EXT. WOODSBORO HIGH – MORNING

Jill, Olivia and Kirby walk along the quad of the high school, heading for the front steps. ROBBIE MERCER, 17, nerd with a flip camera stuck on his head. He's randomly jumping out at people left and right, trying to get an interview. A bunch of preppy girls scream in his face. Undeterred, he strides up to the trio of girls, adjusting the camera.

ROBBIE: This is HALL PASS with Robbie Mercer, coming at ya, POV. I'm here with the luscious Olivia-don't-look-at-my-breasts-I-have-a-mind-Morris, with our topic of the week.

OLIVIA: (annoyed) Which is? Hurry up.

ROBBIE: For all my horror hoe's out there, we stand on the precipice of horror cinema history. For the first time, in over a decade – a Loomis is returning to Woodsboro High.

KIRBY: And that has something to do with us because …?

ROBBIE: It's Stab history in the making! So I have to ask: "What's your favorite scary movie?"

OLIVIA: (rolling her eyes) That's all you got? Some lame ass douche question? Go away, closet boy.

She pushes past him and he stands there, exasperated, arms out. A hand grabs his shoulder. He jumps!

ROBBIE: Shit you gave me a heart attack.

CHARLIE: (sheepish) Sorry.

ROBBIE: (eyes narrowed, shutting the camera off) You cool, man? You look like shit.

CHARLIE: Just had a rough night. You know – planning for Stab-A-Thon.

ROBBIE: Speaking of which, we should really -.

He's interrupted. DJ is standing there, grinning. For once, he's not playing a video game.

DJ: Nice headset.

ROBBIE: (switching the camera back) Folks, live again – we have teen royalty. Dwight Junior Riley, the son of Gale and Dewey Riley fame. But we see him day in and day out, sooo …

DJ: Cut the crap Robbie. Stab-A-Thon. Where is it? Why haven't I received my invite?

ROBBIE: Why haven't you paid your Cinema Club dues?

DJ: We don't pay dues!

CHARLIE: We'll have a location out to the club members soon, okay?

Robbie's eyes, however, fall on the girl approaching. He aims his camera and rushes her. Nicholette is nearly blown over as Robbie gets in her face, surveying her from every angle with his camera.

ROBBIE: (hushed, almost worshipful tones) Ladies and gentleman, we are in the presence of cinematic deity. I present to you, the daughter of Billy Loomis and Tatum Riley, Nicholette Riley.

NICHOLETTE: That's not … that's not live is it?

ROBBIE: Oh, it's live and it's spectacular.

NICHOLETTE: (face going red) People are watching me …?

CHARLIE: Don't worry, he's only got like two followers. Including me.

ROBBIE: I have followers! People follow me! (turning to Nicholette) You'll be joining Cinema Club this year of course?

NICHOLETTE: Well … I don't really like …

DJ slings his arm over her shoulder grinning cheesily.

DJ: She'd love to!

Robbie gets giddy as a schoolgirl.

ROBBIE: You hear that world?! Nicholette Loomis – the daughter of Billy and Tatum Loomis – is going to be joining my club! My club!

CHARLIE: You mean our club!

ROBBIE: We meet after school. Every other day! Heck, I'll even waive the fee for you -.

DJ: You didn't waive it for me!

ROBBIE: I gotta tell the rest of the gang!

He darts off. Charlie puts his hands in his pockets and looks at Nicholette apologetically.

CHARLIE: See you after school.

DJ claps Nicholette on the shoulder and she stands there dumbstruck. What did she just get dragged into?

INT. WOODSBORO HIGH – HALLWAY

We view the old hallway again, remembering how it appeared in the original SCREAMMAKE. We pass a familiar locker – CASEY BECKER's old locker. And the guidance councilor's office – formerly occupied by the late MR. LOVEDGE. The title card for the office now reads: MRS. MEEKS.

Jill is at her locker, a few down from Casey's old one. She's sticking books away while Kirby chills out next to her on her phone.

JILL: I think Charlie likes you.

KIRBY: And I like him. To tease. To torment. To make him squirm.

JILL: You could do a lot worse, trust me.

She closes the locker. TREVOR SHELDON is standing there, smiling.

KIRBY: Oh hi Trevor. Bye, Trevor.

Kirby walks off as Jill storms in the other direction. Trevor follows.

TREVOR: Can we talk? Somebody cares about you over here. Someone who made you really happy once. Someone who never should have let you go.

JILL: (spinning around) When you're done with a phone call, you let someone go. Or when you take someone to the airport, you let them go. When you tell someone you love her and she gives you everything … and then you just go out with someone else, that is not letting her go. That's dumping her. Okay? That's … that's betrayal.

Behind them, Robbie approaches with Charlie in tow. Jill stares up at Trevor, lip trembling, Trevor unsure what to say.

ROBBIE: Trevor Sheldon, access denied, live on Hall Pass with Robber Mercer. What is your favorite scary move man?

TREVOR: I'll show you.

CHARLIE: Not now, Robbie.

Charlie gives Jill an imploring, "we-need-to-talk-look." Jill gives Trevor a final glance, before following Charlie down the hall.

TREVOR: (calling after her) How many times can I say I'm sorry?!

ROBBIE: (adjusting his lens) Would you say it one more time? I think the mic shorted out.

Trevor turns and chases Robbie down the hall.

INT. EMPTY CLASSROOM – MORNING

Charlie slams the door shut, locking it. He turns.

CHARLIE: What the fuck was that?

JILL: What?

He makes the same, but exaggerated, pouty expression Jill was giving to Trevor. Jill rolls her eyes.

JILL: I have to make it convincing …

CHARLIE: You still like him!

JILL: Yeah, right! Like I don't catch you doing googly eyes at Kirby!

CHARLIE: That's different -.

JILL: You can explain the difference when they're both dead. And as for you – what was that this morning?

CHARLIE: The call dropped. I don't know -.

JILL: You better figure it out! We can't afford things to go wrong again. Now, I've been thinking … last night wasn't the big failure we initially thought.

CHARLIE: How so?

JILL: Duh? Earth to Charlie! The other guy did the dirty work for us! Another killer on the loose. He wants to outdo us? I say let him! Let him! We still come out as the sole survivors.

CHARLIE: Unless he knifes us first.

JILL: We'll just have to be prepared. We still got our opening kills.

Jill pulls out her phone – on it is a video of Jess and Sean's corpses swaying from the porch of the Weary house.

JILL: Not the footage I would've liked but it's better than nothing.

CHARLIE: So we have an opening kill – now what?

JILL: We move on to the next phase! Remember the script! Jenna was the next victim of Sidney's. Student athlete. Which means -.

CHARLIE: Olivia.

JILL: Tonight. Make it brutal. We're sending this town a statement. All leading up to our big finale … the final kill … our own little Casey Becker!

CHARLIE: Jenny.

JILL: Had things gone my way, she and her little sock-puppet friend Marnie would've been the first to go. But since Sidney and Cotton saved Casey for last … it's poetic really. Our final, most savage kill.

CHARLIE: I knew it …

JILL: Hmmm …?

CHARLIE: You still have feelings for Trevor. That's why Jenny's death is so personal to you.

JILL: Charlie …

CHARLIE: No, it's fine. We're making a live Stab movie after all. It's not like any of this is real. Like our feelings.

He stops at the door, hand on the knob.

CHARLIE: I'll stick to the script. But in the meantime, you better figure out what I mean to you and fast. Because you know – maybe my knife-hand won't be so heavy when it comes to Kirby. Maybe I'll just slip … and it'll be three survivors.

JILL: You better not fucking dare!

CHARLIE: Then you better not bitch out when it comes to Trevor. (Beat) I'll call you later.

JILL: Charlie -.

He stops. Jill hesitates, before grabbing him and angrily kissing him.

JILL: There. Happy? And by the way – if Nicholette is going to be the new Sidney, we better find a way to get her into our circle of friends. Fast. She and I are related … well, sorta. Let's play that angle.

CHARLIE: Already ahead of you. She's joining Cinema Club. See? Already on top of things. Unlike you.

He exits the room, leaving Jill seething.