Author's Note: Really quick, thanks to the few anon readers (Ghostface Killer, I love scream 4, Kirby Reed is Cool, RedMal) who have been reviewing and boosting the numbers up on the previous chapters. But now that you're caught up, when reviewing this chapter and the remaining chapters from now on, please go by the numbered format so I can get a full outlook on what you thought of the chapter/episode. It's a really helpful tool to see what you guys think of the material and how you feel about where it's headed. The more detailed you get, the better the stories can be for you. Even if you think it's just a minor thing, please mention it. And please try to refrain from simply stating what you like and dislike about the story elements (e.g. "I don't like that Jill is angry") and focus more on how things like this either improve/advance or worsen the storytelling elements (e.g. "I love the way you convey Jill's underlying anger in this scene, as it really expresses how she feels for Robbie and shows her motives, even though I personally think she doesn't need to be mad at him for what he did"). Detail like that really makes me happy and shows me you comprehend the story instead of taking it at face value. This goes for ALL the reviewers, not just the listed anon ones.
313 - Seven Devils: Part 2
OVER BLACK -
JILL (V.O.): I was dead once too.
EYES OPEN. Blurry. Confused. Dazed.
INT. HOSPITAL ROOM - MORNING
TITLE CARD: February 14th, 2011. Valentine's Day.
Jill comes into view, sitting in a chair near the bed. Charlie's eyes focus in on her. He looks around a bit.
JILL: I was dead. Like you were. They brought you back to life, ya know?
CHARLIE: What are you talking about? Where are we?
JILL: Colorado. You're in the hospital.
CHARLIE: Why am I...?
JILL: (like it's nothing) I stabbed you in the stomach and pushed you off a two story house.
There's an awkward beat. She smiles. He now remembers. He goes to scream.
JILL: NO. Don't do that. You'll only get us in trouble.
CHARLIE: You tried to kill me.
JILL: No, Charlie, I tried to get you in here. (gestures to the room, as in "voila") Mission accomplished.
Charlie tries to sit up. Instant pain in the lower section.
JILL: Not yet, doc hasn't prescribed you meds. Another good reason why we're here.
CHARLIE: Jill... you better start fucking explaining yourself!
JILL: Calm down, yeesh. Where should I begin?
CHARLIE: I don't know, how about where you STABBED ME and threw me off a FUCKIN HOUSE!
JILL: I guess that would be a good jump off point. Okay! Yeah! Freddy - you remember Freddy right? Well, he didn't get the job done like I needed him to. So that means that one of us has to do it. Preferably you. And I thought, what would be the best way to get us in here without being suspicious? Oh, that's right! If we're patients! So I did a little improvising. Told them you were playing with the knife on a roof and you fell. So I brought you here. Not until I buried Freddy's body in the woods though so you DID lose a bit of blood and by a bit, I mean alot. Gave them an alias so we can't be tracked back down in Woodsboro, claimed you're emancipated so they wouldn't have to call your parents and right now, they're shuffling through records trying to find somebody named Ian Hostedler to see if that emancipation thing rings true. You'd think they'd have a better system in a hospital of all places but no. I learned that watching Grey's Anatomy. Who said TV doesn't teach you anything?
CHARLIE: ... you're fucking nuts.
JILL: And nuts I am fucking. SO, next time the doctor comes back and sees you're awake, I'm hoping he will prescribe you pain meds, which we'll need. I'll get to that in a bit. Once he does that and before they realize there is no Ian Hostedler, we're going to leave, kill "coma guy" on the way out and return to Woodsboro before Valentine's Day is over and before our parents realize we've been gone for far much longer than we should be and hopefully right in time for when the "your son or daughter was absent from periods" phone call so I can answer and hang it up claiming it's a "wrong number."
CHARLIE: Valentine's Day? I've been out for a whole day?
JILL: Just the night. It's barely morning.
CHARLIE: Jill, I'm not going through with your plan. I'm not killing anybody. I'm telling whoever walks through that door next and this is over.
JILL: (sighs) I was afraid you'd say that, Charlie. But seriously, you have to TRUST me.
CHARLIE: How the fuck can I trust you?
JILL: Because if you don't, there's a murder weapon with your prints on them linking to a dead body about 7 miles from here in the woods. You DID kill him, Charlie.
CHARLIE: Fuck it. I'll go to jail too. I don't care, this is over. You persuaded me into killing him.
JILL: No, I didn't. All I did was offer. It was you... your rage... not to mention, your sexual appetite that we share in common. It turns me on... it turns you on too. That's why you did it, Charlie. I did nothing.
Charlie ponders this for a moment. It's actually starting to make sense to him now.
JILL: You're sick in the head. I'm sick in the head. I've accepted that and you should to. We can make one helluva team. Why don't we just make the best of that situation? Use it for some good? Make something out of ourselves with it. Famous, I don't know.
CHARLIE: Make ourselves famous for killing people? Not gonna happen. You and I both know the people who survive get all the fame. That was Mickey's flaw in Stab 2. He'd get the trial, a bit of attention but what would he do with it on the inside of bars? The good thing about fame is wherever you go, people recognize you and once that novelty wears off in prison and you realize you're in likewise company, you begin to think "this was a stupid idea." You can't see the people who know you because you're stuck in court while the only fan you see is a camera. So not unless we survive a pending massacre will we be famous, Jill. Not unless we were Sidney and Randy. That's what Roy said anyway.
Jill's head shoots up. She grins and bites her lip.
JILL: Now that's a possibility. And for the record, I wasn't biting Mickey's motive, I was meaning something entirely different.
CHARLIE: What's a possibiltiy?
JILL: We become the survivors of a massacre.
CHARLIE: And who's gonna kill everyone else?
JILL: We do.
CHARLIE: That won't work.
JILL: We set someone else up. We're the new Sidney and Randy. Instant fame. Stab remake, rebooted, whatever.
CHARLIE: Sidney's still alive so therefor we can't replace Sidney.
JILL: Not unless we kill Sidney too. She returns on the anniversary of when it happened. It's fucking perfect!
CHARLIE: Jill, that's your cousin. And who are we going to kill, our friends? Some friendship that is. You can fucking forget it!
JILL: What is that? What is friendship? What does that even mean anymore? Half of my friends are assholes, Charlie and you know that. (beat) Olivia with all her torment before we were friends again, starting rumors that lead to Chelsea's death and now she's sleeping with Trevor?
CHARLIE: She's sleeping with Trevor?
JILL: And Robbie. Oh fuck, do you even realize what he did to our group with his little Solai fling? We haven't talked to Niley in half a year, let alone hardly see Roy anymore. And he's not even man enough to stick by what he did after I specifcally tried to help him.
CHARLIE: There's more to it than that.
JILL: Really, like what?
CHARLIE: He's gay...
CHARLIE: When him and Niley broke up, I overheard them talking... Niley and him have been lying to us about the reasons behind their parting.
JILL: Still doesn't set aside the fact that he fucked Solai. Anal or vaginal, cheating is cheating and sex is sex. Him being gay doesn't disclude him from my hatred for him.
CHARLIE: Yeah, well, what about Kirby?
JILL: Casualty to war, Charlie. And who knows, maybe she has done something and I just don't know it yet. Always trying to comfort me every five seconds. Sounds like a person trying to make up for mistakes.
CHARLIE: Sounds like a friend to me.
JILL: You only think that because you're in love with her... and as for Sidney... I have my reasons. (beat) But you and I... (comes closer) It'll be left just us two. (grabs his hand and slides it in between her legs) And you can have this all you want... I'll make up for that void Kirby can't give you...
He pulls his hand away.
CHARLIE: You can't trick me into this with sex.
JILL: But I can remind you of what it was like killing Freddy. And you can have that over and over again. And you can have me over and over again, too. All you want. (beat) But I won't try to convince you any further. I leave it up to you. Don't do it for me... do it for you. For us... for what we'll become when it's all over.
The DOCTOR enters and sees Charlie's awake.
DOCTOR: Ian, you're awake!
Charlie eyes Jill, prepping to say something to the doctor. She waits for his response, ready to kill him the instant he says anything less than what she's expecting.
CHARLIE: (beat) Yeah. Awake.
INT. JENNY'S LIVING ROOM - MORNING
Marnie bursts through the door without knocking, big smile on her face.
MARNIE: Jenny, I have the best news!
No reply. The house is quiet.
MARNIE: Jen? Jen-Jen? Where are yooou?
She searches through the house.
INT. JENNY'S KITCHEN - CONT'D
Marnie turns into the kitchen.
MARNIE: Jenny, guess what?
She looks down - - Jenny lays on the floor. DEAD. Her throat split WIDE OPEN and in a pool of blood. Marnie screams and holds her chest, pressing herself against the cabinet.
MARNIE: Oh my God... oh my God! Jenny!
Tears stream down her face. She takes out her cell phone and kneels down, placing her hand on her chest checking for a heart beat. She begins to dial 9 - 1 - JENNY'S HAND GRABS THE PHONE.
JENNY: I always knew you were a lesbian!
MARNIE: HOLY FUCKING SHIT!
Marnie jumps back and nearly shits herself. Jenny giggles, coming to a stand and licks the "blood" from her fingers.
JENNY: Seriously? Checking my heartbeat or copping a feel?
MARNIE: WHAT THE FUCK!
MARNIE: I was scared half the fuck to death! You bitch!
JENNY: Seriously? This ketchup looked like I had a slit throat?
MARNIE: It was the heat of the moment and I saw you like that and logic was shat out the window, YOU BITCH!
JENNY: (giggles) You're funny. So what's your good news?
Marnie's eyes are still pried open, breathing fast and trying to understand everything going on. Jenny kneels over the counter, looking at her and waiting with the calmest of innocent patience.
MARNIE: Jenny... I was scared for your life. Say "sorry."
JENNY: Sorry. Now what the fuck do you want?
MARNIE: Well today I have a date with a very special someone. Guess who.
JENNY: Mmmm. Joseph.
MARNIE: No, better than Joseph.
JENNY: Augh, let's see...
Marnie grows tired of waiting.
MARNIE: Roy! It's Roy.
JENNY: (scoffs) C'mon Marnie, we know that's a pipedream. Even I couldn't land Roy when I wanted to.
MARNIE: Well... I DID! So there's that!
JENNY: I thought you liked someone at Breckin?
MARNIE: I did, I do, whatever but this is ROY!
JENNY: And that's a LIE. So seriously, who is your date tonight?
MARNIE: No delusion, it's Roy.
JENNY: Delusion. So sad.
MARNIE: I'm starting to wish that ketchup was real.
JENNY: Okay, so how did you convince Roy to go out with you?
MARNIE: Niley pulled a favor. Am I sensing jealousy?
JENNY: Ofcourse not, I have like, the best boyfriend ever.
MARNIE: (long beat) Jenny, you don't have a - -
JENNY: Stop... just...
Jenny holds her head. Marnie gives her a bit of space. Jenny tries to hold back the tears... apparently something is troubling her...
JENNY: Enjoy your date with Roy.
She walks toward frame and we -
INT. TREVOR'S ROOM - NIGHT (FLASHBACK)
TITLE CARD: February 13th, 2011. Yesterday.
Trevor holds the phone to his ear.
TREVOR: It's just not going to work anymore, Jenny.
INT. JENNY'S ROOM - SIMULTANEOUS
Jenny waits as if there's a buttend to a joke or something.
TREVOR: I'm sorry, I don't know what else to say.
JENNY: You're serious?
TREVOR: Like I said... I'm sorry.
JENNY: Wait, what? Valentine's Day is tomorrow, couldn't you at least wait? (she's so pathetic) Please?
TREVOR: On Valentine's Day, you should be with the person you love and I... I realized... that might be someone else.
This hits her like a dagger in the heart. She pulls the phone away from her ear and cries, hard but with no noise so he can't hear how painful this is. He waits on the other end, not sure of why she's not speaking.
She brings the phone back up and sniffles the tears back.
JENNY: Fine. I can accept that.
TREVOR: I'm so glad we could be mature about this.
JENNY: Despite the fact that this is over the phone...
TREVOR: I know, I'm sorry.
Jenny keeps waiting for the buttend of the joke...
TREVOR: I gotta go now though... bye Jenny. We can still be friends, right?
That probably hurts her the most.
JENNY: Ofcourse. We're mature. Adults.
Her jaw quivers.
TREVOR: I love you though. I really do. Don't think I didn't.
She slowly shakes her head.
JENNY: I, uh... I love you too, Trevor.
JENNY: Is it Jill?
Trevor waits a long beat.
TREVOR: I never wanted to hurt you, Jenny.
He hangs up. She keeps the phone to her ear... as if it's some means to connection with him, even if just for one last second. But he's gone. And she's frozen. And it all comes crashing down at once. She belts it out of her lungs, a long hearty cry.
BACK TO TREVOR IN HIS ROOM:
Trevor sits there for a moment... thinking of what next... he dials on his phone and waits...
INT. CHARLIE'S CAR - SIMULTANEOUS
Jill sits in the driver seat, parked somewhere out in the woods. She seems shaken and a bit distraught. She looks forward in the headlights at a patch of soil in the ground that's been filled with dirt. A grave...
Her phone rings. She jumps a bit and looks down. It's Trevor. She pauses for a moment... and answers.
TREVOR: Hey, Jill.
JILL: Why are you calling me?
TREVOR: I love you, Jill.
JILL: You what?
TREVOR: I made a mistake. I shouldn't have let you go.
JILL: (beat) What mistake?
TREVOR: I know you know, the whole... Jenny thing.
JILL: That's it? The only mistake?
TREVOR: Ofcourse, Jill, what else would there be?
A FLASH OF OLIVIA AND TREVOR TOGETHER IN OLIVIA'S BEDROOM WHILE JILL WATCHES FROM HER WINDOW.
JILL: Nothing, I guess.
TREVOR: So do you forgive me?
A moan comes from the backseat. Jill looks back quickly and back forward, now in a rush.
TREVOR: What was that noise?
JILL: Nothing. Trevor, I gotta go.
TREVOR: Jill, just wait. Please. Just... a second.
Jill is eager to hang up... but his voice keeps her hanging on like an irresistable force.
JILL: Trevor, don't...
It's almost as if she knows she can't resist him...
TREVOR: Can we... be together again?
A tear falls from her eye. It's what she wanted. She thinks. Sorta. Used to at least. Maybe not anymore. But it's poetic and insane in that way. A beautiful havoc-induced dilemma. She goes to speak... made up her mind... it's clear it's a "no." But then she waits another moment... a sly smile forming on her face...
TREVOR: Oh God, that's so good to hear. I've been missing you like crazy, Jill.
JILL: (stares blankly forward) I've missed you too.
TREVOR: So uh... where are you? When can I see you again? Are you home?
A gurgled cough comes from her back seat.
JILL: No, um... I won't be home until tomorrow. I'll be out of school, too but after... we can see each other... Valentine.
TREVOR: (smiles) Okay... see you tomorrow...
Jill hangs up and throws her phone down, puts the car in 'drive' and books it out of the woods.
INT. HOSPITAL ROOM - NOON (PRESENT)
Jill looks onward, obviously thinking about that phone conversation. Her mind appears blank. Charlie looks onward as well, thinking about his own mess and predicament.
CHARLIE: Jill, do you have my PTSD meds?
CHARLIE: My meds?
JILL: Oh, yeah.
She takes out a pill and hands it to him. He gulps it down.
JILL: I don't know if you're supposed to be taking that with the Vicodin.
CHARLIE: Pain meds don't repress bad memories. I'll take my chances.
JILL: So how's your stomach feeling?
CHARLIE: Surprisingly numb. Sort of.
JILL: So I can flick you?
CHARLIE: Go for it.
She flicks his arm.
JILL: Wow, that's amazing. Must be pretty strong.
CHARLIE: Pretty bad wound.
INT. WOODSBORO HIGH - HALLWAYS
Robbie makes his way down the hallway. As he turns the corner, he BUMPS into Nick. Nick drops all of his books, his papers fly everywhere. Robbie pauses for a moment, looking down at Nick as he kneels down to pick everything up.
NICK: A "sorry" would be nice.
Robbie chokes on his words... and runs off. Nick shakes his head with a sigh and continues picking up his stuff.
IN ANOTHER HALLWAY
Kirby and OLLIE stand around, as if they're waiting. Ollie seems anxious to get out of there.
OLLIE: (whining) I wanna see my boyfriend, it's V-Day.
KIRBY: Ollie, quit being such a fag. She'll be here in a second!
OLLIE: Can't you get someone else to do this?
KIRBY: No, because you're an asshole and you never told me you were actually gay! So you gotta make up for lost time!
OLLIE: I thought you knew! I thought it was common knowledge among the female population. Which is why Lynn is never gonna buy this.
KIRBY: She is not a female. She's a man trapped in a girl's body... a nice girl's body.
OLLIE: You obviously like her, just be with her.
KIRBY: I admire her body, not her. Doesn't make me gay. Or bi. I'm straight. Got that? And she needs to get that too?
Lynn turns down the hall. Kirby quickly jumps into Ollie's arms, kissing him passionately. But Lynn doesn't see... she's dropped her folder to the floor and is picking it up. Kirby looks back and Lynn is now standing back up right. Kirby quickly turns back onto Ollie's lips. A group of people crowd in front of Lynn and they herd their way down another hallway. Kirby looks back again.
KIRBY: Fuck, she's gone! Did she see?
OLLIE: I don't know, I was busy with your tongue in my mouth. Sick.
KIRBY: You liked it, just a little.
OLLIE: No Kirby, I like men. Even though your haircut is -
KIRBY: Mention the haircut and I'll slice you, got that?
OLLIE: Okay, calm down Dahmer.
KIRBY: Fuck! Be here later!
OLLIE: I'm not going anywhere! I'm going on a date with my boyfriend! Bitch!
Ollie stomps off.
KIRBY: Why do you have to be a stereotypical gay, why can't you be a cool one? ! UGH.
Olivia comes up from behind.
OLIVIA: Told you.
KIRBY: Whatever. Get out of here, nobody cares about you.
DOWN ANOTHER HALLWAY
Marnie and Jenny make their way into the school. Jenny's less normal than usual. Her appearance lacking. Soft. Distant. No make up and her hair unkempt.
MARNIE: Be a bit more chipper, you look like you belong in a Tim Burton movie.
JENNY: I am chipper. Absolutely everything is fine.
She says that with conviction. Her appearance just doesn't show it.
Marnie opens her locker and shows Jenny herself in the mirror.
MARNIE: You don't look it, honey.
Jenny realizes what she sees. She's right. Jenny backsteps and walks to the bathroom, taking out her make up bag. SHE BUMPS INTO TREVOR. Her bag drops to the floor and spills everywhere. Marnie watches like it's a dog about to be hit by a car.
JENNY: Oh, I'm so sorry.
TREVOR: It's okay.
JENNY: I was just about to, uh, put on - - make up, because I forgot to this morning and I totally was going to but I was up all night last night... on a date. Valentine's Midnight Date.
TREVOR: You found a date that fast?
JENNY: Uh... yeah. Absolutely. Reserves. A girl can't live without one.
TREVOR: (beat) Thanks, I guess.
JENNY: So you and Jill, did you guys - ?
TREVOR: Yeah. She said yeah. So that's good news.
JENNY: Oh, ofcourse! Good for you guys! Me and my new guy are great together too, I think it'll last.
TREVOR: Good for you, Jenny. See ya.
Trevor walks off. Jenny feels victorious. Marnie knows the truth though.
MARNIE: Put on your make up. You're horrible.
JENNY: I totally owned that.
MARNIE: With lies. GO.
JENNY: I'm totally fine, Marnie! I'm doing GREAT! You hear that everyone? I'm GREAT!
Jenny bends down and quickly picks up her things and heads in.
INT. KAROKE BAR - MID DAY
Jenny stands on the stage, microphone in hand, singing her lungs out (poorly) to "Everytime You Lie" by Demi Lovato. Niley watches from a barstool, absolutely embarassed. Behind them hangs a banner, "Singles Night."
JENNY: (singing) "I knew better than to let you break my heart. This soul you'll never see again, won't be showing scars. You still love her, I can see it in your eyes. The truth is all that I can hear, everytime you lie." Put your
hands up everybody, clap along.
The crowd mildly claps along, laughing at her more than anything.
JENNY: (singing) "I woke up the next morning with a smile on my face and a long list of gentleman happy to take your place. Less trashier, much classier than who you proved to be. How long's it gonna take before you see she's no me? I KNEW BETTER THAN TO LET YOU BREAK MY HEART!"
NILEY: Okay, I can't do this anymore.
Niley runs towards the stage and practically tackles Jenny, trying to pry the mic from her hands. Jenny continues to sing the bridge anyway.
JENNY: "At night awaaake, I won't be sleeping til morning breaks, that's the price you paaaaay for yoooour mistaaaakes, goodbye to dreeaaaaming."
Niley shoves her knee into Jenny's gut and pulls the mic away and throws it across the room. It bounces off a waiter carrying a stack of plates' head. They all come crashing down. Niley grabs Jenny by the hand and they race out of the bar.
INT. MINI GOLF COURSE - MID DAY
Marnie puts her ball into the hole as Roy stands by. Marnie jumps in victory. Roy sighs and picks up the balls from the hole.
ROY: 2 to 8.
MARNIE: That's good, right. What's par?
ROY: Par was 3.
They walk to the other hole up next. The typical windmill set. Marnie realizes Roy seems a bit peeved.
MARNIE: Are you mad?
ROY: No, ofcourse not. I'm having fun.
MARNIE: You seem mad.
ROY: People always say I seem mad, look mad, act mad. I'm not mad though.
Roy puts his ball and it goes into the windmill house then down the other side of the hill and into the hole. Hole in one.
Marnie sets up her ball and puts. It barely makes it up to the hill. Roy puts his head down in disgrace.
MARNIE: I'm much better at other things, I promise.
ROY: Take your time.
Marnie waits to put again... she clears her throat...
MARNIE: Maybe... you should... show me how to hit it... like most guys would.
ROY:.. wait, you want me to show you how to put? Like get behind you and guide your arms? That typical thing?
MARNIE: Typical but it's a crowd pleaser, Roy!
ROY: (chuckles) I'm not that kind of guy. Have you seriously been losing on purpose this whole time so I would show you how to put?
Marnie doesn't even speak. She puts the ball. It goes through the windmill with ease, down the other slope and into the hole. Hole in one.
ROY: So that's a yes.
MARNIE: C'mon Roy, we're on a date. Act like it.
ROY: I'm just acting natural. I don't wanna complicate it or give into cliches with this.
MARNIE: Girls like cliches. That's why they're cliches.
ROY: I'm not that kind of guy, Marnie, like I said.
Marnie seems a bit disappointed now.
MARNIE: Sorry, it's my own expectations. I shouldn't try to make you do anything -
ROY: No, it's my fault. I mean, how was I supposed to know that's what you wanted?
Marnie half smiles and walks around the windmill to the hole. Roy sighs and follows behind.
EXT. MARNIE'S HOUSE - A BIT LATER
Roy and Marnie sit in Roy's car. Marnie waits to exit.
MARNIE: Don't you wanna say something or... do something?
ROY: Oh! Uh, yeah! Um... it was a good Valentine's Day. I'm glad Niley set us up.
He smiles. Clueless. She smiles. Clueless.
MARNIE: Up front, we're not right for each other, are we?
ROY: Oh God, definitely not. No chemistry.
MARNIE: That seems harsh but it's true.
ROY: No hard feelings?
MARNIE: No, definitely not. It just didn't work out. I'm glad we can be adults about this.
ROY: Me too. I think you're cool but we're just - -
MARNIE: On a different page.
MARNIE: Okay. Well I'm gonna go inside...
ROY: Okay, goodnight.
Marnie exits the car. She instantly comes back to the window.
MARNIE: Well just because we have no chemistry, doesn't mean you can't come inside and we can... have fun.
INT. KIRBY'S ROOM - SUNSET
Kirby sits at her desk, typing on her computer and working on her project. It's a lonely Valentine's Day. A pebble hits her window. She looks over... and walks over. She opens it and looks down. Lynn stands there...
KIRBY: What are you doing here?
LYNN: Can I just... talk to you for a second?
EXT. KIRBY'S FRONT YARD - A BEAT LATER
Kirby opens the front door and walks to Lynn.
KIRBY: You can't be here. I'm working on a project.
LYNN: Why you gotta do that to me, Kirby?
KIRBY: Do what?
LYNN: Lie to me. Lie to yourself.
KIRBY: I'm not lying about anything.
LYNN: This whole Ollie thing. Everyone knows he's gay. And you're doing it to keep me away.
KIRBY: Yeah, so take a hint.
LYNN: I did... and that shows me if you put that much thought into it, it's not about trying to prove something to me, it's about you trying to prove something to yourself.
LYNN: You like me. Admit it.
KIRBY: I'm going to be as blunt as possible... you were a drunken fling that I regret one hundred percent. I used you, Lynn. You were there when I needed you... and now you're a fucking niusance. I was drunk and I would've fucked anyone that night. Didn't matter if it was you, or a guy, or Jared from Subway. I needed someone to make someone else jealous. And you were the patsy. I'm sorry.
LYNN: You kissed me like you meant it.
KIRBY: It's called acting. Matter of fact, that's how I met Prichard. Acting in a kiss.
LYNN: And we know how that ended. You fell in love with him.
KIRBY: Don't talk to me like you know something about me.
LYNN: I know everything about you, Kirby.
KIRBY: Good for you. Now fuck off.
LYNN: Just give me a chance!
KIRBY: I don't dig girls. You fucking got it? ! How do I get that through your thick skull?
LYNN: I'm not leaving.
KIRBY: Enjoy the view than.
Kirby walks back into her house. Lynn stays behind and sits at the tree. She watches Kirby come to her window... and close the shades. Lynn puts her head down... defeated.
INT. MARNIE'S ROOM - SUNSET
Roy and Marnie drop into frame, half naked. Panting. But it's awkward...
MARNIE: That wasn't a good idea either, was it?
ROY: No. Different rhythms.
MARNIE: I agree. You're too rough for my tastes.
ROY: Really? I thought you were too mellow.
MARNIE: Well I like love making and you like... fucking. Which is fine considering - -
ROY: That we're not in love?
MARNIE: Yeah. I should've done what you were doing.
ROY: No, no, it was me.
MARNIE: Seriously, it's me. I've had you in my head for months and this is just not what I was expecting... at all.
ROY: For months?
MARNIE: Oh God, this is embarassing.
ROY: Oh, c'mon, tell me.
MARNIE: More like... since I first met you. At the hotel. So years.
ROY: Wow. Crush at first sight?
MARNIE: Yeah, it was bad.
ROY: Well you've had other boyfriends since than, right?
MARNIE: No, not really. No. You were with Tess though...
ROY: Yeah. We did this all the time.
MARNIE: Yeah, I had no experience.
ROY: How many times have you?
MARNIE: (beat) Zero.
MARNIE: This was kinda, sorta, is my first time?
ROY: Why didn't you tell me? I would've been way different.
MARNIE: I just really wanted you to like me!
ROY: (chuckles) Oh, my God. Now I feel bad that I don't.
MARNIE: You feel bad? I feel bad that I did it for no reason. I mean, I could've waited. There's this other guy at Breckin who likes me but... ya know.
ROY: (beat) I wish I could give you your V-card back.
MARNIE: It's okay. You can keep it. I obsessed over you long enough, you might as well have it.
ROY: Maybe we can... try again. In a year?
MARNIE: Sounds good.
ROY: Okay, uh... (he leans in to kiss her) Yeah?
MARNIE: One last try. Let's give it a go.
They kiss. It's bad.
MARNIE: Yeah, no spark.
ROY: I'll just get going.
MARNIE: Good idea.
INT. HOSPITAL ROOM - MID DAY
Jill watches Charlie in the bed. He's distant. Angry. Like he always is when he's on his meds.
JILL: So what did you decide?
CHARLIE: About what?
JILL: About what I talked to you about...
CHARLIE: ... you're right. I enjoyed it.
CHARLIE: That's all I'll say.
JILL: I meant about "the team" thing.
JILL: (leans forward) Maybe?
CHARLIE: (long beat) If we do, we're going to do it my way.
JILL: (nods along) Okay.
CHARLIE: No mistakes.
JILL: You got it.
CHARLIE: No betrayals. No backward ass way of getting me to do things for you like right now.
JILL: Ofcourse. I'm sorry about that, by the way.
CHARLIE: We plan every inch of it out.
JILL: Every detail.
CHARLIE: And we make it out of it together.
JILL: The new Sidney and Randy.
CHARLIE: And you and me?
JILL: (beat) I'll do anything for you. Anything you want.
Charlie listens to her carefully to try and detect any hidden motives.
CHARLIE: So what's the plan right now?
JILL: I need you to kill DJ Hiraldo. And then we'll go. Back to Woodsboro.
JILL: I'll go wait in the car.
CHARLIE: See you there.
Jill stands up and exits the room. The music tenses. Charlie watches her leave, really thinking this moment through. "Seven Devils" by Florence + the Machine begins. (youtube. com/watch?v=hBcXe2B97TQ)
0:00 - 0:22 (Charlie sits in the eerie silence... and slowly stands up)
0:23 - 0:28 (Jill turns the corner... and smiles)
0:29 - 0:39 (Jenny and Niley sit on her couch, taking down shots... laughing... the music is just irony to their happiness now)
0:40 - 0:54 (Sidney walks away from a book reading in Ohio. She smiles and returns to Rebecca who keeps her steadily along to the car for the next town...)
0:55 - 1:10 (Olivia lays at the bottom of the full tub... her eyes closed... she comes to the surface and continues washing herself)
1:11 - 1:25 (Jill sits in the car... she looks on... and pulls out a paper pad... and she begins to write. At the top she puts in bold letters... "KILL LIST.")
1:26 - 2:16 (Charlie walks down the hall. The doctors merely look at him as he passes. He perfectly blends in. He comes to the Coma Ward and to the door DJ Hiraldo. He sighs... and slowly opens the door.)
2:17 - 2:47 (Charlie looks around the room... and DJ Hiraldo... laying in the bed... hooked up to the machines... he looks at all the flowers and get well cards all over the room... he comes to the machine and unhooks him from it... he raises the hunting knife... and stands before him...)
2:48 - 3:21 (Charlie STABS into DJ's chest. One hard PLUNGE. He raises the knife, spurts of blood on his face now... HE STABS AGAIN INTO DJ's FACE. He pulls the knife out, like from a pumpkin and stabs him one last time in the HEART. He looks at DJ's body for one last moment... then quickly opens the window and jumps down)
3:22 - 3:45 (Charlie runs across the parking lot and quickly enters into the car. Jill speeds off the lot... while in DJs window, the doctors rush in and look at him in bewilderment. The sun setting into the Colorado mountains...)
3:46 - 3:53 (Jill and Charlie drive together... and look at each other... evil grins on both of their faces... crossing Woodsboro city limits)
3:54 - 4:24 (Jill rides on top of Trevor in a sexual bliss. He carresses her as they both drip sweat on to another. She has her eyes closed... she opens them... she looks down at Trevor... and raises a knife... he smiles like it's some kinky game... and SHE STABS IT INTO HIS CHEST. She begins to ride him harder as he bleeds out, pleading. She STABS HIM AGAIN and then SLICES HIS THROAT. The blood SPRAYS all over the naked top half of her body. She reaches climax as he withers on the bed with her on top of him. She falls over... and looks up at him... everything's normal. She sighs... almost as if it's dissapointing...)
4:25 - 4:55 (She lays next to him, they're both exhausted. She stares at the side of his face... SLOWLY ZOOM IN as her eyes grow dark... and a sinister look grows within her smile... as he has no fucking idea... what she was thinking... or of what's to come.)
SMASH TO BLACK.
JILL: I was dead once too.
EXT. WOODS - NIGHT (FLASHBACK)
TITLE: Earlier That Day
Charlie's red car drives up a hill to a place that seems a bit familiar... the car stops. Exit Jill, who looks at this place with haunted memories. She shivers a bit, closes her eyes to sustain herself and goes to the trunk of the car. We can clearly see Charlie in the backseat, bleeding profusely as if the incident on the roof happened mere minutes ago.
She pops open the hood. Freddy's corpse lays in the back. She grabs at his legs, pulling him out. His back hits the leaves and she drags him on a few feet. She looks around her... she knows exactly where to put this body.
She comes to a stop, just next to a tree. She looks down at it... FLASH OF HER ESCAPING FROM BEING BURIED ALIVE. She examines her former grave...there's no hole where she escaped from. It's not even more shallow like it should be. She looks at the other spots where Patrick's victims laid... it looks identical to this one. The music rises.
A SHOVEL SLICES into the dirt. Jill works hard, trying to dig this thing up as fast as she can. The lights from the car give her visibility. She keeps digging. It's not deep enough yet. But we can tell she's not digging to dig quick enough to dig Freddy. No. She's digging to see what's at the bottom of the hole where she once laid that prom night almost a year ago. Why is the hole full? Did someone else know of Patrick's burial ground for his victims? She digs faster. Harder. Ferocious. Angry. Terrified.
Her shovel hits a bag. She pauses. Stone cold. She waits a moment, just to make sure it's not her imagination. She pushes herself to the top of the grave and grabs a lantern from the side she had set. She lights it and holds it up as she pushes the dirt off the bag with her other hand. THERE'S SOMETHING INSIDE. A human form. She begins to shake. Tears.
She sets the lantern down above the top of the bag and tries to build up the courage. She puts both hands on the middle of the bag... takes a breath... and RIPS IT OPEN. She looks down... her eyes can't believe it. Utter shock vibrates through her core. She reaches down... and pulls up... long dark brown locks are in her hand... she strokes it a bit... and then she reaches downward... a teather piece of a gown.
ZOOM IN on Jill's eyes as she looks down. We can hardly make out what she's seeing in the reflection of her eyes. Jill slowly stands up and grabs the lantern, pulling herself back out of the hole. She keeps looking down... disbelief... but acceptance at the same time. She looks over at Freddy's body and pulls him towards the hole. She looks back down within at what Freddy's about to join down there... she takes a breath... and kicks the body in.
But just as the body lands - we see it. Jill's own body at the bottom of the hole. Decomposed. Wearing what she was wearing on prom night. All those months ago. Her half remaining flesh and other half just bone mouth open in agony. Her boney hands clawing upward. Freddy's body DROPS onto it. Jill takes another moment to recollect herself... she grabs the shovel and begins to pile in the dirt and to her and Freddy's corpse.
PULL BACK AND UPWARD as she fills in her own - and her latest victims' grave.
SMASH TO BLACK!
A: How do you think the lyrics of "Cinema" and "Seven Devils" relate to the last 2 episodes?
B: What do you think the significance was with bending the realms between reality and fantasy in this episode? What were some subtle examples of it and what were some extreme versions of it and how do you think they play into the storytelling arc of the series?
Only 2 episodes left before the SERIES FINALE! "Almost Famous" and "Bad Karma."
Get your Q&A questions ready! There will be a Q&A before the series finale after the episode "Bad Karma" and I'll be answering questions after the finale as well. There will more than likely be a season retrospecive by my friend R Tech. He was even talking about doing a SERIES retrospective as well, so you guys got a bit to look forward to.
Also, you may notice there's a bit of an inconsistency in the continuity. In the last Marnie's Blog, dated January 26th, Marnie says Trevor already broke up with Jenny and got back with Jill but neither of those happen until this episode, which takes place on February 13th/14th. Her blog's date has been changed to February 13th, 2011, to match the continuity changes.
And now, something many of you have been waiting for, "Jill's Kill List." It'll update once between each episode until the finale!
235 reviews for episode 14, "Almost Famous."