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— Clip it right here, nurse.
Good.
Syringe.
— Shouldn't we wait?
— I said, syringe.
— She may be right Doctor.
— Ladies, this is not a debate.
Someone hand me a damn syringe.
— I just don't see the rush.
He's just a baby.
This could kill him.
— I just don't see the rush.
He's just a baby.
This could kill him.
Ladies, do you have any idea what we're doing here?
We are making history.
— History?
— Yes.
Consider this, a growth hormone
that cannot be detected by any drug test.
This child is the chosen one.
He is destined to be
the single greatest athlete
this country has ever created.
I mean, seen.
— It seems like quite a price to pay
to become a professional athlete.
— He's not just any athlete.
He's the biggest, strongest, and fastest,
the most durable of all time.
Think about A—Rod,
Paul Marrow and Brawn.
What if the drugs they had taken
could not have been detected.
Good God. (laughing)
This child and all the others we make,
will grow up to be the highest paid athletes
in the entire world.
And within a few decades, they will be defying
every major sporting event there is.
— That's impossible.
— Nothing's impossible, William Shatner had a career.
— I feel faint.
— Relax, this will be over soon.
And you will become a believer.
— Easy Doctor, you're giving him too much.
— I have an idea.
Why don't you shut your pie hole and stabilize him.
He's growing too fast.
He's really big.
They grow up so fast.
— Oh my God, what should we do, What's happening?
(gasping)
— It can't be.
Baby Frankenstein!
— [Doctor] My God, what have I done?
— You've injected him with enough growth hormones
to create a dinosaur.
— Oh God, what is happening?
What should we do?
— Run!
— Calm down.
You will stop.
Calm down.
You must do as you're told.
You do as I say.
I am your creator.
I'm also your father.
(soothing choral music)
— Papa?
Papa.
Papa, papa'.!
Papa?
Mama?
— Baby Frankenstein!
— Get back, get back!
— Mama.
This is Where you're supposed to scream
and I cover my ears in pain.
— I know Brad, I'm trying, but nothing's coming out.
— Cut, cut, cut.
The hell is going on?
— I don't know, ask your scream queen.
— What do you mean?
— She won't scream.
— Oh no, creative choice?
You don't have creative choice, not in this contract.
I'm paying you to scream.
— It's not that I won't scream.
It's that I can't scream.
There's something hurt in my throat.
Can I see the set medic?
— Set medic?
On this budget, I don't even have a set nurse.
You want a producer?
I got about eight of those.
— I'll go for a smoke.
(speaking in foreign language)
— Mick?
(dramatic orchestral music)
— What do you think, Doctor?
— It's not the throat,
but definitely the vocal chords.
— What causes that?
— You don't scream your brains out for 50 films
and not expect something to give.
— How bad is it?
— I've seen worse, singers mostly.
She needs to limit her conversations for a few weeks.
— Weeks?
— What about her screaming?
— Absolutely not.
— But Doc, she's the scream queen.
— For a few weeks, she's just Angie Newborn, regular gal.
— But the picture, it's not gonna wait that long.
— If you don't rest those vocal chords,
you will cause permanent damage.
You may not be able to speak, much less scream.
— I'll talk to Griff.
I mean, you already screamed
like 20 times on Baby Frankenstein.
I'll get Griff to,
you know, let you go through the motions,
and then we'll see about maybe dubbing in
one of those screams that we recorded earlier, okay?
What if she doesn't use her vocal cords at all?
— No talking at all?
— Shh, you might want to start right now.
— She can try gargling with this.
And take these steroids that I'm prescribing for her.
I can estimate a full recovery in maybe less than a month.
— [Mick] You see, it won't be so bad.
— This might help too.
I hear nothing but good things
from my patients that seek some good old fashioned R and R.
— That sounds great.
Angie, look, I don't think you got much of a choice.
The picture wraps in a few days, you can leave then.
(text message notification)
What do you mean, you're not leaving without me?
I can't get away,
I mean Who's gonna watch the office?
Hey, will you stop with the text thing?
— [Doctor] Get used to the pad, darling.
— Yeah, I know you're my only client.
I guess I could do my work by phone and internet.
— No phone service and no internet.
— What, how does the place run?
— They have a short wave radio.
They contact the coast.
There are no cell towers near the island.
— I guess I'll go.
But you're footing the bill.
— What else is new?
— You know what?
I could probably use the time to finish writing my script.
It's called Scream Test.
I'm gonna produce and direct it.
If you're good in the next few weeks,
I'm gonna let you star in it.
Ha ha ha.
I can direct more than traffic, thank you very much.
(uptempo island music)
(belching)
I think I'm gonna be sick.
— Come on Mick, didn't you pack your balls?
— Hey, I wouldn't be putting your hand in the water.
We got alligators, coral snakes,
we got snapping turtles,
there to hurt you.
— We're gonna need a bigger boat.
How much farther?
— When I'm not doing the tours,
I take this island trip every Friday.
Don't worry, we're almost there.
— Before your eyes pop out of your head,
can I get you anything else, Mister Phil?
I got beds to make.
— Can't get over it,
you make the beds, you serve the meals, bartend.
Doesn't Otis do anything to help around here?
— Otis, he helps out,
but he's more of a handyman than anything else.
Plus his people skills aren't as good as mine.
He does make sure everything is up and running.
— So just the two of you work this place?
— You've seen Marla.
She helps out with the paperwork.
— I hope they pay you well.
— Beats the alternative.
— Phil, you old dog.
I knew I'd find you out here.
— You certainly do have my routine down Carter,
twice daily, 10 and four.
— How about a game of chess?
— In a few minutes.
My mind is just not quite into it right now.
— Well, Whenever you're ready.
— I got a week's worth of mail,
and I brought the supplies the Doctor wanted,
and I left them with Otis.
— And more important,
I see that you brought our two newest guests.
It is a pleasure to meet you, Miss Newborn.
I am a big fan.
So I'm Marla, Marla Covington.
I'm the island nurse and also the therapist.
— You got anything for nausea?
— Yes, I believe we do.
I'll bring it to your room after we get you all checked in.
— Aw, thank you so much.
We're both looking so forward to our stay here.
Aren't we, Angie?
— [Marla] Dan, would you be a sweetheart
and show Miss Newborn and Mister Thompson to their rooms?
— Sure thing.
— You are such a dear.
If you could take their luggage to rooms four and five.
— You're not gonna forget about this stuff.
— [Marla] No, sir.
It's just in the back.
If you head towards your rooms, so I'll be right behind you.
— Thank you.
Thank you so much.
Thank you.
— Are you still taking a week off?
— Been thinking about it.
— You want me to throw some of your stuff into the boat?
— I don't know, I'm such a big fan of Angie Newborn.
— The lady?
- If I stay, I could get a few pictures,
and if she autographs them,
they become super valuable when she dies.
— Well now, that sounds like a creepy thought.
All right, I'd better go give them their luggage.
— Wait, let me get the pills for Mister Thompson.
— Oh, thank you.
— Here's your pills.
— You are a lifesaver.
Hey, want to bring Miss Newborn's bags in here?
I'll make sure that she gets them.
— No, Marla gave me her keys.
See ya. — See ya later baby.
— My word.
You look just like that movie star, doesn't she, Phil?
— Nah, don't recognize her.
— Thanks, I needed that.
— I didn't realize you were gonna be here.
Matter of fact, I got all your films.
— Angie Newborn.
— Why don't you come over here and have a seat?
Okay.
It's fine, it's fine.
I'm just toying with him.
Matter of fact, two more moves.
And he's done.
Oh, I stand corrected.
Checkmate.
— I am so glad I came here to relax.
— So, what exactly?
— Save your voice, sweetheart.
Detective Phil here is a detective
from the Miami Police Department.
— My Doctor recommended this place
because it's out of the way and nobody cares.
You don't care, do you Carter?
Besides, your story's much more interesting.
Why don't you talk about yourself?
— There's not much to tell about me.
I like it here, and I'm rich.
— Us?
— Well, now that you're here,
there's four patients and four workers, including the Doc.
— And my manager Mick is here, too.
— [Carter] And what does he recovering from?
— Poverty.
— Thanks.
So, are you still planning to take a few days off?
— I was thinking about it, but with Angie Newborn here,
I thought I could stay and get to know her a little bit.
I haven't seen my family in almost three months.
It'd be the perfect time to visit.
— Well, whatever you decide, just let me know.
I'm happy to cover for you.
— Thanks Doc.
(crickets chirping)
— Oh Mister Thompson,
so nice to see you got your color back.
— Oh yes, thank you so much to you.
— Did Dan bring everything to your rooms?
— Absolutely.
— Have you seen him recently?
— Dan? He said he was leaving.
— Shit, already?
I gotta run, I gotta get to the boat.
— You're not staying?
— He has my keys.
(ominous music)
— You've outdone yourself again, Millie.
— Thank you, Mister Phil.
— Should I set your place, Doctor?
— No, thank you Millie.
I'm actually looking for Marla.
Has anyone seen her?
— Yeah, I saw a couple hours ago.
She was running to catch the boat.
— I guess that means family was more important
than spending time with you, Miss Newborn.
— What do you mean by that?
— Marla told me she was torn between
going home for a week
or staying and hanging with Miss Newborn.
— Is there a problem?
— No, no, not at all.
Miss Newborn, perhaps you could sign a copy
of one of your films for her.
We have quite a few in the library,
and Marla's hung some of your posters in my room.
— DVDS?
— VHS, but the box is easier to write on.
— Oh yeah.
Hey listen, I brought a couple of DVDs with me.
They're back in my room.
I'll get Angie to sign one for you,
and you can give it to Marla when she gets back.
— That would be wonderful.
She'll be so excited.
Well, it's been a long day.
Until the morning then.
— Is there anything I can get you?
Yeah, me too.
Okay.
I'll see you in the morning.
(soft jazz music)
— Otis, what are you doing over there?
— I'm just keeping an eye on Millie, Doc.
Like you told me to.
— Uh huh.
— She don't mind.
— She doesn't, huh?
— We have an arrangement.
She lets me watch if I do a few of her chores.
— Oh, she does, does she?
Is that all she lets you do?
— Yes sir.
— Well,
don't stay out too late.
— Almost done here, Doc.
(knocking on door)
— Come on in.
Good morning, Miss Newborn.
Why don't you please sit down?
So everything okay so far?
Oh, this is for you.
Good, I'm glad to see you have your own.
Have you been using it?
Your Doctor and I agree that the best medicine
is to rest your voice While you're here.
I cannot stress enough how important it is
to rest those vocal chords
so that we can see if there's any change.
Oh yes, thank you so much.
This'll mean a lot to her.
Yes, starting immediately.
Everyone knows why you're here,
and there's very few people on this island.
So, let's say you're ordering something off the menu.
Just point at what you want.
Let's see how long you can go without saying a word.
Yes, remember to gargle with the solution
and take your steroids.
Very good.
We'll meet here again in a few days.
In the meantime,
let me know if we can do anything else for you.
— Otis?
— What is it, Millie?
— There's no gas.
— It's a gas grill.
Probably the pilot light.
— Smells pretty strong for a pilot light.
You don't smell it?
— Up here.
Did you turn everything off?
Then just let it air out.
I'm sure it'll be fine.
— But I've got to start cooking.
— And I have to finish cleaning the pool.
— Well, I can't cook if the stove don't work.
— Here.
— Matches?
You sure it's safe?
— It might pop a bit, but yeah, it'll be fine.
— How hard is it to do?
— Millie, It's a pilot light.
It's not brain surgery, all right?
Just strike the little match,
and then stick it in the hole that says pilot light.
— Fine.
Thanks for nothing.
— So Hilda, are you rehabbing or training?
— Training.
— Can I ask you a personal question?
— Third Olympics, medal in 2012,
injured my shoulder in 2016,
and figured I'd give it one more try.
In France, I am treated like a movie star.
When I stop swimming they'll forget who I am.
I am proud of my body.
— And rightfully so, my dear.
If I had your body I'd be proud of it too.
(explosion)
What the hell was that?
— It sounded like it came from the pool.
(tense orchestral music)
— I'm gonna be sick.
— I'll go get the doctor.
— Get off of it.
— What the hell happened?
— Hey, is Doc in the office?
Doc, it's Millie.
— What about Millie?
— There's been an accident, come quick.
— What happened?
— An explosion, come quick.
— Whoa, I'm right behind you.
What happened?
— It was some sort of explosion.
When we arrived, her body was on fire.
— She was smoldering when we got here.
— I told her to be careful.
— What do you mean?
— She was complaining about the smell earlier.
I thought it was the pilot light.
— This is more than a pilot light.
— I told her to let it air out.
— Well, why didn't you take care of it?
— This isn't my fault.
Listen, I was up on the deck, cleaning the pool.
Now what, you wanted me to take care of this?
Then you'd be out a handy man instead of a cook.
— Who do you call to take care of the body?
— I'll notify the mainland on the shortwave,
but we're cut off until Dan gets back on Friday.
— You telling me there's no way
to get Millie's body off the island?
— Not until Friday.
— What if she was hurt?
What if she needed medical attention?
— We never set up a contingency plan
for something like this.
— Why the hell not?
— Detective, in my 15 years here,
this is the first major incident.
— Wow. Nothing?
Impressive.
— Everything up until now has been bumps and bruises,
and we can handle those in house.
— You gotta be kidding me.
— You mean there's no place to put the body until Friday?
— Yes.
Yes, of course.
We have an infirmary.
— [Phil] Help me with the body.
— I was told you like vodka.
So here's a bottle, and I brought you some mixers.
You want anything else,
you can find it behind the bar.
— What, so you expect for us to serve ourselves?
— The bartender is dead.
You don't want it, I'll take it back.
— [Phil] Leave it.
— Some ice would be nice.
— It's in the kitchen.
— You're right, so much for rest and relaxation.
— Hey, this reminds me of that scene in Death House.
You were in that, weren't you Miss Newborn?
— Yeah, don't you remember?
That's the one Where somebody rigs the oven to blow up.
You played the deranged housekeeper
who sought revenge on the owners of the house,
because centuries ago, it used to belong to your family.
1995, that's the first time we worked together, right?
You know, seems like only yesterday.
(knocking on door)
— Come in.
— I'm sorry for the intrusion, Doc.
— Oh, no intrusion at all, Detective.
What's on your mind?
— Well,
I didn't know you were such a horror fan.
— Oh no, no, not horror,
Miss Newborn's horror.
Apparently she has a way with sex and blood.
Marla's words, and her posters.
— So these are all Angie's films?
— Yes.
— Listen, I just wanted to apologize
for raising my voice.
— There's no need to apologize, Detective.
I understand your frustration.
This resort has always been known in a positive way
for being cut off from the rest of the world.
If anything, Millie's death has opened my eyes
to the problems that happen out there in the real world.
— Yeah, but I was caught up in the moment.
Lost my temper.
— No worries.
If you like, we can talk about it now
or wait till your session.
— I think I'm okay.
— No one could have anticipated an the accident like this.
— That's why they're called accidents.
- Right.
— See you at my session.
— See you then.
(sinister music)
— I wish you would stop staring at me.
— You shouldn't undress in public.
Oh, you'll regret that.
(uptempo island music)
— Well, good afternoon.
How's the voice?
— Hey, how you doing?
Sure, I can use a spotter.
Carter got bored and decided to ride the unicycle.
Oh, you want to lift?
I don't think you could handle that.
Let's try that.
Let's go over there.
How long you've been lifting?
— Since she saw you walk into the gym.
— Let me see what you can do with that.
Put your shoulders all the way back, that's right.
— She's not half bad, Detective.
— No, she is not.
Her technique's pretty good too.
Your shoulders might be a little sore tomorrow.
— Where have you been?
— She's been working out with us, why?
— Well, I was gonna go for a swim.
I could use some company.
— That's a good idea.
- All right, All right.
All right.
— You know, I never realized
how much Millie did around here.
— You kept her pretty busy.
— I miss her.
Not only because she took care of everything,
but she was such a sweet person.
— Must be four o'clock on the dot, huh?
She's just like clockwork.
(water splashing) (screaming)
— What the hell?
(electric buzzing)
— [Mick] Doc, stay away from the water.
— Got it.
— Get her out.
— She's gone.
— What the hell was that for?
I didn't do anything.
— [Phil] You put live cables in the pool?
— I didn't do that.
Why would I do that?
— She slapped you, just this morning.
I heard you threaten her.
Was this your way of getting even?
— Getting even,
by killing her?
— Maybe you didn't think the shock would kill her.
— Maybe you thought you could just scare her.
— Yeah.
Well maybe somebody else did it.
— Oh, this is horrible.
— Yeah, we stuck here until Friday.
— And there's six of us left.
— Your point?
— My point is, multiple accidents don't just happen.
— Yeah, I'm not a fond believer in coincidence either.
— Otis, help me get her into the infirmary.
— Now why would I go kill her,
and make more work for myself?
— It's gotta be him.
Who else has access to extension cords?
— You know this kind of reminds me
of that scene and Family Possessions.
— What do you mean?
You think there's a connection?
— I don't know.
Two accidents, Millie and Hilda.
Both murdered the same way as an Angie's films.
— [Phil] So you think these may not all be accidents.
— Oh great.
So now we got a killer on the loose, at a resort?
We are paying a thousand dollars a day?
— [Phil] Well, if Carter's right, we've got six suspects.
— This resort's been around
for 15 years without one accident.
Why would it start happening now?
— It's gotta be one of us.
— Well, I know two things.
I'm not the killer,
and Angie's films are tied in.
(knocking on door)
— Who is it?
They didn't ask, and I didn't tell 'em.
Besides, I only surrender my weapon when I fly.
Relax, they're not for you.
I can't, not right now.
I got to go talk to the Doc about something.
I want you to stay here until I get back.
I won't be long.
(dramatic orchestral music)
(knocking on door)
— What?
— What are you doing here?
Will you stop with this?
Are you gonna fuck the detective?
— Yes.
— What if he's the killer?
— Stop, please.
- Why?
'Cause he's a cop?
— Yeah.
— You are unbelievable.
— Detective, is everything all right?
— No, everything's not all right.
I've got two dead people and I need answers,
and you seem awfully obsessed with Angie's movies.
— I told you, these are Marla's posters.
A few posters doesn't make anyone obsessed.
And besides, isn't fan short for fanatic?
— What about Family Possessions?
— [Doc] It's one of her best, I've been told.
— Yeah, well Carter told me that in Family Possessions
a young lady gets electrocuted in a pool.
You find that funny?
— No, what I find funny
is your knowledge of Miss Newborn's movies.
In Family Possessions, Miss Newborn's character
fills the swimming pool with electric eels.
— Electric eels?
— Yes, and when the young girl
Who's the main competition for the affections
of a handsome young man, jumps into the pool,
the eels shock her to death.
Quite a bit different
than having an electric cable fall in the pool,
don't you think?
— What about the explosion?
— What about it?
— Didn't it copy a killing in this film, Death House?
— Look detective, if you're trying to find a tie—in,
then I suppose you can find a similarity
in the depths from any of Miss Newborn's movies,
but it doesn't make me a killer because I've watched them.
I mean, what would be my motive?
— Crazy people don't need a motive.
— That's what you think, I'm crazy?
— I don't know what to think.
But it's either you or Otis, and Otis is too obvious.
— Otis has been at this resort for seven years.
He's got his problems, but he's no killer.
— Problems?
— I caught him peeking into Windows on a few occasions.
— He's a peeping tom?
— Mostly Marla and Millie's room.
— Mostly, what about Hilda?
— Are you kidding?
She paraded around the pool half naked
every day for almost a month.
— Sounds like I got to go talk to Otis.
Where can I find him?
— It's dark.
You might catch him outside.
His MO, as you would call it,
is to fix something near the windows.
— Angie's the only female left on this island.
She might be the next target.
(soft jazz music)
(knocking on door)
— What did you forget, Detective?
I'm doing a booming business tonight.
So what can I...
(yelling)
— Working hard, or hardly working?
— Don't you come any closer.
— Never bring a knife to a gunfight, Otis.
What's the matter?
You don't like type that fights back.
— What do you want?
— I want to know what you're doing here.
— I'm working.
— Please.
Hands out.
— You can't do that.
— Do what?
— Arrest me.
— What makes you think I'm arresting you?
— I've been arrested before.
Besides, handcuffs are a dead giveaway.
— You know the drill.
Put them on.
Thanks for letting me know you got a rap sheet.
What'd they get you for?
— Trespassing, mostly,
drunk and disorderly a couple of times,
but I know my rights.
— Your rights don't include killing people.
— I didn't kill anybody.
— Today, or ever?
Is that a tough question?
— Yeah, I've killed.
Too many.
— Service, huh?
Ours?
— Yes, ours.
Three tours in Afghanistan.
— Here it is.
Army Ranger, huh?
Surprised I was able to sneak up on you.
— I'm a Ranger, not an Indian.
Besides, I'm trying to put all that behind me.
Now what are you gonna do with me?
— I don't know.
Where'd you get the blood?
— I punched the wall.
— Why would you do that?
— Because I miss Millie.
She was my friend.
— You always sneak a peek at your friends?
— It wasn't like that with Millie.
She liked to show off, I like to watch.
— Please, you're telling me that she knew about it?
— Yeah.
— Okay, I call bullshit.
— Why would I kill her, or that other girl for that matter?
— Maybe because you're a sicko.
— All right, look,
I admit I've had some challenges since I got out.
But between the Doc and the VA hospital,
I'm getting the help I need.
Did you ever serve?
— 15 years, Miami Dade Police force.
— They say I got PTSD.
— I know the feeling.
— You get that on the police force.
— So they tell me.
Tell you what,
how about we make a deal?
You stop working, call it a night,
and I'll do the same.
But if there's one more accident tonight,
I'm coming right for you.
You understand?
You know they say that you can learn a lot
from looking through a man's wallet?
Those your folks?
— Yeah.
— Still around?
— No.
— Sorry.
(muffled talking)
(gasping)
Relax.
— What's with the gun?
— I'm a detective.
— You gave me a heart attack.
I thought you were with Angie.
— Oh Angie, I left her in my room.
Where you going?
— I was going to the kitchen for a snack.
— [Phil] Have you seen Carter?
— No, not for a few hours.
— Well be careful.
Something not right around here,
and I can't put my finger on it.
Well, that was thoughtful of you.
I hope the Wine helped your throat.
Goodnight, my scream queen.
Do you want me to take you to your room?
— No.
It's safer here.
— For Christ's sake Mick, can't you eat in the dark?
— Jesus Carter, I didn't know you were even in here.
— That was the idea.
— I don't like eating in the dark.
— Me neither, but I figured it was safer.
— Yeah well, together we should be safe, right?
— Yeah, if one of us is not the killer.
— Are you the killer?
— No, are you?
— Nope.
— Good, that's a relief, let's eat.
— Hey Doc,
Doc, do you want anything before I turn in?
Guess not.
— So, you don't believe these were accidents?
— Mick my man, accidents don't happen, they are caused.
Now if somebody caused it or something,
I'm guessing that's what the detective's gonna find out.
— Yeah, but we could help by narrowing it down, can't we?
— The use of the deduction.
Yeah, I guess we could.
— Okay, so if it's not you and it's not me,
then that leaves Phil, no, Otis, the Doc, Phil and Angie.
It can't be Angie.
— And why not?
— No motive, for one.
— Let me break it down to you like this.
What better way for her to revitalize her career,
than kill a bunch of people at a health spa,
in the same way as in one of her movies.
— Come on, you can't be serious.
— Oh I'm very serious.
I mean, can't you just see the headlines.
I mean it practically writes itself.
— Yeah, but she don't need to revitalize her career,
she's doing just fine.
(coughing) — If you say so.
— But.
— But?
Things didn't start happening
until you and Miss Newborn arrived.
— What, what you're saying it's either me or Angie?
— [Carter] Not unless there's somebody else
on this island that we haven't met.
— Well, what, what about Otis, or the Doc?
— Nah, I don't see Doc as being the murdering type,
but Otis, he is a creepy kind of character.
You know, he kinda reminds me
of Lenny from Of Mice and Men.
— Yeah.
My money's on Otis.
— So, you don't think it's me, you, or Phil.
— Wait.
— Wait, What's the matter?
— Years ago, Angie was up for a flick called Maniac Cop.
— Oh God,
man you people and these titles.
— No, no, seriously.
It was about this crazy cop
who would go around killing people,
just to create more work for himself.
His gimmick was he'd frame others
for the crimes he'd commit,
and then he'd take credit for the arrest.
— So now you think Phil is the murderer?
— I'm saying it's not impossible.
— All right, this is an interesting theory,
but I've seen the man play chess,
and he's not much of a strategist.
— What if it's all in our minds and there isn't any killer?
— Dead bodies, no killer.
Right.
— No, really.
I mean, these could all really be accidents.
— I told you how I felt about that.
The mind is an incredible thing.
I guess it's easier to call them a series of accidents
than assume that one of us is a serial killer.
— Serial killer?
Now you're scaring me.
Hey, keep those thoughts to yourself.
— I'm just thinking out loud.
All right well,
I'll see you in the morning.
— Appreciate it.
(bright instrumental music)
— Good morning, sleeping beauty.
Some coffee.
— Thank you.
— Yes, you're still fully dressed.
I am not one to take advantage.
You were pretty Wined out when I got back last night.
Carter found some donuts in the kitchen,
if you want to head down.
So you got any plans for today?
— I want to hang out with you.
— Well, I'd like to hang out with you.
How about this?
Head down to the kitchen,
put some food together, have a nice picnic outside.
That'd be nice.
Unless, you don't have a film Where
someone accidentally dies on a picnic, do you?
— You want some more?
— Morning fellas.
— I'm good.
— Coffee, Detective?
— It's okay, Detective.
Me and Mick already drank from the same pot.
— All right, hit me.
Thought you didn't serve.
— Yeah well, help is getting a little short around here,
and Doc's not even up.
I thought I'd pitch in.
— You guys want anything cooked though,
you're on your own.
— Hasn't there been enough cooking around here?
— Hopefully the cold cuts, cereal and pastries
will keep us until Friday.
Yum, yum.
Where do you think you're going?
— We are going to a picnic.
— Are you kidding me, with everything that's going on?
— Well unless someone chokes on a sandwich,
I don't see an accident happening.
— I got two words for you.
Mama Cass.
(soft music)
— Beautiful.
You, this place.
I mean this would be the perfect getaway
of it wasn't for all those dead people.
Why am I here?
I knew that question was gonna come up.
I killed someone in the line of duty.
Teenager, I thought he was pulling a gun on me but he,
in actuality he was pulling out his cell phone.
A cell phone.
Internal affairs deemed it a good shoot.
The department put me on paid leave,
and here I am, trying to decide if I still want to be a cop.
And that's howl met you.
Listen,
I want you to take this, for your protection.
Of course, I'm here to protect you.
But what if I'm not?
You're gonna have to use this
to protect yourself, understand?
You know how to shoot one of those?
Never point a real gun at anybody,
unless you're ready to shoot it.
Let me show you how to properly use that.
This is not a prop, this has real bullets, okay.
(gasping)
It's Marla.
Go to Doc, quickly.
Tell him we've got another body.
— What's wrong?
The Doc?
I haven't seen him.
He's not in his office.
Let's go check his room.
— Where are you two going in such a hurry?
— Looking for Doctor Patterson.
— [Carter] Did you check his room?
— What? Marla's dead?
— I thought you said she left on the boat?
— [Mick] She was headed to the boat.
— Where did you find her?
— Near the pier.
Someone was in a rush and dumped her body in the bushes.
— The boat driver?
— Well, that would explain Marla's death,
but what about the others?
I haven't seen Dan in days.
But you, you know these grounds better than anyone.
— She did say she was going to get a key card back from Dan.
— Uh huh, you needed her key card.
— I have my own key card,
and it opens a lot more doors than Marla's.
— We've gotta go tell the Doc.
— We sure he's even in here?
— I don't know, I haven't seen him today,
and I haven't seen him since last night.
— Doc, Doc Patterson?
You in there?
— [Carter] Just kick it in, Detective.
— No no no, wait, use my keycard.
— [Phil] Who might have done this?
— Phil, you think this was a suicide?
— No.
Where's Otis?
— He was just here.
— That bastard must be guilty.
— Let's get him down.
Take my watch.
I'm not back in 30 minutes, leave the dining room.
— I told you it was him.
— I thought you had it narrowed down between me and Angie.
— Me?
— Oh, look, I'm a fan,
but who would benefit more
from this happening this week?
— Nobody, if we're all dead.
— Oh yeah.
It does seem similar to Dead Act.
— [Carter] Yeah, that's right.
That's the one Where the hotel clerk hung hisself,
'cause he found the body of his Wife, and daughter.
— Come on man, let's get him down.
(eerie music)
— Why'd you run, Otis?
(tense music)
— Well did you find him?
— No.
— Where could he possibly go?
— Maybe we should split up and look for him.
— No, no, no, it's too dangerous.
He knows the island, he has the advantage.
It's safer if we stay together.
They can come to us.
— Angie, it's your pick.
— You think he's watching us?
— I don't know.
Maybe.
— Why would he run away after we found the Doc's body?
It's gotta mean that he's the killer, right?
Made it look like a suicide.
— Why don't you take it easy on that stuff.
— Should I?
— I may need your help.
— I can help.
What kind of help would I possibly be?
— Maybe you can jump in front of a bullet for me.
— If he comes for me, I'd rather be drunk.
— What if he comes for Angie, huh?
She may need you to be sharp.
— Me?
When she's got you, Detective?
She don't need me.
You're her white knight.
— Whatever, just lay off the sauce, will you?
— Ooh, what you gonna vote me off the island?
(tense orchestral music)
— You two gonna be okay?
— Why, Where you going?
— I thought I'd take a look around,
see if there's a way we can secure these doors.
— I'm assuming locking them would be useless
since we know he got keys.
— Yeah, I was thinking of something stronger.
There's gotta be a place
Where they keep some chains and tools.
— There's a shed Where he keeps the lawnmower.
— I think I saw that when I brought Marla's body up.
— You want me to go with you?
— No, I'm gonna need you to stay here,
keep an eye on things.
I'll be back.
(dramatic orchestral music)
Otis?
(banging)
— Is everything okay?
— Everything's fine.
— I was starting to get a little worried.
— I was able to secure all the doors with chains.
So if he's gonna come after us,
he's gonna have to break through a window.
— You're assuming that he's not hiding in here somewhere.
You probably just locked him in here with us.
— You know Carter,
there's something I just don't like about you.
— Yeah, I get that a lot.
— I'm pretty sure I know Where he's hiding.
It's getting dark.
I'd rather go after him in the morning.
— You ever thought maybe you shouldn't go after him at all?
— I'd rest a lot easier knowing he's in handcuffs.
(groaning)
— Oh, what'd I miss?
Did we catch the killer?
— We're locked in?
— Locked in?
You're sure that he can't get to us?
You know that for sure?
— I'm sure.
The good guys always out—think the bad guys.
— Oh, that's only in the movies.
— Hardly.
— Can I go to my room?
— No, I think we should all stay in here tonight.
Unless, there's something you need to get from your room.
I could walk you down there.
— Where are they?
It's been almost an hour.
Carter?
— Hey, is he here?
— Phil and Angie, they haven't come back yet.
It's been an hour.
— Isn't she with the detective?
— Yeah, but she said she only had to get a few things.
— You don't get out much, do you Mick?
— What's that supposed to mean?
— He means sometimes it takes a woman longer to get ready,
right Carter?
— That's exactly what I meant.
— I gotta go.
Yeah, I know Where he is.
He's in the tool shed.
Of course I'm gonna be careful.
I do think I found my mojo again,
thanks to you.
Stay here.
(gun cocking)
(tense orchestral music)
(high—tension orchestral music)
Really?
You left me a shovel?
(yelling)
— I am trying really hard not to kill you right now.
I wish you'd appreciate that.
Have you ever been shot by one of these?
— I can't say I have.
— It hurts like hell.
I've already got your gun.
Detective, I didn't do those things
that everybody thinks I did.
— Then why are you running, Otis?
— Do you really think that the Doc committed suicide?
— No.
— Neither do I.
That's why I ran.
Come on, I can see it in your face.
I can see it in all their faces.
They think I did that.
— Well, the thought did cross our minds.
— The other night you said,
if someone else has an accident there'd be a problem,
that's why I ran.
— Where is this going, Otis?
— I ran because you already said you were gonna blame me.
— You told me that you have the keys to everything here.
— Yeah.
— Who could have took Marla's keys?
— The killer, or anybody that found the body before you did.
Maybe that's it.
Yeah that's it, you're the killer.
— That's stupid.
— You're the killer, and now you're just
trying to make me the patsy.
— Patsy?
You've been watching too many Bogart movies.
What's your plan?
— I was gonna tie you up.
— Then what? — I don't know.
You're not a very good detective, are you?
— So I've been told.
— Checkmate.
— Bullshit.
— I'm sorry, Mick.
I guess it's just my killer instinct.
I guess I was tired of playing, too.
(sinister orchestral music)
Hey, I thought I heard something back there.
— You think it's Phil?
— No, Phil would have yelled out.
Maybe it's Otis.
How are we gonna protect ourselves?
— Jesus, Where the hell'd you get that?
— Phil.
— [Carter] Do you know how to use it?
— Here, take this, take this, take this.
Give me that.
— Do you know how to use it?
— Hey, I'm from New York.
Maybe we should bunch up.
Matter of fact, where's my weapon?
— Well, get another knife from the kitchen.
Go on really, I'll cover you from here.
Go ahead.
And you,
why don't you go back to your room,
lock the door, and stay out of sight.
I'll come get you when it's safe.
(tense music)
Hurry up, Carter.
— Shut up Mick,
I'm trying to find a knife to protect myself,
not butter my bread.
— Hurry up, Carter.
Carter, will you hurry up?
(yelling)
— This is stupid.
I'm coming.
(tense orchestral music)
Figured I drew the short straw.
Hey Mick,
if you ever thought about using that thing,
you should use it now.
Let's shoot this mother.
— Oh, shut up.
(nail gun firing) (gun firing)
Damn, this hurts.
— Great work, Mick.
You got him.
Bastard shot me with a damn nail gun.
I got to get it out before I get infected.
Oh man, help me up.
— I'm sorry Carter,
but you were right.
— Right about what?
Oh yes, about Otis being the killer.
— Don't be stupid, Carter.
Why would Otis kill anyone?
— Yeah but you said that...
— You were right.
You said it was either me or Angie, right?
But Carter, when they find your body
with a nail in your head,
they're gonna think it was Otis, right?
(nail gun firing)
(tense music)
— Angie?
It's me, open up.
— Otis?
— I tried to tell you it wasn't me.
— What happened?
Who did this? Carter?
— No, it wasn't Carter.
— Mick?
— Yeah, he shot me, and then he killed Carter.
I think he's after Angie, now.
— Oh, Angie.
— Wait wait.
— Sorry I doubted you, soldier.
— Is everything all right?
— Absolutely.
As usual, I took care of it.
While you were sitting around, I killed them all.
Well, I mean, all except your boyfriend.
Otis, he took care of him.
But me, I killed everyone else.
- Why?
— For the completion of my script, of course.
It had to be me.
I'm the killer.
What's the matter?
Angie, you're scared?
It's the perfect plot for my script.
Get this.
It's about this washed up actress,
like you,
whose handsome and smart manager,
like me,
he murders this whole bunch of people,
just to bring all her films back into the public eye.
What do you think?
What are you looking so surprised?
I told you all about this.
Don't you remember?
Scream Test.
That's kind of catchy, don't you think?
— I think you're crazy.
— I'm crazy?
But I'm gonna dedicate my film to you, my darling.
This, this film,
this film it's dedicated
to my long—time client, my best friend,
who was tragically killed by a mass murderer.
You see, in my script,
I'm the only survivor.
— You're insane.
— I'm insane?
No, I'm a genius.
What an ending.
Can't you see that?
I kill you, of course.
I can always find myself a new scream queen.
I could start all over again.
After all these years?
All these years,
you mean, all these years,
when you kept reminding me that I'm nothing without you,
that you're my only client.
All the years, when you wouldn't give
my idea the time of day.
What was it you, you said, wait a minute.
Oh, oh.
I couldn't even direct traffic.
— Please.
— A person can only take so much.
You never saw me for my creative mind.
I can direct,
and even produce.
What are you so upset about?
This will definitely get you into the Horror Hall of Fame,
posthumously, of course.
You know, it's a shame that you can't scream,
but I mean like Who's gonna hear you anyway?
Oh yes,
that's right, sweetheart.
You can do this.
Loud, come on honey, as loud as you can.
Come on, come on.
But Who's gonna come and save you?
(screaming)
— It's over, Mick.
(guns firing)
— Phil, you're hurt.
— I'm fine.
Are you okay?
— [Mick] Scream Test.
It's about this washed up actress, like you.
— [Carter] What better way for her to revitalize her career,
than kill a bunch of people the same way
as in one of her movies.
— [Mick] This will definitely get you into
the Horror Hall of Fame.
— Everything's gonna be okay now.
— I'm so sorry.
I'm sorry darling,
but it's not every day a star
can orchestrate her own comeback,
and perform the perfect crime, all at the same time.
I believe Mick revitalized my career, after all.
Look, it's based on a movie,
and I play myself.
The script is left for me by my deceased manager,
who turned out to be a deranged killer.
It's genius.
And it's about time you came up with a good idea.
Thanks, Phil.
(big band jazz music)
— Angie baby, goosebumps.
Goosebumps, really.
Look at this.
Such a great script,
a great script for a great actress.
— You really think so?
— I can hardly believe it.
Three months after you went through that incredible ordeal,
and here we are telling your story.
— It was great therapy for me.
And it's a sure hit for you.
— Your public is gonna eat this up.
— I'm sure they're chomping at the bit,
just waiting for me to reach the top again.
— Dedicating the film to Mick,
such a nice touch.
— Oh yes.
Mick, it's the least I could do.
— Well, he did die saving your life.
Oh, he did more than that.
He died saving my career.
— (laughing) Good one.
You ready to start?
— I was born ready.
— [Manager] All right everybody, let's do this thing.
Isaiah, lock it down.
— [Isaiah] All right, quiet on the set.
This is a take, roll cameras.
— [Woman] Scream Test, scene one, take one.
(dramatic orchestral music)