31. Bad Books - Leslie

• FADE IN:


• INT. ARIANA’S BOOK SHOPPE - DAY


• MARK sits in a large, comfortable chair in a corner of the store bathed in light from a large bay window.


• He wears a black military cap, pulled low over his forehead and stares intently at the book in his hand.


• MAY slips ups beside him.


• MAY
• Hey.


• Mark jumps.


• MARK
• You and your sneakiness.


• MAY
• All part of my charm. What are you reading?


• MARK
• “Tales From a Distant Sun.”


• MAY
• Sounds good...good?


• MARK
• Ehhhh...not really; but it has a great cover.


• He flips the cover towards her. It has an eye-catching, avant-garde design.


• MARK
• It’s like they designed a great cover, and then decided to write a story for the cover.


• May snorts.


• MAY
• Guess it didn’t live up to the cover.


• MARK
• Not quite.


• MAY
• Scoot.


• Mark slides over, and May squeezes in next to him, casually throwing an arm over his shoulder.


• MARK
• May Ellen! You’re totally cutting into my comfort reading time.


• He gives her a small smile.


• MAY
• Oh, oh...and I’m not worth more than your comfort reading? Besides...this is trash...you said so yourself.


• She grabs the book from him and flips it onto a shelf.


• MARK
• Nice aim, and for the record, I said “ehhh...not really,” not trash.


• MAY
• Whatever...I’ll be your comfort reading.


• He puts his arm around her waist.


• MARK
• Fine


• INT. ARIANA’S BOOK SHOPPE - SECONDS LATER


• Mark blinks and looks up. He is still holding “Tales From a Distant Sun” in his hand.


• He wipes sleep out of eyes, and looks somewhat longingly at the empty space beside him.


• He puts the book on the arm of the chair, and we see the author’s name, May Ellen Wood.


• FADE TO BLACK.

31. Good Dreams Bad Dreams-Eric

• FADE IN


• EXT. DESERT-DAY


• Boise and Terrance drive a jeep down a lonely desert road, looking somber.


• TERRANCE
• Do you think this guy's legit?


• Terrance lights a cigarette.


• BOISE
• Oh yeah. I just talked to Vic and Cathy, and they're in heaven. They're like two different people now. They thought I was some monk. Their dream is that they're both in Tibet. When Vic goes to work, he really thinks he's going to a Buddhist Temple.


• TERRANCE
• Sounds kind of creepy if you ask me, and we still don't know the long term effects.


• BOISE
• Creepy? I think it's more creepy that he's worked at that grease-pit shit-hole for six years sober, wouldn't you want to believe you were somewhere else? I'd have literally killed someone by now, if I worked there that long. And this stuff is safe.


• TERRANCE
• I guess. But I'm more of a reality man. There's no difference between what this Prince of Dreams does and drugs.


• BOISE
• No drugs involved. He's just a shaman. And you know if it happens in your head, for all practical purposes, it is reality.


• TERRANCE
• Solipsism.


• EXT. DESEERT-EVENING


• Boise and Terrance pull up into a make shift parking spot, between hundreds of other vehicles. Hubdreds of tiki lamps burn around a large pavillion. People enter and speak with the Prince. He hands them a silver chalice. They drink while he places both hands on their shoulders, and chants.


• BOISE
• Well, here we are. You ready for your Dream?


• TERRANCE
• Yeah, I guess so.


• BOISE
• Don't be a downer, man. Once you talk to the Prince, you can dream that you're successful, and that Cathy didn't leave you for Vic.


• TERRANCE
• Geez, thanks...


• Boise and terrance wait in line. Finally, they see the Prince. He looks like a gypsy. A dark blue kerchief wraps around his head. His eyes seem to glitter gold in the darkness. Boise approaches and drinks from the chalice. The Prince chants and places his hands on Boise's shoulders. Moments later Boise falls out. The crowd gasps and rushes around him. The Prince retreats a few steps back. Boise's eyes finally flutter open. He looks frightened at the crowd. He leaps to his feet and brandishes a gun. He shoots the Prince, and then turns the gun on the crowd, that is running for cover.


• INT. LIVING ROOM-SEVERAL DAYS LATER


• Cathy strokes Terrance's hair. A movie is playing on the television, but they are only occupied with themselves. Vic lies in the bedroom asleep, talking to himself, and gesticulating.


• CATHY
• Well, he's been like that for three weeks. We agreed to only take a sip from the chalice. I didn't want to be walking around in my hallucination forever. I'm too engrained in reality. But I guess he's still at the temple. He didn't ever want it to end.


• TERRANCE
• Yeah, I had creepy feelings from the start. I was just gonna pretend I was drinking. That sucks about Boise. In his dream, we must have all been demons, or secret agents, or something. He still won't talk.


• CATHY
• When do you think they'll let him out?


• TERRANCE
• I dunno. Maybe never. I'm going to visit him this weekend. Want to go with me?


• CATHY
• Sure.


• INT. LIVING ROOM-SECONDS LATER


• BOISE and TERRANCE sit on the couch and neck.


• FADE TO BLACK

30. The Visitor - Leslie

• FADE IN:


• INT. PARADISE APARTMENT BUILDING HALLWAY - MIDNIGHT


• JEREMY walks carefully along the gritty hallway, avoiding an unidentifiable clod on the floor.


• He seems to glide more than walk, out of place in the surroundings and yet perfectly at ease.


• He is dressed in jeans and a blazer, with a hoodie peeking out over the neck of the blazer.


• He stops at a door with a large metal #431 hammered into the door frame.


• Jeremy cocks his head to the left, studying the door’s peeling paint, then knocks.


• It is a strange knock, loud, but not rude, and gentle in a strange way.


• He waits patiently and the door slowly opens.


• EVEYLYN stands in front of him wearing a bathrobe. She is not an old woman, but looks older than she is.


• Silver strands wind through her long dark hair.


• She looks at Jeremy for a long moment.


• EVELYN
• It really is you.


• Jeremy just looks back at her.


• EVELYN
• Come in.


• He follows her through the doorway.


• INT. EVELYN’S APARTMENT - MOMENTS LATER


• Evelyn motions Jeremy towards a couch.


• The apartment is crowded with strange artifacts from obscure destinations around the world.


• Books are stacked everywhere, on the chairs, the tables, on countless shelves.


• He looks at her, and waits.


• EVELYN
• I know you must be busy, it seems like it’s just one of those nights...you know, for you. Would you like some tea, would that take too long? No, I’m sure you wouldn’t mind.


• Flustered, she rushes into the kitchen.


• We can hear her pouring water and placing a kettle on the stove.


• Jeremy leans back in the seat and waits.


• The kettle begins whistling and moments later she rushes out with a large mug perched on a tiny saucer.


• EVELYN
• Hibiscus and rose hips...seemed like something you’d like...and I put just a dash of honey, you know, it just brings out those flavors. I’m talking a lot, no, no, I am.


• Jeremy accepts the cup from her, and sips it, then clears a place on the coffee table and sets it down.


• EVELYN
• I’m not really ready, but...I guess, who is. Do your worst.


• Jeremy stands, walks to her, and touches her forehead.


• She blinks a few times, then crumples, her body losing all color in seconds.


• He gently places her on the floor, steps around her and finishes his tea.


• He places it back on the table, then flips his hood on, and quietly walks out of the apartment.


• FADE TO BLACK.

30. Good and Evil-Eric

• FADE IN


• INT. BEDROOM-MORNING


• Nathan West slams his hand down on the noisy alarm clock, groaning in disagreement. Rain pitter-patters a dance on the roof and windows. He finally pulls himself out of bed and heads to the bathroom. After straightening his tie, he heads out the door with a thermos of coffee. He tumbles on the porch, spilling his coffee.
• A corpse has been buried upright in his yard; the only part visible is a severly decomposed head. A cake with several candles is to the left of the head, pocked by rain drops. To the right of the head is a sign that reads: Happy 40th Birthday Nate!. He stares at the horrifying tableau, unaware that his hands have pulled out a cell phone and speed-dialed a number.


• NATHAN
• Oh my god! M-my mom. She's buried in my front yard!


• A few minutes later an ambulance and two squad cars pull up. Two officers climb out and talk to Nathan. He stares through them, in shock.


• VOICE O.S.
• You called us here for this?


• INT. BREAK ROOM-MORNING


• Nathan sits at a table with a cup of coffee and a Honey Bun. He pretends to read a paper while the others pull out gifts, and congratulate him. THAD enters the break room with a birthday cake. A single candle's flame wavers in the center-40.


• THAD
• So, what a surprise this morning huh? You know how long it took me to dig her up?


• NATHAN
• Yeah, real creative.


• THAD
• Hey bud, have you been all right lately?


• NATHAN
• Yeah...it's just that I'm not used to all the...attention, yah know?


• THAD'S face lights up. He leans closer to Nathan and pats him on the shoulder.


• THAD
• Ah, I know what it is, bud. It's the midlife success blues . Hey, I know what'll cheer you up.


• Nathan turns to Thad and gives him a worried look.


• NATHAN
• Yeah? And what would that be?


• THAD
• Well, it's something I already did. That coffee you're drinking, well, this morning I squirted my sister's bloody syringes into it. Right now you're drinking about 3cc's of Hep-C creamer.


• Thad giggles. Nathan spits up the coffee and leaps out of his seat. He holds up both of his hands, as if in defense. The others turn to Thad, they appear hurt. Karen looks the most put off, and jealous.


• KAREN
• Wow, you never did that for my birthday. That's really nice of you...Thad. I wa-


• NATHAN
• Look. Guys. I really, really appreciate all you've done for me. But this is too much. I'm not used to all your cr...niceness. I need to take the day off.


• Nathan walks to the time clock and punches out. He grabs a vest from his locker and walks out.


• THAD
• I think he's a bit off guys. I don't know, maybe he's found something horrible like true love.


• KAREN
• Hmm, I think it's worse than that. He's acting like he won the friggin lottery or something. I've never seen him this upset.


• STEVE
• Guys, this isn't just a bad thing, it's a good thing too. I saw the look in his face when you told him about the syringes. Sure, he was surprisingly, actually upset about that. And I don't mean just any old upset. And see, instead of enjoying his misery like everyone else in the world he looks like the type to do something great, like go postal and kill everyone.


• THAD
• Wow, now that would be cool. Do you really think he might? Do you think he's really that nice?


• INT. LIVING ROOM-AFTERNOON


• Nathan sits on a sofa, ignoring the Television news. His head is buried in his hands, which are propped up with his elbows and knees. He finally stands up and presses the play button on his answering machine.


• ANSWERING MACHINE
• Happy Birthday sweety! I've got a big surprise for you! Hey, you know what some little jerk did this morning? I woke up and someone had mowed my lawn. And then the little bastard had the nerve to roll up my windows during that thunderstorm we had. I wish I could'a caught him, but he ran off too fast. Well I'll see y-


• Nathan sinks back on the sofa and turns up the afternoon news, a woman is crying, holding her young daughter.


• WOMAN
• I just can't b-believe there are people out there like this. Who would bring back my little daughter after she was kidnapped? This world is sick! I just want justice, I want to be able to look the guy in the eyes that brought her back, and hug him, the son of a-. My life will never be-


• REPORTER
• People saving kidnapped children...is it possible we could see more of these evil acts? Has our random acts of kindness policy really met its match? Mor-


• NATHAN VO
• I don't know how much more I can take of this insanity. I feel like a fraud. I'm stuck. The great anamoly. I can't even kill myself, because everyone will look at it as a great thing. I can't believe I'm so depressed I don't even have the motivation to kill myself. I know what I can do. Confession. I'll confess to something evil I never did. At least I'll be a hero.


• EXT. STREET-NIGHT


• Nathan is hung from a blazing pyre. He has been bound and gagged. People throw bricks at him. Blood drips down his face as he grimaces and screams muffled pleas through the gag. The flames lick higher, scorching his pants and finally engulfing his entire body. The crowd begins chanting his name. A news reporter and crew are next to the pyre.


• REPORTER
• Tonight, Nathan West will be crowned a hero. He has admitted to kidnapping ten-year-old Racheal Svens. Several suspects are still at large for returning her, we will give you more-


• FADE TO BLACK

29. Farewells - Leslie

• FADE IN:


• INT. CHINESE RESTAURANT - NIGHT


• The interior of the restaurant is dim, with several flickering bulbs attempting to illuminate the tables.


• CHRIS and DAVID sit at a table by the window.


• Rain dribbles down the glass, obscuring the view and heightening the restaurant’s claustrophobic settings.


• DAVID
• So you’re really doing it?


• CHRIS
• Yeah...I really, really am.


• DAVID
• Are you scared?


• CHRIS smiles at him.


• DAVID
• Yeah, of course you are.


• CHRIS
• But this is what I need to do.


• DAVID
• And what makes you so sure about that?


• CHRIS
• Come on, don’t you agree?


• DAVID
• Well...


• CHRIS
• I’m leaving next week...it’s time for a clean break.


• DAVID
• Let’s go then.


• EXT. PARKING LOT - NIGHT


• David looks nervously around while Chris rummages in his trunk.


• CHRIS
• Stop standing around...help me...you came up with this idea.


• DAVID
• Well, I didn’t think you’d...


• CHRIS
• Well, I did, so help.


• David walks to the trunk, shivering in the cold night air, and together they remove a gas can, a large metal pan, a lighter, and a shoebox.


• David places the pan on the wet pavement and pours gasoline into.


• Chris slowly opens the shoebox, peers in, then hands it to David.


• Chris takes the lighter and holds it over the pan.


• DAVID
• Just do it.


• Chris lights the gasoline and it licks up into the air, he jumps back.


• David silently hands the box back to him.


• Chris pulls out a letter, and looks at it.


• DAVID
• Oh, hurry up!


• Chris ignores him, reading one of the letters, and touching the name at the bottom.


• DAVID
• Well thank goodness you’re moving on.


• Chris throws the first letter into the blue flames, and then another, and another.


• He comes to the last one, and holds it for a long time, then slowly tosses it into the last of the flames.


• He watches it burn, then turns away slowly.


• DAVID
• Think you can say goodbye now?


• CHRIS
• Yeah...finally feel ready to leave.


• DAVID
• Good.


• He puts a hand on Chris’ shoulder and they stand still, waiting as the pan cools.


• FADE TO BLACK.

29. Just Like a Woman-Eric

• FADE IN


• EXT. HIGH SCHOOL AUDITORIUM-DAY


• SENATOR ELAINE WELLER stands at the front of a large congregation, giving a speech. Her gold hair hangs placidly at her shoulders. The lines of age under her eyes are unable to sifle their crystal blue sparkle. She gesticulates from time to time, drawing long applause from the crowd.


• SENATOR WELLER
• If we think we can continue this brand of politics, this deception, we are gravely mistaken. The people have lost faith in their senators, their president, and everyone in the body of politics. This is a direct consequence of our actions, but above all, because of our actions, they have lost faith in theirselves. I don't know about you America, but I'm ready to reclaim our virtue, our dignity.


• The crowd gives a standing ovation. Several hundred hold up signs and banners supporting Senator Weller.


• INT. MANSION-EVENING


• Mr. Weller prepares dinner in the kitchen. He listens to Elain's speech on the radio.


• MR. WELLER
• Honey? Dinner's ready. I made your favorite, breakfast for dinner. Eggs Benedict.


• SENATOR WELLER OS
• I'm not hungry.


• MR. WELLER OS
• You're still worried they're going to find out, aren't you?


• SENATOR WELLER OS
• They find out everything. You know that.


• MR. WELLER
• I know. But you chose to run. But hey, I'm here for you, babe.


• SENATOR WELLER walks into the kitchen, and hugs Mr. Weller.


• SENATOR WELLER
• Do you think we can trust that chinese doctor? He could make a lot of money exposing me yah know.


• MR. WELLER
• Yeah, our secret is safe with her.
• 
  
• Senator Weller walks to the master bedroom and pulls out a photo album. She leafs through it, and looks at younger photos of herself, as a man. She touches them.


• FADE TO BLACK

28. Autophobia - Leslie

• FADE IN:


• EXT. BUSY CITY STREET - DAY


• NELLA stands in the center of a busy sidewalk as people jostle and push in their frustrated attempts to get where they are going.


• She stands still, her flared jeans rustling with the crowd’s movement.


• She plays nervously with her braids and looks around at the crowd.


• She grabs a BUSINESSWOMAN in an attempt to get her attention, but the woman simply shrugs the HAND off and races away.


• Nella looks around more frantically


• She tries grabbing other people, but they don’t acknowledge her.


• Frustrated she screams, but no sounds come out of her mouth.


• She tries to scream again, terror slipping into her eyes.


• Business-suited men walk past, grinning and telling jokes.


• She stands yelling again and again, but no sound comes.


• Nella stops, frustrated, and stands still, letting the crowds tides push and pull at her.


• Cars whiz past and people continually race by behind her.


• She shakes his shoulder and he glances at her, then back away.


• She shakes him again, and he doesn’t seem to notice.


• Her eyes travel down his thick torso and end at his belt.


• His gun holster stares back at her.


• She reaches for it, then stops, then reaches again, touching it.


• She pulls her hand away, then determined, reaches for the gun again and grabs it.


• Nella steps back to the center of the sidewalk and slowly places the gun to her head.


• She closes her eyes, swallows hard, and her finger straining, pulls the trigger.


• The explosion of the bullet leaving the barrel echoes around the buildings.


• Nella stumbles, then slowly dissolves, leaving the crowds whirling cluelessly around a girl-sized gap in the sidewalk.


• FADE TO BLACK.

28. Most Bored Man in the Universe-Eric

• FADE IN


• EXT. TRAIN TRACKS-MORNING


• Doc and Sid sit on plastic crates, sipping beer next to an unused railroad track. A long since defunct train, replete with graffiti sits lonely in the distance. Overgrown weeds sprout up from the track and surround Doc and Sid.


• SID
• If you think about it he's got to be the most bored person in the universe. He knows everything that's gonna happen.


• Doc takes a swig of beer.


• DOC
• I don't think he's bored. It's like watching two people play chess, and you already know who's going to win. It's still interesting to watch it be played out.


• SID
• But he knows every move they're gonna make. I don't know how anything could interest him. There are no more surprises. It's like watching a play you've already seen a thousand times.


• Doc tilts his head back, and empties the bottle of beer.


• DOC
• You're right in a way. But maybe he alters things. Like Julius Ceaser, maybe he was supposed to be in the 21st century. Maybe he plays around with stuff. Maybe Satan and him rotate jobs from time to time. Maybe there'r colors we've never seen because he decided he wanted something different. Maybe the three primary colors were supposed to be completely different, something we can't even imagine. Maybe John Lennon was supposed to start a revolution, and Mc Jagger was supposed to be the one assassinated. He tweaks everything.


• SID
• Hmmm, that's an interesting thought. But even if he does tweak stuff, he still knows the outcome. And you make it sound like we're his little chess game.


• DOC
• Well, maybe he choses not to know the outcome. Maybe he makes a rock he can't lift. And we are his little chess game.


• Sid takes a long drink, emptying his container. They crack open more beers.


• SID
• You make it sound like he doesn't care about people.


• DOC
• People? Fuck...people? Fuck people. We're just his little game. Look around, would you care about us?


• SID
• Hmmm, not really. So, what you're saying is he's the least bored person in the universe, because he has six billion pawns to play with.


• Doc nods.


• DOC
• Not only that, but imagine how many other planets he has at his disposal, to screw around with.


• Sid looks down at the pile of empty beer bottles and cans at his feet. He starts building a tower with them. Doc helps him.


• DOC
• Nice metaphor.


• SID
• Doc.


• DOC
• Belllch! Yeas...?


• SID
• I sure am glad you're not God.


• DOC
• Maybe I am, maybe I'm God switching out a role with a bum. Sure is interesting down here. Now I know why you guys drink alcohol, at least that's one thing I did right.


• Sid rolls his eyes and grabs two more beers.


• FADE TO BLACK

27. Touched - Leslie

• FADE IN


• EXT. DESERT SAND DUNES - DAY


• The twin suns beat down on the blindingly white desert sand, silhouetting Ameera.


• She stands at the top of one of the dunes, her robes billowing around her in the wind.


• A pair of round metal goggles are perched on her forehead, her hands are covered in thick gloves, and she wears light pants under her robes.


• She stands at the top of one of the dunes, her robes billowing around her in the wind.


• Several cloudships crisscross the sky far above her head.


• She stares into the distance, searching and sees a wall of dust whirling in the distance.


• Ameera pulls the goggles off of her head and pulling the robes off until she wears nothing but a thin shift and pants.


• She folds the clothes neatly and places them beside her along with the goggles.


• She pulls intricate bracelets from her arm and places them on her pile of clothes..


• She pulls her hood back revealing cropped short, hair, the tips dyed bright blue.


• She sits, her legs crossed and waits.


• The sand storm is now audible, screaming in the distance.


• It races towards her, but she doesn’t flinch.


• It overtakes the dunes around her, covering them.


• She takes a deep breath and looks at the wall, it hovers, seeming to pause at the foot of her dune, and then it engulfs her and she is gazing into the frothing heart of the storm.


• Sand tears past her face, cutting her cheeks.


• She doesn’t move, eyes open, staring into the chaos.


• The roar builds like a song as the storm whips around her, and in the heart of the storm, a mass of glowing tendrils forms.


• They begin to grow, melting and merging until a woman, beautiful and large stands in front of Ameera.


• She sings in a strange, haunting language, wrapping Ameera in her tendrils.


• The strange, glowing embrace seems to last forever.


• Suddenly, all is silent, and Ameera sits on the dune, slumped over as the storm is drained of energy.


• She looks up, her face cut and bruised, her eyes now a strange, milky blue.


• A mark is there now, tracing the lines of her body from her eye to her neck, and around her left arm.


• A scoutship lands nearby, sent by one of the cloudships, now hovering lower.


• The TOUCHED ONE rushes from the ship and climbs the hill with a speed that belies her age, feeling her way with her staff.


• She kneels in front of Ameera and inspects Ameera’s face with her hands then stands, raising her staff in the air. Her eyes are the same blue as Ameera’s.


• TOUCHED ONE
• Our daughter is now a woman!


• Cheers come from the scout ship and the circling cloudships.


• Ameera struggles to her feet, blind, and the Touched One raises her staff again. Louder cries ring out.


• She nods, and takes Ameera’s arm, leading her back to the scout ship.
  

27. Imoria-Eric

• FADE IN


• EXT. SKY-MORNING


• BENNY soars thousands of feet above the earth. Dolphins play tag in the bay below. His face is white and constricted from the goggles; he is wearing a smile like a new role in a play he's not sure if he can take on.


• BENNY
• Wow...every time is like the first.


• Benny soars above a field, and pulls the parachute cord. It sprouts from the pack and he slowly lands, tumbling when he hits the ground.


• INT. BEDROOM-MORNING


• Benny sits in a wheelchair, watching television. Sky diving gear lies on the side of the bed. His mother, Cassie, knocks on the door and enters.


• CASSIE
• Hey bubba, how are you this morning? Scooter's here. Bubba, you need to have friends. I just don't want you to get lonely in here by yourself. You should get out more. And he's got a pretty girl with him. Should I tell him to come in?


• BENNY
• Yeah, I guess.


• Cassie shuts the door and leaves. A moment later Scooter and Tammy enter.


• SCOOTER
• Hey, bud. We were wondering if you wanted to go to Kumer Park with us. There having a little concert later. Scuba Blood is gonna be there! Come on.


• BENNY
• I'm tired. I was out sky diving this morning.
• 
  
• SCOOTER
• Benny...


• Scooter looks at the sky diving gear, still unopened in a clear plastic cover.


• BENNY
• We don't have to argue about this again, not today. If you only knew how real it feels.


• SCOOTER
• Yeah. And hey, I really want you to guide me through a session. Imoria sounds like a cool place. I'm serious, I want to try it. Maybe after the concert?


• BENNY
• Really? Yeah! I've been wanting to turn you guys on to this for so long. By the way, are you gonna introduce me?


• SCOOTER
• Oops, sorry. Benny, Tammy, Tammy, Benny.


• Tammy and Benny shake hands. Benny blushes.


• SCOOTER
• Ahem, uhm, this is kind of embarassing for me. Tammy wants to know if the plumbing downstairs still works.


• Benny wheels away to the window and looks out.


• BENNY
• Please leave.


• SCOOTER
• Benny, come on man. I just want you to have a good time.


• BENNY
• I don't need your sympathy fucks. You need to grow up man. please leave.


• Scooter leads Tammy to the door and then he stops and turns around.


• SCOOTER
• All right man if that's the way you want to be. I've tried everything, man. I don't know what else you want. You're a shut-in, and all I've done is helped you! You sit here in your little fort, pretending that you're sky diving and taking a vacation in Paris, or god knows what else. You know what, you're pretending you're still alive. I'm out of here. Tammy, let's go.


• Benny continues to stare out the bedroom window. SCOOTER and TAMMY walk down the street holding hands. A moment later, they begin dissolving, dissipating like steam over a kettle.
  
• FADE OUT

26. Primal Whatever - Leslie

• FADE IN:


• EXT. FERRIS WHEEL - DAY


• ANDY sits in a ferris wheel car, his feet dangling from underneath the railing. SARAH sits next to him, her arms folded on the bar, the loose sleeves of her blouse engulfing her hands.


• SARAH
• Looking forward to the concert tonight?


• ANDY
• I am; I’m fairly giddy about it actually.
• 
  
• SARAH
• You know, as much as I might love a band, it’s scary to be part of something that is just three padded cells shy of being a mob. The robot-like behavior, the screaming...I have a hard time letting myself go at concerts.


• ANDY
• Well stop that, let go!
• 
  
• SARAH
• I was hoping for perhaps a more insightful comment.


• ANDY
• You need to learn how to embrace your primal whatever.
• 
  
• SARAH
• What, now?


• ANDY
• Your primal whatever...the, you know what, nevermind...you need to just chill.
• 
  
• SARAH
• I’m still intrigued by your “primal whatever” thing. What exactly do you mean?


• Andy beats his chest and grunts.


• SARAH
• Profound.


• Andy shrugs.


• ANDY
• One of these days you’ll let go and it’ll fill you with joy and...


• SARAH
• Whatever, dude; I just have a hard time being part of a mindless, celebrity-consuming mob.


• ANDY
• Think of it as a hive-mind.


• SARAH
• Difference?


• ANDY
• Eh...hive minds tend to be more productive...?


• SARAH
• Helpful.


• Andy and Sarah slide from their chairs. They walk down into the fairground.


• ANDY
• Just...let...go.


• Sarah punches him.


• Andy rubs his arm, grinning.


• ANDY
• Good, feed the primal whatever.


• SARAH
• Oh, go screw...


• ANDY
• Yes, yes! Feed it!


• Sarah rolls her eyes and walks towards a dusty tent advertising contortionists from upper Mongolia.


• Andy trails after her, still rubbing his arm, a lop-sided grin on his face.
• 
  
• FADE TO BLACK.

26. Dark Fruit-Eric

• FADE IN


• EXT. CITY SQUARE-MORNING


• Citizens scurry around a market place in the city square. Small, steam-powered chariots cruise up and down the gleaming, platinum-paved STREETS. The buildings are gargantuan; some are immaculate white washed stone, others have domes carved from gray-green marble. Granite statues of armored warriors wielding massive swords seem to guard the city gates.
• Hundreds of citizens pick a black, spiked fruit from a tree, like tiny ants scurrying around an ant hill. Once they pick the fruit and take a bite they continue their previous activity. DARIUS, enters the city on a white horse. A tubular bag sits behind him, tied to the saddle. He dismounts and approaches TELAND, a guard without weapons or armor.


• TELAND
• Welcome stranger, can I take your bag for you?


• Darius looks confused, but reluctantly gives him the saddled bag. They walk down the city street; Darius leads the horse behind him on a bit. Teland grins a friendly grin to himself.


• TELAND
• Don't worry. Most people are baffled when they get here. We have hundreds a day. But once I finish with the tour, everything will make perfect sense.


• Teland leads Daruis and the horse to a stable. Teland walks side by side with Darius, pointing at the magnificent buildings and statues. The streets shimmer with a prism of color, reflecting the sunrise. Darius nods from time to time and smiles.


• EXT. GARDEN-SUNDOWN


• Teland and Darius sit at a crystal table, on matching chairs. The table is set with sparkling, gemed untensils, and a long serrated knife. A round, silver cover sits between them on the table.


• DARIUS
• So you're telling me that you haven't had a war for several centuries. No invaders either?


• TELAND
• That is correct. Ever since the fruit was harvested, exactly four hundred-fifty years ago. Those statues you saw serve more as a reminder to the council elite of how things were, rather than actual decor. Without war we've been able to pursue other endeavors. We have the best universities and the best doctors in the solar system. That is the reason people flock to our gates. We have had neighboring countries take up arms against us in the past, but once they saw how...divine our city was they laid down their weapons. They want to know how we do it.


• DARIUS
• Yes, this place truely is amazing. I still can't believe it's real. Everyone is so peaceful here. But didn't you say the statues are a reminder for only the council elite? What did you mean by that?


• TELAND
• Yes, the common citizens literally don't have the words war or famine in their vocabulary. They don't know it even exists, they've never had a concept of it. They don't even know what disease is. And they don't need to know any of it, it's just superfluous information. Our society runs like a beautiful machine wthout it. That's the reason none of our citizens are allowed to speak to any outsiders. All we need is the fruit.


• Darius eyes the fruit suspiciously, and shakes his head.
  
• DARIUS
• Forgive me for saying this, but you feed people this...mag...divine fruit, that changes the very fiber of their psyche, rendering them altruistic supermen, if you will. And then you supress any knowledge of the past, and keep them ignorant of the present. Excuse me Teland, but it looks like one, big, elaborate lie. Albeit amazingly well crafted.


• Teland grins.


• TELAND
• It's only a lie if everyone disbelieves it.
• 
  
• DARIUS
• But you know the truth, and your council. You know the truth!


• Teland shakes his head


• TELAND
• You my friend, are ignorant of the last thousand years of literature. You're talking about ignorance, but you're ignorant of your very world's literature. Haven't you read that truth and happiness are mutually exclusive. You can only have one, but not both.


• Veins in Darius's neck bulge. He is red, and halfway out of his seat.


• DARIUS
• You don't have to supress society and keep them ignorant to rid the world of famine and war!


• TELAND
• You should calm yourself. It takes most people a while to get it. But can you honestly name one society that can do this? Just name any in our solar system. And if you can find one, tell me, and then ask yourself why you even came to our city gates.


• Darius sinks back to his seat and is silent. His brow is creased.


• TELAND
• Look, let's finish the discussion after we eat, shall we?


• Darius nods. Teland uncovers the silver disk revealing the fruit. It has been sliced in thin strips. Its gray flesh steams. He uses tongs and places the steaming fruit on Darius's plate. He places a piece on his own plate and they both begin eating. A few seconds later Darius's eyes slowly roll back and close. He leans his head back and sighs softly.


• DARIUS
• Wow, this is absolutely...amazing.


• Teland nibbles at a piece on the end of a fork, and his eyes slowly close. His head rolls back. Darius quickly pockets a small piece of the fruit.


• EXT. SPACE SHUTTLE LABORATORY-NIGHT


• Darius stands in a lab with several others in white coats. Beakers, test tubes and medical equipment line the lab tables. Machines blink on and off in the background.


• PROFESSOR ANGELAS
• Well, the spiritual epiphany you had can be explained. In laymans' terms, you were high off your ass. We found a powerful opiate agonist in that sample. It looks like an analogue of morphine, except it's 300x more potent. Lucky you didn't die. It's loaded with antioxidants too, but other than that it's not special.


• LAB TECHNICIAN
• So what you're saying is that besides the euphoria, it's just giving that society some kind of placebo effect? And furthermore the leaders keep them in ignorant bliss of war and famine, and disease?


• PROFESSOR ANGELAS
• That's exactly right. If they don't know it exists, it doesn't. It's like the converse of what that guy Teland said-It's only a lie if everyone disbelieves it. In this case, war, famine and disease are only true if everyone believes in it, that they actually exist. Wow, I have to give them credit though. They sure worked one over on everybody. Very slick leaders.


• INT. CHURCH-MORNING


• A pastor is preaching at the head of a large congregation. The professors and lab technicians sit on church pews with Darius, listening.


• FADE OUT

25. Digging - Leslie

• FADE IN:


• INT. PEACEFUL PACIFIC BEACH - DAY


• AMANDA is on all fours furiously digging in the sand.


• Her bright red tank top is covered in sand as are her shorts.


• A palm tree gives her some shade, but she is still sweating.


• Her efforts to dig are constantly thwarted by the shifting sand, erasing any progress she’s made.


• She sits up and lets out a frustrated grunt.


• ROBERT (O.S.)
• Honey, are you still up to that?


• AMANDA
• Yes, of course I am. The map said there would be hidden treasure here, right here. This is going to change our lives, of course I’m not going to quit.


• Robert walks down the stairs of the beach cottage with a large, colorful drink in his hand.


• He is muscular and tanned, wearing only surfer shorts and a thin white t-shirt that doesn’t hide the ripple of his muscles.


• ROBERT
• Why don’t you just give it a rest and enjoy the sun? It’s a gorgeous day.


• AMANDA
• No! I’m going to find this treasure.


• ROBERT
• Alright, you do what you think is best...but you’re missing this day, and let me tell you, it’s one of the most beautiful we’ve had since we’ve been here.


• Amanda pays him no mind, furiously scraping at the beach.


• ROBERT
• Amanda, it’s time..take a break, we can go take a nap.


• AMANDA
• Fine, but tomorrow you’re helping me.


• ROBERT
• Of course, tomorrow.


• EXT. SMALL HOUSE - NIGHT.


• A small house stands, slightly dilapidated, in a medium-sized, leafy, neighborhood.


• Amanda stands with the help of Robert.


• AMANDA
• You’re so helping tomorrow...it’s too difficult to dig in that sand all day.


• ROBERT
• Alright, that’s what I'll do. Come on now.


• There is a large hole in the tiny front yard by which Amanda is standing.


• Her hair hangs in thick strands and she is wearing a the same tanktop and ripped jeans.


• Her hands are filthy from digging past the grass and dirt. Her nails are dark from the earth lodged under them.


• ROBERT
• Come on dear, let’s get inside.


• He walks to her and helps her up as they start walking back to the house.


• AMANDA
• You’re right, the sun coming over the beach is gorgeous.


• Her eyes are blanks and she walks as if removed from reality.


• ROBERT
• Yeah, look over there.


• He points to a row of trailer parks.


• ROBERT
• You can see the ocean waves breaking on that cliff.


• Robert is dressed in khakis and an old t-shirt. A little pot belly pokes from underneath the shirt.


• AMANDA
• That’s beautiful! Can you come read me a story? I love your voice. Please?


• ROBERT
• You don’t want to stay here and...?


• AMANDA
• If I’m still awake we can watch the sunset.


• He helps her up the stairs to their house.


• ROBERT
• Alright, that sound good.


• AMANDA
• But promise you’ll help me dig.


• ROBERT
• I do promise.


• AMANDA
• Good. We’re going to be rich, no more problems, you’ll see!


• ROBERT
• Whatever you say dear.


• He pats her head.


• He looks once more at the hole in their yard and sighs, then helps her inside the house.


• FADE TO BLACK.

25. The Dead Life (reality show)-Eric Inspired by Ben Norskov

• FADE IN


• EXT. ABORTION CLINIC-DAY


• Several zombies dressed in tattered clothes picket outside an abortion clinic. Moans echo from the building walls. Pedestrians run and scream, peeling out in the parking lot to escape. KENT, a fresh looking zombie smokes a cigarette.


• KENT
• I thought once I died I'd be able to kick smoking. Nope, the first thing I did was light up. Addiction does not stop at death. Oh no. Death is only the beginning. So, all you noncomformist, WTA picketers, corporate antagonists, Phillip Morris owns you, even after death! Don't try and kid yourselves.


• BRIAN
• You never stop wanting to be unique. I don't care if you die a thousand times, you still have to take care of that big baby called self esteem, your image. Don't let anyone here fool you-we don't care about abortion. We just don't want these aborted fetuses stealing our thunder. Kent always spouts this type of nonsense, that oh, us zombies are so politically active. We protest, we believe in human rights, we vote. Pfft, what a front. There's only one motivation. We can't afford to be upstaged by something more grotesque than us. We've got an image to maintain.


• INT. BEDROOM-EVENNING


• Several female zombies are fixing themselves up, pulling clothes out of an enormous walk in closet. Jessica holds up a black Bettie Paige T-SHIRT. She notices some white FLAKES of skin on it. She shakes the shirt and turns to Gabrielle.


• JESSICA
• Oh no you didn't just peel on my shirt! Stop %^&*! borrowing my clothes and for god's sake get your psoriasis under control!


• Gabrielle looks angry. She places both hands on her hips and leans her head towards Jessica.


• GABRIELLE
• It's not psoriasis you stupid $%&#*! If you didn't notice, you're like dead, Jessica. Dead ya know? Your flesh rots off. And you rotted on my comforter, so don't act all high and mighty.


• INT. REC ROOM-EVENING


• Gabrielle plays a game of pool by herself, steadily banking shots.


• GABRIELLE
• Jessica gives zombies a bad name. She always tries to dress and act all Goth. I keep trying to tell her, you're dead. You don't have to act anymore. You are Goth. All she's done since she's been here is bitch. You're flaking on this, you're drooling on that. Carrie told me I better be grateful, that Jessica actually became smarter after her brain rotted out. I can't imagine how stupid she was when she was alive.


• INT. STUDY-MORNING


• Professor Davis reads a periodical: Politiking. He is dressed in a black sport coat and wears a round, glass eyepiece with a gold chain. The chain dangles over his collar. His face is severly rotted.
  
• PROFESSOR DAVIS
• They voted me in so they're going to have to live with my rules. To quote Christopher Zombie Rock, there's two types of zombies. There's zombies and there's zombies. I'm not trying to be a facist here, all I'm asking for is a modicum of responsibility. Wash your dishes, yah know? I don't want dried brains caked on the side of my sink. Pick up your arms or legs if they fall off, don't leave them scattered all over the place. Stop trying to lobby for welfare. It's like they're not even happy unless everything is torn up, screens busted out, house a wreck, moaning day and night. As a sociologist, I know we'll never be assimilated into this culture unless we can start acting like decent, dead human beings. Get some self respect. But oh yeah, I'll whip them into shape.


• Professor Davis's EYEBALL pops out, shooting his glass eyepiece across the room. His eyeball is dangling by cords of nerves.


• INT. CAFE-MORNING


• In the window of the cafe a bulletin is posted that reads:No Death Certificate ID, no entry. Several zombies sit in the cafe sipping mugs of coffee and eating brain croissants. TERA, an african american zombie sips on a red Italian soda. An untouched PLATE OF FINGERS sits on the table.


• TERA
• Gabrielle told me I'm triple f*&$%#& because I'm black, female, and undead. In college I was always the anamoly. I was the only Republican in my clique of bleeding hearts. But now that I'm dead, I'm leaning more to the democratic party. Hill says we're going to have universal health care coverage. Does that include us? I don't know, but if I were legally allowed to vote I think she'd have mine. You know how hard it is to get coverage now? I can't even walk into an office. Thank God for the internet. Obama's motif is unity, change, and equality. But I never experienced change or equality when I was alive, so I'm not going to hold my breath now. This may sound very pessimistic and defeatist, but we have an axiom at the zombie loft we all agree on: Nothing changes after you're dead. Things usually only get worse.


• RYAN
• If I didn't trust them when I was alive, why should things change now? We're the most impoverished class of people in the world. And what do they do about it? They prey on us. Sad thing is, we have no other choice. Senator Del Ray swings by the loft once a month to pick up my girlfriend, Crystal. You'd be surprised how many politicians have zombie fetishes. Hey, it pays my bills. And it's legal. Sleeping with a zombie does the same thing for the necrophiliac that methadone does for the heroin addict. If you ask me, it's wholly hypocritical. You can't cheat life. It's like medical marijuahna. I wish people would just stop with the excuses. If you want to sleep with a dead girl then do it, you don't have to pretend you're a decent, law abiding citizen by sleeping with the next best thing.


• INT. MOVIE THEATER-NIGHT


• Dawn of the Dead is playing on the screen, several zombies eat buckets of popcorn. Britney walks to the bathroom.


• BRITNEY
• That girl so didn't look like a real living dead. You couldn't even see her third layer of skin. I can't stand movies anymore. And I can't believe we're still the typical consumer, slaves to the masses. Mindless entertainment if you ask me. And all these DEAD movies just parody our lives. I want to do something different. I want to change the world. Kent thinks he's doing the world a favor by eating or scaring all the inner city drug dealers away. He says when he corners one in an alley, and they get a good look at his face, they're willing to do anything. They give him all their drugs, even their food stamp cards. Their wallets...really anything they happen to be holding at the time. But he's just doing it because he still thinks he's an addict. He's a moron. He doesn't even have a nervous system or any neurotransmitters. He says drug dealers exploited him all his life, that now he's just returning the favor. He says we should capitalize on this. We can't die, so what should we fear? He wants to turn exploiting the aristocrats of the living into some kind of art form. I don't know if I want to go that route. That'll just widen the chasm between us. Maybe I'll start a day care center. I don't know.


• FADE OUT

24. In Dreams - Leslie




• FADE IN:


• EXT. COUNTRY ROAD - NIGHT


• BRIAN speeds through the night, enjoying the rush of cruising around the tight curves in the road.


• His headlights catch the shape of something in the road, and he breaks, swerving to avoid it. As he drives past, he winces as he sees a dead HEDGEHOG in the middle of the road. It looks oddly human, as if a little furry man had been killed right there. It’s head is bloodied, it’s face pushed into the road.


• Brian shudders, a chill running down his back.


• He hits the peddle and keeps going.


• He looks in his review mirror and jumps.


• The hedgehog stands, dressed in a crisp suit and bowler hat; it’s bloodied head hanging to the side.


• He blinks and looks again; the hedgehog is still there.


• Brian shakes his head and stares down the road, determined not to be shaken.


• He takes a long breath and turns his head.


• A LARGE RABBIT in a tuxedo points menacingly and yells in a strangely muted voice.


• LARGE RABBIT
• The turtles have taken over, the turtles have taken over, the...


• Brian hits the gas and speed past.


• He is panting heavily now.


• A school of fish swim past the window and explode in rainbow colors.


• He slams on his breaks, and his car dissolves around him, leaving him in the center of a mercury puddle, it’s metallic surface reflecting the night sky.


• Brian looks around, trying to find some kind of escape route.


• He turns around, then turns around again and sees a squad of turtles slipping past him in the fields of wheat. They walk upright and are covered in military gear and thick gas masks. They carry massive guns in their fins.


• Brian is beginning to develop a slightly desperate look.


• He turns to his original position and screams, but nothing comes out of his mouth.


• Alice and Dorothy are walking slowly towards him, heads tilted in opposite directions, staring at him.


• Dorothy wears a lopsided grin.


• Alice hold a large saw in her hand and Dorothy carries two ruby spikes.


• He tries to say something, but nothing comes except for soft panting noises.


• He tries again, but can only managed the hoarsest whisper.


• BRIAN
• Wake up, wake up!


• A liquid darkness seeps from around the girls and slowly flows towards him.


• Alice grins, revealing rows of sharp teeth and the ground begins to sink below Brian’s feet.


• ALICE
• There’s no waking up my darling, my darling. This is reality.


• They move closer, the tendrils of darkness flowing towards him.


• BRIAN
• Wake up, wake up!


• ALICE
• You’re mumbling my dear.


• BRIAN
• Wake up, wake up!


• ALICE
• Go to sleep darling, we’ll be here when you wake.


• INT. BEDROOM - EARLY MORNING


• Brian sits up in bed, gasping.


• FADE TO BLACK.

24. Back Seat Jesus-Eric (true story)

• FADE IN


• INT. HOUSE-3:45 AM


• Eric is snoring loudly, wrapped under a thick comforter. The only part of him visible is the olive green toque, peeking above the comforter. A box fan hums a few feet from him. The phone begins to ring. After several rings, Eric finally rolls out of bed and answers it.


• ERIC
• You better be God.


• SANDRO
• Sorry for calling this late, I'm stuck on I-24. Can you get me?


• Eric sighs.


• ERIC
• Do you have any drugs?


• SANDRO
• No.


• Eric sighs, long and heavy.


• SANDRO
• Come on man. There's a black guy down here harassing everyone. And it's cold. Come on, Eric.


• ERIC
• Okay, where are you?


• Eric listens for a second and hangs up the reciever. He grumbles to himself and slowly gets dressed. He grabs his keys from the dresser and walks out.


• EXT. HOTEL IN DOWNTOWN CHATTANOOGA-4:20 AM


• Eric pulls into the parking lot of the Hyatt. Sandro comes from the hotel foyer and slowly walks to the car, carrying a backpack. His fingernails are polished black and he is wearing an eyebrow hoop. He climbs inside the blue, beat up station wagon.


• ERIC
• You were at that club, Alan's?


• Sandro nods.


• SANDRO
• My stupid car broke down. Rick sold me a lemon.


• Eric nods, and begins pulling out, but notices a disheveled black man wearing stained sweats and a dirty starter jacket walking to his car. Eric rolls down the window.


• MAN
• Hey, you got a light?


• ERIC
• Sure


• Eric pushes in the car lighter and waits. The man peers at him. His eyes seem vacant of feeling. They seem empty and tell a story that this man has really nothing left to lose. He begins staring in the back seat. The car lighter pops out, and Eric holds it out. The man leans forward and lights his cigaretter from the held lighter. After he takes a drag, he jerks toward Eric, only inches from his face. Eric flinches, and begins shaking.


• MAN
• You know something. I was going to get you tonight. But for some reason I'm going to pass.


• Eric is stunned, and stares at the man's EYES. The man is looking down in the back seat. The man is holding a small, silver HAND GUN at his side. Eric slowly rolls up the window and begins driving off.


• ERIC
• Oh my god!


• They are silent for a few minutes while they enter the ramp and begin heading down I-24. Sandro pulls out a small safety pin.


• SANDRO
• We would have been okay. I would have pulled out this safety pin on him.


• He turns his head towards Sandro, and sighs.


• ERIC
• Riiight, dude. He had a gun.


• SANDRO
• He did?


• Eric nods.


• SANDRO
• So? I would have poked his eye out. I'm not afraid of him.


• ERIC
• Mmhhmm. Right. He kept looking in the back seat when he said he was going to pass on robbing us.


• We see several, large paperback books. On the cover of one JESUS is standing next to a large skyscraper. The top book reads:Desire of Ages.
  
• ERIC VO
• Ah, that's what saved us. Those old canvassing books I never threw away. Wow. I could have died. I'm going to leave those books there I think. Even if I'm going to buy drugs or drive through bad neighborhoods. I wonder if I can get a picture of Jesus emblazoned on a jacket?


• FADE OUT

23. The Wall - Leslie

Recommended listening/viewing for this script - Rosie Thomas' "You and Me," "Pretty Dress," and "Kite Song."






• FADE IN:


• EXT. CITY SIDEWALK - NIGHT


• RYAN walks slowly next to ADRIANNA, his hands deep in his jacket pockets.


• Adrianna adjusts her pageboy hat and pulls her dusty red blazer tight.


• ADRIANNA
• You were telling me about this girl?


• Ryan pulls himself out of a thought.


• RYAN
• Yeah, yeah...
  
• ADRIANNA
• So why didn’t you ever tell her that you’d seriously fallen for her?
  
• RYAN
• You know, we’d been friends for so long, I think I was scared of ruining something...no, even more scared that she wouldn’t like, love me back.
  
• ADRIANNA
• I’ve done that too...you stay miserable and safe, because you’re afraid of being risky and suicidally miserable.
  
• RYAN
• Something like that.
  
• ADRIANNA
• So you had this thing for her...all those years, and nothing?
  
• RYAN
• Yeah, watched her with different guys, knowing I’d probably be perfect, but...I don’t think she ever did think of me the same way. I was the good friend.
  
• ADRIANNA
• You are a good friend, a great listener.
  
• RYAN
• Yeah, the professional friend.
  
• ADRIANNA
• That’s a little negative...
  
• Ryan shrugs.


• ADRIANNA
• What happened to her?
  
• Ryan shrugs again.


• ADRIANNA
• Sorry, I won’t pry; besides, we’re here.
  
• They stop in front of a townhouse.


• RYAN
• Well...
  
• ADRIANNA
• Thanks for walking me home, Ry. Thanks for listening earlier. And hey, I guess why stuff like that happens...that girl...so we can learn from it, and maybe...I dunno, do something different the next time. Push past that wall...the fear the...you know.
  
• RYAN
• Yeah.
  
• Adrianna walks up the stairs, and Ryan follows her slowly, watching her ascent.


• They stop and she gives him a hug.


• ADRIANNA
• Don’t dwell too much. And hey! Wish me luck on my date tomorrow. Aimee says he’s a great guy...it’d be about time. Wish me luck?
  
• Ryan looks at her and replies softly.


• RYAN
• Luck.
  
• She pokes him.


• ADRIANNA
• Get some sleep.
  
• Adrianna unlocks the door, turns, and waves at Ryan, then slips inside.


• Ryan looks after her, and watches the door close.


• He lets his mask drop for an instant, and touches the door as if he is trying to reach inside, as if he is touching her.


• He stays there for a long moment, then turns, and walks away.


• FADE TO BLACK.

23. The Envy of God-Eric

• FADE IN


• EXT. MANSION-TWILIGHT


• Heidi exits her small sedan, carrying a burgundy guitar case. She cradles a stack of booklets under her other arm. The moon is an orange-amber color; it bathes her in a faint aura. The pavement sparkles with an invisible, black layer of ice. Her breath rises up like plumes of smoke as she casually walks to the portico of the mansion. She uses the gold knocker and a moment later an Italian looking man answers.
• He doesn't say anything for a few seconds; he appears to be mesmerized. Finally, he smiles and waves her in. The black and white marble tiles in the foyer gleam with a fresh polished look. The mansion is decorated with expensive fur sofas, several nude busts, and gold lamps and vases. Several candles are teasing the tile and the room with their faint glow. A few Warhol lithographs hang on the walls among other black and white photos.
• Heidi leans her guitar case against a beige fur sofa and sits down, placing the booklets out of Kevin's view. He smiles at her and walks to the bar. He comes back with a silver canister of ice and pulls a wine bottle from it. He grabs two wine glasses from the table and pours drinks. They begin sipping. A faint, coy smile curtains her cheeks.


• KEVIN
• Its been too long.


• HEIDI
• Yeah...it seems forever. Are you...still with-


• Kevin's mouth hangs in a tug of confusion and anger. He practically leaps out of the seat. He shakes his head and begins pacing the room.


• KEVIN
• You know it doesn't matter who I'm with. And I thought we weren't supposed to talk about it anymore, our deal remember? We both know it won't work.


• HEIDI
• Everything feels perfect, until you start talking like that. I feel like I'm a little girl surrounded by these huge bouquets. And I'm trying to peek my head over to steal one last look at my mother before they close the casket. But I can't see for the flowers.


• Kevin smiles suddenly, and takes a sip of wine, swishing it around in his mouth before swallowing it.


• KEVIN
• You still talking to your therapist?...You know what? I'm not going to get mad for you, but I'm not going to let you kid yourself either.


• Kevin places a record on a gold, antique gramophone. Soft, female vocals slowly evaporate from it. They begin dancing, slowly losing themselves under a clay red moon.


• INT. KEVIN'S MANSION-NIGHT


• Kevin and Heidi sit at opposite ends of the sofa, looking exhausted. Kevin is wearing an undershirt; his suit coat is lying next to several empty bottles of wine on the inn table. Heidi pulls the guitar out of the case and begins plucking a tune, singing softly. Kevin notices a book in the pile that Heidi concealed earlier. The title reads: Human Instruments by Trent M. Needly. He picks up the book, and when Heidi notices she hastily snatches it from his hands.


• KEVIN
• Wow, that good? Your secret diary or something? Heidi, this has been so nice. I haven't danced til sunrise in so long. But I'm exhausted. I'm going to get some sheets and blankets for you. Pour us another glass while I'm gone?


• Heidi nods. Kevin leaves to fetch the sheets. She tucks the booklets in the crevice of the sofa's armrest and uncorks a fresh bottle of wine. She pours two glasses, then pulls a small, folded piece of paper from a pocket. She unfolds the tiny square of PAPER and empties its white, powdery contents into one glass. Kevin enters carrying sheets and pillows, and begins adjusting it to fit the sofa. She hands him the spiked glass of wine.


• KEVIN
• You're the only one I know who sleeps on a sofa when there's ten other guest rooms. But I know, I know. You feel suffocated in rooms.


• Kevin finishes making her bed and they sit, looking away from each other, emptying the last bit of wine. Kevin begins nodding, and choking. He tries to stand up, but stumbles after a few seconds, collapsing to the floor like a bag of flour. Heidi stands behind him, looping his legs under either arm, and drags him to a back room.


• INT. BATHROOM-EARLY MORNING


• The bathroom is dimly lit by candles; Kevin sits naked on the toilet, casting a strange shadow on the closed shower curtain. Bathwater is running; the room is misty with steam. Heidi begins humming a soft melody.


• HEIDI
• Your problem is you believed the doctor's death sentence, Kev. You let that stop your whole life. If I believed every doctor, I might have ended it a long time ago. Don't you agree?


• Kevin does not respond. Heidi pulls back the curtain, revealing the jacuzzi tub full of BLOOD. She is bathing in it. A wine glass of blood stands next to an ashtray with a lit cigarette. A steaming plate of fillet flesh sits in another corner of the jacuzzi tub.
• KEVIN is shriveled, white clam meat. Wrinkles run the course of his entire body, like thin tributaries. His eyes are open, and bulge out of their sockets, devoid of any spark. Heidi shrugs and closes the shower curtain. She begins showering and humming again. After she is finished she drags Kevin to a guestroom and inexpertly hoists him on the bed. She turns off the light and climbs into bed with him. Her fingers leaf through his hair.


• HEIDI
• You said not to kid myself. You've been kidding yourself for forty years. Just because your rich, and surrounded by artists it doesn't make you one. But after I make love to you, I'm going to do something for you that you could never do youself. That's how much I love you.


• INT. FOYER-EVENING


• Headlights blare through the foyer as a car slows over gravel. Heidi walks in carrying several plastic bags. She takes them to the den. She leaves and returns with several more bags. She meticulously takes the objects out of the bag: metal cans of varnish, a hammer, plastic boxes of tiny nails, a large handsaw, slats of wood, and shiny, brass harp strings. She leaves once more and returns with the booklets. The book Human Instruments rests on top of the pile.
  
• HEIDI
• We're going to be the envy of the world. We're going to be the envy of God. He can't write the saddest most beautiful song, because he can't be sad. We're going to make music that only the dying can sing, and for those who've lost love. But now, I'll never ever lose you again, will I?


• She begins slicing Kevin's chest open carefully. No blood comes from the wound.


• HEIDI
• I'm glad you're in queen heaven, floating with angels on gossamer strings. I'm glad you can't feel any of this. I know you're going to look down when I'm done and be so proud of me. You're finally going to be something. Now, everyone is going to envy you for a change. And it's better that I took you before the cancer, don't you think?


• INT. DEN-MORNING
• Beautiful music is coming from the den. Heide is singing in harmony. Kevin's CHEST has been hallowed out, and paneled with slats of varnished wood. Strings run from his neck to a plastic fixture inside his pelvis. HEIDI leans over him, reaching in and plucking the strings. Her head is raised up and slowly swaying with the music.


• FADE OUT

22. Drifting - Leslie

Recommended listening/viewing for this script - Innocence Mission's cover of "Moon River."






• FADE IN:


• EXT. FOREST STREAM - DAY


• ELLEN and SMITH lie next to each other on the stream’s bank.


• Autumn leaves float down from the trees on a warm Indian summer breeze.


• He’s dressed in jeans and a t-shirt, a dark blazer spread on the grass beside him.


• Ellen’s short hair lifts in the breeze and she pulls at her orange t-shirt trying to get a burr out. Her loose skirt spreads around her ankles revealing her bare, chocolate-colored feet.


• She looks over to steal a glance at him and catches him staring at her.


• His eyes dart away and she pokes him.


• ELLEN
• Ashamed eh?


• Smith laughs.


• SMITH
• You weren’t supposed to catch me.


• ELLEN
• We’ve been friends too long, I’m way ahead of you buddy.


• Smith rolls onto his stomach, making sure he doesn’t touch her.


• She notices and wrinkles her nose at him.


• ELLEN
• Keepin’ it platonic Smith?


• He ignores her, rests his chin on his folded arms and follows a leaf as it floats down the stream, causing fish caught under its shadow to scatter.


• Ellen looks over at him, starts to say something, then reconsiders and follows the same leaf.


• Smith glances at here again.


• SMITH
• How long have we been friends?


• ELLEN
• You know...


• SMITH
• Tell me anyway.


• ELLEN
• Ok...it’s been five years...Muse Cafe...you were talking about love and drifting


• SMITH
• Its taken me that long to realize something.


• He pauses, waiting.


• ELLEN
• What are you trying to drag out?
  


• SMITH
• Play along, will you?


• ELLEN
• What did you realize?


• SMITH
• That there's no one I'd rather travel the world with...than you


• Ellen turns and looks at him, serious.


• ELLEN
• That’s sweet of you. You’re my best friend too.


• SMITH
• Ellen.


• He grabs her hand and she looks down, startled.


• SMITH
• You are my best friend, I don’t really want anyone else. Will you travel with me. It’s a long journey, but I want to do it with you. Let’s drift away together.


• He pulls his hand away, leaving a ring with a tiny circle of diamonds at the center, in her hand.


• Ellen swallows, looks at the stream, then back at him.


• She closes her eyes for a moment.


• Smith looks at her, terrified.


• She opens them and laughs softly, then slides the ring around her finger.


• She touches his cheek, then laughs again, and grabs a handful of bright red leaves and tosses it above their heads.


• ELLEN
• Ok, let’s drift.


• FADE TO BLACK.

22. Requality - Eric
















• FADE IN:



• INT. FACTORY, SUPERVISOR’S OFFICE - DAY


• 
  Charity, sits behind a formica desk. A framed PICTURE of her holding a helmet, leaning on a NASCAR sits on the front of her desk next to a phone. The shrill of loud machines reverberates through the room. JUSTIN, dressed in a white factory uniform sits with his legs crossed chewing on a mint.


• JUSTIN
• I…I’ve worked here for seventeen years. I….


• CHARITY
• Just go ahead and say it. Mi casa su casa.


• JUSTIN
• Well, I just don’t want to come off beating that same old drum.


• CHARITY
• You think I gave the promotion to Erica because she’s a woman, don’t you? It’s okay if you feel that way.


• JUSTIN (looking down at the floor)


• She’s been working here for two years. She’s making the same amount of money I do…


• INT. SPORTS BAR “COCK A DOODLE” - NIGHT


• Women sit at booths in the restaurant and at the bar watching a football game. The only men in the bar are the wait staff. They sashay around topless with orange SPEEDO’S. It’s a slow night. On TELEVISION it is half time, we see several WOMEN take off their helmets and drink from thermoses. Male cheerleaders are performing.


• TORI (sipping a large mug of beer)
• Do you think the Colt’s are gonna win this year?


• MANDY
• Well, I’m a Bears fan myself. I think Wanda Patton is goddess. I still remember when they won the Superbowl. And who doesn’t love Rhonda the Refrigerator Perry?


• TORI
• You can’t be that old. That was in the 80’s wasn’t it?


• MANDY
• Yeah, please stop reminding me.


• TORI
• Well, you know what they say. Woman age like wine, men, they just age.


• MANDY (cheering beers with Tori)
• Cheers to that!…Wow look at that package on our waiter. What do ya think? Should I score a mover for the weekend? I don’t want to move all that furniture myself. And someone’s too LAZY to help.


• TORI
• Go for it. As long as you give me his number when you’re done with him. My garden needs tiling.


• INT. LIVING ROOM - NIGHT


• A family sits around watching a presidential debate on TV. ANTHONY holds a garbage bag. On the television two women and a man sit behind a table, a moderator asks them questions.


• MARK (television)
• These are the kinds of tactics I’m talking about. I’ve repeated several times this race isn’t about gender. This country is ready for a renaissance. The fact that I’m here running for president is proof of that…


• ANTHONY
• Can you help me with the dishes tonight? My back is killing me


• PAT (sighing, sips a beer)
• You’re just PST’ing. Why don’t you have Ryan help? I’ve got a business meeting tonight.


• ANTHONY (muttering)
• Yeah, sure, a business meeting.


• PAT
• Did you say something honey?


• ANTHONY
• Oh. I was just saying that I don’t think Pretestosterone Syndrome really exists.


• PAT (laughing)
• You just figured that out? It’s just an excuse for you guys to get all angry and emotional. PTS is just your insurance.


• Anthony carries the garbage out. On Television we see three women with picket signs that read: MOVE OUR FURNITURE!


• FADE TO BLACK.