INT. JFK INTERNATIONAL AIRPORT – NIGHT
Billy slams his hand down on a counter.
BILLY: What do you mean no flights into California?
CLERK: I'm sorry sir, there's a storm brewing up in California. All flights in or out are delayed indefinitely until tomorrow.
BILLY: So there's nothing – nothing?!
CLERK: I'm very sorry, sir.
Billy turns, staring out the airport window in the night sky. An older man, burly chested with a moustache like a walrus, taps him on the shoulder.
MAN: Forgive me, but I couldn't help overhear your plight.
BILLY: Excuse me?
MAN: Oh, where are my manners? (shaking Billy's hand) Winston. Winson O'Carroll Flaherty, that's my name. You need a pilot? I'm your man!
BILLY: Umm, that's very nice but -.
WINSTON: You don't understand. I'm a private pilot. Got my own plane and everything out there at the Teaneck airport in Jersey. I used to fly commercial, even flew in a few wars. Ever hear of Grenada?
BILLY: Wasn't that war like 48 hours?
WINSTON: And if anyone can get you to California in the middle of a storm, it's me. I used to dust crops out west in the middle of o' some of the biggest twisters ya' ever did see …
BILLY: Okay, crazy guy …
WINSTON: I ain't crazy and I ain't a guy. But I am your only hope to get to Woodsboro before sun-up. Six-hour flight on my own small passenger liner. Whaddya say?
BILLY: What's the catch?
WINSTON: No catch. You're a man in desperation. You have to get to California before sunrise – someone you care about there?
BILLY: … my daughter.
WINSTON: I knew it! I knew it! I can always tell a family man! Well, from one parent to another, we can work out payment later. Whaddya say?
Billy's eyes turn towards the tv in the airport. A reporter is still discussing the killings.
BILLY: (sighs) When can we leave?
INT. JILL'S ROOM – NIGHT
Jill is lying in bed, her laptop open. She's watching a live-feed. The video shows the Stab-A-Thon barn. Charlie comes into view and gives her a thumbs up. It's a go. She nods –
SOMETHING BANGS AGAINST HER WINDOW!
She jumps, pausing, catching her breath. She places her laptop on her dresser, the camera facing her bed. She looks outside – Trevor is standing on the front lawn. He's holding a boombox, grinning cheesily. She opens her window.
JILL: What the hell are you doing, Trevor?
Trevor's face becomes solemn. He presses PLAY on the boombox and lifts it above his head.
JILL: Where did you even get a boombox from? An antique store?
The boombox begins playing "All That We Needed" by the Plain White T's.
JILL: Trevor –
TREVOR: I'm not leaving here, Jill. I'll stay out here all night, until you talk to me.
Jill sighs. She looks around her room. Sees a dresser. She turns back to look at her ex-boyfriend.
JILL: Give me a minute to freshen up, I'll let you right in. I'll hear you out – just this once!
Jill closes her window as Trevor smiles. Jill reaches into her dresser – pulls out a GUN. She eyes it –
JILL: And then I'll put a bullet right between your eyes.
EXT. TEANECK AIRPORT – NIGHT
We see a magnificent private passenger airline. Fully stocked with bar, movie theater, you name it. It's the epitome of luxury.
And the camera pans to a small, crappy passenger liner right next to it. It looks like it's being held together by paper clips and broken dreams.
BILLY: What a piece of junk!
WINSTON: She may not look like much, but she's got it where it counts.
BILLY: I'm gonna regret this.
INT. DUNGEON – NIGHT
Gale is still struggling against her bindings. She shrieks, to no avail. She sighs, looking around. The dungeon door opens – Rebecca enters with a tray containing a bowl of soup.
REBECCA: You know, this could all end in an instant. The only one keeping you here is you.
GALE: (looking up at her cuffs) Somehow I'm not convinced.
REBECCA: Oh Gale, you could make Lester so happy. The way you did all those years ago. Why be so obstinate? He and I could make you big, big, BIG! Beyond your wildest dreams! I mean, those Stab movies – sure, you got some recognition. But the media considers you a laughingstock. I mean, to write books and make documentaries, convinced Cotton Weary was innocent – and then he actually did it -.
GALE: That was almost two decades ago! I've regained my reputation -.
REBECCA: Gale, all you're known for now is being the sidekick to Billy and Tatum. Aren't you tired of always being the supporting character? Don't you think it's time you got a leading role?
Gale pauses.
GALE: You know something … and I hate to say this – you may have point.
REBECCA: Of course I do –
GALE: So what, I stay here, screw Lester -.
REBECCA: I get to watch of course.
GALE: And you'll get me out of these cuffs?
REBECCA: (jingling the keys) Right now.
GALE: Then what are we waiting for? Take me to see Lester right now!
REBECCA: I knew you'd see reason.
Rebecca unshackles Gale's wrists. Gale rubs them as Rebecca stands up. Gale points to the skeleton in the corner.
GALE: That's not really a real skeleton, is it? It's just a prop, right?
Rebecca turns to look at the skeleton – Gale quickly kneels down and grabs the bowl of piping hot soup.
REBECCA: Well, there is one thing I should warn you about – Lester is very easily displeased … (turning back to Gale) but that shouldn't be a problem for –
GALE HURLS THE FULL BOWL OF STEAMING HOT SOUP INTO REBECCA'S EYES! Rebecca screams, flailing – Gale dives, grabs the tray, springs up and SMASHES the tray into Rebecca's face. Rebecca goes down – Gale stands over her, bringing the tray down again, and again, and again. She's a mad woman. Rebecca is no longer moving – breathing – but only just. Gale tosses the tray aside and backs out of the dungeon.
INT. JILL'S ROOM – NIGHT
Jill sits on her bed. Trevor joins her. He tries to take her hand, but she withdraws it.
TREVOR: Did you … think at all about what I said?
JILL: (stiffly) I did.
TREVOR: And?
JILL: And what? So far you haven't done anything to prove that you're a changed man!
Trevor looks down at Jill's hand. He smiles.
TREVOR: You're wearing my grandmother's ring …
Jill slips it off and puts it in her pocket.
TREVOR: (grinning) So you're saying there's a chance?
Jill stands up. She begins pacing back and forth in front of her dresser.
JILL: No! Maybe -.
TREVOR: I made you happy once, Jill. I want the chance to prove I can make you happy again. Look – I have been apologizing for the last several months! My apology tour is over. (He sighs) I don't know why I did it, Jill. I don't know why I cheated with Jenny … if a psychologist were to question me, I don't think he'd even find the answer.
Trevor stands up – his back is to her. He stares out the window, leaning on the sill. Behind him, Jill's hand goes behind her back. Her fingers trace the gun. She pulls it out, prepared to butt him in the back of the head, to knock him out cold.
TREVOR: My Dad was a cheater too. I even caught him when I was little. Made me promise not to tell Mom, that it was "our little secret." I grew up resenting him. I always swore I would never be anything like him.
Jill is slowly coming up behind him.
TREVOR: Finally, I couldn't take it anymore. I tried to tell my mother, but she just wouldn't listen. I mean, it's not that she was even in denial – she just wouldn't listen to anything I had to say. "That's nice, Trev." "Can't talk now, I've got a canasta tournament." But then that's what my whole childhood was always like. A mother that just never paid attention.
Jill falters.
TREVOR: You don't know what it's like … to grow up with two parents who gave you everything you wanted … except them. To feel so … unseen, so small … invisible …
Jill's face falters. She stops. She opens a drawer at a desk and places the gun inside.
JILL: Actually … I do …
Trevor turns to look at her and for the first time Jill is shocked to see actual tears in his eyes. She steps up to him, brushing them out of his face.
JILL: You know my mother … an alcoholic. Always at the bars, trying to pick up men, trying to regain her youth. And my family – my Aunt Maureen was supposed to be a big star. Even played in a few Milton movies. And then the whole thing with Sidney – and when it came out that Tatum was Sidney's sister and she was part of the family … I was always just shunted aside. I felt like I was screaming yet no one could hear me …
Trevor nods.
TREVOR: I hear you, Jill. I promise, I will always hear you. I'll always listen to you. In my eyes, you'll always be the star …
They stare at each other. Trevor is overcome – he reaches out to touch her face – and KISSES HER. Jill falls into it, kissing him back, her eyes closing.
Her eyes open as reality sets back in. SHE TEARS HERSELF FREE OF HIM! She stares up at him, mouth open, mind spinning.
JILL: (trying to cover her own emotions) What the hell Trevor?
TREVOR: I … I'm sorry … I thought you wanted me to … (beat) I am sorry for hurting you, Jill … if you want me to leave I will … I'll stop hounding you … I'll leave you alone …
He brushes past her, heading for the door.
JILL: (beat) Wait!
She grabs his arm, spinning him around and kisses him back. Deeper this time, her hands grabbing his face. Still kissing him, she backs him towards the bed as his arm goes up her back. She lets herself fall backwards onto the bed. Trevor climbs on top, kissing up her neck as she inhales sharply …
… and the whole time, her laptop still faces the bed, Jill completely forgetting that the camera … was still on …
CUT TO:
INT. BARN – NIGHT
Charlie is still in his street clothes, making final preparations. He places the last camera in position on the mezzanine, overlooking the Stab party below. He turns, grabbing his laptop, prepared to let Jill know that the next phase is a go. He clicks on the laptop's live camera app …
… and frowns. The live video feed in Jill's room is playing. Charlie's mouth opens – he watches as she and Trevor kiss in bed, passionately making love right in front of him. Charlie's eyes soften … he can feel his chest thudding, his heart literally breaking … He squeezes his eyes shut. Tears leak down his cheeks and he wipes his face.
Sudden rage fills him. His face becomes animalistic and he balls his fist. This rage needs an outlet. He needs to unleash his inner demons, take the rage out on someone – anyone –
His CELL PHONE rings! Hand shaking, he reaches into his pocket. He looks at the caller ID – TREVOR. But Trevor is on screen … with Jill. How could he be calling Charlie? He places the phone to his ear.
CHARLIE: Hello?
GHOSTFACE: Poor, dear Charlie Walker. Shunted off to the side, cast away like yesterday's trash.
CHARLIE: Who are you? How do you know -.
GHOSTFACE: I didn't have to know anything. Your so-called partner is just … so … predictable … I've been waiting for this moment …
CHARLIE: Oh yeah – and what moment is that, huh?
GHOSTFACE: … (beat) recruitment.
CHARLIE: Come again?
GHOSTFACE: Why partner with someone like Jill? Do you really think she'll let you share some of the fame, bask in her light?
CHARLIE: She promised -.
GHOSTFACE: She also told you she loved you, how'd that work out for you?
Charlie turns and watches Jill and Trevor on the laptop. The fury builds.
CHARLIE: So … recruitment huh? Let's say – hypothetically – I were interested. What do you want me to do?
GHOSTFACE: Right now – I just want to see what you're capable of. (Beat) Whaddya say …?
Charlie looks down at the Stab-A-Thon going on below. The movie screen shows Ghostface savaging Casey Becker beyond recognition.
He turns back, watching Trevor and Jill. He cracks his neck.
CHARLIE: I'm in.
CUT TO:
INT. BARN – LOWER LEVEL
Robbie has his arms folded, watching what he created. Teens drinking, having fun, laughing and screaming at one of their favorite movie series of all time. He turns – runs smack-dab into Kirby who is still very much buzzed.
KIRBY: Great party, Robz. You really outdid yourself. A bunch of hot guys, girls flashing everywhere – you know how many boobs I've seen already? (holds up random fingers) Thirteen!
ROBBIE: (taking the bottle out of her hand) Okay Drunk Kirby, that's enough of the happy juice -.
KIRBY: Where's Charlie at? 'Cause you know, in this light, this atmosphere … well, stranger things have happened.
ROBBIE: I'm going to pretend I didn't hear that. (Beat) I should really call you an uber. And where is Charlie? I haven't seen him since the party began.
KIRBY: (shrugging) Oh well, his loss.
She turns and vanishes back into the crowd. She yells back over at Robbie.
KIRY: Fifteen!
Robbie chuckles – HIS PHONE VIBRATES. It's Charlie. The soundtrack stings. Robbie puts the phone to his ear.
ROBBIE: (letting his annoyance shine through) Charles … where are you? I've been playing host by myself all night. People are gonna get worried if the Cinema Club President vanishes at his own party!
CHARLIE: Sorry, man. I'm actually in the tanning shed out back. Gotta a surprise delivery – six new kegs, man. Mind helping me bring them in?
ROBBIE: Did you say six? And who is our mysterious benefactor?
CHARLIE: No idea, it came anonymous.
ROBBIE: Alright, be right there.
Robbie turns to the rest of the party – they scream was they watch Ghostface tackle Casey Becker through a window. He smiles at his party, before exiting out a side door.
EXT. FARM – NIGHT
We follow Robbie outside of the barn, past a loafing shed, towards the tanning shed. In the distance, the storm clouds are growing closer, getting darker and larger. He stops, takes the camera off his head, observes it.
ROBBIE: Don't tell me it's been off all night!
He curses as he turns his camera back on. He sticks it back on his head. Now it's livestreaming.
ROBBIE: This is Robbie Mercer from Hall Pass, coming to you live from Stab-A-Thon. The party is in full swing and my dear little Charlie Walker may actually get lucky with a girl. None other than our dear, local, party animal, Kirbiline Reed. Will Charlie finally get his first kiss and more? Stay tuned to find out!
Robbie approaches the door of the shed. He presses inward, stepping into the darkness.
INT. TANNING SHED – NIGHT
Robbie walks through the building. A corn thresher stands in a far corner. There's more mezzanine with hay up top. He looks around.
ROBBIE: Charlie? Dude, where are those six kegs you promised me?
Silence.
ROBBIE: Okay, I'm gonna get back to the party now. Really creepy building, Charlie. Thanks for leading me here for nothing.
A DOOR ON THE FAR SIDE SLAMS SHUT! Robbie swallows tightly. His headset begins blinking. Confused, Robbie takes the headset off. His camera is no longer playing anything. He jerks it around, fiddling with it. The light comes on. He holds the camera up –
GHOSTFACE APPEARS ON HIS CAMERA.
He has a delayed reaction. He looks up – GHOSTFACE CHARGES, SINKING HIS BLADE INTO ROBBIE'S SHOULDER!
Robbie screams, struggling, dropping his headset. Ghostface grabs him by the shoulders and SHOVES him back – STRAIGHT ONTO THE CORN THRESHER! Robbie screams. He struggles, trying to pull himself free.
Ghostface turns and vanishes. Robbie looks around, blood bubbling up from his mouth. His eyes widen as Ghostface returns – holding a farming scythe, looking like the grim reaper.
ROBBIE: Oh no – please, please! (thinking quickly) I'm gay! I'm gay! If it helps!
GHOSTFACE RAISES THE SCYTHE OVER HIS HEAD, SLASHING STRAIGHT DOWN! BLOOD SPRAYS ONTO THE WALLS. Robbie … is gone …
Ghostface crushes the headset on the ground before unmasking and observing his handiwork.
CHARLIE: (sarcastic) This is Robbie Mercer with Hall Pass - signing off!