefore he cannot kill Sidney until heor someone elsehas
slept with her. Here sexuality is being used in an interesting way as a centerpiece to the power shifts
in the film.
The next interaction I have chosen for my analysis is Sidneys second encounter with the
antagonistic Gale Weathers in the film. After she is attacked by Ghostface and escapes, Gale
confronts her as shes leaving the police station she is taken to after the attack. When Gale first
approaches Sidney Tatum interferes, attempting to defer Gale by saying Shes not answering any
questions, just leave us alone. Sidney chimes in shortly after saying, no Tatum, its alright. Shes
just doing her job. Right Gale? Sidney says this with a sarcastic demeanor once again, immediately
taking any weight to Gales questions away. This is followed by a short exchange that eventually
leads to Sidney sucker punching Gale in the face. This is an especially powerful moment for Sidneys
discourses as the final girl, as many of her intersecting discourses come into play. Sidney is showing
discourses of strong will and sarcasm, while also entering stoic survivor and fighter discourses.
Sidney is not crippled by the fact her life was almost taken from her, but instead uses the momentum
of adrenaline to take complete control of the interaction with Gale. Gales discourses are competing
with these to a good deal, hoping to exploit Sidneys tragedy for a story, entering a ruthless reporter
discourse. Sidney even acknowledges this when she says, Shes just doing her job. Right Gale?
Sidneys sarcasm immediately gives her power in the conversation by writing off Gales discourse as
excessive and unnecessary.
The final exchange I use for my analysis is between Sidney and Ghostface, revealed to be both
Billy and their former friend, Stu. This is pivotal in my analysis of the final girl, as this is the moment
in which Sidneys discourses finally intersect and establish her as the final girl. In this scene Sidney
has just escaped the killers clutches, attempting to deal with them and save her father. In this scene
Billy has just given his exposition on his motives, explaining to Sidney that he intends to kill her and
set up her father as the killer as revenge for Sidneys mom supposedly ruining his parents marriage.
Billy fails to properly detain Sidney and she escapes, making a move to escape. Here Sidney is
solidified as a tragic hero, given a new agency of responsibility to defeating Billy and Stu. Billy
frantically runs around looking for Sidney and becomes flustered. Sidney; however, keeps her
composure while Billy hunts for her. Hear Sidney exemplifies a fighter discourse, finding the
Ghostface mask and attacking Billy with an umbrella. She then takes care of Stu, killing him by
dropping a Television monitor with Laurie Strode holding a knife in Halloween onto his face. Here
Sidney defeats the masked killer, officially becoming the final girl. Though she is not the lone
survivor like many final girls, she is with out a doubt entering a heroic discourse.
Throughout this climatic chase scene many expletives are exchanged, as the nature of their
interaction is very frantically paced. Sidney maintains much of the power in the exchange, belittling
Billy for his poorly thought out plan. Billy doesnt take well to this, replying Im going to rip you up
you bitch, just like your fucking mother. Here Billy is very crude, exerting an out-of-control
psychopathic discourse. For many characters this would induce fear and succeed in winning the

power struggle over their victim. Sidney; however, replies with her quick wit, immediately taking
control back. You got to find me first you pansy ass-mommas boy. By saying this Sidney is
interring her discourse of strong will, showing Billy that even when he attacks her with personal
insults about her mother she is able to stay in control and defeat Billy unphased.
Another interesting aspect of Sidney as the final girl is that she breaks one of the rules,
eventually sleeping with Billy before it is revealed hes guilty of the Ghostface killings. Here she
exists the virgin discourse, a common discourse for the final girl to hold onto. In having sex with
Billy and also surviving the climax of the film, Sidney is showing that despite her sexuality she is
still a victorious, model example of a final girl. She should not be punished, if you will, for her
decision to be sexually active, but should have that right as a character to make her own decisions.
By deconstructing the rules and making them her own, Sidney sets a standard for not only the final
girl archetype, but for female characters in film in general.
Conclusion
It has now been established through Sidneys intersecting discourses that she is a model character
in a number of ways. Able to keep her composure in any circumstance, equipped to take on any
challenge that comes her way (and does so in three more Scream movies). The portrayal of women in
film has become a frequent topic of cultural discussion-- it is why this an important study. Horror
films are often criticized for the improper portrayal of women. This can be the case at times, but the
final girl is a character that defies this criticism. By taking part in this wide cultural discussion it is
important to look at things closely to know how to properly judge and analyze them. By disregarding
horror immediately this neglects the opportunity for more characters like Sidney. If the films are not
being taken seriously, why would anyone look at them through a lens of respect? This is the
advantage of FPDA. By analyzing film through a feminist postruturalist discourse analysis entirely
new avenues of interpretations are open. Sidney is just one of many great female characters, but
imagine if more screenwriters had her in the back of their mind when writing female characters in
the future. Through her variety of discourses Sidney not only stands as a model example of a final
girl in slasher films, but as a model example of proto-postmodernsim. Her gender never gets in the
way of her victories, as her intersecting discourses are a triumphant accomplishment in feminism.
Sidney Prescott is not just a final girl, she very well might be the final girl.

Bibliography
Primary
1.
2.
3.
4.

Carpenter, John, dir. Halloween. Sony Pictures Entertainment, 1978. Film.

Craven, Wes, dir. Nightmare on Elm Street. New Line Cinema, 1984. Film.
Craven, Wes, dir. Scream. Dimension Films, 1996. Film.
Cunningham, Sean S., dir. Friday the 13th . Paramount Pictures and Warner Brothers, 1980. Film.

Secondary
1. Baxter, Judith. The Language of Female Leadership. New York: Palgrave Macmillan, 2010. Print.
2. Baxter, Judith. Positioning Gender in Discourse. New York: Palgrave MacMillan. 2003. Print.
3. Petridis, Sotiris. A Historical Approach to the Slasher Film. Film International. March 2014:
76-81. Article.
The author illustrates the different periods of the slasher film, using their historical context in
order to defend their academic integrity. By utilizing the historical context of the film, Petridis
analyzes the societal implications represented in horror films, describing how the ideals presented
are a reflection of the period in which they were made. The three periods include the classical,
postmodern, and neoslashers.
The classical period is described for thematically commenting on the Reagan era through
punishment for wrong doings. The idea of the final girl comes into play here. The final girl is
typically a morally sound virgin who survives, usually defeating the killer, while her delinquently
portrayed friends are the victims. The final girl survives for conforming to what society expects
from her.
The postmodern era played on the skepticism of society, poking fun at the established tropes
of the classical era. The characters are typically thrown in situations in which they are aware of
that they are in a slasher film scenario, able to avoid the tropes of classical film conventions.
The final is the neoslasher, formulated as a response to the true horror of 9/11. Rather than
teenagers being killed for delinquent actions, the murders are either random or premeditated,
showing the true nature of monsters and the anxiety of untimely death. These films are
traditionally remakes, sometimes intersecting with postmodern themes.
This article will be a great piece for contextualizing the slasher film, as well as exemplifying
their potential for research. Though it only brushes on the specific theme I hope to analyze, it is a
great starting point that even includes other potential sources to check out in the future.
4. Weaver, Angela D. Menard, Dana A. Cabera, Christine. Embodying the Moral Code? Thirty
Years of the Final Girls in Slasher Films. Psychology of Popular Media Culture. 2013: 31-46.
Journal.

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Appendices

Appendix 1

11
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easy.Caseyhangsup...OutsidethefrontofCasey'shouse,aswingdangles
fromthetree.Itisswayingsoftly...Thephoneringsagain...Casey:
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youdialitagain?Man:Toapologize.Casey:Youreforgiven.Byenow.
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asecond.Casey:Theyvegot900numbersforthat.Cya.Caseyhangsup
again...ThePhoneringsagain...Casey:Hello?Man:Whydontyouwantto
talktome?Casey:Whoisthis?Man:YoutellmeyournameIlltellyou
mine.Casey:Idontthinkso.Caseyhasopenedapopcornpacket,with
JiffyPopwrittenonthelabel,shegivesitashake...Man:Whatsthat
noise?Casey:Popcorn.Man:Youremakingpopcorn?Casey:Uhhuh.Man:
Ionlyeatpopcornatthemovies.Casey:Well,Imgettingreadytowatcha
video.Man:Really?What?Casey:Oh.Justsomescarymovie.Man:You
likescarymovies?Casey:Uhhuh.Man:Whatsyoufavoritescarymovie?
Casey:Uh,Idontknow.Man:Youhavetohaveafavorite.Whatcomesto
mind?Caseypicksupalargeknifefromawoodenblockwhichisobviously
beenmadeforholdingknivesCasey:Umm....Halloween.Shedropstheknife
backin....Casey:Youknowtheoneguyinthewhitemaskthatwalksaround
andstalksbabysitters.Man:Yeah.Casey:Whatsyours?Man:Guess.
Casey:Um..NightmareonElmStreet.Man:Isthattheonewiththeguythat
hasknivesforfingers?Casey:Yeah,FreddyKruger.Man:Freddy,thats
right.Man:Ilikethatmovie.Itwasscary.Caseywalksoutofthe
kitchenandheadstowardsthelivingroom...Casey:Thefirstonewasbut,
therestsucked.Man:So,yougotaboyfriend?Casey:Why?Youwanttoask
meoutonadate?Man:Maybe.Man:So,doyouhaveaboyfriend?Casey:
mmm..no.Caseyturnsonthepatiolightsandlooksatthebackyard,thereis
aslightandmysticmistfloatingoverthepool...sheturnsthelightsoff
againMan:Younevertoldmeyourname.Casey:Whydoyouwanttoknowmy
name?Man:SoIknowwhoIamlookingat.Caseylooksworried...Casey:
Whatdidyousay?Man:IwannaknowwhoIamtalkingto.Casey:Thatsnot
whatyousaid.Man:WhatdoyouthinkIsaid?Man:What?Man:Hello?
Casey:Look,Igottogo.Man:Wait!Ithoughtweweregoingtogoout?
Casey:Uhnah.Idontthinkso.Man:Donthanguponme!Caseyhangs
up...scared...shestartstowalkbacktothekitchen...Thephonerings
again(slightlyfrightendandpissedoff)Casey:Shit.Caseypicksup...
onceagain...(annoyedtone)Casey:Yes?Man:Itoldyounottohangupon
me.Casey:Whatdoyouwant?Man:Totalk.Casey:Well,dialsomeone
else.Okay?Caseyhangsup...Shewalksintothekitchen,andseesthatthe
popcornisonfire,shewalksfastovertoit,grabsatowelandpicksupthe
burningpopcorn...Thephoneringsagain...shedropsthepopcornbackonto
thestove....(angry)Casey:ListenassholeMan:No,youlistenyou
littlebitch!Youhanguponmeagain,Illgutyoulikeafish.You
understand?(menacinglaugh)Hehe...Yeah.(sobbing)Casey:Isthissome
kindofjoke?Man:Moreofagamereally.Canyouhandlethat...?
...Blondie?Caseylooksoutsidethewindows,frantically...Man:Canyou
seeme?(determined)Casey:Listen,Iamtwosecondsawayfromcallingthe
police.Man:Theydnevermakeitintimewereinthemiddleofnowhere.(
sobbingagain...)Casey:Whatdoyouwant?Man:Toseewhatyoureinsides
looklike.Casey'seyeswiden,andshehangsup...Caseyisnearthedoor,
andthedoorbellrings...(sobbing)Casey:Whosthere?Whosthere?Im

12
callingthepolice!Thephonerings...Caseycriesoutloud,andlistens
intothephone...Man:YoushouldneversayWhosthere?Dontyouwatch
scarymovies?Itsadeathwish.Youmightaswellcomeoutandinvestigatea
strangenoiseorsomethin.(determined,yetstillsobbing)Casey:Look,
youvehadyourfunnow.So,Ithinkyoubetterjustleaveorelse.Man:Or
elsewhat?Casey:Orelsemyboyfriendwillbehereanysecond,andhellbe
pissedwhenhefindsout.Man:Ithoughtyoudidnthaveaboyfriend?
Casey:Ilied,Idohaveaboyfriendandhellbehereanysecond.So,your
assbetterbegone.Man:Sure.Casey:Iswear.(loudandhopingtheguy
ontheotherendofthephonewouldtakethehint)Casey:Hesbigandhe
playsfootballandhellkicktheshitoutofyou!(sarcastic)Man:Im
gettingscared,Iamshakinginmyboots.(defeated)Casey:So,youjust
betterleave.Man:Hisnamewouldntbe....Stevewouldit?(shocked)
Casey:Howdoyouknowhisname?Man:Turnonthepatiolights...again.
Caseyturnsonthelights,andsee'sherboyfriend,SteveOrithtiedtoa
chair,hismouthiscoveredinducttape,heisbruisedandhasafewcuts.
Casey:Ohgod!Caseyunlocksthedoorandopensitandisabouttostep
outside...Man:IwouldntdothatifIwasyou!Caseypullsthedoor
closedquicklyandlocksit.Casey:Whereareyou?Man:Guess.Casey:
Donthurthim.Man:Thatalldependsonyou.Casey:Whyareyoudoing
this?Man:Iwannaplayagame.Casey:No.Man:Thenhediesrightnow.
Casey:NO.NO!Man:Whichisit?Whichisit?Casey:WhaWhatkindof
game?(evilly)Man:Turnoffthelights,Youllseewhatkindofgame.
Justdoit!Caseyturnsoffthelights...(muffled)Steve:Casey!No!
No!NO!CASEY!Man:Hereshowtoplay.Iaskyouaquestion,Ifyougetit
rightStevelives.Casey:Please,dontdothis.Caseyhidesbehindthe
TVandpullsoutthecordforthelightontopoftheTV....Man:Comeon,
Itllbefun!Casey:PleaseMan:Itsaneasycategory.Casey:Please.
Man:MovieTrivia.Man:Illgiveyouawarmupquestion.Casey:Dontdo
this,Icant.Man:NamethekillerinHalloween?Casey:No.Man:Come
on,Itsyourfavoritescarymovieremember?Man:Hehadawhitemaskandhe
stalkedbabysitters.Casey:Idontknow.Man:Comeon,Yesyoudo.
Casey:No,please.Man:Whatshisname?Casey:Icantthink.Man:
Stevescountingonyou.(stillsobbing...)Casey:Michael...Michael
Myers.Man:Yes!Verygood.Man:Nowfortherealquestion.Casey:NO!
Man:But,youredoingsowell.Wecantjuststopnow.Casey:Please,Stop!
Leaveusalone.Man:Thenanswerthequestion.Samecategory.Casey:Oh,
pleasestop.Man:NamethekillerinFridaythe13th?Caseyjumpsup,all
excited,sheknowstheanswer...(shouting)Casey:Jason!Jason!Jason!
Man:Imsorrythatsthewronganswer.Casey:Noitsnot!Noitsnot!Its
Jason!Man:Afraidnot,NOWAY!(annoyedcauseshethinkssheisright)
Casey:Listen,itwasJason!Isawthatmovie20goddamntimes!Man:Then
youshouldknowthattheoriginalkillerwasJasonsmother,Mrs.Voorhies.
Jasondidntshowuptillthesequel.Imafraidthatwasthewronganswer.
(sobbingagain...)Casey:Youtrickedme...Man:Luckyforyouthereisa
bonusround.But,poorSteve,Iamafraidhesout!Caseyturnsonthe
lightsandlooksoutside,andseesherboyfriendhasbeenslaughtered,his
insidesontheoutside.Shestartstocryagain.Caseycrawlsbackbehindthe
TV...Man:Hey,werenotfinishedyet.Finalquestion,Areyouready?
Casey:Please,Please,Leavemealone!Man:AnswerthequestionandIwill!
Man:WhatdooramIat?Caseylooksupfrombehindthetelevisonatboth
doors,themaindoorandthepatiodoors...Shealsograbsaletteropenerto
useasaweaponifhegottoher...Casey:What?Man:Therearetwomain
doorstoyourhouse,thefrontdoorandthepatiodoor.VerySimple.Casey:

13
Icantdothis,Icant,Iwont.Man:Yourcall.Achairfliesthroughthe
patiodoorsCaseygetsupandrunsintothekitchen,sherunsbehindthe
kitchenislandandgrabstheknifeshehandledbefore...Caseylooksdown
thecorriderfromwhichshejustcame.Staringintothedarkness,shesees
somethingrunacrossthecorridertowardsthefrontdoor.Itlooksasifitis
wearingallblack,fromheadtotoe...Caseyrunsovertothedoorsfromthe
kitchen,opensthedoor,andstepsoutside,closingthedoorafterher,she
crawlsontotheground,holdingtheknifeinonehand,thephoneinthe
other...Caseysitstherefoirafewseconds,andlooksintothekitchenfrom
theglasspanesinthedoor.Shelooksovertowherethecorridoropensinto
thekitchen,andseesthedarkandmysteriouscharacterstandingthere,
peeringintothesmokykitchen.Itisdressedinallblackandhasaghostly
whiteface...Itrunsintothekitchen.Caseycrawlsbacktoherhiding
spot...Caseythenseesacarcomingdowntheroad.Maybeifshegottoit,
theywouldsaveher.Hopefullyitwouldbeherparents...Caseylooksagain,
andseesthe'ghost'runintothenextroom.Shecrawlsalongtheground.
Justpastthedoors,shestops.Shegetsupandlooksintothewindow,and
seesallblack.Whywasitallblack?Thensuddenly,themanturnsaround.
Facingheristhesadghostlyfaceseehadseenfromherhidingspot...The
man'shandpunchesrightthroughthewindowandgrabsherhand,thehand
holdingthephone.Caseyhitstheghostlyfacewiththephone,andheletsgo.
Caseydropsherknifeandrunsaway.Caseyrunsandstopsjustoutsidethe
patiodoors.ThereisSteve.Hislimpheadhasfallenbackashesitsthere
lifelessinthechair.Heisstilltiedupandtapedatthemouth.Casey
whimpersandrunsaroundthesideofthehouse...ThecarpullsintoCasey's
house,anddrivesupthedriveway.Caseystopstolooksatit.Sheknewit
washerparents.Theywouldcometoherrescue,sheknewit...AsCasey
standsthere,theghostlyfigurejumpsthroughawindowandlandsrighton
topofher.Shestruggleswithhimandgetsuprunsaway.Assheruns,the
killeralsogetsup,andchasesherdownthesideofthehouse.Caseyturns
herheadtoseehowfarawaythekilleris.He'srightbehindher.Thekiller
grabsheraroundherneck,andstabsherneartoherheart.Heletshergo
andshefallstotheground.AsCaseyfeelsherwound,sheiswhimpering.
Thereisbloodpumpingoutofherwomb.Thekillerliftshisknife,andif
abouttobringitdownonhertokillher.Mother:Didyouwateroverhere
today?Father:Itwasjustthatwaterfromtherain.Mother:Theylook
greatdontthey?Father:Donttheysmellstrong?Mother:Itoldyouyou
couldsendthemback.Casey'svocalcordshavebeensquashed,andshecant
talkproperly...Casey:Mom!Noonehearsher...MrBeckerseesthedoor
isopen,andthehouse,ontheinside,isinruins...Father:Jesus!Mrs
Beckerwalksinafterhim...Mother:Whatisit?Father:CASEY!MrBecker
runstowardsthelivingroom,seeingthechairthroughthepatiodoors...
MrsBeckerrunstowardsthekitchen...Mother:OhGo?Sheseesthepopcorn
onfire,shepicksitup,usingthetowel,throwsitdownintothesinkand
turnsthetapon...Mother:Casey!Casey!Casey!MrsBeckerrunsbackto
herhusband.Hegrabsher...Mother:Whereisshe?Father:Callthepolice!
Mother:CaseyMrBeckerrunsupstairscallingouttohisdaughter...
Father:Casey,areyouupstairs?MrsBeckerpicksupthephone,andstarts
todial.Shehearssomethingfromthephone,sosheputsitnexttoher
ear...Mother:Ohmygod,Casey,baby?Stillupstairs...Father:Casey!
Callingtoherhusband...Mother:Sheshere.MrBeckercomesdownstairs...
Casey:Mom.Mother:Whereisshe?Mother:Ohmygod!Icanhearher.
Man:Hey!(disconnectedtone...)Father:Getinthecar,drivedowntothe
Mackenzies.Mother:No,No,notmydaughter.Father:Justgo!Mother:

14
Notmydaughter.Father:Callthepolice!MrBeckerpushesMrsBecker
throughthedoor...Shelooksupandscreams...Mother:
Aaaaaaaaaaaaaaahhhhhhhhhhh!MrBeckerrunsoutsideandlooksathiswife.He
looksinthedirectionshewaslooking.HeseesCasey...Herunstowardsthe
treeinthefrontyard...ThereisCasey...Shehasbeenhungfromthetree
withtheswing...Herintestinesarespiltontothegroundbeneathher...
Steamisrisingfromherhotbodilyorgansonthecold,coldground...
Lightningflashesacrossthesky,atthesametime,theropesnapsandher
lifelessbodyfallsthetheground...

Appendix 2
Sidneyisinherroomtypingoncomputer.Lightningflashesacrossthesky.
Sidneyhearsanoiseoutside.Sheignoresit.Anothersoundisheardoutside.
Sidneygetsupandlooksoutherwindow.Ahandgrabsher.Sidneyjumpsand
screams...Billy:Itsjustme!Sidney:Billy,whatareyoudoinghere?
Billy:Sorry,donthateme!Billy:Yousleepinthat?Sidney:Yes,I
sleepinthis.Billyclimbsinthewindow...Sidney:Mydadisintheother
room.Youcantbehere.Billy:Illjuststayasec.Sid:Noyougotta
go!go!go!go!NealPrescottopensthedoortoSidnay'sroom,itcatches
ontothecupboraddoor.Heislockedout...Sidneyrunsovertothedoor...
Neal:Whatsgoingoninthere?Neal:Areyouokay?Sidney:Canyouknock?
Neal:Iheardscreaming.Sidney:Noyoudidnt.Neal:No?Oh,well.Iam
hittingthesack.Myflightleavesfirstthinginthemorning.Now,theexpo
runsallweekendsoIllwontbebacktillSunday.Therescashonthetable
andIamstayingSidney:AttheHilton.Dad:Outattheairport.....So
callifSidney:Ineedanything.Dad:IcouldveswornIheard
screaming.Sidney:Haveagoodtripokay?Sidneypushesherfatheraway
Dad:Sleeptight,sweetie.Sidneyclosesthedoor.Sheturnsaroundandlooks
inherroom.WheredidBillygo?Asofttoycomesupfrombehindherbedand
says...(imitatingatoytalking...)Billy:Closecall.Sidney:Billy,
whatareyoudoinghere?Billygetsup...Billy:ItoccurredtomethatI
hadneversnuckthroughyourbedroomwindow.Sidney:Well,nowthatits
outofyoursystem...Billy:Iwashomewatchingtelevision..theuhExorcist
wason.Itgotmethinkingofyou.(slightlybemused)Sidney:Itdid?
Billy:Yeah,itwaseditedforTVallthegoodstuffwascutout.And,itgot
methinkingofus.How2yearsagowestartedoffhotandheavy.NicesolidR
ratingonourwaytoaNC17.Andnow...thingshavechangedand....lately
werejusteditedfortelevision.Sidney:Ohsoyouthoughtyouwouldclimb
throughmywindowandhavealittlerawfootage?Billy:No!Iwouldnt
dreamofbreakingyourunderwearrule.Ijustthoughtwecoulddoalittle
ontopoftheclothesstuff.Sidney:Okay.Billy:Yeah?Sidney:Yeah.
SidneyandBillystartmakingoutonthebed.Billymoveshishandupher
leg...Sidney:Okay,okay,okay.Timeisupstudmuffin.Billy:God,you
seewhatyoudotome!Sidney:Youknowwhatmydadwilldotoyou?Billy:
Yeah,Imgoing.Billyclimbsoutofthewindow...Sidney:Okay.Sidney:
Youknow,Iappreciatetheromanticgesture.Billy:Heyaboutthesexstuff,
Imnottryingtorushyouatall.Billy:Iwasonlyhalfserious.Sidney:
Okay.Billystartstoclimbdownfromthewindow...Sidney:HeyBilly,would
yousettleforaPG13relationship?Billy:Whatsthat?Sidneyflashes
Billyherrightbreast...Billy:Mygod,yourjustatease.

15
Appendix 3
Sidney,tatumandDeweycomeoutofthePoliceStationinadarkalley...
Dewey:Youguysstayhere,Imgoingtogetthecar.Dontmove,Dontmakea
sound.Gale:Theresheis,Sidney!Hi!Thatssomenight.Whathappened?Are
youalright?Tatum:Shesnotansweringanyquestions.Justleaveusalone.
SidneypushesthroughTatumtoGale...Sidney:NoTatum.Itsokay.Shes
justdoingherjob.RightGale?Gale:Yes,thatsright.Sidney:Howsthe
book?Gale:Well,itllbeoutlaterthisyear.Sidney:Illlookforit.
Gale:Illsendyouacopy!SidneypuchesGale,shefallsbackwardsKenny:
Jeez.NiceShot.Sidney:Bitch.
Appendix 4
Billy:Gottheendingfiguredoutyet,Sid?Stu:ComeonSid,Youthink
aboutitnow,huh?Yourdaddysthechiefsuspectweclonedhiscellular.
Evidenceisallrighttherebaby!Billy:Whatifyourfathersnapped?Your
mothersanniversarysethimoffandhewentonakillingspree.Killing
everyone.ExceptformeandBillywewereleftfordead.Andthenhekillsyou
andshotshimselfinthehead.Perfectending.Stu:Ithoughtofthat.
Billy:Watchthis.Ready?Stu:Yeah,Yeah,Yeah,baby,Right,getitup,
yeah,baby,getitup,hitit,BillystabsStu...Stu:Goodoneman!
Jesus!Ohshit,myturn!Billy:Dontforget,staytothesideanddontgo
toodeep.Stu:OkayIllremember.Billy:Ahh!Fuck!Fuck!GoddamnStu!
Stu:SorryBilly,IguessIgotalittletoozealous,huh?Billy:Giveme
theknife.Stu:No.Billy:Givemetheknife!NOW!Stu:YouseeSid!
Everybodydiesbutus.Everybodydiesbutus.Wegettocarryonandplanthe
sequel.Causeletsfaceitbaby,causethesedaysyougottahaveasequel.
Sidney:Yousickfuckshaveseentomanymovies!BillystabsStuagain
FacingStustill...Billy:Sid,dontblamethemovies.Themoviesdont
createpsychos,moviesmakepsychosmorecreative.Stu:OhstopitBilly,
wouldyou?Alright?Icanttakeitanymore.Imfeelingalittlewoozyhere!
Billy:Alright,Alright,getthegunandIlluntiepops.Okay?Stuturns
around...Stu:UmuhHoustonwehaveaproblemhere.Billy:What?
Stu:Thegunman,thegunIputitrighthereanditsnothere.Billy:
Wherethefuckisit?Galecomesinwiththegun...Gale:Righthere
asshole.Billy:Man,Ithoughtshewasdead!Stu:Shelookeddeadman!She
stilldoes!Gale:Ivegotanendingforyou.Thereporterleftfordeadin
thenewsvancomesto.Stumblesontoyou2dipshits.Findsthegun,foils
yourplan,andsavestheday.Sidney:Ilikethatending.Billy:Iknow
somethingyoudont.Billywalksforward,andGaletriestoshoothim
...Nothinghappens.Billykicksheroutofthefrontdoor,andshehitsa
poleandfallsunconsciousontothegroundinaheapedpilenexttoDewey...
Stu:Yeah,Man!Billy:Yeah,awsosweet.Itworksbetterwithoutthesafety
on.BillystandsupandisreadytoshootGale...Billy:ThisisGale
WeatherssigningoffStuturningbacktoSidney...Stu:Babyyourgonna
lovethis!Shit!Billy:What?Wherearethey?Wherearethey?Sidneyand
nealaregone...Stu:Idontknowbut,Imhurtingman.Billy:Fuck!The
PhoneringsStu:ShallIletthemachinegetit?Billy:Hello?Usingthe
voicechanger...Sidney:Areyoualoneinthehouse?Billy:Bitch,you
bitch,wherethefuckareyou?Stillusingthevoicechanger...Sidney:Not
sofastIwanttoplayalittlegame,it'scalled...Shetalksnormalnow...
Sidney:...guesswhojustcalledthepoliceandreportedyoursorry
motherfuckingassBilly:Findheryoudipshit,getup!Stu:IcantBilly.
Ithinkyoucutmetoodeep.IthinkImdyinghereman.Billy:Talkto

16
her,Talktoher.BillyrunsaroundlookingforSidneyStupicksupthe
phone...Stu:Hello?Sidney:Oh,Stu,Stu,Stu,whatsyourmotive?Billys
gotone,thepoliceareontheirway.Whatareyougoingtotellthem?Stu:
Peerpressure,Imfartoosensitive.CuttoBillysearchingthehousefor
her...BillygrabsthephoneoffStu...Billy:Imgoingtoripyouupyou
bitch,justlikeyourfuckingmother.Sidney:Yougottofindmefirstyou
pansyassmommasboy.BillyhitsStuwiththephoneStu:Fuck!Ohyou
fuckeryouhitmewiththephone,dick!Billy:Fucker,whereareyou?You
Fuck!BillygoesofflookingforSidneyagain,,Stupicksupthephone...
Stu:Didyoureallycallthepolice?Sidney:YoubetyoursorryassIdid.
Crying...Stu:Mymomanddadaregoingtobesomadatme.Cutagainto
BillylookingforSidney...Billystopsatacloset,helooksinanddoesn't
seeanything.Heturnsawaybutlooksback.JustthenSidney,inthekillers
costume,slamsintoBillywithanumbrella....Billy:Aaahh!Bitch!Aaaahhh!
Aaaaaahhh!Aaaaahhhh!Billyfallstothefloor,andSidneytakesofthemask.
JustasStucomesrunningout,attackingSidney.SidneyhitsStuoverthe
headwithavaseStu:Ooh!Myarm!ThefightalongthegroundandSidney
getsup...Stu:IalwayshadathingforyouSid!Bitch!Sidney:Inyour
dreams!