OPEN ON:
INT. HOTEL ROOM – MORNING
Billy wakes up with a groggy headache. He's shirtless in bed. He runs a hand through his hair and turns – Karen is next to him, asleep. He stares down at her body and closes his eyes. He swings his legs around and sits up on the side of the bed. He looks at the dresser next to them – an empty bottle of vodka is sitting there with two shot glasses.
Oh boy.
He buries his head in hands.
Karen moves – she runs her hand along his arm.
KAREN: Good morning, handsome.
BILLY: Hey …
KAREN: How much did we drink last night?
BILLY: (picking up the empty bottle) A whole handle …
KAREN: Oy … that's why my head feels like lead.
Billy stands up, zipping up a pair of jeans.
KAREN: You're … you're leaving?
BILLY: I gotta.
KAREN: Okay. Or … how about I order us breakfast and we can try for round two?
BILLY: Karen … not that last night wasn't incredible or anything … but there's a killer on the loose. I gotta make sure my daughter is okay.
KAREN: No, completely understandable.
Billy sees her head fall. He turns, holds her chin up and kisses her.
BILLY: Last night was incredible. And I think I'd like to see where things go from here … when this is over, and my daughter is safe, let's pick up where we left off.
KAREN: A responsible parent. You've changed so much from high school.
BILLY: We all have.
KAREN: For the better?
BILLY: (Beat) Some of us.
EXT. KAREN'S HOTEL ROOM – MORNING
Billy exits the hotel room fully dressed, his hair askew. He turns – MARTHA MEEKS is staring him dead in the face. Billy stares back, his face going red.
MARTHA: Let's see, hair a mess. Shirt hastily buttoned. Smell of alcohol … sounds like you and Karen had a fun night.
BILLY: What … what are you doing here, Martha?
MARTHA: Oh well, I figured since you and Karen had a wild night, I'd see if there was room for one more – what the hell do you think I'm here for?
BILLY: The convention …
MARTHA: Right. The psych expo in New York. Kinda why Karen and I are staying her in Jersey. Well, besides Nessa's funeral … Is she ready yet?
BILLY: Ummm …
MARTHA: Right. Welp, we better get a move on. Congratulations by the way!
BILLY: On what?
MARTHA: Your daughter … Nicholette … for getting a starring role on Broadway.
BILLY: What?
MARTHA: Look, I know you're going through a divorce. And whatever … this … thing is that you've got going on with Karen … but you might want to start paying a little closer attention to your family. Just some friendly advice.
BILLY: Thanks, I'll keep that in mind.
He turns, fist clenched, and heads for the parking lot.
INT. WINNEBAGO – MORNING
DJ is sitting, beard unshaved, inside his Winnebago at a computer. He opens up a zip file the director of the horror museum had forwarded him – before his unfortunate demise. DJ opens it – it's completely scrambled. Encrypted.
Amber leans over him, sips a cup of coffee.
AMBER: Still poring over that file?
DJ: There's got to be a way to unscramble it! If I could just get an employee manifest of the night of the first murders -.
AMBER: Just don't become obsessed over it.
There's a knock at their door. It opens and Gale and Dewey enter.
DJ: Where. The. Hell Have you two been?
GALE: Okay, first of all, we're the parents. That's what we ask you.
DEWEY: We've been sightseeing in the city!
GALE: And it was a mess! Your Dad got his foot stuck in a pothole, got us on the wrong subway train, we ended up in Queens -.
DJ: Mom, as fascinating as that all sounds – WE'RE IN THE MIDDLE OF ANOTHER MASSACRE!
Gale blinks.
GALE: What?
DJ: Hello? I left you like twenty voicemails! Both of you!
Dewey and Gale sheepishly check their phones – filled to the brim with voicemails.
GALE: Look – it's been a while since your father and I had any alone time. We needed yesterday.
DEWEY: I even paid the extra money and booked your mother and I a romantic evening at the Washington Square Hotel.
DJ: Why did you need to book a romantic – oh my goodness, okay now I have that image burned in my brain.
GALE: Forget it – tell us about this massacre. What do you know so far? Who were the victims? I'll solve this thing in two seconds flat.
DJ: Mom – need I bring up Cotton Weary?
GALE: Why not, everyone else does. Just shut up and tell me what you know.
DJ: How can I tell you if I shut up?
GALE: DJ …
DJ: Okay, okay. Four teens were killed at the Gruber's Horror Museum. One was a former Woodsboro resident who moved out here to Jersey. She went to school with Jill Roberts and Jenny Randall.
DEWEY: That doesn't sound like a coincidence.
GALE: Keep going. Then what?
DJ: Luna Gold – a Broadway star. Thrown from her balcony in New York City. She was playing in this year's production of The Phantom of the Opera. Oh, and here's a coincidence – Kirby is friends with the lead's understudy Lucy. And she roped Nicholette into playing a role! She thinks it'll lure the killer out.
GALE: Uh-huh.
DJ: That's not all – he attacked when we went investigating the museum. He killed Detectives Rogers and Wayne and the museum director. But not before the director emailed me this employee manifest of the night of the murders. But it's encrypted – someone messed with it.
DEWEY: Forward it to me. The guys in Woodsboro might be able to crack it.
DJ: Will do. He also called Amber …
DEWEY: What'd he say?
AMBER: Oh, you know, the usual. "What's your favorite scary movie?". "Do you want to die tonight?"
GALE: Anything of substance?
AMBER: He mentioned Billy and Tatum.
Gale and Dewey look at each other.
AMBER: And Jill Roberts.
DEWEY: Jill? But she's been taken to some camp -.
GALE: - in upstate New York. Only a few hours from here. He's gathering us all here, in one region. He used the excuse of Nessa's funeral to get the family here. And the Broadway play – Nicholette got roped into it. The killer wants an audience.
DJ: Who would want to put on a show?
AMBER: He mentioned something on the phone – he said that he's going to show us that the "sun doesn't rise and set on the Loomis family."
GALE: And he's gathering an audience to prove his point …
DEWEY: Sounds like this guy has a grudge.
GALE: He must be someone from Woodsboro …
DJ: Which leads us to …?
GALE: (realizing) Kirby … you said she roped Nicholette into the show?
DEWEY: She's not the only one from Woodsboro around here …
GALE: That's right. Martha! She was at Nessa's funeral!
DEWEY: As was Karen Kolchec!
AMBER: It fits. There are three killers.
GALE: Three?
DJ: They all attacked us at the museum. But they're not the only ones from Woodsboro. There's Danny -.
GALE: That I can believe!
DJ: And Nicholette herself -.
DEWEY: DJ! You would really say that about your own cousin?
DJ: Hey, she's been really fucked up lately. And besides – Sidney was technically family too. As was Desirae. And Ned. And wasn't Aunt Joni originally from Woodsboro? Didn't she used to go clubbing all the time with Aunt Tatum?
GALE: That's enough! Your father and I will take this from here, DJ. I want you two to go home. Go back to Woodsboro. Get safe.
DJ: Like hell!
GALE: DJ!
DJ: I'm not a kid anymore, mom! I can help! I already got this employee manifest! We can decrypt it -.
DEWEY: You're a grown man now, DJ. You can make your own decisions -.
GALE: Dewey, I really don't –
AMBER: I'll be here to protect him.
GALE: Like that makes me feel better.
INT. BROADWAY PLAYHOUSE – NATHAN'S OFFICE – MORNING
Nathan is sitting in his office, poring over his computer records. He receives a phone call on his cell phone.
NATHAN: This is Nathan.
We don't hear the voice on the other end. His eyes widen –.
NATHAN: He'll be in town only for tonight? But – but that's not enough time – okay, yes, we'll be ready.
He hangs up, staring at the wall.
CUT TO:
INT. BROADWAY STAGE – MORNING
The cast and crew is assembled for dress rehearsal. Chantelle is leading, playing the role of Christine as the Phantom leads her to his underground lair. Brian is in full costume as the Phantom. Lucy stands off to the side, watching her every move. Kirby has her arms folded with Ace who's eating an ice cream cone. Chris is sitting in the audience, bored, waiting for his part.
Chantelle and Brian are signing.
CHANTELLE: (singing) In sleep he sang to me. In dreams he came. That voice which calls to me. And speaks my name. And do I dream again? For now I find … The Phantom of the Opera is there. Inside my mind.
Nathan storms into the auditorium. The music stops.
CHANTELLE: Umm, hello? We're in the middle of my solo.
NATHAN: Take five. I have an announcement.
The cast and crew fall silent. Nathan seems highly exasperated.
NATHAN: Gael DeLaouritz is coming into town tonight. For one night.
CHANTELLE: The famed movie producer?
NATHAN: He's putting together a musical himself and is looking for talent – he wants to see us in action!
The cast and crew talk in excitement.
CHANTELLE: You mean he wants to see me in action.
NATHAN: He'll be in town for tonight only. He's bringing an entire audience. He wants to see us live!
CHRIS: Tonight? But that's not enough time! We haven't had enough time to rehearse!
NICHOLETTE: I only just joined the cast the other day!
KIRBY: It'll be fine. You'll be fine. How many times have you seen the play, Nicky? You know all the songs by heart.
CHANTELLE: I shouldn't worry, Nicky dear. Who knows – you may not be in this play at all …
NICHOLETTE: What does mean?
CHANTELLE: I'm sure you'll find out later. But for now, I have to get ready for my Mr. DeLaouritz. He wants to see me and I plan to give him a show to remember.
Chantelle walks offstage.
NATHAN: Where are you going – you have to rehearse!
CHANTELLE: I'll be in my trailer preparing. Unlike these cretins, I don't need to rehearse.
Chantelle leaves. Kirby looks at Nicky.
KIRBY: What do you think she meant by "you won't be in the play at all?"
NICHOLETTE: I don't know, I didn't like the sound of that …
NATHAN: Brian – we still need to hear you sing in synchrony with someone. Come on now – ummm, who can fill in for Chantelle's role of Christine for this rehearsal …?
LUCY: Well, I am her understudy …
NATHAN: No, no, no not the understudy – you – Nicky. You run lines with Brian as Christine.
LUCY: I'm the understudy! Nathan, I can run these lines! Nicky has to focus on her role as Carlotta.
NATHAN: Look, I don't need this right now. Mr. Laouritz is going to want to see us at our best. I don't need advice from an understudy, thank you very much!
LUCY: You said I was stunning at the audition! You told me you were "blown away."
NATHAN: To be fair, I had just done a line of coke before tryouts. (snaps his fingers) You – Nicky – run lines with Brian. And action!
Lucy stands there, on the verge of tears. Kirby puts her hand on her shoulder. Lucy balls her fists, turns and storms off.
Nicholette sighs. She's supposed to now sing a love song with the Phantom – played by Brian. Awkward doesn't even begin to describe it. Brian adjusts his Phantom mask. He takes his place and begins singing as the pianist begins playing.
BRIAN: (singing) Nighttime sharpens, heightens each sensation. Darkness stirs and wakes imagination. Silently the senses abandon their defenses.
He circles Nicholette, who closes her eyes, trying to control her breathing.
BRIAN: (singing) Slowly, gently, night unfurls its splendor. Grasp it, sense it, tremulous and tender. Turn your face away from the garish light of day. Turn your thoughts away from cold, unfeeling light. And listen to the music of the night.
Brian takes position behind her. His arms go around her waist. She inhales sharply.
BRIAN: (singing) Close your eyes and surrender to your darkest dreams. Purge your thoughts of the life you knew before.
His lips are near her ear. She's breathing deeply now, trying to maintain control. Brian's fingers find her jawline. He turns her face to stare into his. She stares into his eyes behind the Phantom mask.
BRIAN: (singing) Let your mind start a journey to a strange new world Leave all thoughts of the world you knew before. Let your soul take you where you long to be. Only then can you belong to me.
Kirby narrows her eyes as she sees Nicholette, face flushed, knees trembling, staring into Brian's eyes. She sees something in Nicholette – something she hadn't seen from her in a long time. Desire? Is there something there beyond just acting?
Nathan catches it too. He stands up, applauding.
NATHAN: Chemistry! I couldn't put my finger on it, but that's what you're missing with Chantelle, Brian! Chemistry! You and Nicholette here – you ooze it!
Brian and Nicholette detangle themselves from each other's arms. Nicholette looks down, embarrassed. She's blushing.
NATHAN: I'm making an executive decision! I know it's short-notice – Nicholette, I'm recasting you as the lead. As Christine.
Nicholette's head shoots up.
NICHOLETTE: What? You can't? I can't be the lead!
NATHAN: You know the songs by heart –.
NICHOLETTE: What about Chantelle?
NATHAN: Fuck Chantelle. She can take your old role as Carlotta. It's time someone cut that bitch down to size anyway.
CHRIS: Finally! Glad to see someone stand up to her! Can I be the one to tell her?
NATHAN: No, no, I'll handle it.
KIRBY: (under her breath) Lucy is not going to take this well.
CUT TO:
INT. COSTUME ROOM – AFTERNOON
Nicholette is flushed. She stares at the mirror, washing her face, completely overwhelmed that she's now, suddenly, the lead in a Broadway play. A Broadway play, costarring with Brian. A play that involves a love story with Brian. And a part of her relished it.
Another part was scared shitless. And what about Danny?
Kirby appears behind her.
KIRBY: Nathan was right, you know. You and Brian – wow, Momma got a little hot under the collar herself watching you two.
NICHOLETTE: It's nothing, Kirby. Just acting.
KIRBY: Are ya sure? Cause that looked pretty real to me … You wanna fill Momma in on something?
NICHOLETTE: (sighing) We kissed last night.
KIRBY: Shut the fuck up! You and Brian kissed?
NICHOLETTE: I … I don't know, I was just overwhelmed with emotion and he was being so understanding and supportive and the next thing I knew …
KIRBY: You should go for it.
NICHOLETTE: Kirby …
KIRBY: No, I'm serious. What I saw onstage – that was the real thing. Trust me, I may have had some bad experiences in the love realm – Charlie Walker was just the tip of the iceberg – but I know the real thing when I see it. You got it bad, girl.
NICHOLETTE: But Danny -.
KIRBY: Do you love Danny?
NICHOLETTE: … I … I don't -.
KIRBY: If you did, it should be an easy answer.
NICHOLETTE: There is no easy answer. Not when it comes to Danny.
KIRBY: (coming up beside her) Look – there's gonna be a time real soon when you're going to have to make a decision. You're going to have to decide whether you want to take control of your life – or whether you want someone else running it.
NICHOLETTE: I've never let -.
KIRBY: You used to let your Dad run the show. Remember back in high school? You didn't want to return to Woodsboro High. You wanted to stay and support your mother during her cancer treatments. He made you stay with Dewey and Gale. But you finally laid down the law and told him what's what. That's what you need to find – that spark! Only you know what you want, Nicky. But take my advice – never let life just happen to you. Take hold of it for yourself. (Beat) I'll see you tonight for the show. Give Mr. DeLaouritz a performance to remember. And wipe that stupid grin off Chantelle's face, will ya?
Kirby walks out the door. Nicholette turns and stares at her own reflection.
INT. CAMP WICK – LANCE'S CABIN – AFTERNOON
Jill sits stone-faced, in silence on the couch. She stares at a wall. Behind her, a door opens – she doesn't even react to it. Lance enters.
LANCE: Afternoon, Jill.
JILL: I … er …
LANCE: Jill?
Jill just stares at a wall. Lance glances to where she's staring.
LANCE: That is a very attractive wall. Anyway, I talked to Dr. Sarius. Ian was sent to a hospital for his stomach bug.
JILL: Ian? Oh, right, right …
Lance narrows his eyes.
LANCE: Everything okay, Jill?
JILL: It's fine …
LANCE: Jill – if something's wrong, you can talk to me.
JILL: I can't … they'll get me …
LANCE: Who will get you?
JILL: The … the monsters …
LANCE: What monsters? Jill, did something happen yesterday?
JILL: NO! Nothing! Nothing at all!
LANCE: Jill …
JILL: Please don't make me remember! Don't make me talk about it!
LANCE: (closing the shades) I think we'd better. Jill, what's going on?
Jill wipes her eyes.
JILL: The bunny … they killed the bunny …
LANCE: Who? What bunny?
JILL: I wasn't strong enough to save it. I … I gave in to them so easily … I'm weak.
LANCE: You are not weak. That I know for a fact.
JILL: You can't know that.
LANCE: I know that you stopped Jenny Randall and Craig Harding right in their tracks. That takes a strong person.
Lance sits down and tosses aside his notes.
LANCE: Look – forget the psychology. Forget the notes. Talk to me. One on one. Friend with friend. Jill – you do consider me a friend, right?
JILL: We've only known each other for like a day.
LANCE: Well, I am your friend Jill. I want to help you.
JILL: (staring up) That's what they said …
LANCE: Who?
JILL: The masked people.
LANCE: What masked people.
JILL: A room … they played The Wizard of Oz. They tortured me. Made me watch porn. Killed … killed a defenseless rabbit.
There's a beat. Something strikes Lance's face. It becomes hardened, stone-faced. As if recollecting something.
LANCE: Where did this happen?
JILL: Here. In the cabin at the far side of the camp.
LANCE: Dr. Sarius said that cabin was off limits.
JILL: You must think I'm crazy. I'm not! I'm not making this up!
LANCE: I believe you …
JILL: No you don't.
LANCE: Jill … The Wizard of Oz is a movie that's frequently played during brainwashing sessions. If you're crazy or making this up, how would you have known those details? What else can you tell me?
JILL: They were in cartoon masks … there … there was a butterfly.
LANCE: A monarch?
JILL: How did you know? You must've been there!
LANCE: No! I wasn't. But I know the methodologies. Jill … I think I'm beginning to see the real purpose of this place now. What you're describing … is the brainwashing tactics of MKUltra.
EXTERIOR – CAMP WICK – EVENING
Lance leads Jill through the camp. He acts like her guardian, taking her to a therapy session past armed guards.
LANCE: MKUltra was a code name for human experimentation programs – undertaken by our own government. The CIA. It's a form of trauma-based mind control designed to induce a dissociative state.
JILL: What?
LANCE: That's why what you told me rings so true. I wrote a whole term paper about it in graduate school. The experiments are designed to torture a person so much, that it creates a new personality. One that could be molded by intelligentsia to do their bidding – without even knowing. The movie The Wizard of Oz was frequently used to program a person. "Going over the rainbow" means entering a dissociative state. "Follow the Yellow Brick Road" was a codeword they'd use to get the brainwashed victims to follow orders without question. When they wanted the person to return to their normal state, they'd use the code –
JILL: "There's no place like home."
LANCE: Right. It isn't the only story used to program people in brainwashing schemes. Alice in Wonderland too. "Follow the white rabbit." "Go through the looking glass."
JILL: That's explains the white rabbit from last night.
LANCE: The monarch butterfly was the last piece you needed to tell me. Oh, why didn't I see all this before? My paper term paper was published in academic journals you know!
JILL: What does the butterfly signify?
LANCE: MKUltra is nicknamed "Monarch" programming. From the monarch butterfly. As it goes from a caterpillar to a butterfly, it metamorphizes. A new creature, so to speak. Similar to Silence of the Lambs and Buffalo Bill's fixation on the moth.
JILL: How is this legal?
LANCE: If I'm right – it's not. It was banned years ago, though I'd heard rumors certain government agencies might still be doing it. I didn't believe it. Until now.
JILL: Why are they doing it?
LANCE: That's what I intend to find out …
They're halfway to the far cabin. They're stopped by Nevie and Stevie, who are leading Richie also in the direction of the cabin.
STEVIE: Hiya Lance! I see you're out and about with Ms. Roberts?
LANCE: Yeah. Yeah, I thought she needed some fresh air. Where are you taking Richie?
RICHIE: They said something about "treatment." Yeah, like I need it.
NEVIE: Richie mouthed off to his therapist. He needs some discipline.
JILL: Like you gave me last night?
STEVIE: Whatever do you mean Jillian?
JILL: Don't play dumb, it was you –
LANCE: (Under his breath) Shut up, Jill. (to Nevie and Stevie) Look, does Richie really need treatment?
NEVIE: Dr. Sarius' orders.
LANCE: Belay that order.
STEVIE: You don't have authority to -.
LANCE: I'm a clinical psychologist! I'm here under authority from the US government!
STEVIE: Dr. Sarius is also a US government –
LANCE: I'll take Richie.
STEVIE: You don't know how to administer the treatment!
LANCE: He's not getting the treatment right now. It's my professional opinion that he should go for some fresh air with me and Jill.
NEVIE: There are guards everywhere, Lance. In the trees.
LANCE: And they're not about to shoot a government-ordered psychologist.
STEVIE: Fine. Dr. Sarius will hear about your … insolence.
Nevie and Stevie shove Richie at Lance before they go on their way.
LANCE: You good, Richie?
RICHIE: I'm fine. Man this is some bullshit.
JILL: What do we do with him?
LANCE: How about a lookout?
EXT. CABIN – EVENING
Richie crouches in a corner of the cabin. He folds his arms, annoyed.
RICHIE: Like I said – bullshit.
INT. CABIN – EVENING
Jill finds herself back in the torture cabin. Lance flicks on a light. Jill stares at the chair where she was constrained the previous night. All manner of torture devices are laid out on a table. There's a computer in the back.
Lance finds a cabinet filled with files.
LANCE: It's locked. We gotta find a way to pick it open!
Jill shrugs, walks over, and pushes the cabinet over! It slams hard onto the ground, the drawers breaking and files flooding out.
LANCE: That's not exactly what I meant –
JILL: You wanted it open, I got it open!
LANCE: (smiling) There's that fire I knew you had. Come on, there should be something here that we could find. Evidence.
JILL: And if we find something?
LANCE: I take with me. I take it to the police, the media, the government. I get this place shut down. Here – this looks promising. Files – files on all of you. Ian's is missing …
Jill opens her file, thumbs through pictures of herself. She sees photos of the crime's scenes from Jenny and Craig's massacres … then she sees a list. It's labeled FRIENDS/RELATIVES.
JILL: Get a load of this … they're keeping tabs on everyone I knew from Woodsboro. Nicholette, DJ … shit, even Dewey, Gale, Billy and Tatum! Why are they keeping tabs on them? And look what it says: location – New Jersey. Funeral. How'd they know they were gonna be at a funeral in Jersey?
Lance goes through the folders.
LANCE: Here's Devon's. Look, she's got a FRIENDS/RELATIVES page too. Chantelle Montgomery is her sister? The actress?
JILL: I can see the family resemblance.
LANCE: Mikey – his best friend. Chris Malcom? (seeing Jill's puzzled face) He's an actor too. Starred in several shows with Chantelle Montgomery.
JILL: Do they have Richie's?
LANCE: Yeah … yeah they do. It says that he murdered his adoptive parents. The only family he has left is his adopted sister.
JILL: Who?
LANCE: A Lucy Maple.
Beat.
JILL: She's Kirby's friend … shit! Why would they be keeping tabs on our friends and family?
LANCE: Insurance. In case they ever lost control. They're brainwashing you for a reason.
Lance thumbs through another file.
LANCE: And I think I found the reason.
He hands Jill the file. Jill's fingers begin trembling as she goes through it. The file contains documents, dates … and a series of photographs. Photographs of Dr. Sarius standing with government officials. She turns to a final photograph. She nearly drops it.
The final photo shows Dr. Sarius standing with a crowd of people. Next to him is CYRUS BERNAL. And his associate ANGELIQUE. At his far right stands NED LUDDVICK. The soundtrack stings. The photo shows a line of men behind them, all in similar and all-too-familiar military-grade uniforms.
JILL: Camp Wick isn't here to rehabilitate us. They're a front … for PANTHYR. Dr. Sarius is rebuilding it.
LANCE: And who better to serve PANTHYR than an army of brainwashed, convicted felons …
JILL: We have to take this to the police, someone.
Lance runs a hand through his hair.
LANCE: That's the thing – the government approved the Reclamation Initiative. Which means –
JILL: PANTHYR is in the government. Who can we trust?
LANCE: I know a few people. Good people. Give me these folders. I'll take them to the proper authorities.
JILL: What about us? Me, Richie, Mikey, Babie and Devon?
LANCE: You'll have to sit tight. We can't let them know we're on to them.
JILL: They'll notice those missing files.
LANCE: I'll take full responsibility. Come tomorrow, you'll all be out of here. But you need to sit tight tonight. Do not let them know that you're on to them, is that clear?
JILL: You're putting your ass on the line for us.
LANCE: Yeah, well …
Jill gets up on her tiptoes and kisses him on the cheek. He blushes.
LANCE: Now go – get Richie and get back to your cabins. Do not let them find you out of bed!
Jill nods.
JILL: Good luck.
EXT. CABIN – EVENING
Jill exits the cabin. She motions to Richie.
RICHIE: Took you guys long enough. What'd you find out?
JILL: Nothing. There's nothing. Let's get back to bed.
RICHIE: Didn't sound like nothing to me …
JILL: Later.
She and Richie march back towards the cabin. They stop – they see soldiers – PANTHYR guards Jill realizes – descending from the trees. They're walking away from the camp.
They hear a voice over loudspeakers, blaring through the camp.
Dr. Sarius' voice.
DR. SARIUS : (V/O) All personnel are to leave the premises at once.
JILL: Leave?
Devon and Babie exit their cabins. Mikey exits his. They stare as the PANTHYR guards get into trucks. The remaining teens join up with Jill and Richie.
DEVON: What's going on?
JILL: Why would they be leaving us?
The guards' trucks start up and vanish down a dirt road. There's silence. Silence, except for Dr. Sarius' voice over the loudspeaker.
DR. SARIUS: (V/O) I repeat, this is a direct order. All personnel are to leave the premises immediately.
CUT TO:
EXT. WOODS – NIGHT
Lance arrives at his truck, files in hand. He enters the driver's seat, puts the files on the passenger seat. He turns on the ignition.
And hears Dr. Sarius's voice on loudspeakers echoing throughout the camp.
DR. SARIUS: (V/O) All military personnel are to leave the premises immediately.
LANCE: What?
That's when Lance hears something else … a drip, drip, drip.
We ANGLE ON the exterior of his truck. It's leaking fuel.
We AGNLE ON Lance's eyes, which widen as he realizes …
OVERHEAD SHOT OF WOODS: A giant orange fireball ascends into the night sky as Lance's truck is blown to smithereens.
CUT TO:
EXT. CAMP WICK – NIGHT
The teens are alone now. They realize it. Jill sees the explosion in the distance.
JILL: LANCE!
Dr. Sarius' voice continues speaking. But then, there's a click. The voice on the intercom changes. No longer Dr. Sarius. Jill knows the voice, she knows it all too well. After all – she'd used the voice herself once.
Ghostface's voice blares through the intercom.
GHOSTFACE: Good evening boys and girls! We're going to play a game tonight! A game in which one of you will have the opportunity to achieve your true potential!
INT. HOTEL ROOM – NIGHT
Dewey is sitting in a hotel room in his underwear, at a laptop. He's trying to decrypt the employee manifest from the night of the first murder.
Gale enters behind him. She's holding her cell phone.
GALE: Dewey – you might want to have a look at this …
Dewey turns – sees Gale's phone. A livestream. A livestream of Camp Wick with several confused teens.
CUT TO:
Billy stares at his phone, horror on his face.
CUT TO:
A psychologist convention. Karen Kolchec and Martha Meeks are sitting at a seminar. Martha's phone vibrates. She looks down – sees the video.
CUT TO:
Tatum is at a dinner table, Aunt Joni sipping wine. Her phone goes off, showing the same livestream.
CUT TO:
EXT. CAMP WICK – NIGHT
JILL: What do you want from us?!
GHOSTFACE: Tell me, Jill. Are you a fan of The Hunger Games? If not, no need to worry. YOU'RE ABOUT TO LIVE IT!
DEVON: What does he mean?
GHOSTFACE: The ULTIMATE game! The Ghostface Games! All of you have killed before. You all have that fine killing instinct deep within you. Yes, even you Jill. You may not have actually killed, but you planned to! You plotted a whole massacre and now you get to actually partake in one!
JILL: I'm not doing shit!
RICHIE: That's right! You can fuck right off!
GHOSTFACE: Oh, you'll play along Richie. You all will! We'll have all sorts of fun tonight! A game of SURVIVAL! Last one standing – WINS!
JILL: What's the point of all this?
GHOSTFACE: We'll get to that later. But for now, the rules! Which are – THERE ARE NO RULES! Except this – you must kill! Anyone who hesitates to kill another camp member … pays the consequences.
JILL: So kill or be killed?
GHOSTFACE: Yes. But not just for yourselves. You all may be murderers, but you all have something in common – you all have loved ones on the outside! Tell me Jill, have you followed Nicky's exploits on stage? Or you Richie – you may have killed your adoptive parents, but a part of you still cares for sissy Lucy, am I right? How about you Devon? How's your big sister handling stardom? See, I have someone on the outside too! A partner. Entangled with your friends, invested deep in their lives. You fail to kill another camp member – or if you yourself get killed – my partner will finish your loved one off!
BABIE: This is a joke! It has to be!
GHOSTFACE: Does it?
From between two giant oaks, a sheet descends. A projection from one of the cabins flashes, projecting a movie onto the sheet. The teens stare in horror – they see live-action footage of Shelly's murder. Of Luna's. Of the chase scene of DJ and Amber in the museum.
GHOSTFACE: As you can see … I never bluff. So, as they say, let the games begin! And may the odds ever be in your favor!
Jill turns – the rest of the camp members all look ready to kill. Some of them – Babie, Devon, only looking for an excuse to do so. Ghostface has given them that excuse.
Jill turns and runs into the woods.