The following episode(s) are rated TV-MA LSV as it contains scenes of GRAPHIC VIOLENCE, A BRIEF SUGGESTIVE ENCOUNTER and VULGAR LANGUAGE. Also, the content of this episode may be considered disturbing, controversial and immoral. However, it advances one of this season's and the entire show's most crucial plot. If you wish for a summarized version to avoid reading such "depraved, sick and twisted" material, (seriously, an early reader said that lol) please PM me and I will provide you with one. Reader's discretion is advised.

309 - Back to Black: Part 1

1.
INT. RILEY'S BEDROOM - NIGHT
TITLE CARD: April 2011
CLOSE ON a clock on a nightstand - it's 11 PM at night. DOLLY OUT to reveal Gale
in bed, reading a novel that she's barely begun to read that she more than likely took
up because of rave reviews but alas, she's less than interested in the damn thing. Her
reactions read loud and clear as she scoffs, palms her face and laughs loudly at the
book's silly concepts. Dewey enters with toothbrush in mouth and a dozen other
things he should probably be focusing on, yet time isn't of the essence and he has
much to accomplish just moments before bed.

Gale flips through another page and she instantly rolls her eyes. Her glasses spring
off from her face and she puts them on the nightstand - she's had enough of this
shit. Her husband continues to find his way around the room while juggling a
hundred tasks - she's had enough of this shit too.

GALE: Dewey, get in bed.
DEWEY: Gale, I gotta finish all this up real quick.
GALE: Can't you do it in the morning?
DEWEY: Busy day tomorrow, Sid's coming back, you know that.
GALE: And?
DEWEY: She'll need all of our attention and you know those damn kids
and their memorial week pranks - - so the more I do now, the less I have
to do in the morning.
GALE: I'm gonna say it one last time, Dewey... get in bed.
DEWEY: Just one second.

Gale slips under the covers and comfies up to the pillow while resting her head and
closing her eyes as if she were some angelic saint instead of the woman she really is.

GALE: Sex has been eliminated for the next week.
DEWEY: (under his breath) Not like I was getting any anyways...
GALE: (eyes spring open) EXCUSE ME?
DEWEY: That's - so - horrible, I need it... everyday?
GALE: (closing eyes again, satisfied) That's what I thought.

Dewey drops everything and throws his toothbrush into the bathroom without
care of where it lands - - it lands in the toilet - "fuck." Dewey looks back at Gale
and then back at the toothbrush... he gets on his tiptoes to make his way back over there...

GALE: LEAVE IT.

It's useless and there's no winning with the wife so he succumbs to the bed where
she wants him. He throws his arm around her, cuddling in for the night and she
smiles victoriously.

DEWEY:... that was your toothbrush, by the way.
GALE:.. I kinda hate you right now.

Dewey leans back over and turns off the lamp then rests back down.

DEWEY: Do ya think Sid is gonna -
GALE: Shhhh, no more talking.
DEWEY: Well I just wanted to -
GALE: No, no, no, sweetie, we're done talking now. Sleep time.
DEWEY: But what I have to say -
GALE: Nope, nope. Sh, sh.
DEWEY: Fine. Geez.

Dewey turns over on his other side to dismay Gale. Not like it matters - - they'd
come to this conclusion once they fall into deep sleep anyway. Gale just needs the
quiet... but something racks on Dewey's mind that he can't shake. The light from the
moon illuminates just his eyes in the dark - - his eyes shift as we can see it's not
easy for him to rest.

He reaches over onto the nightstand's drawer's handle and pulls it open slowly. He
looks back - - Gale is fast asleep. He continues onward with his hand reaching in. He
pulls out a picture frame and looks at it in the moonlight - - him and his sister Tatum at
his promotion ceremony. His new Deputy metal shines bright on his new uniform that
he wears with a goofish grin as she smiles onward in her pigtails - - looking as if this
were mere days before she was murdered.

A knot forms in Dewey's throat and his eyes become teary - - he tries to smile
through it and remember her the way she used to be but as hard as he may - - he
can't. He can't even remember her voice. Nor can he remember a joke she used to
say or the nicknames she had for him or he for her. If he closes his eyes tight
enough, he can picture her room the way it used to be - - but that wasn't her. And if
it weren't for this picture, he wouldn't even be able to remember her face.

Time has passed for this dear sheriff and within the reflection from the light of the
moon onto the glass and onto his skin, he can see the wrinkles forming on his
face - - and he realizes that things are just different now. Simpler, quieter, easier... and
the days of violence he found himself in are just a thing... of the past.

SMASH TO BLACK.

MAIN TITLES:
DIMENSION FILMS (a white, suburban house, eclipsed by the moonlight)
and
AMC CHANNEL present (a dark, bloody basement)
Starring
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)
with
SHERIFF DWIGHT RILEY & GALE WEATHERS-RILEY (old newspaper pic of the two - first Scream era)
and
SIDNEY PRESCOTT (the "Out of Darkness" inside photo of her, a huge CIRCLE drawn around her head)

SMASH TO BLACK -
(white lettering PUNCHES through)
SCREAM:
WOODSBORO HIGH
The Third and Final Season

Based on Events and Characters by Kevin Williamson
Teleplay and Concepted by Billy Bob D

FADE OUT.

2.
FADE IN:
INT. ROY'S ROOM - DAY
TITLE CARD: December 2010
Robbie sits at the computer typing away while Roy lays in the bed with a tennis
ball in his hands. He bounces the ball off the ceiling, catching it and throwing it
back over and over again. Robbie is a mindless zombie at the computer, not
taking his eye off the monitor even for a second... but the sound of that tennis
ball sure is annoying.

ROBBIE: Stop it!
ROY: Stop what?
ROBBIE: That damn noise!
ROY: What noise?
ROBBIE: The tennis ball, Roy, THE GOD DAMN TENNIS BAAAAAALL!
ROY: (catches the ball) That was overstated.
ROBBIE: I'm working on a masterpiece.
ROY: No, you're not.
ROBBIE: You haven't even looked.
ROY: There's no need to, it's not a masterpiece.
ROBBIE: Could you just fucking look?
ROY: (starts throwing the ball again) Nope.
ROBBIE: Oh, my God. Rooooy!
ROY: I'm concerned, when I'm concerned, I throw the tennis ball.
ROBBIE: I've never seen you do that before in my life.
ROY: Because I've never been concerned before. Do you think Tess found someone else?
ROBBIE: Whoooo gives a fuck?
ROY: What are you doing here anyway? I'm supposed to be mad at you.
ROBBIE: For what?
ROY: You know what for.
ROBBIE: No, I don't.
ROY: Niley, does the name ring any bells?
ROBBIE: What's that have to do with me?
ROY: I hate picking sides but ya know, her and I have been friends longer.
ROBBIE: Bros before hoes, Roy.
ROY: If she finds out you're here, she'll be mad.
ROBBIE: I'm your friend, dammit, don't you forget that!
ROY: If you and Niley were both falling off a cliff...
ROBBIE: You'd pick her, that's great but we're still friends nonetheless.

Roy sits up.

ROY: Okay, what are you working on?
ROBBIE: Come over here and look.

Roy jumps off the bed and bends down to look at the computer monirot. He sees an IM from Nick.

ROY: Who's Nick?
ROBBIE: Nevermind that. Look at the site.
ROY: (reading the web page) Hall Pass with Robbie Mercer.
ROBBIE: Brilliant, right?
ROY: I don't get it.
ROBBIE: I'll be the TMZ of the Woodsboro High halls! I'll catch all the
drama on the camera I got for Christmas, upload it to the net and BAM, success!
ROY: What drama? Woodsboro High would never work as a show.
ROBBIE: Oh, I beg to differ, Roy. Did you see the ratings on our
"America's Youth" episode? People are interested in us!
ROY: Because they hope a Ghostface masked killer will rip our throats
open at any second. Catch that on camera, you'll have people watching.

Roy goes back to the bed and sits upright, throwing the tennis ball at the wall
now. Robbie's eyes squint... and he slowly turns around towards Roy...

ROBBIE: Are you plotting a murder spree?
ROY: (sneezes) What?
ROBBIE: You say shit like that often, are you planning on doing it? This
whole Tess disappearing thing has made you rather weird.
ROY: Yeah, Robbie, I'm gonna kill everyone. Because Tess left me. Best motive ever.
ROBBIE: There's been lesser reasons. Stu Macher never had a motive.
ROY: Who would be my accomplice?
ROBBIE: (snaps fingers) Niley! No wonder you guys are so attached!
You don't want me here because she'll think we're working on plotting
against her or something so you don't want her to turn on you! Makes
perfect sense!
ROY:... you need to stop watching so many movies.
ROBBIE: Yeah, she'd have no motive. (turns back around to the computer)
And she wouldn't be able to kill somebody.
ROY: Really? No motive? You cheated on her with "spirit fingers," and
disconnected her from the only friends she had. If anything, she has a
better motive than I do. Plus don't forget she burnt down a house with
two people inside it with her only suspicion that they killed her pet penguin.
She's plenty capable of slicing a mother effer.
ROBBIE: That was never proven.
ROY: She admitted that long ago, Robbie, where've you been?
ROBBIE: (turns back around) You fucking serious?
ROY: As serious as a Ghostface attack on you and whoever else would be our targets.
ROBBIE: That's not funny, man.
ROY: Put that on your little Hall Pass. The fucking internet would be
buzzing! Viral marketing, "is a Stab sequel in the midst? A remake, reboot?
Cashing in on the new Sidney Prescott book being released?" You'd have
an exclusive. Exclusivity, despite it's validity, always sells.
ROBBIE: (turns back to the computer) Whatever. You're nuts.

Roy lays back on to the bed and lets out a long breath as if it could clear his
mind... but it can't. His thoughts still remain on Tess and he can't help but
wonder what went wrong. There was plenty wrong... but what set off the alarm?
And where has she been all this time?

ROY: But really, where do you think Tess is?
ROBBIE: I wish I knew, man... so you'd shut the fuck about it.

Roy catches the ball and sits up, throwing the ball as hard as he can - - it
PLOPS against the back of Robbie's skull and back into Roy's hands.

3.
CUT TO:
INT. JENNY'S HOUSE - DAY
Jenny, Niley and Marnie sit on Jenny's couch while playing a round of Mario Kart
for the Wii. Jenny's in the lead while Marnie is in second... Niley is in last because
she can't stop running into the walls.

NILEY: This game is hard.
JENNY: Nope, I got this.
MARNIE: You're going down.
NILEY: Can we play something else? I brought Just Dance!
JENNY: No, just watch, I'm gonna win.
MARNIE: I picked up a turtle shell, you're going DOWN.
JENNY: I'm already about to pass the finish line.
MARNIE: No, you're not!

Marnie flings the red turtle shell forward and it klomps Jenny's kart off the road.
Marnie speeds passed and her character does a victory dance.

MARNIE: Boo yah!

Jenny's bitter... and she turns off the TV.

MARNIE: Hey!
NILEY: You promised we'd play Just Dance! I'm good at that game!
JENNY: No, we need to do something other than play games. It's the
second to last day of 2010, and we're not gonna spend it on the Wii.

Jenny gets up and proceeds to the kitchen to the refrigerator, pouring herself a
glass of milk. Niley sighs and pouts her lips, sitting back into the corner of the
couch like an angry infant.

MARNIE: (bends over the couch to look back at Jenny) Okay Jersey
Shore, what shenanigans do you have in mind for today? I'm surprised
you're not with Trevor.
JENNY: He's working.
MARNIE: Trevor... has a job? Where?
JENNY: I don't know, he said he's embarrassed and doesn't wanna tell me.
MARNIE: (chuckles) Oh God, that's funny. You're so gullible!
JENNY: I find that totally plausible, I'm lucky I work at the theater.
Imagine wearing red and yellow suspenders with that spinny hat while
dipping corn dogs? I'd be embarrassed too.
NILEY: (jumps up with a smile) Hey, that sounds fun. I wanna do that!
MARNIE: So you're never gonna question it? That doesn't make you the least bit suspicious?
JENNY: No, I trust him.
MARNIE: And this is why girls are stupid and get cheated on.
NILEY: HEAYYYY!
MARNIE: Sorry.
JENNY: Look, when you love somebody - -
MARNIE: Oh, my God...

Marnie's heard enough and sits back down on the couch, turning on the TV.

MARNIE: Grab your Just Dance, this chick is psycho.
JENNY: - - you respect their wishes! There's no funny business going on, I would know.

4.
CUT TO:
INT. OLIVIA'S ROOM - DAY
CLOSE IN on Olivia looking onward, biting her lips with fierce lust and fiery eyes.
SLOWLY DOLLY OUT to see she's in just a bikini... then a light flashes. DOLLY
OUT FURTHER to reveal Kirby with a camera in hand.

OLIVIA: It looked good?
KIRBY: (monotone) Oh baby, oh baby.
OLIVIA: C'mon Kirbz, I'm serious. Is it hot?
KIRBY: Your swim team calander for the month of August will be the
highlight of all of the boys on the swim team's jerkage. Trust me.
OLIVIA: Well let's just do a couple more.
KIRBY: We've already done 50!
OLIVIA: Variety, Kirby, c'mon. I have to be in every pose that I can
think of. And then every pose from the Kama Sutra.

Olivia winks and clicks her tongue. Kirby rolls her eyes and continues to take
pictures as Olivia gets in various poses around her room. Out the corner of her eye,
Kirby looks over out the window to Jill's house.

KIRBY: Have you talked to her?
OLIVIA: (in middle of a pose) Talked to who?
KIRBY: Your neighbor, asshole.
OLIVIA: She's not responding to my texts.
KIRBY: (takes the picture) Mine either.
OLIVIA: She stays in her room all day. I literally haven't even seen her
pass by the window since Christmas break started.
KIRBY: Well can we take a break so we can go over there?
OLIVIA: Kirby! The sun will go down?
KIRBY: And? There's a flash on here.
OLIVIA: Natural light is better, trust me. It's more warm looking.
KIRBY: (sighs) Olivia, a little 5 minute break to go by and say, "hi, how
you doing? You haven't been putting young fat women in a well and
asking them to put lotion on, have you?"
OLIVIA: What?
KIRBY: (rolls her eyes) Silence of the Lambs, c'mon.
OLIVIA: I'm sorry, I'm busy thinking about how good I'll look.
KIRBY: Oh, ya know what, maybe you should bend over because right
now you look like AN ASS.
OLIVIA: (laughs) Funny, Kirby. (goes back to straight face) But really,
should I bend over? Would that be hot? Thong or bikini? Or boy shorts!
Ooooh, I got these new boy shorts, you should totally shoot me in them.
KIRBY: I would shoot you in the woods... and not even pretend you're a deer.
OLIVIA: Evil, Kirby, I like it. But let's get the necessary shots out of the
way while we have this sunlight.
KIRBY: You as an easy target and your willingness to play along with
my quips is why we're friends, ya know that right?
OLIVIA: (blows a kiss) Best buds.
KIRBY: But seriously, as soon as the sun goes down - -
OLIVIA: We will go talk to Jill Darko, yes.
KIRBY: Thank you. Now smile, bitch.
OLIVIA: No, no, smiling's not hot. It's that serious look that gets boys off.
KIRBY: (sighs) Jesus.

Olivia poses and Kirby quickly takes the photo.

5.
CUT TO:
INT. JILL'S ROOM - NIGHT
Jill sits in the corner of the room, the only light illuminating her is the moon poking
in through her shades. It's dark... and quiet, just the way she likes it. She slowly sits
up and looks outside... all of the houses around her are lit up in festive joy while
she's isolated alone up in her cell. Lights still flash in Olivia's window next door.

She takes a moment to breathe it all in... letting each thought pass through her mind
at a rapid speed, so fast that she can't even acknowledge them as they go. She grips
the side of the window and hones in on her focus... and then it's all suddenly so clear...

She takes the magazine from her dresser and opens it up to a page she has bookmarked.
Emma Watson is in her black feathered dress, smiling at the camera in her boyish
haircut with Daniel Radcliffe and Rupert Grint at the premiere. She looks back up out
the window... this is it.

INT. JILL'S LIVING ROOM - CONT'D
Jill slips on her jacket, covering her down to her now-bare knees and sneaks her
way down the stairs. She pokes her head out to the other room - - from there, she
can see her mother on the couch with a glass of scotch in hand as she watches
TV. Jill continues to the door and slips out into the night.

EXT. STREETS - CONT'D
Jill makes her way down the streets as cars drive pass. She keeps her head low so
and she walks at a quick pace. It's cold but she doesn't think for a moment to a
show a bit of weakness by warming herself.

EXT. WOODSBORO PLAZA - THEATER - CONT'D
Jill makes her way to the theater and looks around. It's quiet with not a person in
sight. The box office is closed already... she makes her way around the building to
the alleyway. She stops at the corner and looks around... it's vacant.

She continues on down the alley and makes her way to a dumpster... her jacket
slings off and she hides it behind to reveal a sleek, red mini-skirt underneath. She
takes a set of earrings out of her jacket pockets and throws them on, along with a
set of matching red heels. She fixes her make up in her compact mirror, giving
herself a popping coat of red lipstick. She returns back towards the street and
onto the corner.

She waits there... watching cars drive pass... one honks at her as a joke. She feels
odd... like she's not doing something right... she leans against the wall of the
theater to try and pose something more sexy. Down the other end of the alley, a
car squeezes it's way through. Jill looks back as it nears closer. It stops the
window rolls down. For all intents and purpose... this is... the CLIENT.

CLIENT: Hey there, baby doll.

Jill slowly leans forward onto the door.

JILL: Hey there.
CLIENT: It's cold out there. How about you come inside?
JILL: That depends on what you want.
CLIENT: Depends on how much you charge.
JILL: You tell me. How much am I worth?

He slyly smiles and she coyly smiles back.

CLIENT: You can name your price, honey. (looks her up and down) I just want a taste.
JILL: How much do you have on you?
CLIENT: (takes out his wallet and quickly counts his money) One thousand, three hundred.
JILL: Oh, big boy. I think I like the size of your - wallet.
CLIENT: You should see the size of what else I have...
JILL: Let me get my coat.

Jill walks back to the dumpster and picks up her jacket. She hauls it back over to
the car and throws it in the backseat. She jumps in the front and sits down. The
Client then pulls out of the alley...

6.
INT. CLIENT'S CAR - CONT'D
He turns up the heat on the A/C and turns the radio station to something more
pop-like. He's not nervous... he's done this dozens of times. Jill remains confident...
she doesn't show a tiny bit of nerves.

CLIENT: So no plans for New Years?
JILL: I have plans.
CLIENT: Like what?
JILL: (rubs his thigh towards his crotch) Big plans...
CLIENT: For you and I?
JILL: You bet, baby...

She sits back and he continues to drive.

JILL: So where'd you wanna do this?
CLIENT: My house is empty for the night.
JILL: Oh, honey, that's gonna cost you extra.
CLIENT: More than my $1,300?
JILL: Sorry. Those are the rules...
CLIENT: Okay, I got a ... a bit extra at home.
JILL: Now we're talkin'.

INT. CLIENT'S HOUSE - NIGHT
The car pulls into the drive way. They both exit and make their way to the front
door. Jill leads the way as the Client gets more anxious with every footstep. He
drops his keys.

JILL: Let me get that for you...

She bends down and grabs the keys... he watches her playfully bend back up.

JILL: Here.

He takes them... he's already sweating. She steps back, letting him go to the door.
They both enter and he takes off his coat and puts it on a rack. He gestures to the
room with the couch... her heels click against the marble floor - - he's transfixed with
her legs as she makes her way over there.

JILL: In here?

He just nods and slowly makes his way towards her and puts his hand on her waist.

CLIENT: How old are you anyway?
JILL: 21.
CLIENT: Want a drink, Ms. 21?
JILL: Sure.

His hand slides up to her breast - - she slaps it a way.

JILL: Money. And that drink.
CLIENT: You got it.

He quickly exits the room and Jill sits down on the couch. She turns her head to
see if he's gone. She looks on at the view his house has overlooking the city. It's
clear he's upper-class, rich and probably important. She notices a picture on the
wall... he's in a tux with another women in her bridal dress.

JILL: Tsk, tsk.

He returns into the room, a rolled up stack of dough in his hand and he hands it over.

JILL: Put it in my purse.

He leans over and drops it into her little purse as he's distracted looking down her
cleavage... she turns her head and they come face to face... their lips about to touch.
He closes his eyes...

JILL: That drink?
CLIENT: That's right...

He bends back up and returns to the bar behind her.

CLIENT: Any preference?
JILL: (checking her nails) Something smooth.

He pours her drink and comes back to the couch. He hands the glass to her...
she purposely drops it, the liquid spilling down her dress and splashing across
the floor, shattering the glass.

JILL: (playful) Oops.
CLIENT: Ah, that's okay.
JILL: Can I use your restroom to clean off my dress?
CLIENT: Sure. Down the hall at the end.
JILL: Thanks.

7.
She grabs her purse and continues her way to the bathroom. He bends down
and immediately starts cleaning off the marble floor. He works hard at it,
making sure none of it stays inside the cracks of the marble. He scrubs harder... nothing.

CLIENT: Son of a bitch! She better be worth it...
JILL: Oh, I will be...

He turns his head - A BLADE SWIPES ACROSS HIS FACE near his eyes. He
holds his head in complete shock at the blood pouring down his face, blinded by
the blood. He tries to get up and SLIPS on the alcohol on the floor, CRASHING DOWN
onto the table in front of the couch.

Jill watches him struggle to try and get to his feet. She let's out an audible shocked
gasp from her mouth, realizing what she's doing... her whole body begins to shake
and her eyes well up... she looks back at him as he struggles to make sense of
everything... she regains control of her body... and walks behind him, slowly.

JILL: You're so fucking pathetic.

SHE KICKS HIM in the side and turns him over.

CLIENT: Please! Please! I'll do anything you want! I'll give you more money!
JILL: More? MORE MONEY? I thought what you gave me was all you had?
CLIENT: I can get you more, lots more! I'm rich! Please!
JILL: You're rich? Or ... your wife is?
CLIENT: What does it fucking matter, please -

SHE BENDS DOWN AND STABS HIM IN THE GUT.

JILL: Hey! Mother fucker, I'm asking you a question!
CLIENT: Ah, what the fuck? !
JILL: You're rich or your WIFE is?
CLIENT: My wife! My wife! I'm fucking bleeding everywhere!
JILL: I noticed that.

SHE STABS HIM AGAIN. Blood shoots up from his mouth.

CLIENT: You psycho bitch. You fucking psycho bitch!
JILL: Now mister, it's not very SMART (STABS HIM AGAIN) to call a lady
who has a knife in her hands who's stabbed you four, (STABS HIM AGAIN)
FIVE TIMES already a PSYCHO BITCH. Now is it?
CLIENT: Help me! HELP ME! Somebody help me, please!
JILL: Oh God, shut the fuck up!

She puts the knife to his throat and SLICES. He holds his neck, trying to push the
blood back in. She gets up just as the blood spurts from his neck to between her legs. She
takes out her phone and walks over to the bar while turning on a timer on an app then
turns on a song, "Back to Black" by Amy Winehouse. [youtube. com/watch?v=2tjNEK31O8E]
She washes the blood off the knife in the sink as he squiggles around on the
floor behind her. She watches him in the mirror as she continues to wash the knife.

JILL: Now in your last moments, you may be thinking, why didn't I attack
back after being sliced across the face? Now, listen to this answer: it's
because of a simple thing called "shock." Shock does crazy things to
people. And you started to spit up blood because I stabbed you in BOTH
lungs. I always wondered why that happened in the movies. You would
just figure, let's chalk it up to internal bleeding but do you have any idea
how hard that is? Oh sorry, forgot, you can't speak. And getting your
throat sliced... not instant death as all the movies portray it to be apparently.
(analyzing the process as it's happening before her) Lots of withering
around in pain, bleeding out... horrible stuff. That IS what you're experiencing
now, correct? Or am I reading this all wrong?

She makes herself another glass of alcohol then sits on top of the bar to watch him.
She sips as he continues to squirm around, blood gushing everywhere and down
into his mouth; gargling and choking on his own blood.

JILL: You see, even people who get their heads chopped clean off still
have brain activity. Heart rate slows but... I mean, as long as it's beating
and your brain's still goin', you're considered alive, right? That's the
creepy thing about watching those terrorist beheading videos... not just
the fact that it takes multiple strong stabs to the neck before the person
is actually decapitated, but because their eyes are still rolling over, their
jaw is still moving as if it were still screaming... who knows, maybe they
can still hear or smell.

She takes another sip.

JILL: Damn, this shit's good. Now, mister, whatever your name was that I
didn't catch, I figure you deserve a little honesty before you die. No, I'm
not really a hooker. And I'm actually 17 but I get a sneaky suspicion that
you wouldn't have cared either way. Ya see... 6 months ago, I killed 5
people for... I don't know, let's reason it out to revenge. Rage, if you will. And
I needed you, someone random and potentially a bad person that couldn't
be traced back to me, to see if I had it in me to do it again. Those old feelings
of when I killed them kept resurfacing and I didn't know if it was because I
enjoyed killing them or if I was traumatized by it all. So luckily... dear
pervert... you answered that question for me. So you served a purpose
afterall... and from the bottom of my heart, I just want to show the deepest
of gratitude with a nice old fashioned, "thank you." I hope that suffices. Does it?

His hands fall from his neck and he stops moving... dead.

JILL: And that's all she wrote.

She looks at her phone for the timer: 2 minutes and 44 seconds (also where the song is that she then let's keep running).

JILL: Nope, won't be using that method again.

She shrugs then grabs her purse and continues around the room, wiping down
things she touched and then takes the glass she sipped from.

JILL: Can't forget that.

She goes to the fireplace and turns on the gas then places a lit candle in
the middle of the room on the table.

JILL: Welp. Gotta run.

Jill exits through the front door and quickly makes her way down the drive way.
She takes off her heels to avoid the clicking sound from attracting any attention.
She stops and backs up, remembering to take her jacket from the back of the car.
SMOKE FILLS THE HOUSE BEHIND HER as FLAMES BEGIN TO RISE. She keeps
walking forward and down the hillside street... not looking back... at the house
in the hills that will now burn away any evidence, and Jill's sense of humanity,
as she disappears into the dark night in the midnight hour.

SMASH TO BLACK.

NEXT ON WOODSBORO HIGH:
Jill's spree continues and she elicits the help of a CERTAIN FRIEND to clean up a mess.

a) What was your favorite singular moment from this episode?
b) Which character had the best dialogue this episode? And which quotes in particular (copy and paste it, please)?
c) If Trevor isn't with Jenny nor Olivia... where is he?
d) And where's Tess?
e) What was going through your mind when Jill left her house up until she killed the client?
f) What significance do you think the song "Back to Black" has for Jill?
[Note: you don't have to necessarily answer these questions one by one as long as you can find a way to integrate their answers within the numbered sections.]

120 reviews for PART 2 of this mid-season finale event, "BACK TO BLACK."
130 reviews for Blue Moon, the final episode of this mid-season finale event!
(Remember, you can go back and review older chapters to bring up the count)

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