Level 101

Content Warning
This particular webpage could potentially include shit that parents won't like their little cretins reading. Those who peruse the contents of this page, yourself included, may find it within the realm of possibility to deem the subject matter discussed herein as potentially unsuitable or inappropriate.
Spoiler & Minor Warnings
Before continuing, it's important to know that this page contain elements taken from Scream. So, if you'd like to watch the movie (which is recommended), beware that it is rated R by the Motion Picture Association in the United States, where the movie was released. To check the film's rating in your country, click this totally safe link. But, if your ass is too lazy to do watch it yourself, you can still enjoy this level.
If the content mentioned above is OK for you, please continue. If it isn't, I allow you to retort.
Scream [-]
Everyone is a suspect.
SCREAM
WOODSENTERTAINMENT
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Television Noise.
Ahhh!
A Ghostface-masked figure strikes from within with an umbrella, the sharp end hitting him in the chest as it fans out.
Billy drops his knife and gun on the floor.
Billy stumbles back, stunned, as the Ghostface comes at him again... The umbrella lodges in his chest, and he goes down.
Billy lays on the ground in pain.
Ghostface reveals itself as Sidney. She picks up the handgun near Billy's body before tossing it to another room.
Stu runs from the Kitchen, looking at Sidney for a second.
He rushes to Sidney, trying to finish her off.
Stu pushes Sidney down to the floor.
She kicks his leg, but he punches her back.
Oh! My arms!
Sidney tries to flee from Stu.
He catches her, and they both tumble into the ground.
I always had a thing for you, Sid!
Sidney bites Stu's hand.
Aughhh!
Sidney grabs a vase and hits Stu's head.
Bitch.
"In your dream..."
"In your dream..."
"In your dream..."
"In your dream..."
"In your dream..."
"In your dream..."
"In your dream..."
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I will be right back!
Level 101 formerly existed as a sub-level of Level 53 owing to the remarkably similar property of a two-story home that does not appear infinite. One can access the exterior, but the surrounding houses are confined and bordered, preventing anybody from getting further.
Level 101 is a two-story mansion situated atop a hill, resembling a large house from the 1980s concerning layout and design. The place exists in the Frontrooms of Spring Hill Estate, a 300-acre estate in Tomales, California. The residence is well-known for being the setting where the movie "Scream" takes place at the near-end of the film, although the level first appeared while the film was not yet released, presumably during the time the movie was filming and nearing completion. Regardless, no one was concerned or aware at the time that the level mimicked the fictional house 261 Turner Lane, which was initially home to the Macher family, where Original Woodsboro Murders accomplice killer, Stu Macher, lived before and during the events of the original Scream film. It took months after the movie's premiere for the level to gain recognition as the setting for its climax.
The house exhibits indications of a small party with several bottles of alcohol and wine, plastic cups, and popcorn bowls, alongside a few cans of soda and snacks from the 1980s spotted throughout the downstairs house, particularly in the living room and kitchen. According to the movie, Stu throws a party at his home when his parents are away after Woodsboro High Principal Arthur Himbry's announcement that all classes end early and curfews enforced. The living room served as a gathering spot where guests would watch horror films. However, objects and furniture got messed up and dispersed because of a fight that broke out when Billy and Stu attempted to track down Sidney. The television appeared to shatter and tumble on the floor as a consequence of Sidney pushing the television into Stu's face, causing his likely death—it is uncertain if Stu Macher died or not because the filmmaker wanted to include him in Scream 3 and later Scream movies but did not.
Tan wall wallpaper and hardwood floors coexist with other decorations, including paintings, tables, vases, and lamps, all in remarkably pristine shape and spotless. Nevertheless, certain parts may appear disrupted on the floor and blood stains as a result of Ghostface killers attempting to kill everyone inside the house with chasing and fighting occurring in the film. Upon arriving, one will find themselves in the house's entry room, with every doorway leading to each room downstairs, totaling seven. The left side doors of the entry room open to the living room and the downstairs bedroom; both are fancy furnished and decorated with furniture. The living room contains a fireplace, and the bedroom includes a mattress. These said rooms also had several camera setups, spotlights, and recording equipment strewn around, presumably to be rooms for keeping and storing filmmaking equipment, as none were used or shown in the film.
Other doors in the foyer proceed to the kitchen and another living room; those two chambers are prominently featured in the film and become iconic. The living room is identical to the previous one except that it has a television with speakers, bookshelves filled with vintage movie tapes, and a window overlooking the residence's rear. After the incident where Stu attempted to kill Sidney, many items became detached and damaged, with a television that fell to the ground, broken and scattered glass pieces across the floor, blood on furniture, a sofa that was ripped apart, and padding all over the place. The kitchen was constructed differently than other rooms, with rose-shaped white tiles wall in the cooking area. There are counter tables for placing food, ovens, stovetops, sinks, microwaves, a refrigerator, and multiple cabinets and drawers housing kitchen equipment, culinary tools, snacks, and drinks. On the other side of the room was a dining table with seats, a bowl of various fruits, bottles of wine, and an array of snacks.
Other rooms, like the garage, can be accessed from the kitchen, holding multiple items like cardboard boxes packed with furniture, gardening tools, and mechanical equipment. A refrigerator with many bottles of wine resides in the garage, where Stu asks his girlfriend, Tatum Riley, to fetch some beer. When she was alone in the garage and attacked by Ghostface, she threw two beer bottles that scattered and broke on the floor. The garage door also shattered because Tatum tried to escape through the garage door's cat flap but struggled to squeeze through. Ghostface takes advantage of Tatum's situation by activating the garage door, which raises her and, once at the top, crushes her neck and electrocutes her. Despite neither her body nor any other dead bodies appearing inside the home—this is the first homicide to occur there. The kitchen connects to the pantry; the area is vacant with no food storage within; it was a location where Stu tied up Sidney's father and kept him within the room before planning to kill him.
The closet lies beneath the stairwell in the entryway, where Sidney hides herself and her father from Stu and Billy. There were umbrellas within the room, and Sidney used one to strike Billy. Stairs in the entryway and kitchen lead to the upstairs, directing to a balcony overlooking the entry room. The upstairs layout is particularly unique and abnormal since it contains numerous rooms. While most rooms don't appear in the film, they appear as conventional bedrooms with huge mattresses and decorating similar to downstairs, while others are bathrooms. The master bedroom stands on the left side of the staircase. The bed has crimson, blood-like syrup streaks on it from Billy's attempt to stage his death to convince Sidney of his innocence.
The outside is an expansive barren hill scenery with no neighborhood around. There are a few barns and abandoned buildings with numerous telephone lines and lampposts set nearby, with an asphalt road in front of the house stretched in two directions. The atmosphere is constantly pitch black with no moon or stars as no daylight cycle occurs. Only four vehicles are visible outside the house: Dewey's police car, where Sidney tried to hide from Ghostface killer; Neil Prescotts's car that Billy abandoned in the middle of the forest and used to kidnap Sidney's father; the news van that left after Gale discovering a dead Kenny body on the car ceiling; and Stu's parents' car, that was left near the garage while they were outside. Approximately two kilometers from the home, travelers will come across an invisible barrier enclosing the entire area, preventing them from leaving.
==Entrances and Exits==
===Entrances===
* Making contact with Scream-related posters or advertisements that are spread throughout 2-digit levels lead to Level 101.
* Nocliping in Level 53 and Level 86 has a likelihood of ending up in here.
* Aggravating the Lurker of the Shadows enough in Level 100 will cause it to take the offender to Level 101.
===Exits===
*Entering an unusually placed manhole will lead to Level 102
* A gateway that emerges nowhere in the residence and seems to not belong to any room will lead to Level 123. The entrance may feature text from the Pulp Fiction series, with frequency instant like "Vincent & Jules," which is the character's name. While there have been a few rumors of noclip to Level 123 while attempting to collect a Pulp Fiction movie tape in the living room, this is likely false.
* A door that emerges out of nowhere will take back to either Level 86 or Level 53.
* Noclipping out of levels bourdaries will return to Level 0.
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Trilogy Rules
Things from the past continue to remain and pursue you; everything you know still stands out from the rest. All the history continues to haunt and destroy you, as there are always more hidden secrets lying beyond us. Everything you believed had ended may not have been; it always left us with something. Are you sure that you terminated it and gone? Are they still searching for us? Trust no one, friends, family, or even a loved one; it could be anyone. 
But Remember...
They always come back.
They always come back.
They always come back.
They always ocme back.
They always ocme back.
       They always come back.
The y always come b ack.
They laways c ome back.
They al ways cmoe back.
They always c omeback.
They al[ways omce back.
       They always come back.
Hey awlays comee ack.
They, always, come back.
They salway mcoe back.
They always. com eb ack.
T he]y always come back.
       He always come back.
Videotape by Randy Meeks
Randy: "Told ya I'd make a movie someday. Huh?..
Well, if you're watching this tape. It means, as I feared, I did not survive these killings here at Windsor College, and giving up my virginity to Karen Kolchakat, the video store, was probably not a good idea.
Yes..., Karen Kolchak...
Shut up! She's a sweet person, okay? We were working late. We were putting away some videos in the porno section, and you know, shit happens."
Paul: "Open the door, Randy!"
Randy: "Fifteen minutes."
Paul: "It's my room too!"
Randy: "Paul, fifteen minutes. I'm leaving my legacy. Fifteen minutes, Paul! Damn!...
Anyway, the reason I'm here is to help you so that my death will not be in vain. That my life's work will help save some other poor soul from getting mutilated. If this killer does come back, and he's for real. There are a few things that you gotta remember."
Is this simply another sequel? Well... If it is, the same rules apply, but here's the critical thing. If you find yourself dealing with an unexpected back-story and a preponderance of exposition, then the sequel rules do not apply because you're not dealing with the sequel. You are dealing with the concluding chapter of a trilogy.
Trilogy... That's right. It's a rarity in the horror field but it does exist, and it is a force to be rechoned with. Because true trilogies are all about going back to the beginning and discovering something that wasn't true from the get-go. Godfather, Jedi, all revealed something that we thought was true that wasn't true. So if it is a trilogy you are dealing with.
Here are some super trilogy rules. One: You've got a killer who's gonna be superhuman. Stabbing him won't work. Shooting him won't work. Basically, in the third one, you've gotta cryogenically freeze his head, decapitate him, or blow him up. The horror movie's rule also applies that the killer you already dealt with could return after you, regardless of whether you thought they were dead. Just imagine, like Michael Myers, the motherfucker got shot and stabbed a hundred times but guess what? He still survives. So did you finish your job and double-tap on their fucking heads?
Number two: Anyone, including the main character, can die. This means you, Sid. I'm sorry. It's the final chapter. It could be fucking Reservoir Dogs by the time this thing is through. 
Number three: The past will come back to bite you in the ass. Whatever you think you know about the past, forget it. The past is not at rest! Any sins you think were committed in the past are about to break out and destroy you. Seriously, I believe Stu is still alive. Remember The Woodsboro Murders? I looked into this for quite a while; many of these cases referenced Billy Loomis, not many regarding Stu. Nothing does prove his death, not even a record of his passing or a photograph of his body. I'm fairly certain the man who is still able to run down somebody but got just a television fall in his head won't kill him right away. Therefore, he will definitely come after you.
So in closing, let me say good luck, Godspeed. And for some of you, I'll see you soon. Cause the rules say some of you ain't gonna make it. I didn't, not if you're watching this tape."
This recording was discovered among my brother's belongings when he attended college in Woodboro. It was a documentary he made on the rules regarding legacy horror movies. I remember watching the tape with Sidney Prescott and Dewey Riley, but I never heard him mention anything about the killer coming back hypothesis. The fact that it was a DVD video that we used to watch. 
I recall the DVD video included a few cuts, but this didn't seem to have any. It appears to be an extended version. That DVD tape was gone.
?
Don't blame the movies. Movies don't create psychos, movies make psychos more creative.
Log 09/28/1995 Scene #125
Wake up. Wake the fuck up!
Augh, hey...
We have to go now!
I can't, Billy
I said get your ass out here! The fuzz gonna come here soon and beat your shit up! Do you want to sit behind the bar?
Billy kicks Stu's leg.
Ouch! Stop it, Billy, would you? All right? I can't take anymore, I feeling a little woozy here.
Sobbing.
Where are they? Where are they!
Coughing.
I don't know, but I'm hurting, man.
You dipshit! Get up!
I can't, Billy. You cut me too deep. I think I'm dying here, man.
Good luck! I'm leaving you here.
No, no, fuck no, Billy, please help me. Don't leave me here!
No...
I'm sorry. It's all right.
Huh?
Oh, my God, [inaudible], I thought you were dead.
Billy... Is that you? Did you come back?
I probably should be. I never thought I'd be so happy to be a [inaudible]
Who is this. You are not Billy. Please don't kill me... I feel like I'm dying right now... My mom and dad are gonna be so mad at me...
Silence...
Hello?
Fucker!
Billy!... Billy, I think I really heard your voice, god... man. Where are you?
Say hello to [inaudible].
Billy screams.
Sound of gun shot.
Another silence...
He goes to the kitchen and picks up a knife.
Come on.
It's okay.
[inaudible].
He tried to peek at the entryway where the sound presumably originated from.
Guess I remembered the safety that time, you bastard.
Careful. This is the moment when the supposedly dead killer comes back to life for one last scare.
Not in my movie.
Another sound of gun shot.
Heavily breath.
You killed Billy! You bastards!
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I'm here, Sid! I'm not dead. I told ya I always come back! Now show your face!
No voice responded...
Where the hell did you all go? I know you are hiding somewhere in the house.
He looks throughout the house.
I heard voices coming here just seconds ago. Now, where did you all go?
He goes upstairs.
I don't understand why, all of a sudden, everyone is gone. What is happening? Am I already dead? Is this the memory before I die?
He goes outside.
I'm alone.
He accidentally hits his head on the boundary while following the street.
Oh! My head...! What is this why... Why can't I go?
He touches the boundary, trying to move through the invisible barrier.
What is this thing? Am I trapping here? Why does it keep happening to me like this?...
He keeps kicking the wall, desperate to go through.
Help! If anyone hears me, help me! Take me out of here...
The scream of a psychopath was as loud as their victim's throughout the surroundings, but no one heard it; only silence responded. A faint breeze broke the quietness as the man's gaze turned to the route on the street stretching into the darkness, hoping to catch a glimpse of someone. The massive invisible barrier expands, encircling the house and trapping him within with unknown means. He continues to knock and stomp on the boundaries, attempting to flee the spot. The refreshing atmosphere of the forest, coupled with his bleeding from the wound, leaves a red trail on the road. His body and thoughts were overwhelmed with exhaustion; perhaps he might need some shuteye, but maybe he wouldn't wake up again like those lifeless bodies.
He returned to the scene of the massacre, desiring that it wasn't real. It might be a dream or an area where consciousness stopped when a person died. Is he dead yet, though? He thinks to himself. He'd figure it out, but for now, he desperately requires a restful spot. Upon arriving at the front home, he notices something remarkable at the backyard door. He finds it incredibly bothersome; it is a door amid an empty field with nowhere to go. As he examines closer, it seems to go to another unknown destination that may be an escape out of this dimension. As he walks ahead to the entryway, an intense glow beams on his face, the light of fluorescent lighting with the sound of hum-buzz light slowly audible. The outstanding mono-yellow wallpaper and beige carpet lie straight beyond him.
He walks forward...
He was supposed to return to Hollywood, but he's here now...
THE END
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Credit >
WRITTEN &
DIRECTED BYWes Craven
STOLEN FROM &
BLATANT COPY OFSCREAM
INSPIRED BYPULP FICTION WHICH IS WRITTEN &
DIRECTED BYJIMMIEMCDICK
Category:Levels
Category:Unconfirmed Levels
Category:Cluster I
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