All language subtitles for Scream.Test.2020.1080p.BluRay.x265-RARBG

— 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, 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?

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)

(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?

— 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)