INT. AIRPLANE – NIGHT
Billy is cramped into the cockpit of the tiny passenger liner. They're airborne and Winston is humming along merrily. Billy has his phone to his ear.
WINSTON: Just passing over Pittsburgh.
BILLY: (to the phone) C'mon, c'mon pick up!
It goes to Nicholette's voicemail. Billy chucks the phone in frustration.
WINSTON: You seem stressed …
BILLY: Ya' think? My daughter is in a town with a crazed psychopath, there's a storm coming and I'm stuck in a plane with a weirdo I hardly know!
WINSTON: You left your daughter in California and I'm the weirdo?
BILLY: I didn't leave her there – I sent her away.
WINSTON: M'boy, that doesn't sound much better …
BILLY: (reclining) Forget it … I just hope she knows to stay put with Jill and not do anything too wild.
WINSTON: Teenagers these days – who knows what trouble they could get up to?
CUT TO:
INT. TRAIN – NIGHT
Nicholette, Teddy, Marnie and Lyle sit in a compartment, completely not up to trouble. Rain flecks the windows – the storm is arriving. DJ has his arms folded as Lyle finishes telling a joke. Lyle turns to him.
LYLE: Bro, lighten up!
DJ: Oh, lighten up – easy for you to say! You're not the one getting screwed out of Stab-A-Thon.
MARNIE: You really wanted to go to Stab-A-Thon? With a killer on the loose?
DJ: The killer was not going to strike at Stab-A-Thon! If anything – we're the ones in danger! If he were gonna attack, don't you think a bunch of hormonal teens alone on a train would be his first target?
MARNIE: I don't think we're hormonal …
DJ: (ignoring her) I could've been at Stab-A-Thon, living it up, but no, now I'm stuck with you guys because my cousin decides a date night in the middle of a killing spree is a fabulous idea!
NICHOLETTE: I'm sorry I ruined your night …
She excuses herself.
DJ: Nicky! That's not what I -.
TEDDY: (getting up) Smooth move.
DJ: I didn't mean it!
Marnie looks at him.
DJ: I didn't! Let me go talk to her.
DJ gets up, leaving Lyle and Marnie alone.
LYLE: Well … now that we're alone …
His fingers trace up her legs. She stands up.
MARNIE: I gotta pee.
LYLE: Can't you hold it?
MARNIE: Can't you?
He grins.
INT. MANOR HOUSE – NIGHT
Gale wanders the mansion in the dark. She presses herself against a wall, peering around the corner. Just a corridor of darkness.
GALE: (to herself) Where the hell is the exit?
She turns down another corridor. Behind her, she hears footsteps. Crap. She turns, darting into the nearest room.
INT. LIBRARY ROOM – NIGHT
We follow Gale into a library room. Walls of books line up to the ceiling. She presses herself against the door, slowing her breathing. The footsteps disappear in the opposite direction. She sighs. She turns, looking around for an alternate avenue of the library.
That's when she sees it – a door slightly ajar. An exit?
Gale presses the door open and enters. She's in a private room … and all over the walls are newspaper clippings. Articles. Pictures of women. Women that looked exactly like her. Her photos are prominent. Her books are stacked. Lester was more than obsessed with Gale – this is disturbed.
She stands over a desk, sees a news article. She reads the headline:
"Suspect Sought in Latest Slaying"
Underneath the clipping, she finds a picture of the victim, crumpled, froglike, left in a mutiliated pose. Not a crime scene photo – an actual photo taken of the body by the killer. As a memento. And she can't help but see that the victim's face – what little was left of it – resembled hers.
She turns. More newspaper clippings. Maps, dots placed on the walls. Other headlines:
"Police Still on the Hunt For Creskill Slasher"
"Creskill Slasher Claims Two New Victims"
"Manhunt Begins"
Gale turns – more victim photos. All of them resemble her.
"Journalist Found Dead in Ditch – Had Worked With Gale Weathers On Documentary"
She recognized this one – a young girl who had been an intern on her Making a Killer Documentary. More headlines.
"Masked Killer Terrorizes Women in the Northern California Region"
"The Slasher Moves South – Newest Victim Outside of LA"
"Eyewitness Reports"
There's a police sketch of the Slasher – a man in a mask. A man in a black hood with red fabric over the eyes, similar to an executioner's mask.
She backs up – turns – sees a picture of REBECCA WALTERS. Headline: "Young Southern California Journalist Goes Missing." Gale inspects the date – it was only a month ago. Horror sets in – REBECCA is a prisoner here too. But she seemed to be going along with Lester … had she been brainwashed?
Gale backs away – LESTER GRABS HER FROM BEHIND!
LESTER: Gale – sticking your nose where it doesn't belong! But how did you get away? Where is Rebecca?
GALE: If she's smart, she'd be ten miles away from here.
Lester gets serious. He grabs her shoulders.
LESTER: Where is she? (he begins shaking her) You bitch, where'd you leave her?!
Gale's hand reaches out, clasping an ornament from a shelf.
LESTER: You ruined everything!
Gale SMASHES the ornament on his face. He goes down – she leaps over him, heading for the door. He rises, TACKLING her as the grabs the doorknob. She struggles in his grip, grasping. He straddles her, staring down at her, panting, saliva dripping down his mouth.
And to her amazement – he stands up.
LESTER: Go! Now! Get away from here!
GALE: Wha -.
LESTER: GO! I can't control it – the impulses are too strong! I SAID GO!
He grabs at his head, his eyes rolling up, saliva spewing. He screams and backs away, falling through another door. His yelling keens as he vanishes through the doorway.
Gale grabs the doorhandle, and stumbles back into the hallway. She runs, heading for the end of the corridor. She stops … the right path would take her out to the exit and to freedom … but the left would take her where she left Rebecca.
GALE: Just go, Gale. Get out of here …
She peers left, her conscience getting the better of her, not allowing her to leave a brainwashed Rebecca here with this madman.
GALE: Damn it!
She turns, heading down the left path to find Rebecca.
INT. JILL'S BEDROOM – NIGHT
Trevor is sitting on Jill's bed, both fully clothed again. Trevor is buttoning his shirt.
TREVOR: So … I take it this means we're back together?
JILL: (kissing him on the cheek) Tentatively. You're on dating probation.
TREVOR: That's fair.
Jill stands up, buttoning her shirt.
JILL: Let me freshen up, then we can talk.
TREVOR: (joking) Oh, we'll be doing more than talking. With my stamina -.
JILL: Yeah, that's what got you in trouble the first time.
She kisses him on the cheek, before walking out the door and into the restroom. Trevor lays back on her bed, hands behind his head, staring up at the ceiling. He has a soft smile on his face. He reaches into his pocket and pulls out a coin. He absentmindedly tosses it into the air, catching it reflexively.
Up into the air again – and misses! The coin hits the floor, landing on its edge and rolling under Jill's bed.
With a sigh, Trevor climbs out of the bed and gets down on his hands and knees. He peers under the bed. All but darkness. Using his phone as a light, he peers down. The coin is nowhere to be seen – but a scrapbook is.
Curiosity gets the better of him. He grabs the book and plops it onto her bed. He looks up.
TREVOR: Jill -.
JILL: Be there in a minute!
TREVOR: Take your time!
Trevor opens the book to the first page – the first few pages are pictures of SIDNEY PRESCOTT. He cocks his head. He flips through the pages – there are pictures of him and Jill. Okay, nothing unusual about that … but then …
Diagrams of the STAB-A-THON barn. Pictures where recording devices would be placed. Short sentences, in Jill's own writing: "Charlie leads victim here", "Jump out here", "make sure camera gets a good kill shot …"
He turns the page, his hand shaking. There are pictures of the GHOSTFACE mask. With a final turn of the page, a leaf paper falls out. At the top, in bold lettering:
KILL LIST
TREVOR: … No way.
His eyes scan the contents of the list. Jess Doyle and Sean Roderick. Olivia Morris.
The soundtrack STINGS.
Robbie Mercer.
Kirby Reed.
His eyes widen – his own name: TREVOR SHELDON.
So far, three of the victims of the list met gruesome ends. And Trevor begins to put two and two together. He hears footsteps – with a sudden movement, he shoves the book back under the bed and flops back on it.
JILL: Hey – you want me to fix you a snack?
TREVOR: Umm … yeah, that would be great! But you know, I … my Mom called, she's worried with everything going on. I better get back home …
JILL: Are you okay? You seem awfully tense.
TREVOR: I'll be fine. I'm fine.
He gets up and gives her a peck on the forehead.
TREVOR: I'll call you in the morning.
JILL: Promise?
TREVOR: Of course.
He practically races down the stairs. Jill eyes him.
JILL: Weird.
She turns … she notices that her bed is slightly askew. Suspicion rising, Jill kneels down under her bed. She takes a look at her scrapbook – she always left it right-side-up. It's now facedown. And she realizes –
JILL: Son of a bitch!
CUT TO:
INT. JILL'S HOUSE – NIGHT
Trevor races down the stairs, phone to his ear.
TREVOR: C'mon, c'mon!
We hear Jenny's voice.
JENNY: (impatient) Hello, Trevor. What do you want?
TREVOR: Jenny, you gotta listen to me -.
He reaches the bottom step.
TREVOR: Are you alone?
JENNY: You're asking for a booty call? Really? Right now! Right after I apologized to Jill and tried to make amends?
TREVOR: What – No?! For once in your life will you listen?! Jill's the freaking killer! With Charlie!
JENNY: Mmhmm, good one Trevor. Bye now -.
TREVOR: I saw proof! She has a fucking kill list under her bed, a-a scrapbook with how she was gonna do it – Jess and Sean's names were on the list along with Olivia's.
Trevor wrenches open the door.
EXT. JILL'S PORCH – CONTINUOUS
We follow Trevor outside.
TREVOR: Your name's on it too! Underlined - angry underlined.
(Beat)
JENNY: M-my name's on it?
TREVOR: Yes! Where are you? Are you alone?
JENNY: I'm home taking care of Steve, but -.
TREVOR: Call Marnie. Either get somewhere safe or call someone you trust to come over. I'm calling the police right now. Jill's in her house, but Charlie's still on the loose, that freak!
JENNY: Okay. Alright, I'll – I'll call Marnie.
TREVOR: (relief) Okay … stay safe.
He hangs up. He dials 9-11 on his phone –
GHOSTFACE POPS OUT FROM THE DOOR BEHIND HIM, SINKING HIS BLADE INTO TREVOR'S BACK BEFORE HE CAN COMPLETE HIS DIAL!
Trevor screams, lashing out. The killer wraps his arms around Trevor's back – Trevor struggles. The killer pulls him back – the two collapse backwards into the entry foyer. Ghostface kicks the door shut.
Trevor crawls onto his stomach, pushing himself to his feet.
Ghostface rises, grabbing Trevor's mouth from behind, sinking his blade into his shoulders.
TREVOR: (weakening) Jill … please … I loved you …
Ghostface SLICES up his back – Trevor's screams are muffled. He shoves Trevor into a glass coffee table – it SHATTERS. Ghostface holds his knife up as Trevor shudders.
Trevor turns on this back … he's weakening … his eyes are pained …
TREVOR: Please …
Ghostface cocks his head. He kneels down next to Trevor sympathetically, cocking his head, almost as though he wants to help him. Trevor reaches up.
TREVOR: … please … I love you …
Ghostface raises his knife and SLASHES Trevor's throat open. Trevor gags on his own blood for a moment … he thrashes … and is gone.
We hear footsteps racing down the stairs. A voice:
JILL: (offscreen) Trevor? I heard crashing …
Jill stops in the middle of the living room. She sees Trevor, lying in a pool of his own blood … dead. Ghostface rises to his feet.
JILL: You son of a bitch!
Ghostface waves "bye-bye" with his knife-hand, taunting her. JILL charges – Ghostface widens his stance and FLINGS his knife. Jill twists her shoulder, the knife sailing past her.
JILL: Ha!
THUNK!
Jill whirls around behind her – KATE IS STANDING IN THE DOORWAY ON THE PORCH, GROCERIES IN HER HANDS – THE KNIFE EMBEDDED IN HER CHEST!
KATE: … Jill …?
She collapses in a pool of her own blood.
Jill spins – GHOSTFACE IS GONE. She stares down, panting, her hair askew. Her mother and Trevor's bodies, lying in her own living room.
Sure, she had intended to kill them herself. But now that it came to it … now that the dirty work was done by somebody else … Jill can feel fury building in her the likes of which we have never seen. She nods, staring at Trevor and her mother, tears welling, but accepting what's happened … and her own part in it. She turns.
CUT TO:
INT. JILL'S BEDROOM – NIGHT
Jill storms into her bedroom.
JILL: You wanted a fight, you got one …
She flings open her closet – inside is her own Ghostface costume.
JILL: … and this time, you made it personal.