Original subtitles

(bongo music)

(gunshots)

(serene music)

(suspenseful music)

(car whizzing by)

- There we go!

("Carl Sagan" by Loch Lomond)

And we're on.

I accidentally hit un-record.

Look at that.

(laughing)

Is that a farm over there? I love it.

What did I tell you guys?

Is this awesome or what?

This is a very creepy area.

- Yo, you got some good shit?

- You know I am, man.

(laughter)

- Look at Johnny and Nicole!

- We got the money shot.

Not that kind of money shot, I apologize.

- (kiss) (mumbles).

- [Johnny] She's so cute!

Kait's always prepared

with some sort of controlled substance.

- Okay, now--

- Oh, hi!

- [Johnny] No.

The end of something great.

(bird chirping)

(crows cawing)

(ominous music)

(grunting)

(suspenseful music)

(muffled crying)

(gasping)

(crunching)

(classic horror music)

(classic horror music)

- This early example of the German Expressionist movement

was made during the height of silent cinema

and had a profound effect on the history of horror films.

Yes, Miss Monroe?

- I love a good scary movie.

- Yes, horror films have fascinated the movie-going public

since the beginning of motion picture history.

I would like you all to ask yourselves

what does horror mean to you?

Now since this class is part theory and part practical,

I've created groups of five person teams that will allow you

to create a horror short and present it here in class

after the winter break.

Yes, Miss Monroe?

- Can we act in them?

- That is up to your director.

Okay, go out there and make something

that is special and personal.

The local multiplexes are filled with fast food hamburgers.

Go out there and make a finely cooked steak.

(peaceful guitar music)

- [Voiceover] Winter Ball's coming up.

Maybe Darren will take me.

You know, we haven't been on that many dates.

But that could be really fun.

You wanna go?

You could take Johnny (chuckles).

- I don't think so.

- You're not yourself today.

- It's my mom.

- [Woman in White Jacket] What about your mom?

- She called and this may be my last semester

in the psych grad program.

- But you only have one more semester left.

- I know.

Yeah.

(peaceful music)

- [Voiceover] Aw, dude, look.

They're about to make out, look (laughs)!

- [Man in Hat] Dude, she's upset about something.

Come on, where's your sensitivity?

- Dude, where's your balls?

What are we doin' out here anyway?

- We're testing the 7-D.

- [Man in Black Coat] Yeah well, if Lizzie knew

I was watching her she'd be pissed off.

Plus I don't want her to think I care that much, so.

Ah, I see how it is.

You like that chocolate, huh (laughs)?

- Come on, dude, we're gonna be late for class.

- [Man in Black Coat] You know, I can put a good word

in with Lizzie for ya. You know. - [Man in Hat] Dude.

(Man in Black Coat cackles)

Dude, come on, that's not, that's not cool.

- [Lizzie] Is that Darren and Johnny?

(Darren cackles)

- [Johnny] Come on, dude.

I don't even like know her that well.

- You know you want Nicole!

- [Lizzie] (giggles) Oh my god.

- [Nicole] Break up with him right now.

- [Lizzie] He's cute.

- [Nicole] I think I'm gonna go, okay?

See ya later. - Okay.

- [Darren] Okay, so now that we have an idea,

we need a location.

- We could shoot at my parents' house.

- [Johnny] I got the best idea for the location.

- What?

- Alright, do you guys remember

that Halloween fright farm in Mullica Hill?

- Yes.

- Creamy Acres?

- [Darren] Yeah, yeah, what about it?

- [Johnny] I think that would be

the best place to shoot this.

- [Lizzie] They're not gonna let us shoot there.

- [Miss Monroe] I could talk to them.

They'll have a hard time saying no to me.

- [Johnny] Yeah, no, no worries there.

It's closed for the winter so it's empty.

- Yeah, well the place is like

a Hollywood backlot for horror.

It's great. It's a great job, man.

- Thank you.

- Hey, guys. - Hi.

- Oh hi, Nicole. - Hey.

- We're going to Creamy Acres to shoot a movie.

- And I'm going to star in it.

- Actually we haven't cast any parts yet.

- [Miss Monroe] I deserve to star in it.

After all, it is my calling.

- [Voiceover] I wish we were doing a love story.

(Darren snickers)

- And who are you?

- [Miss Monroe] Oh, I'm Holly Monroe.

I had my mom change my birth name

to the actress I model my life after.

The only thing is, Marilyn wasn't a filmmaker.

So I thought if I went to film school I could write, direct,

produce, and yes, star in my own movies.

- Mmhmm.

I'm Nicole.

- Do you think I'm pretty?

- Holly,

beauty is in the soul.

It's what's on the inside

that truly determines our outer glow.

- [Nicole] Right on, sister.

Lizzie, I'll see you back at the apartment. Okay?

That okay? - Okay.

- [Nicole] Alright. - Bye, Nicole!

- Bye.

Bye, Johnny.

- [Holly] Darren.

Now about that part...

- Wait, Nicole!

I'm coming with you.

("Still" by Red Animal War)

- [Darren] Okay, kiddies, who's ready to make a movie?

- [Johnny] (chuckles) Yeah.

Alright, uh, please state your full name for the camera.

- [Nicole] My name is Nicole Hart,

and I've joined this crazy group of filmmakers

on a journey in intellectual curiosity.

It was my best friend Lizzie Davis who made me do it.

She manipulated me doing a series of adorable gestures.

- Guilty.

- [Holly] Johnny, I have something to say.

That's much better.

I've always felt more comfortable in front of the camera.

You see my name is Holly Monroe

and I'm what you'd call a power woman.

- [Darren] Okay, Johnny, you should document

the making of this film, man.

- [Johnny] I would if I had enough crew.

- Johnny, you should make a documentary

about my rise to stardom.

I always smoke when I take long drives.

Helps pass the time.

Here, babe.

- [Holly] I don't like to smoke usually,

but I guess this is a special occasion.

Because it makes me so hungry.

And you know I'm trying to watch my calories

because you know the camera adds 10 pounds.

(Holly coughs)

(Nicole coughs)

(everyone laughs)

- Score! (Nicole coughs)

- You alright there?

- It's been awhile.

(everyone laughs)

- (laughing) Yo, Johnny, I want that tape, man.

- You got it, man.

- No, erase that.

Right now.

- [Lizzie] That's right, blackmail us with that footage.

- [Darren] Ah, that's Johnny "Handheld" Thompson.

He'll never do that.

- I might. - [Darren] Nuh-uh (laughs).

- [Darren] Nuh-uh (laughs).

- (sighs) Are we almost there?

- (sighs) Are we almost there?

(ominous music)

(violin screech)

- [Voiceover] You're a terrible boy!

Wretched, putrid monster!

You hear me?

Do you hear what I'm sayin'?

You make me sick!

Why do you treat me like this?

Why?

(thud)

You're disgusting!

You're filth, you're trash!

You ain't nothing!

You hear me?

You ain't never gonna be nothing!

You're just disgusting!

(crying) Why?

Why do you do this to me?

Your man parts should be cut off!

You hear me?

(thud) (yelping dog)

- Man.

- You see those vultures up there?

- [Nicole] I see them.

They're waiting for something.

- They eat dead things.

- [Nicole] You know I've been thinking

about what you said about Darren

and I really think you should--

- Nicole, I don't want to talk about this anymore.

- Save yourself for someone who really loves you.

- You don't know him.

There's a side of him that you haven't seen yet.

- Mmm.

- Like when he was little, his dad used to say

he was going to pick him up and never did.

His parents are divorced, you know.

He's trying, he just has trouble trusting.

- I get it, but as far as I'm concerned,

he has much to prove to me to be worthy of you.

- Please, Nicole.

I need you to like him.

He's cute (chuckles). - Shut up.

Look at that.

- [Lizzie] This place is creepy.

We should probably try to catch up to them.

I don't want to get lost here. - Yeah, me neither.

- [Darren] Come on. - [Holly] This is really heavy.

It's hurting my arm.

- [Kait] It's okay, Holly. We'll get there.

- [Johnny] Oh, what the fuck?

- [Holly] At least this is good lighting.

- [Johnny] Beautiful. (dog barking)

- [Holly] I'm gonna look so pretty in it.

(the girls laugh)

- (mumbles).

(Darren laughs)

(violin screech)

(everyone converses)

- [Kait] Holly, please relax.

- [Johnny] That would be good.

So what did I tell you guys?

Is this place awesome or what?

Well I'm very glad we found this.

- These girls are truly gonna know

what guerrilla filmmaking's all about (laughs).

- You're telling me.

So have you come up with a title yet?

- I'm just gonna throw this out there.

- Hmm?

- Familiar Stranger.

- I like it.

I like it, it's got a ring to it.

- Yeah?

- Why do I have to carry anything?

I'm a star.

- We have to work together.

If we work together, it'll be easier on us all.

- God.

I need an assistant.

- Got the hangman thing going.

Got a fuckin' thing dead

and fuckin' people in there in this like boardhouse.

It looks like someone built this house in two days.

Could happen.

Dude, look!

A fuckin' pirate ship!

(everyone laughs)

What is that?

- Oh my god.

Dude, that's gonna look great.

(Holly laughs) - Goonies (laughs)!

- I'll show her my one-eyed willy.

(Darren and Johnny laugh)

- [Holly] Girlfriend.

- Oh man, alright.

Let's keep movin'.

- [Holly] Ugh!

This is so--

- Skeletons.

Ugh, we've got some crates.

We're gonna string together the best

nonsensical story ever created.

- (laughs) Donovan's gonna be like, "Shit, this is amazing!"

- Right?

- He's gonna blow his load over our movie.

- [Johnny] That's, alright, well.

(violin screech)

- Oh wow.

- [Holly] God, these are just not the right shoes.

- Look at this, look at this.

Look (laughs).

- Wow.

- Alright, alright.

Now let's stop here.

This will protect us from the elements.

- I'll keep you warm.

Just make sure you always shoot me from the right.

It's my much better side.

- Is this bitch for real?

- So, how do you guys like the place?

- Great location.

- [Nicole] If you're going to shoot a horror film,

this would be it.

- Uh, which brings me to my next question.

Uh, Nicole, um, I know you're not an actress,

uh, but, you know, you have this real beauty

and style about you--

- [Nicole] Johnny, I'm not someone you have

to beat around the bush with.

If you want me to be in your movie, just say it.

- You mean you'll do it?

- For you, yes, I will.

- Thank you, Nicole.

You know, you really are beautiful.

- I said I'd be in the movie.

Don't push it.

- Okay, okay.

Dude, she's in.

- Oh, that's great man.

You sure there's no one here?

- Yeah, dude, it's empty.

Why is everyone so scared of that?

Come on, look at this place.

It's a filmmaker's dream.

Yeah, yeah, I know, I just don't want

anyone fuckin' up our shoot.

This one will be my magnum opus.

(crows cawing)

("The Dark Side" by Shelley Short)

- [Voiceover] Yeah.

- What?

- That's that, that's that guy McInnes.

- [Bartender] What will it be, John?

- Beer.

- Shelly, can I have a beer for John?

Enjoy, Johnny.

- Hey, buddy (chuckles).

You're that guy.

- What guy is that?

- You're that cop.

- I was a cop.

- [Man with Hat] What happened?

- Retired.

Or they retired me.

- [Man with Hat] Yeah, you're the guy

that was chasin' down the guy that killed all those women.

- Yeah, that was me.

- I knew it (chuckles).

I never forget a face (laughs).

But let me ask you a question.

How did it feel when you caught him?

- We never caught the real guy.

- [Guy with Beard] What about the newspapers?

- Can't believe everything you read.

- [Guy with Beard] What do you believe in?

- You know what I believe in?

I believe in God.

I believe in family.

And I believe there's a place in hell for serial killers.

- Let's have a drink together, me and you.

(clink)

- Here's to my new best friend.

(sirens)

- Okay, kid, you have to understand.

This place is filled with strong egos.

Sometimes you gotta remind them who's in charge.

(chatter)

Angelice, you think this is a rest home?

Get your fuckin' feet off the desk!

Giddy up, motherfucker.

Do somethin'!

- Captain, why you always breakin' my balls?

- 'Cause it's fun.

You, keep your eye on him.

- You got it, Captain!

- [Captain] Gentlemen, I'm showin' the kid the ropes.

- Aw, ain't that sweet?

And who's gonna show you the ropes, Cap?

(Detective in Hat laughs)

- Is that insubordination I just heard?

- Sounds like he was kidding, Edward.

- Don't be such a sourpuss.

Didn't I get you a gift when you made Captain?

- [Detective in Hat] You see, what Captain Links here

neglected to tell you was that

Mansfield and I have been detectives since he

was wearing a blue uniform and walkin' a beat.

- [Capt. Links] You two are pains in my ass.

- [Mansfield] Speaking of pains in the ass,

how are those hemorrhoids, Cap?

(everyone laughs)

- [Capt. Links] About as big as your fuckin' ugly head.

- Ooh.

- So, what's it like being the Captain's bitch?

- Leave the kid alone, will ya?

Voight, let's go.

These two are hopeless.

- [Mansfield] I'm tellin' ya,

you're gonna wake up one mornin' and have a baboon's ass.

(everyone laughs)

- Cap, you got a phone call.

- [Capt. Links] Who is it?

- It's Cherry Hill P.D. Captain Eason.

- [Capt. Links] I'll take it in my office.

(sirens)

Make sure you shut that door.

Have a seat, kid.

Yeah, this is Captain Links.

- [Capt. Eason] We got a Detective McInnes

calling over here regarding a murder victim.

- Tell me, is there a problem?

- [Capt. Eason] No, I was just calling

to confirm he was with you.

- [Capt. Links] Yeah, he's one of mine.

What did he want to know?

- [Capt. Eason] He asked if the victim

was raped post-mortem.

- I see.

Anything else I can help you with?

- [Capt. Eason] No, Captain, we're all good.

(click)

Tell me, what do you know about the Corpse Collector case

from five years ago?

(sirens)

- So fucking cold out here.

(suspenseful music)

(creaking)

(thud)

(creaking door)

(mice scurrying)

(creaking door)

(flies buzzing)

(flies buzzing grows louder)

At the time I was newly appointed.

Lots of pressure from City Hall to find this guy.

One night, guy walks in, confesses to everything.

All my problems are solved.

Except for one small thing.

- [Voight] What's that, sir?

- John McInnes.

This is your guy.

John, he made a full confession.

- You just want to please the public.

- You think that?

I got a confession, you got shit.

You got nothin'.

John, look at your desk.

You ever hear of a fuckin' computer?

Why don't you join the 21st century?

- Go fuck yourself.

- [Capt. Links] Mac was workin' the case for me.

He was sure he had the guy.

Black guy named Harrison Graves.

Even I thought the fucker did it.

And then comes Charlie Booker.

- Good evening, Mr. Booker.

My name's Kevin Mitchell and I'm your public defender.

The detectives tell me that you waived your right

to counsel and gave a statement.

- Yes, I did.

- In fact, they tell me you're takin' ownership

of 15 dead bodies.

- I killed them all.

- Mr. Booker, I certainly hope that's not true

because if it is, you're almost certainly looking

at the death penalty.

- John, it ain't worth it.

Let it go, man.

- [Capt. Links] This is about a month

after Mac lost his kid.

I let him stay on the case.

I thought it would distract him.

Mac was never the same after that.

("Pullin' Pullin'" by Shelley Short)

(snorts)

(coughs)

(laughs)

- I'm not sure that was a good idea (laughs).

Give me another (laughs).

What, you're not gonna give me

another fuckin' drink or what?

- Wouldn't it be best if you slowed down?

Got your car here, Johnny?

- [McInnes] You sound like my ex.

That's why I got rid of her.

- That's not what happened, John.

- You're my bartender, not my therapist.

Give me another drink (slap), you Irish (slap) bastard.

- Don't you lay your hands on me in my fuckin' bar.

I'm cutting you off. - Fuck it.

- I'm cutting... Give me that.

- [McInnes] Don't you-- [Bartender] I'm cutting you off.

- Yeah, I'll fuckin' beat the fuck out of you!

- [Bartender] Don't you do this, John.

Don't you do this. Give me that.

- Ha!

Motherfucker.

- You motherfucker.

- Ha!

- Get the fuck out of my bar, John.

(sirens)

Get the fuck out of here, you fuckin' drunk!

Get out of here!

Don't drive.

Fucker!

(sad music)

(birds chirping)

- I'm so sorry.

- [Lizzie] Tonight is the night.

- Why do you feel so compelled to be with him?

What's the rush?

Hmm?

- A man has needs.

And Darren says that a good girlfriend's job

is to make sure those needs are met.

- Oh he does, does he?

What about what a woman wants?

- Why do you have to be so analytical about everything?

Have some fun!

Plus, I know Johnny has a little crush on you.

- Oh, Johnny. (Lizzie giggles)

That boy wouldn't know what

to do with me even if I was interested.

Plus it's, um, it's been a little while for me.

- Hang out with him tonight and see.

He really is sweet.

- Whatever.

You just promise me not to do anything

just because Darren wants you to.

You have to want to do it.

- I don't know why you don't like him.

- [Nicole] It's not that I don't like him.

He's cool and all.

I just see him in a different light.

He uses his ego to make decisions and I don't think

he treats you the way you need to be treated.

- I know you're worried about me.

- Mmhmm.

- But do you think this could be something else?

- Like what?

- [Lizzie] Well, it could go back to that story you told me.

About your sister.

- I don't want to talk about that.

- [Lizzie] Come on!

It's okay for me to tell you everything

and you won't even entertain that this could definitely

have something to do with that.

- You know what, fine.

If you want to cheapen yourself and be with someone

who doesn't deserve you, that's on you.

(ominous music)

- [Lizzie] That was wrong of you to say.

What you say affects me!

(suspenseful music)

- [Holly] Why do we have to scout this?

- We're part of a team.

Darren needs us to.

- That thing is creepy.

- It almost looks like a real person could be in there.

Ugh.

I will say this place definitely has a darkness to it.

- Ugh!

(Kait laughs)

Never was good at sports.

- You know, neither was I.

- Let's go.

I want to get back to shooting.

- Okay.

- So do you think I'll be a big star some day?

- [Kait] I think you should follow your dreams.

- I'm sorry.

You were right.

It's your life and I just want you to be happy.

- Thank you (kiss).

(violin screech)

(ominous music)

- Okay, now that we're set up,

let's continue the wondrous process of creating cinema.

- Uh, do you want me to take this off sticks? I could--

- No, no, no, no.

In this shot we're composing inside the frame.

- I'm ready for my closeup, Mr. DeMille.

- (laughs) Yes, Sunset Boulevard.

Paid attention in film class.

Good girl.

- This is Familiar Stranger, scene four, take 20.

(thunk)

- I'm so sorry, it just slipped.

- Ugh.

Watch that thing.

- Is everyone ready?

Quiet on the set!

(dog barks)

- Dude, there's no one here.

- Quiet on the set!

(dog barks)

Camera's rolling!

Action!

(Holly screams badly)

Cut, cut, cut!

Just stop the camera.

Stop it.

I need time to think.

Kait, did you tell everyone to come tonight?

- Yeah, I posted it on Facebook.

That we're making a movie, so there should be

a bunch of people here in about four hours.

- Alright, just cut the camera off.

Gonna break till the party scene.

- (sighs) I'm good.

(McInnes sighs)

(mysterious music)

(suspenseful music)

- Holly, this place is really weird.

(Darren chuckles)

- Yo, hey, Johnny, you gotta see this, man.

Johnny!

- [Holly] Can you guys hear me? - Huh?

Holly?

- [Holly] Where are you guys?

- [Lizzie] Nicole?

- Johnny!

- [Johnny] Yo, Darren!

- [Johnny] Yo, Darren!

- Hello?

(creaking)

Can you guys hear me?

- Holly!

Where are you?

(Holly screams)

(suspenseful music intensifies)

(Holly screams)

- Oh my god!

- [Nicole] That's gross!

- [Johnny] (chuckling) What?

- [The Girls] Ugh!

- [Nicole] That's gross!

(Darren chuckles)

- We can use that in my film!

- Ugh, no, you know what kind of germs those things carry?

- What do you think happened to that deer?

- Have you ever heard of the chupacabra?

- [Kait] No.

What's that?

- [Johnny] It's a creature that's been spotted

on farms just like this one.

Affectionately known as the goat-sucker,

it's known for attacking livestock and drinking their blood.

Specifically goats, but I guess this time it chose a deer.

- [Nicole] Stop scaring her.

The chupacabra is only found in the Southwest.

I think we're safe from that creature here, honey, okay?

Now the Jersey Devil, that's a different story.

(Johnny and Nicole laugh)

- [Johnny] Wait, how do you know about that?

- [Nicole] I watch the History Channel, you know.

- A girl after my own heart.

Lizzie, you never told me.

- Nice try, Johnny, but mmm-mmm.

This is disgusting.

Whoo, let's go!

- I'm gonna get my GoPro and we're gonna come back out

and we're gonna shoot this fuckin' thing.

(Holly coughs)

- [Holly] So disgusting!

- I feel bad.

- Oh, it's gonna look great (laughing).

(sirens)

(footsteps)

- [Voiceover] Hey, baby.

You lookin' for some company?

- Keep walkin', you don't want any of this.

- I want you to be my daddy.

- Mmm?

- I'll make you feel really good.

(McInnes chuckles)

And I'll be a good baby.

What, you don't like Pepsi?

- Stop.

- Hmm?

- Is that your real name?

- (chuckles) Yes, because I taste so good.

You don't like me, huh?

I knew there was somethin' wrong with you.

(crackling fire)

♪ (lyrics) When a girl walks in with an itty bitty waist

♪ And a round thing in your face, you get sprung ♪

(laughter and chatter)

(suspenseful music)

- Please, please let go of it.

No, no, no, no.

(violin screech)

(violin screech)

- Are you okay?

- Yeah.

(violin screech)

(Darren yelling)

- [Darren] Say Darren, Darren!

- [Crowd] Darren, Darren, Darren,

Darren, Darren, Darren, Darren!

- [Holly] And who's the star of your movie but Holly Monroe!

Holly, Holly, Holly, Holly!

- [Crowd] Darren, Darren, Darren, Darren, Darren, Darren!

(crowd cheers)

("Woods" by Sarah Gwen Peters)

- I decided that tonight is your night.

- Really?

After all this time?

(Lizzie giggles)

(Lizzie moans)

- I love you.

(Lizzie and Darren moan)

- That was awesome.

- I feel so connected to you.

- Yeah, that was great.

(Lizzie chuckles)

- Do you feel the connection?

(rooster crows)

(door shuts)

- [Kait] Guys, I can't find my iPhone.

- [Holly] Mine is gone too.

- [Lizzie] Where is everyone from the party?

- They must've stolen our cellphones.

- Who?

- Someone from the party.

- Alright, mine's gone too, guys.

We gotta get back to school.

Come on, wrap it up.

Lizzie, I told you I had to study this weekend.

- [Lizzie] Sorry.

- I didn't come here to lose my phone.

- [Holly] Yeah, I have photos on my phone.

I can't have people just see those photos on my phone!

They're not for everybody!

(everyone talks at once)

- Hey!

Hey!

Hey, wait a second, calm down!

(everyone stops talking)

Listen...

I know we're too young to remember,

but there was a time when there was no cell phones

and a group of hungry filmmakers went out

and focused and made a movie and created art.

Yeah, we could quit, we could go home,

and that's what they would expect us to do.

(dramatic, motivating music)

And we probably wouldn't be wrong to do so.

However, I believe that each and every one of you

has a fire burning deep inside them

to create something special.

Something great.

Despite the setbacks or the odds.

(slow clap)

- That was one hell of a speech.

So I guess everybody wants to stay?

- [Lizzie] We can make this movie.

- We can make this movie.

- [Lizzie] Come on, Nicole, that was inspiring.

- [Nicole] It's inspiring because it's--

- That was amazing!

- I saw Copolla give that speech

on the behind the scenes of Apocalypse Now.

It's all I had.

- It worked, bro.

(Darren laughs)

- Darren, you are so talented and such an amazing director.

I was just wondering if you could use me

in this scene in any way?

- Holly, this is the scene, uh, where Nicole realizes

who the familiar stranger is.

Your scene will be shot tomorrow.

If you could just hang around and help Lizzie,

that would be great.

- Fine.

- Shit.

- One of the coldest winters in years.

- Fuck yeah.

- Voight, go get us some coffee.

Right over there, by the train entrance.

- Okay.

(sirens)

(cellphone rings)

(train horn)

- Hello?

- [Capt. Eason] It's Captain Eason

over here at Cherry Hill P.D.

- Yeah, what can I do for you?

- [Capt. Eason] Your guy, he came back.

- What's he lookin' for now?

- [Capt. Eason] He told me you gave him authorization

and consent to catch this killer.

Hold on, this is what he said:

"Captain Links stands behind all my--"

- Do me a favor, Captain Eason.

Just give me a call if he needs anything else.

- [Capt. Eason] Sure thing.

It's good to know you stand behind your people.

- Thank you.

- Here you go.

What's wrong, Cap?

- You're not gonna fuckin' believe who just called me.

- Who?

- [Capt. Links] Cherry Hill P.D.

Mac is at it again.

Crazy fuck.

- God, what he do this time?

- Fuckin' won't give up.

Fired him five years ago.

He was unstable after Charlie Booker confessed

to those fuckin' murders.

I'll admit, there was a point he was so convincing

he led me to believe that

this Harrison Graves was the killer.

How 'bout that?

A black serial killer.

Who ever heard of that?

And this one, he looks like a fuckin' underwear model.

(Voight chuckles)

Yeah, it was clear.

When Booker turned himself in, he was our guy.

- Captain, can I ask you something?

- Sure, kid.

- Whatever happened to McInnes' son?

- We needed to find this guy, so Mac was workin' long days

following down every lead he could.

That winter his kid Kyle got pneumonia.

Mac was out talkin' to some local informant

who had some information about one of the missing women.

When Kyle's fever rose to the point

to where he needed to be rushed to the emergency room,

McInnes didn't make it in time.

Kid Kyle went into shock.

Died right there before he was even admitted.

- Fuck.

- [Capt. Links] After that, (sighs) McInnes started drinking

and him and his wife, they just grew apart.

He really blamed himself for what happened.

I think he blamed me a little too.

I had to let him go when he wouldn't accept

that Booker was our guy.

- Whatever happened to Booker?

- Booker, he got the chair.

Justice was served.

- You two were close?

- What, it wasn't my fault.

Shit happens.

I can't keep cleanin' up after him.

He's gotta take responsibility.

It took me years to get to where I am

and not him, or anyone else, is gonna fuck that up.

- Well, I found out where he's staying.

The sleazy motel on Route 73.

- That fuckin' hooker motel?

- Yup.

- Man, he has really hit rock bottom.

Let's go.

Let's go see that fuckin' moron.

Come on.

(engine starts)

- Take 17.

- [Johnny] The camera's not focused, but okay.

- [Darren] Camera's rolling!

Action!

Cut, cut, cut!

Holly, what the fuck are you doin'?

- Oh, I thought that if I was in the scene,

then it would make the killing scarier

because I could react to it.

- Oh, that's what you thought?

First of all, Nicole doesn't die in this scene.

Second of all, get the fuck out of my frame!

- (gasps) Fine.

If you don't like my ideas,

then I'm just gonna go take the GoPro

and make my own movie without you.

- [Darren] Good!

Fuckin' hallelujah!

Grab the GoPro, get the fuck out of here!

(dog barks)

- Excuse you!

- [Darren] Excuse me? - You know who I am.

I am Holly Monroe.

- You're not a Marilyn Monroe!

You're in your fuckin' head! Move!

- You wouldn't know talent if it hit you in the face.

I am the star of this film.

If this film is successful, it's because of me.

- [Darren] Oh really? - It's not because of you.

- You are nothing! - What?

- [Holly] You are nothing without Holly Monroe!

I am the fucking star!

- Yeah, you may look like a star,

but you can act like fuckin' shit.

- [Holly] Oh, really?

- So grab the GoPro and get the fuck off my set!

- Oh I will gladly do that.

- [Darren] Go! - Good luck with your own movie.

- This is the last you're gonna see of me!

- [Darren] Thank you, thank you! - Good luck without me!

- [Darren] Thank you, thank you! - Goodbye!

- Thank you, thank you, thank you!

Jesus fucking Christ.

She's unbelievable.

- [Johnny] (mumbles), dude.

- [Darren] From the top, yes.

Can we start again? - [Nicole] Yeah.

- [Darren] Thank you.

- [Johnny] I want the GoPro back.

- Hello, my name is Holly Monroe

and I am broadcasting from my first big film.

Today I will be doing a monologue for you

from To Die For with Nicole Kidman.

(suspenseful music)

(giggles) Here's what I found out:

That all of life is a learning experience.

Everything is part of a big master plan.

But sometimes it's, well, it's hard to read.

It's like when you stand too close to the screen.

All you can see is a bunch of little dots.

You can't see the big picture until you stand back.

But when you do, everything comes into focus.

(suspenseful music)

(gasping)

(knocks)

(bangs)

- [Capt. Links] McInnes!

Get out of there.

Get back, get away from that fuckin' door.

(bang)

Fuck!

What?

Look at this fuckin' shithole.

- [McInnes] Hello, Edward.

- Holy shit.

- Congratulations, Edward, you've become a drama queen.

- Will you look at this sorry piece of shit over here?

Look at this fuckin' guy.

Want me to help ya up, John?

Yeah, let me help ya up.

Come on get up, get up!

Look at you souse.

Holy shit.

- And who the fuck are you?

(slap) - Oh!

- Wow.

- John, you called Cherry Hill police

and tell them you're one of my guys?

You fuckin' stupid or what?

- Maybe.

- Maybe? - Maybe.

- Yes or no? (McInnes laughs)

- Okay, I did (laughs).

I've called every fuckin' one of them, you mother fucker!

Every fuckin' station I called

because you're not calling them.

Until last week at Cherry Hill, he's been silent.

Morons.

You morons can't figure anything out, can you?

He's going to go again, Edward!

And this time the bodies are gonna be

on your motherfucking head!

- [Capt. Links] Wow.

- Get, if you touch me I'll fuckin' break your skull!

- [Voight] Calm down, just calm down. Captain.

- Let's just pretend like none of this ever happened.

And why don't you guys get the fuck out?

(slaps)

- [Capt. Links] That's it, take this fuck!

(McInnes yells)

Get this fuck!

You stupid son of a bitch.

- [McInnes] You must be so proud of yourselves.

- Now you've done it, you fuck.

Shut up and listen to me!

Shut up!

This is what we're gonna fuckin' do with you.

- You know you're spitting on me.

- I am going to leave you my phone number,

and you're gonna call me instead

of the fuckin' police station.

Fuckin' idiot.

We're gonna let him up.

We're gonna let him up.

- [Voight] I'm not lettin' him up.

- [Capt. Links] Let him up, let him up.

- I have something to say.

- Okay, what's it gonna be, John?

Go 'head.

- I bet you've no idea what pain is like.

Every day I wake up and because of you,

my wife doesn't want to see me anymore.

And I lost my son because of this case.

Now you need to go fuck yourself.

- Let him up, let him up.

Let him up.

Fuckin' lunatic.

Voight, let's go.

Leave him be in his fuckin' misery.

Holy shit.

- [Darren] Alright, is everyone ready for the scene?

- Yeah! - Yeah.

- Alright, I think this is our actor here.

Hello, Michael? - [Michael] Yeah, what's up?

- Darren. Thank you so much for bein' in my little film.

- Mmhmm.

- Here's your mask. - Mask.

- [Darren] I was gonna have you, uh,

go around the corner here

and then I'm gonna signal you when I need you.

They're gonna have a little bit of dialogue first. Okay?

Uh, can you fill up the knife and give it to Michael?

- Yes, yes.

- Okay, thank you.

Now this is a real knife.

Just be, be very careful, okay?

- [Michael] Okay, definitely.

Yeah.

- Be careful.

- [Michael] (mumbles) (laughs).

- [Darren] Okay, this is what's going to happen.

You guys are gonna run out here, a little bit of dialogue.

Michael's gonna come around from the corner.

He's gonna kill Johnny, he's doubling as an actor today.

Okay?

(Kait laughs)

You fine with that? - [Johnny] Oh yeah.

- You understand?

- Mmhmm.

- Yeah, so, I look back at him as the killer kills him?

- Mmhmm.

- Do you want me to scream?

- I want you to act as if it's really happening.

- Okay, I can do that.

- [Darren] Alright, thank you.

- 'kay.

- [Darren] Okay, well I'm gonna shoot this one

because Johnny's in the scene.

Okay?

Alright, let's go, let's do this.

- [Nicole] Alright, let's do it!

- I'm ready when you are.

- [Darren] I'm ready.

Ready?

- You ready for my mark?

- [Darren] Yep.

- [Kait] Okay.

We have Familiar Stranger, scene two, take one.

- [Darren] Alright, camera's rolling!

Action!

- What are we gonna do?

I think he killed them all.

- We have got to get out of here!

- We should go back to the house.

She might be still alive.

- No she's not.

I saw the body.

Oh!

(Johnny yells)

(Nicole screams)

(Johnny yells)

Ow!

(Johnny gasps for air)

(slow applause)

- [Darren] Cut!

Oh shit, that's fuckin' amazing.

(Kait chuckles)

Oh, oh wow.

Michael, you walked off.

I need you to go after Nicole.

You know what?

No worries, no worries.

We'll get it in a closeup, okay?

I think I got that in one shot.

- (chuckles) I think so.

- (laughs) Oh wow.

Come on, guys, yo, let's take a look at this.

It looked so real, come on.

- [Nicole] Johnny.

- Johnny, get up.

Come on, let's watch this. - [Nicole] This guy.

- Yo, everyone, it was so real.

You gotta see it. - [Nicole] come on, Johnny.

- [Darren] Johnny, come on, get up.

I want you to take your hand out, let's go.

Come on!

Johnny?

- [Nicole] Johnny.

Johnny, get up.

Johnny, get up!

(suspenseful music)

He's dead.

- [Darren] What?

Johnny, Johnny, let's go!

- What?

- Who was that guy?

We gotta get out of here.

Grab everything you can and let's go!

Now!

Come on, let's go!

(Darren mutters)

Darren, let's go!

Kait, come on, we gotta leave him, honey.

Come on.

Come on.

No, no, no, no.

Let's go.

Darren, come on.

(ominous music)

- [Darren] What the fuck's happening?

- [TV Reporter] In the farming community made popular

by Creamy Acres Night of Terror Fright Farm,

the terror for one family has become all too real.

As I'm standing in front of the home

of Betsy and John Andrews.

Parents anxiously awaiting the news

of their missing teenage daughter, Vanessa Andrews,

with a rash of kidnappings

and murders all over south Jersey.

Earlier today, the mother of this missing teenager

made a heartfelt appeal.

- My name is Betsy Andrews.

If you have any information on my daughter,

my baby, Vanessa,

please.

- [TV Reporter] Reporting live in south Jersey for WMAM,

I'm Gail Scott Key.

(mysterious music)

(thud)

(suspenseful music)

(dog barking)

- Shh.

(dog barking)

- Oh fuck, shit.

Oh shit.

Oh.

(violin screech)

I wanna see where she went.

- [Holly] Everything comes into focus.

(gasping)

(screeching)

(Nicole screams)

(gasping)

(snap)

(heavy breathing)

(suspenseful music)

(bubbling)

(suspenseful music)

(violin screech)

(gasp)

(the girls scream)

(stab)

- [Nicole] Lizzie.

(Kait screams)

(stabbing)

Let her go.

Lizzie, come on!

(Kait screams)

Lizzie!

Let, let her go!

(Kait screams)

(stab)

(suspenseful music)

(suspenseful music)

(suspenseful music)

(crash)

(epic mission music)

(whimpering)

(click)

Okay, we have to get to a phone.

Let's go inside that farmhouse.

I know it's not safe but we have to get help.

On three.

One,

two,

three!

(suspenseful music)

Okay, try to find a phone.

- Okay.

(violin screech)

- Okay, we have to hide.

We have a better chance of surviving if we split up.

You have to go now.

Go, go, go, go, go. (Lizzie whimpers)

Go Lizzie.

(suspenseful music)

(suspenseful music)

(suspenseful music)

(creaking)

(suspenseful music)

(tearing fabric)

(thud)

(suspenseful music crescendo)

(Harrison grunts)

(Lizzie whimpers)

(text message beeps)

(text message beeps)

(crash)

(footsteps)

(suspenseful music)

- Hey, you fucker!

(stab) (Harrison screams)

(Nicole screams)

- Go!

Help us!

- [McInnes] If anything comes outside that house,

just start shooting.

Get in the car.

Call my Captain.

Tell him I have Harrison Graves.

He's killed again.

- You're a cop?

- Today I am.

(epic rock music)

- I hope he kills this motherfucker.

- [McInnes] Hey, Harrison!

- [Capt. Links] This is Captain Edward Links,

please leave a message.

- Captain Links, my name is Lizzie Davis.

We're on Creamy Acres Farms.

Harrison Graves is here.

Please come right away.

(gunshot)

- (sigh of relief) It's over.

(violin screech)

(suspenseful music)

- [Lizzie] The keys, where are the keys?

(gunshot)

(dog barking)

Nicole.

(suspenseful music)

- Come on!

- Shit, I got a voicemail.

- [Lizzie] Captain Links, my name is Lizzie Davis.

We're at Creamy Acres Farms.

Harrison Graves is here.

Please come right away.

- Shit. Voight, come on, let's go.

- What's goin' on?

(car braking)

Harrison Graves is here.

Contact local police and state troopers.

I gotta fix you up, buddy.

- Stop him.

(gun reloading)

(suspenseful music)

(suspenseful music)

(clown cackles)

- [Clown] Are you sure you want to do that?

(violin screech)

(clowns cackle)

(violin screech)

(clowns cackle)

See what happens the next time you do it.

(clowns cackle)

(Nicole screams)

(gunshot)

(suspenseful music)

(girls scream)

- It came from over there!

- Where'd he go?

(Lizzie screams)

(thud)

(suspenseful music)

- You got me?

- Got ya.

(suspenseful music)

(suspenseful music)

- Where is this fuckin' guy?

You got me?

- [Voight] I got you.

- We are going to survive.

- [Voight] You good?

- Let's go.

- Got it.

(suspenseful music)

This is Captain Links!

Is anybody in here?

- [Nicole] Yes!

We're in here!

- Identify yourselves!

- [Nicole] Nicole Hart and Lizzie Davis!

- [Capt. Links] Don't worry, girls.

You're gonna come to the sound of my voice!

We have the situation well in hand.

Just come to me!

- [Voight] Captain, this place is a fuckin' maze.

(violin screech)

(Voight screams)

- Let him go, motherfucker! Let him go!

(thud)

You son of a bitch!

Fuck!

(Capt. Links yells)

Fuckin' fuck!

(gunshot)

(police radio)

Just take care of them.

- Is there anybody else in there?

- There's one more inside.

It's Harrison Graves.

He's dead.

(sad music)

We got that son of a bitch for ya, John.

- I wanted to kill that fucker.

- Is that a toy?

- It was my son's.

He loved playing detective.

- [Capt. Links] Good news is,

as soon as you're better, you're reinstated.

Special Victims Unit.

- Should've never fired me, asshole.

Will you call my wife?

Tell her I was right?

Our kid didn't die for nothin'.

- I will, pal, I will.

Rest up.

- And tell my wife I'd like to see her.

- Anything you want, John.

I will, I'll call her.

I'll tell her.

(police radio)

(violin screech)

("Caravan" by Shelley Short)