306 - If I Could Be Like That
THE SCREEN BURSTS INTO LIFE with inspirational music.
A news logo spins it's way into view:
THE MORNING NEWS WITH REGINA WALL
INT. NEWSROOM - MORNING
REGINA WALL sits at her newsdesk, looking on at the camera with an emotionless smile and glare as if this is just another piece of news to her. DOLLY IN to a MEDIUM CLOSE UP with a bit of space to the left of her shoulder where pictures can be posted.
REGINA: Good morning, everyone, I am Regina Wall here with your morning news and overnight, the newest story to hit the nation is one of grisly proportions. Late last night and early this morning in Woodsboro, California, the details of a so-called "killing spree" are still surfacing in what some are now calling "the Woodsboro Murders REBOOT." It's also going by "The Woodsboro Massacre Remake" and "The Woodsboro Anniversary Killings" by other news outlets in the fact the murders were patterned after the original "Woodsboro Murders" 15 years ago made famous by Gale Weathers in her tell-all, eyewitneess reports and the Stab films. At this time, the suspects have been caught and/or have been found dead with only one sole survivor at this time being reported. There were also numerous reports of other crimes happening in Woodsboro during the 3 day time frame the killing spree took place which are still under investigation as to whether or not they have any link between the two. Sources are also telling us that some of the victims appeared in the "Woodsboro, California" episode of the 25 part documentary by French directors Christoph Clemens and Jean Cloque titled, "America's Youth" which focused on a new city every episode. The "Woodsboro" episode was filmed and aired late last year in November with talks of a follow up episode now in the air after some of their subjects may be feared dead.
SMASH TO BLACK.
DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)
AMC CHANNEL present (a dark, bloody basement)
JILL ROBERTS (framed picture on a wall, her smiling; it's cracked down the middle)
CHARLIE WALKER (yearbook photo for the Cinema Club, a bloody handprint off to the side)
OLIVIA MORRIS (the yearbook pages flip to Olivia, school picture, her eyes CUT OUT)
ROBBIE MERCER (a computer screen advertisement, webpage - HALL PASS with Robbie Mercer)
TREVOR SHELDON (a ripped in half photo, someone else has been cut out - it's pinned to a wall)
JENNY RANDALL (a smiling picture of Jenny is pinned to the wall next to Trevor's)
MARNIE COOPER (a random photo - a noose drawn around her neck, connected to the ceiling)
NILEY KRINKEY (a small photo of her on a key chain; a headshot like photo)
KIRBY REED (newspaper photo of her crying during the Penciatti Hotel incident, her friends consoling her)
ROY POPPER (the newspaper flips a page to Roy at his radio desk; headphones on & the ON AIR light on)
SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)
SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)
SMASH TO BLACK -
(white lettering PUNCHES through)
The Third and Final Season
Based on Events and Characters by Kevin Williamson
Teleplay and Concepted by Billy Bob D
A LOGO with American monuments BURSTS onto screen with triumphent music.
TITLE: "America's Youth"
SUBTITLE: #17 - Woodsboro, California
INT. CAR - DAY
POV FROM THE BACKSEAT: CHRISTOPH CLEMENS drives as JEAN CLOQUE sleeps in the passenger seat of the car.
CHRISTOPH: I remember being younger and hearing about Woodsboro. In fact, Jean and I went to the cinema to see the first Stab film while we were in film school together. And at the time, we didn't know that the film was based on true events and this really perplexed us that something like this could happen between youth. So afterward, I looked up all the information and I learned of everything that had happened and it was truly remarkable stuff. And then ofcourse, it happened again when the heroine of the film and in real life, Sidney Prescott attended college. And then once more in Hollywood. After that, the films became fictional and that was a great injustice to those who were truly interested because we wanted to know the real story of Woodsboro. In truth, the town of Woodsboro was one of the main reasons we wanted to film this show. Not only to learn about the youth in America but to truly see how the teenagers operate, how they function, who they make friends with, what they learn, and their challenges in a post 9/11 society. But Woodsboro being the home of such a vicious spree made it that much more intriguing to us to go out of our way to make sure we come to Woodsboro.
EXT. WOODSBORO HIGH - PARKING LOT - DAY
Christoph and Jean stand in front of the school looking up at it with wonder. The cameraman TILTS up to capture the name of the school. Christoph turns around to the cameraman.
CHRISTOPH: This is the school that Billy Loomis and Stu Macher both attended before their killing spree all those years ago. This is where Sidney Prescott and Tatum Riley became best friends. Where Dwight Riley and Gale Weathers first met.
EXT. VIDEO STORE - DAY
Jean walks from the parking lot to the store.
JEAN: And this is where the famous Randy Meeks gained his knowledge of all things film. He worked here for some time and rented videos from this establishment. He would set the rules in the movie and help the characters until eventually... well, I won't ruin the other Stab films, but this is the birth place of an education into film and he, even though he is long gone, is one of my idols.
INT. WOODSBORO HIGH - PRINCIPAL'S OFFICE - DAY
Principal Brosnon sits at his desk looking at the two directors in front of him. He smiles politely and nods along listening to what they have to say.
BROSNAN: There is quite an allure from films types all around the world who come here just to get an essence of what this place is. But the fact remains, this is an institution for learning and ya know, people try to come up with theories: "what is it about this place that created a killer?" Truth is, my predecessor, Principal Himbry, was a great believer that your education makes you what you are. No disrespect to the late Himbry but my philosphy is "your education determines what you can become." So those boys weren't killers because of what they were learning but only because they hadn't finished learning.
CHRISTOPH: What about those who go on to kill after a college education?
BROSNAN: (smiles) They got the wrong education, apparently.
INT. WOODSBORO HIGH - HALLWAYS - DAY
Brosnan gives a quick run through the halls of Woodsboro High. He stops at the Principal Himbry bust.
BROSNAN: Principal Himbry was honored about a decade ago with this bust after his unfortunate demise.
INT. WOODSBORO HIGH - CINEMA CLUB ROOM - DAY
Brosnan opens the door onto a Cinema Club meeting is occurring. Charlie stands up and turns off a film smack dab in the middle of a steamy sex scene.
BROSNAN: Good afternoon, Cinema Club.
CHARLIE: Hi Principal Brosnan, how may I help you?
Charlie now notices the camera and is taken aback a bit, a nervous smile coming across his face.
BROSNAN: You are now being recorded for a new TV documentary called "America's Youth." This is Christoph and Jean.
BROSNAN: And the cameraman, I don't know his name.
BROSNAN: I was just telling Jean and Christoph that one of the biggest clubs on campus belongs to the Cinema Club. A lot of great minds sit in this room as we speak.
CHRISTOPH: Is that so?
CHARLIE: I would like to think so.
ROBBIE: (jumps up) That's very much true, yes.
Robbie and Charlie sit together while being questioned by Jean who sits offscreen.
JEAN: So Cinema Club, when was that started?
ROBBIE: We formed about 2 and a half years ago.
CHARLIE: It was very different back than.
JEAN: Different how?
ROBBIE: Uh... the president back than was... not the best film-inclined, we should say.
CHARLIE: Nice guy but - -
ROBBIE: Nice guy, you kididng me?
CHARLIE: He's dead now, Robbie, c'mon.
CHARLIE: Uh... killed. In the... Penciatti Hotel Massacre.
JEAN: What is the Penciatti Hotel Massacre?
INT. ROY'S ROOM - DAY
Roy is followed by the film crew into his room. He makes his way to his dresser.
ROY: I've kept plenty of news clippings from that day.
He pulls open a drawer and takes them all out, laying them on the bed. The camera scans through them.
ROY: Ya know, I experienced quite a lot from it. People call me a hero but that's not true at all. I just did what seemed right at the time.
JEAN: Did you know the shooter?
ROY: Yes, he was apart of the Cinema Club for some time and he took the fall in the creation of the first Stab-A-Thon which landed us expulsion from Woodsboro and in another school in the first place. Breckin High being the other school.
JEAN: So were many of the students who were killed in this tragedy students of Breckin High?
ROY: Uh, I would say so. A lot of the prom committee, actually. Only two of them survived. The second in command, um... I forget her name. I think it was... Sally or something. And then the other, actually, attends Woodsboro High now. Her name is Marnie.
INT. MARNIE'S ROOM - DAY
JEAN: Is there any major differences between the people who attend Woodsboro and the ones that attend Breckin?
MARNIE: All of high school is the same but... Woodsboro is a different beast. I made friends easy at Breckin but here it's been a struggle. It doesn't have much to do with the dyanamics of the student hierarchy but more of my involvement, I would say. At Breckin, I was more popular because those were kids I grew up with and because I was apart of the prom committee. But I think it's different because... it has a history.
JEAN: The history affects it how?
MARNIE: (tries to put it as nicely as possible) They've raised three mass murderers. Danny now included. Except, they won't ever credit it since he was technically a student of Breckin at the time plus the fact that the school was apart of another city and another county entirely and that the majority of the students were Breckin High members.
JEAN: So you think the students at Woodsboro have the history of the school as being apart of them?
MARNIE: Some of them, not all of them.
JEAN: Anyone in particular?
MARNIE: Well in a precise case... there is this one girl who is actually related to (the name bleeps) and she isn't exactly the nicest person.
JEAN: In what way does she act?
MARNIE: From the little that I know of her and that I've heard, she's very controlling of her friends and she's had plenty of boyfriends. One would say that might have to do with her own quest to have her own identity seperate from her famous relative. My friend knows her better than I do though, so...
EXT. WOODSBORO PLAZA - THEATER - NIGHT
Jean and Christoph (and the cameraman, ofcourse) make their way up to the box office of the theater. Jenny prints out a set of tickets and hands it to a group of people who make their way on in. Jenny spots Jean and Christoph and she's immediately shy.
JENNY: (waves) Hi.
CHRISTOPH: My name is Christoph, this is my friend Jean. We are making a documentary.
JENNY: You're French? I love your accents.
CHRISTOPH: Thank you. We just wanted to speak with you for a moment.
Jenny's warmed up a bit, more open now.
JEAN: So your friend, related to (the name bleeps), would you say they're troubled?
JENNY: Oh, no, not at all. She's very intelligent, barely has any bad counts on her record - -
JENNY: Well she was suspended once for taking the stuffing out of Olivia Morris' bra once. They're friends now though so it might as well not even count!
The camera quickly turns to Christoph writing down the name "Olivia Morris" on a paper.
JEAN: So how long have you two been friends?
JENNY: Actually, we're not friends anymore.
JEAN: Why not?
JENNY: It's gonna sound stupid but... a boy. They broke up though... about 2 months ago?
JEAN: And why did they break up?
JENNY: He left her.
JEAN: But why?
JENNY: (shrugs) I have - - no idea. I don't talk to him.
JEAN: But why would you stop being friends with her over a boy you don't talk to?
JENNY: We don't talk anymore. I mean, we do... but not often. Just sporadically.
JEAN: I see.
INT. CHRISTOPH'S CAR - NIGHT
Christoph drives as Jean sits in the passenger seat, looking at Christoph's notes.
CHRISTOPH: That girl seemed to be lying about something.
JEAN: I think her and this boy are friendlier than she makes it sound.
CHRISTOPH: And what about this girl they keep referring to? Doesn't it seem like everything leads to her? And they won't give up her name... sounds like they're afraid of her.
JEAN: We'll have to talk to her ourselves once we find out who she is. If she truly is related to (the name bleeps) then it would be very important for us to get to know her. See what her upbringing was like, talk about what it was like to make friends with that status...
INT. GIRL'S LOCKER ROOM - DAY
Olivia makes her way through the locker room, half dressed but she doesn't mind one bit. She's the only one in there as she makes her way to her locker.
OLIVIA: Yeah, she took some stuffing out of my bra once, no big deal. Besides, I've grown considerablly since than (she pushes up her chest to flaunt). Just kidding. But I mean, we're friends now.
JEAN: Could we speak to her?
OLIVIA: If she wants to talk to you, sure, but she's kinda hesitant when it comes to being known as the cousin of (the name bleeps out).
JEAN: So that's how they're related? They're cousins?
JEAN: What is her name if we don't mind asking?
OLIVIA: I don't wanna put her on the spot like that. Sorry.
Shirley Mack enters the locker room and sees they're filming.
SHIRLEY: Hiiiii - -
IT QUICKLY CUTS TO:
INT. WOODSBORO HIGH - LIBRARY - DAY
Christoph types away at the computer while we watch him. Jean sits next to him, trying to put the pieces of the puzzle together.
CHRISTOPH: I found some information about it.
JEAN: What does it say?
CHRISTOPH: They had one sister. She was married though so her last name changed so we can't find much about their family.
JEAN: We've reached a dead end.
CHRISTOPHER: Admittedly, we had grown a bit obsessed with this mystery girl but we decided not to pursue it any longer as it was interferring with our documentation. Our goal is to get to know the kids of the area and not try to solve any mysteries. So we found someone new to interview to get our minds off of it.
EXT. WOODSBORO HIGH - FOUNTAIN - DAY
Jill sits there as she has her lunch in her lap. Jean sits now next to her.
JEAN: How long have you lived in Woodsboro?
JILL: All my life.
JEAN: So would you say that this is a good town?
JILL: It's a great town, wonderful to live in. It's not too big so everyone knows everyone in some way.
Jean looks at Christoph off screen. He's temped to ask... so he does.
JEAN: So have you heard anything about the two killers in the Woodsboro Murders, Billy Loomis or Stu Macher?
JILL: Um... no. I haven't heard anything.
JEAN: What about the shooter in the recent Penciatti Hotel Massacre?
JILL: Didn't know him either.
JEAN: But weren't you at one time apart of the Cinema Club?
JILL: I still am.
JEAN: He was apart of the Cinema Club. Danny.
JILL: We never spoke. I didn't know anything about him until after he killed my best friend's boyfriend.
JEAN: Was that the former leader of the Cinema Club?
JILL: Yes. You spoke to Robbie and Charlie about that, huh?
JEAN: The history of the Cinema Club is very intriguing.
JILL: Glad you think so.
THE SCREEN GOES BLANK and the electricity fades out as if it's the sound of a TV turning off.
INT. JILL'S ROOM - NIGHT
DOLLY BACK to Jill sitting in bed looking on at her TV. We can still hear the TV being played another room and then it too stops. She furiously throws the remote across the room and lays back in her bed. And just than... her mother enters the room.
KATE: I'm sorry, honey.
JILL: Go away.
KATE: If I would've known they'd be blasting your personal information all over the TV, I would've never signed that release form.
JILL: Oh no, didn't you see? They never figured out it was me.
KATE: Well that's right.
JILL: Sarcasm, mom. Everyone at school is gonna know they were talking about me! UGH.
KATE: Well you can't be born out of the family you were born into.
JILL: I wish I was...
JILL: That fucking fact follows me around every day of my life. Why did she have to ruin my life with her bullshit?
KATE: Jill, Sidney did not ruin your life. They ruined hers.
JILL: Three times and they never got her... fucking amateurs.
The soundtrack thuds. Kate's eyes go wide... she can sense that her daughter isn't just frustrated. It's a deep rooted angry truth Jill's been holding in and she can see the resentment in Jill's eyes - - that she wished they succeeded.
KATE: Why on earth would you say something like that?
JILL: (beat... smiles) I was kidding.
Kate's not buying it... but she knows better than to start another argument with Jill.
KATE: (nervous laughs) Of course.
INT. WOODSBORO HIGH - HALLWAYS - DAY
Marnie is at her locker while Niley stands there waiting for her to finish gathering her books.
NILEY: I don't understand why they cut me out.
MARNIE: Maybe it's because you kept using a fake French accent.
NILEY: (uses it) It sounds convincing, no?
MARNIE: (smiles politely) No, sweetie.
Jill makes her way down the hall and eyes the two of them together.
MARNIE: What the hell was that about?
Jenny approaches the two.
JENNY: Maybe because you told them about her in the first place.
MARNIE: What? No, I didn't.
JENNY: The entire documentary was void of any reference to Jill Roberts until you wanted to get all anti-Woodsboro and then it practically became an entire storyline. If I would've known it was because of you I was answering questions about Sidney Prescott's mystery relative, I would've said "no comment" as you're setting us up for a hanging.
MARNIE: Oh my God, it was totally by accident. I didn't even think they'd use that footage.
JENNY: She's sensitive about that stuff, Marnie. And oh my God, I looked so fat on a TV.
MARNIE: You looked great.
NILEY: Totally fat.
NILEY: Friends are honest!
JENNY: Thanks, I'm gonna go chop off my belly fat like that guy in Saw 6 now.
NILEY: My insults come with a token. Come jogging with me. I go out every morning before school.
JENNY: No wonder you're so damn skinny. Was that Jill's secret too? Jogging in the morning?
NILEY: No, she has plenty of other secrets...
Jill continues down the hall on another hallway. She keeps looking at the people around her... they quickly gaze in her direction then down or in another direction. She knows... she knows they're taking a peek of Woodsboro High's mystery person.
Her heart begins to beat quickly and sweat starts to drip from her brow. Before she knows it, she's walking at a quicker pace and trying to hide her face with her hair. She makes it to her locker, trying her fastest to put in the combination but her fingers slip from the sweat. OLIVIA SLAMS HER HAND ON THE LOCKER next to her.
JILL: Why are they looking at me?
JILL: Everyone knows it was me.
OLIVIA: Chillax Jill, it's not the witch trials. There's positive buzz surrounding this new found attention.
JILL: What do you mean?
OLIVIA: Suddenly you've become cool.
Jill looks back and notices their stares are in admiration. Nobody wants to seem too noticable with a look, so they look away.
JILL: Are you sure?
OLIVIA: Feels good, doesn't it? You're the mystery girl all of America is talking about. They feel cool they actually know of you and you're cool because you're famous without the cameras. Anyway, I don't wanna be late. Catch ya at the fountain for lunch.
Olivia walks off and Jill hides her head in the locker... taking a breather... and then she looks back out at the people around her. Her mood suddenly becomes positive... a smile forms on her face... and she suddenly feels fine.
INT. CINEMA CLUB - DAY
The group is out already and a few have stayed behind to help paint a new banner: Robbie, Freddy, Esline, Chantelle and a mystery boy named Nick. Nick gets up from his side of the banner and makes his way over to Robbie with a sneaky plan in his head. He stops in front of Robbie.
NICK: Robbie, could you take a look?
Robbie looks up - - Nick's crotch is practically in his face so he scoots back a little then looks over at Nick's side of the banner.
ROBBIE: Looks great, Nick.
Nick comes closer again.
NICK: I wanted you to take a closer look.
Robbie jumps before things can get anymore uncomfortable.
ROBBIE: Okay, let's see.
They walk over together and Robbie quickly looks down at the banner without much attention and is already walking away.
ROBBIE: Yeah, looks great, Nick.
CHANTELLE: Yeah, so you can get back down on your knees and get to work...
Chantelle winks at Nick and he smirks.
The group leaves as Robbie stays behind, ready to roll up the banner. Nick puts away the paint into a cupboard in a room.
ROBBIE: That's okay, Nick, I'll do that.
NICK: I've seen the way you look at me.
Robbie freezes. "Wha?"
ROBBIE: I don't look at you.
NICK: You kinda do. It's okay, man, I think you're cute.
ROBBIE: You uh, I, um, wait, huh, what?
NICK: You looked cute on TV last night, too. (beat) Let's skip all this. I'm gay, you're gay. If you're interested, let's go on a date. Friday night, what do you say? You and me.
ROBBIE: I'm not - -
NICK: Please. You know the expression, "takes one to know one?"
ROBBIE: You're very confused and this is going to get awkward if you pursue this conversation further.
NICK: I'm great at what I do, Robbie. Have you ever had a boy before? Inside you?
ROBBIE: WHOA. This just got way out of - - really gross. Please leave.
NICK: Or would you like to be inside me?
ROBBIE: Jesus. Okay, I will leave the room than.
Robbie stiffly exits the room as Nick grits his teeth, putting away the last can of paint.
NICK: Fuckin' figures.
INT. RADIO BOOTH - NIGHT
Roy sits at the main chair with his headphones on and the microphone in front of him. The "ON AIR" light is on as he finishes out the broadcast.
ROY: And that's all for tonight on 99.5 Scream Radio, I hope you all enjoyed me as your new DJ. This is Roy Popper, Lennon and Mona signing off for the night.
LENNON: Good night everybody!
Lennon howls in his glass booth off to the side and Mona chuckles then slowly comes forward to her mic.
MONA: Goodnight boys and girls.
ROY: Isn't Mona's voice sexy? Now that is something you could fall asleep to. And again, goodnight and sweet dreams.
INT. TESS' HOUSE - NIGHT
A VASE FLIES BY ROY'S HEAD AND SMASHES AGAINST THE WALL. Tess goes to grab something else.
ROY: What the hell are you doing? !
TESS: Her voice is sexy to you, Roy? Huh?
She picks up a lamp and THROWS that too.
TESS: Is it better than mine? Do you like my voice, Roy?
ROY: I love your voice! Shit!
TESS: I knew this would happen, I knew you would cheat on me!
ROY: Holy crap, cheat on you? Tess, calm the eff down, please! Lemme explain.
TESS: Explain what? How you're piece of shit? !
ROY: It's just a radio persona! It's just a piece of entertainment for the listeners!
TESS: Nobody fucking listens to your show!
ROY: (beat) You did.
She grabs a plate from the cupboard and twirls at him.
ROY: What the fuckin', fuck, fuck!
TESS: Get out! GET OUT!
Roy can see she's about to cry... but he doesn't care.
ROY: I can't do this.
Roy promptly exits as Tess sits down on the floor with her head between her knees.
INT. CHARLIE'S HOUSE - NIGHT
Roy and Charlie sit on his front porch.
ROY: I'm losing my fucking mind trying to fix this.
CHARLIE: Sometimes you just gotta stick it through, ya know? No matter how crazy a person gets.
ROY: This is just pure insanity though. Like she'll actually kill me over literally nothing if I don't... leave. But if I leave... she'll kill herself or something.
CHARLIE: It's your life, man. You only live it once. Gotta be happy while you're in it.
ROY: Stephie ever do anything like that to you?
CHARLIE: (chuckles) Oh man, you have no idea. She was crazy, too. Sweet but crazy. But the best way to counter it is to just... be crazy back.
ROY: Be crazy back?
CHARLIE: Yeah, man. Fuck it, whatever they do to you, just double it up and be two times worse. Makes you feel the right amount of sane as odd as that may sound. Feels like you're on the same level with somebody.
ROY: (beat) How you doin' anyway? Without Stephie?
CHARLIE: I can't talk to her. It hurts too much. It's just time that I move on. Or don't move at all, just stick with the pace of the world instead of trying to get ahead of myself. Or find someone I have common ground with.
ROY: (beat) Didn't you like Kirby?
CHARLIE: (smiles) Still do. That's your woman though.
ROY: No, no, man... that's over. Been done. I got Tess now. I wanna make that work. I honestly haven't thought of Kirby in awhile. But I know you've had a thing for her since freshman year.
CHARLIE: Until Stephie...
ROY: And during...
CHARLIE: Only in the beginning.
ROY: Was it?
CHARLIE: (beat) I think so.
ROY: You still do, Charlie. (smirks) And you don't have me as competition anymore, so you could easily tackle that.
CHARLIE: (chuckles) Maybe I'll take you up on that.
INT. BLOCKBUSTER - STORAGE ROOM - NIGHT
Topher's face is in between Kirby's legs moving around in circles as Kirby clutches on to his hair while she softly moans.
KIRBY: Oh, there it is. There it is.
She squeezes her eyes tight as her body tenses up and she holds her breath. She moans as the air releases from her lungs and her head falls back onto the wall. Topher raises his head up and looks up at Kirby as she's now a sweaty mess.
TOPHER: How was that?
KIRBY: You rocked my fucking world, baby. Where'd you learn that?
TOPHER: (proud of himself) Internet.
Kirby smirks and pats him on the head like he's a good dog. She lifts herself up and slides back on her panties and looks around for her pants.
TOPHER: I don't get a thank you?
KIRBY: Not tonight, my jaw is killing me as is.
TOPHER: Oh... that's fine than. As long as I got to do you.
KIRBY: And thanks for that. See? There's your "thank you."
Kirby slides on her pants and makes her way to the door.
TOPHER: Hey Kirby.
KIRBY: Yeah, Topher?
TOPHER: I'm not stupid, ya know? I know this ain't gonna last.
KIRBY: (smiles) I think we're great as we are.
TOPHER: Yeah... about that... there's this girl and uh... she kinda wants the real thing, ya know?
Kirby's heart sinks but she smiles through it.
KIRBY: Then you go get her.
TOPHER: Really? Just like that? You're not gonna fight for me to stay around or anything?
KIRBY: Topher, from day one, you knew we would never get anywhere. I'm not looking for a relationship. I won't be... for a very long while. I've had my share and I can't get into that again. But you should...
TOPHER: Glad to know I meant nothing to you.
Kirby wants to fight it... but she knows she can't. She knows he won't let go unless she makes him...
KIRBY: Sorry, kiddo.
She opens the door and leaves, leaving Topher behind.
INT. JILL'S ROOM - NIGHT
Jill sits at her bed watching youtube on her laptop... it's the show she was on and it's her part. 10,700 views. She has her hand on the mousepad with a smile on her face... her part ends... and she quickly rewinds it back to the beginning of her scene. Her smile grows bigger... and then she notices the time. Too late to mention.
She presses stop and exits out the page, popping up the page she was looking at before. It's a news column with various pieces of news being listed on a live stream. She's about to exit the page until... she stops and reads carefully on one...
"Sidney Prescott announces new self-help autobiography."
She clicks on the page and quickly skims through the article. It's only been up for two short hours. She reaches the bottom of the page at the hit counter: 1,123,401 views. Jill's head slowly starts to turn red as an inside ticker reaches it's final moments before explosion. Before she scream - -
SMASH TO BLACK.
a) What was your favorite moment from this episode?
b) Which character had the best dialogue/quotes this episode? And which pieces of dialogue in particular?
c) Who rightfully envied who the most this episode?
Submit your questions in a review or a PM for the upcoming Q&A!
83 reviews for Episode 7!