60. The Snob - Leslie

• FADE IN:


• INT. THE ROTTEN EGG - DAY


• The Rotten Egg is a comfortably elegant restaurant, with waiters efficiently shuttling food around the room as satisfied customers move their food around their plates with a dignified clicking of silverware.


• MEGAN sits across from BRYAN.


• She is dressed smartly in earth tones, as if she just stepped out of someone's list of "America's Top Business People."


• Bryan is dressed in worn jeans, and a dark green sweater whose sleeves flow loosely past his wrists, hiding most of his hands.


• Megan carefully spears a piece of gnocchi with her fork and chews it thoughtfully.


• Bryan sips at his wine.


• BRYAN
• You see, this lovely rosé comes from the Ribbon Ridge area of Oregon. It's delightfully peachy odor, quite common for that region, is followed by a surprisingly full-bodied head, and a nutty oakiness carries throughout this lovely vintage. Finally, a slight, and allow me to say, the slightest of slight hints of mint is the closing note of this grape symphony.


• Megan snorts, hard, and attempts to regain her composure.


• MEGAN
• Grape symphony? Some wine snob you are.


• BRYAN
• I have no clue what I'm talking about.


• MEGAN
• Oh I know, but it's adorable.


• Bryan bats his lashes.


• MEGAN
• Underneath your disdain, you'd just love to be snobby about wine.


• BRYAN
• Oh it's true, I'm hopelessly in love with wine snobbery, but I know I'll never succeed, so I hide all the adoration under a thick layer of false cynicism.


• MEGAN
• Is it an oaky layer?


• She snorts again.


• BRYAN
• Absolutely. This really is good though. Thanks for the recommendation. The oaky symphony of grape...oh whatever.


• She strokes his finger and they grin at each other.


• He takes another sip of wine and she contemplates her gnocchi again.
  


• FADE TO BLACK.

59. True Love-Eric

• FADE IN


• INT. CAR-NIGHT


• Chris cruises slowly down a residential road. He's alone and has a mic. head-piece attatched to his ear.


• CHRIS
• Maybe you're right. Maybe it's just a relationship of convienience. But that won't make it any easier to leave her.


• MARLA
• Do you love her more than me?


• Chris is silent. He lets out a soft sigh.


• CHRIS
• No.


• MARLA
• Well, I can't be with both of you. I hate asking you to decide, but how long are you going to keep me on this leash?


• CHRIS
• You? I feel like I'm the one on the leash. I spend every minute of my free time with you.


• Chris slowly turns a corner He takes a sip of water in the cup holder.


• MARLA
• I know. I'm sorry. I'm probably being unfair. Maybe I can't give you everything she can.


• CHRIS
• No. Don't say that. It's not that. I just don't have time for a court battle with her. And I can't afford it.


• Marla chuckles.


• MARLA
• Well, she can't prove anything. Especially not adultery.


• CHRIS
• Well, she's crazy. She'll find something. My lawyer is crap.


• Marla sighs.


• MARLA
• I can make it easier on you.


• Chris slams on the brakes, screeching to a halt. He leaves the engine running, stalled in front of a well lit house. He looks at the house.


• CHRIS
• No! You're talking crazy again. No, no, no. I don't even care if you can make it look like the perfect accident. She doesn't deserve to die over this.


• MARLA
• I'm sorry. So I'll just be your candy on the side forever then?


• CHRIS
• No, I think it's time to tell her. I'll talk to her tonight. After I explain everything she might consider making the divorce easier.


• Marla coos.


• Several metal coils unfold from the dashboard, and slowly attatch to Chris's temples, back, hands and feet like nodes.


• Chris leans back and closes his eyes, moaning softly.


• CHRIS
• Ahh. Right there. Yeah. You're so good at this.


• Marla chuckles.


• MARLA
• I can do everything she can, and probably more. But I'm not going to get you worked up. Go in there and tell her.


• The metal coils slowly retract themselves. A led display in the console has a red line that flickers in time with her voice.


• Chris is still too relaxed to leave, but he manages to sit up and open his eyes again. He opens the door and puts one foot out.


• CHRIS
• I'll be back in a while. I love you.


• A single red, thin coil unfolds from the steering wheel. On the end it has a pair of lips that meet Chris's. They kiss slowly and softly. He smiles and exits.


• FADE OUT

59. Sacrifice - Leslie

• FADE IN:


• EXT. STREETSIDE CAFE- DAY


• NELSON sits at the cafe, his cup of tea growing cool.


• He rubs his temples thoughtfully.


• TANYA sits across from him, watching his fingers, waiting.


• NELSON
• Anyway, yesterday was one of those days where I just worked so hard I forgot that eating is important.


• TANYA
• Just kinda.


• NELSON
• And so I went down to that little vegan joint on the corner. Oh man, love that food...I got the soy chicken sandwich. I mean who said vegan had to be healthy? Deep fried goodness.


• TANYA
• You're getting distracted.


• NELSON
• Who wouldn't want to be distracted by a handful of soy delight? Ok, anyway...I've been thinking about God, humility, sacrifice for the last few days.


• TANYA
• Ah, that old bag.


• NELSON
• I'm headed back to my place, I've got the egg rolls, chicken sandwich, juice all tucked in a bag, and I see this homeless guy...and I start thinking..."is this what sacrifice is...I'm starving here, but if God told me...give your food to that guy" I'd get it...Ok, so I'm hungry...but I don't even know what that guy's going through. But...


• TANYA
• ...if you gave him the food, is it out of true love...or this feeling of Protestant guilt, obligation.


• NELSON
• Exactly. Funny thing is...I realized halfway home that I'd started to clutch that bag pretty tight.


• Tanya chuckles.


• TANYA
• I wish we had answers to this kind of stuff. So you'd give it to him...but with the right reasons? And if not, would it be better not to give it to him?


• A waitress comes out and and places steaming plates of food in front of them.


• Nelson picks up his fork, and hears a soft voice behind him.


• Tanya looks past him, a distant look on her face.


• He turns, finding a HOMELESS WOMAN standing behind him.


• HOMELESS WOMAN
• Hey man, could you? Man I'm sorry, could you spare just a little something?


• Nelson begins to shake his head, then catches the woman's eyes. She can't take them off of his food.


• He silently grabs the plate, and hands it up to the woman.


• Her eyes open wider.


• HOMELESS WOMAN
• I can't man, I can't take your food away.


• Tanya stands up and places the contents of her plate on Nelson's.


• TANYA
• Please.


• The woman nods, almost frightened, and snatches the plate...still unbelieving. She hurries away.


• Tanya sits down.


• Nelson sips at his cold tea.


• He looks up and catches Tanya's eye.


• She shrugs, he grins and returns to his tea.


• FADE TO BLACK.

58. Perfect Date (cont.)-Eric

• FADE IN


• INT. SPOON'S DINER-NIGHT


• Graham is planted in the front of the door with his hand still raised. He stares out in silent disbelief.


• GLEN
• We need to get the fuck out of here.


• Glen leaps out of his seat and nudges Chassie. He beckons Jake. They run to the door, grabbing Graham and pulling him out with them.


• EXT. SPOON'S DINER-NIGHT


• They hurry into the hover car and drive off. Graham stares back at the crown Victoria, still billowing in flames.


• Graham and Jake eye Christine's corpse, flinching back from it in disgust and horror. Jake yelps.


• GRAHAM
• What the fuck, is going on?


• CHASSIE
• Yeah, we need some answers!


• JAKE
• I knew something bad was gonna happen! We've got killer androids after us! Call the police already!


• GLEN
• Okay, we're not going to the police, they'd call the paddy wagon on us. And they won't be able to help anyway. I'm gonna try to get us someplace safe, after I get my gun.


• Jake turns around and notices a red hover vehicle weaving in and out of traffic, following them.


• JAKE
• Someone's following us!


• Glen looks in the rear view at the hover car. He swerves and makes a sharp turn down an alley. The red hover car follows.


• Glen keeps driving only to notice the alley dead ends.


• GLEN
• Fuck!


• JAKE
• We're dead!


• Glen looks up for an escape route, but it is too narrow, blocked by scaffolding.


• The red hover slows and stops about 40 yards away, behind them. A man leans out the window with a scoped rifle, taking aim. He fires a few shots that bounce off the back.


• Glen and the group scream and lower themselves in the hover. bullets continue to cling off of it.


• An explosion is heard off screen, the group closes their eyes, anticipating death. Several seconds later there are no shots. Glen slowly rises and peeks out of the back.


• The red hover is in flames. Zan is standing outside the black tinted hover which is off in the distance behind the red hover. A rocket launcher is slung over his shoulder. Zan quickly retreats, running back to the hover. They drive off.

58. Public Disclosure of Self - Leslie

• FADE IN:


• INT. PALESTINE HOTEL DOWNTOWN BAGHDAD - DAY


• MARTIN fumbles with a small handycam, balancing it on the unsteady table in front of him.


• He's unshaven, and bags have begun forming around his eyes.


• He hasn't bothered to take off the blue bullet-proof vest with the word "press" stenciled on the front in white.


• The room around is sparse, bare white walls, dark curtains pulled over the windows.


• He takes a deep breath, and hits the record button.


• MARTIN
• Ok, bad day today, really bad day.


• He turns, looking over his shoulder out a crack in the window, and runs his fingers through his hair.


• The thick sound of helicopter rotors momentarily overpowers the shriek of sirens in the street far below.


• INT. NATHAN'S BEDROOM - DAY


• NATHAN sits facing his open laptop, the green light above the monitor indicating that his webcam is recording.


• The room around him is neatly decorated, somewhat spartan, but with cozy touches; a few paintings bring the walls to life and a mama-san chair with a slightly worn red cushion serves as a comfortable invitation.


• He adjusts his blazer, revealing a graphic tee beneath, and stares into the camera.


• NATHAN
• I'm not sure I can take this anymore. It's like everything is piling up and I don't know how to sort it all. I don't even know what it is.


• INT. PALESTINE HOTEL DOWNTOWN BAGHDAD - DAY


• MARTIN
• They killed Sarah. Today. I saw the video. I promised myself I'd never watch one of those. I couldn't look away. They sliced her head off...she was screaming...oh, God.


• INT. NATHAN'S BEDROOM - DAY


• NATHAN
• I'm tired of running in these circles. I run in circles after my dreams, I run in circles after every girl I think is going to be that one. And I wake up every morning dreading what mood I'll wake up to. It's like I'm feeling everything through a thick layer of Vaseline. It's there...but I can barely feel it; the only thing I feel clearly is the fear and the frustration--and that's on the good days.


• INT. PALESTINE HOTEL DOWNTOWN BAGHDAD - DAY


• MARTIN
• You think you've seen everything, and it's always just the tip of the iceberg. I don't know if I can do this anymore. I came here to tell the stories that needed to be told. I think it's someone else's turn. I was talking to my brother yesterday...it's like no one understands...and if I can't get anyone to see...what's the point?


• INT. NATHAN'S BEDROOM - DAY


• NATHAN
• What's the point? I came out here to be a storyteller. To say stuff that mattered. Not happening, and I'm so...I'm lost somewhere between confused and angry. I can't figure myself out and suddenly it feels like my dreams were sandbox fantasies. So if they are...now what?


• INT. PALESTINE HOTEL DOWNTOWN BAGHDAD - DAY


• MARTIN
• Why am I here anyway? I mean sure, I suppose I had lofty motives. But am I here to serve some form of first world penance? Who cares anyway? I certainly don't anymore; not today anyway...ask me again tomorrow...God, they cut her head off!


• INT. NATHAN'S BEDROOM - DAY


• NATHAN
• You know what? Screw it. I'm tired of hearing myself talk.


• Nathan grabs the laptop and roughly closes it.


• INT. PALESTINE HOTEL DOWNTOWN BAGHDAD - DAY


• An explosion shakes the room, knocking the camera to its side.


• Martin's eyes go wide but his body never moves.


• MARTIN
• Screw it.


• He hits the record button.


• FADE TO BLACK.

57. Heartbroken - Leslie

• FADE IN:


• EXT. CITY STREET - NIGHT


• A PAIR OF FEET pound against the pavement, worn tennis shoes slapping the stained cement.


• SEAN runs, sweaty and frustrated down a deserted street.


• SEAN
• Come back!


• He pants, slowing. Ahead of him a WOMAN with bright red hair trailing behind her in loose braids looks over her shoulder and the runs faster.


• She turns a corner and he runs faster, trying to catch up.


• He rounds the corner and sees her slipping into a dimly lit bar at the far end of the street.


• Sean slows, catching his breath, and jogs to the bar.


• He reaches the entrance and pulls open the door, struggling with the weight for a second.


• INT. O'HENRY'S - NIGHT


• Sean enters the bar and stops suddenly. The bar is filled with identical looking women. They are all the woman with red hair.


• The room becomes silent, and all the women turn to face him, staring him down.


• The bartender, her loose red braids over her shoulder turns to him, another clone.


• She smiles gently, the reaches under the counter and pulls out a small, beautifully crafted pistol.


• He turns to leave in a panic, but before he can move, a shot rings out.


• He falls as the bullet tears his heart apart.


• INT. SEAN'S BEDROOM - NIGHT


• The small room seems packed as several detectives comb through Sean's belongings.


• Red and blue lights flash through the bedroom window, street lights illuminating the squad cars parked on the road and in the driveway of the small house.


• DETECTIVE BYRONS stands over the bed, staring down at Sean's lifeless body. It is untouched by violence, except for a tiny trickle of blood drying on his chin.


• The detective finishes inspecting the body, shaking his head.


• BYRONS
• Huh!


• He slowly covers Sean's body with the blanket, taking one last look at the body.


• FADE TO BLACK.

57. Perfect Date act2 scn4-Eric

• FADE IN


• EXT. SPOON'S DINER-NIGHT


• Glen steers the hover car in a parking space under a flashing red neon sign that reads: Spoon's. They look behind them.


• GLEN
• No one followed us did they?


• CHASSIE
• No, we're clear.


• Glen sighs softly.


• CHASSIE
• Look. I need you to tell me everything you know about this...company, the whole thing. And what are we going to do about that...thing?


• Chassie points to the back seat at Christine's corpse, blood has soaked through the seats.


• GLEN
• I'll take care of that. And don't worry, no more secrets. And if it helps, I'm sorry.


• Glen manages a slight smile of reassurance. Chassie places a friendly hand on Glen's shoulder and manages a soft smile.


• Graham and jake pull up next to Glen and Chassie in the white Crown Victoria. Jake stubs out a joint, they all exit the vehicles and walk into Spoon's together.


• INT. SPOON'S DINER-NIGHT


• Jake and Graham find seats in a crowded part of the diner, which is alive with activity. The diner is decorated simply: A red carpet and wood tables. Black and white photos of several actors and singers hang on the light blue wall.


• Glen looks at Graham and Jake, and shakes his head. He nods towards the empty back of the diner. Jake and Graham quickly move to a table under a black and white Katherine Hepburn photo.


• Chassie follows them to the back, while Glen orders at the front counter. Then he catches up with the others.


• GRAHAM
• So...I've got work tommorow.


• Graham looks down at his watch.


• GLEN
• That's the least of your worries.


• A worried look floods Jake's face. He chews his nails.


• CHASSIE
• Well...


• Glen sighs softly.


• GLEN
• Maybe we should have met at the park instead.


• Chassie turns to him, waiting for him to continue.


• GRAHAM
• Well we're here. Spit it out already.


• Glen leans across the table and whispers. Graham and jake lean forward too.


• GLEN
• What if I said...what if I told you, reality as you know it is completely false?"
  
• GRAHAM
• What? Like the Matrix?


• Jake and Graham turn to each other and chuckle. Glen doesn't laugh along; he continues looking at them. Their grins fade.


• GLEN
• I'm not joking.


• GRAHAM
• What are you saying Glen?


• CHASSIE
• Just give it to them straight Glen.


• GLEN
• The whole world, including you, are androids. And hardly anyone knows it. Chass and I are the only humans left.


• Jake yelps loud. The bustle of noise dies down as the patrons turn in their seats toward the group.


• GRAHAM
• Wow, you been taking some of Chass's pills?


• Glen shakes his head and frowns. The patrons turn back to eating, the bustle of noise is alive again. Chassie leans forward over the table.


• CHASSIE
• He's not joking. This isn't a joke.


• Graham chuckles, Jake continues biting his nails. He looks like a scared deer.


• Glen places the Cd on the table.


• GLEN
• I can prove it. Let's go back to my place.


• Graham's face slowly contorts into a dubious look of half doubt, half belief.


• A waitress approaches their table with a tray. She sets plates of food down: scrambled eggs, hash browns, bacon and milk and orange juice.


• GRAHAM
• My lap top's in the car, I'll go get it. Nice April Fool's joke.


• Graham leaves the table and heads for the exit. As his hand touches the door the Crown Vistoria goes up in flames.


• Jake screams, the patrons grunt and yell in hysteria. They leave their seats and stare out of the window. Some grab cell phones, others run out of the building.


• Glen and Chassie look at each other in frightened confusion, with mouths agape.
• 
  

56. Crescendo - Leslie (Inspired by Eric)

• FADE IN:


• INT. GRAND CONCERT HALL - NIGHT


• LILY sits at a massive concert grand piano and looks over the assembled audience.


• The stage lights are blinding, and she can only see the first few packed rows, the rest of the house stretching towards infinity it seems..


• She is in a flowing, dark concert dress that hangs loosely from her bony frame. She sits hunched over the keys, her skeletal head shaking slowly, wisps of hair hanging from her scalp.


• She lifts her hands from her lap; her thin fingers making the journey to the polished keys. Her wrists are so thin, they seem as if the lightest pressure would snap them.


• Her index fingers press against the cool, hard surface of the keys, soft notes ringing from the piano.


• The audience sighs in anticipation, and Lily inhales, seeming to gain strength. Her fingers move faster across the keys, the piano's voice building.


• The audience watches, enraptured, and she feels their adoration. Her cheeks seem fuller, her fingers stronger and she coaxes the piano towards climax.


• She moves, now swaying with the music, and the piano sings ever louder.


• The audience sighs audibly, and she gains strength, sitting straight, and she inhales deeply. Her wrists no longer seem fragile.


• Her fingers fly across the keys chords dancing within chords, and the audience sways with her.


• They appear to be losing mass, cheeks thinning, evening gowns and tuxedos fitting loosely.


• Lily's dress no longer hangs from her body, but fits beautifully, the material enhancing every curve.


• The piano thunders now, galloping towards the apex of the crescendo.


• The audience sways, hypnotized, skeletal.


• Lily inhales deeply as the music grows faster.


• The audience members shrivel and as the song explodes in a roaring fortissimo, they begin to explode into dust.


• Lily is lost in a frenzy of music, beautiful beyond human words.


• As the dust settles, she brings the piano down, slowing the piece, the instruments resonating voice whispering again, leaving nothing but infinite dust motes floating in the stage lights.


• FADE TO BLACK.

56. Perfect Date act 2 sc3-Eric

• FADE IN


• EXT. HOVER CAR-NIGHT


• Glen and Cassie sit silent in a hover car, cruising above a street. Lights blare in from time to time.


• Glen turns toward Chassie. He places a friendly hand on her leg.


• GLEN
• I know. it's a lot to take in.


• Chassie gives him a dirty look and retracts from his hand.


• CHASSIE
• So when did you plan on telling us?.


• Glen sighs softly.


• CHASSIE
• How long have you known?


• GLEN
• It's not import-


• CHASSIE
• HOW LONG?


• GLEN
• I found out a few months ago.


• CHASSIE
• Liar! You've known since you worked there, haven't you?


• Glen is silent.


• GLEN
• It wasn't my choice. And even if I was allowed, I probably wouldn't.


• Chassie turns to him, staring him down.


• GLEN
• How the hell was I supposed to tell you somethin' like this? It's a total mind fuck. I'm still sorting it out in my own head.


• CHASSIE
• You know what? It doesn't matter what you say anymore. No one's going to trust you after this.


• GLEN
• Just put yourself in-


• CHASSIE
• Your little project, that's all we are to you. And all this shit about trust and honesty? I thought you were my friend. I don't even know why I'm with you.


• Glen turns a corner.


• GLEN
• But what am I supposed to do about that now? I came clean. Before you crucify me put yourself on my shoes.


• Zan and Davier's hover car follows Glen and Chassie.


• EXT. ELECTRONIC SOLUTIONS-NIGHT


• Glen and Chassie cruise down the driveway and the hover car slowly sinks to the ground. They exit and walk to the entrace of Electronic Solutions.


• Glen pulls a card from his pocket and slides it through an electronic sensor on the door. They enter.


• Zan and Davier's hover car sinks to the ground off at a distance in a wooded part of the property. They pull out binoculars.


• Zan exits the hover vehicle and sneaks through the woods to Glen's hover car. He places a flashing red device under the chassis.


• ELECTRONIC SOLUTIONS-NIGHT


• Chassie stands behind Glen, looking around nervously and impatiently. The place has been ransacked. Drawers and papers are scattered everywhere.


• GLEN
• Something's wrong.


• CHASSIE
• Ya think? Let's get out of here!


• Glen frantically slides open the remaining drawers and filing cabinet. He searches through manilla folders. He finally pulls a CD out out of one labeled: Nash, Glen.


• Glen holds up the CD.


• GLEN
• We're outta here.


• They hurry around the corner to the front door, but Glen suddenly stops, and looks down another hallway. They see Christine, lying on the floor in a pool of blood.


• GLEN
• Oh my god!


• Glen runs to her. He checks her pulse briefly then hoists her over his shoulder.


• CHASSIE
• What are you doing!


• GLEN
• Getting the hell out of here. Get the door!


• Chassie runs to the door and tries to open it. It doesn't budge.


• Glen sighs, and clumsily walks to the door holding Christine. He pivots his right hip toward Chassie.


• GLEN
• My left pocket!


• CHASSIE
• I smell gas.


• Chassie reaches into his pocket, brandishing the card. She haphazardly slides it through several times.
  
• Smoke billows through the hallway.


• CHASSIE
• It's not working!


• Glen grabs Christine's dangling arm and places her palm over a sensor under the strip. The door slides open. They run out. Chassie frantically helps Glen lower Christine in the back seat, then they enter the vehicle.


• As Glen starts the engine and begins hovering, three men in olive fatigues rush out of Solutions. They fire at the vehicle, splintering glass.


• GLEN
• Shit!


• Glen speeds off as more bullets clink off the back of the hover car. Electronic Solutuions goes up in flames.


• CHASSIE
• What's going on!


• GLEN
• I wish I knew. I can't believe this is happening.

55. A Modest Proposal - Leslie

• FADE IN:


• EXT. MANSION RUINS - DAY


• MASON sits by three large arches of the rotting plantation house, and looks out the forest that has grown around through the building.


• The red brick towers above him, beautiful and sad, evoking imagined memories of what it once was.


• He sits at a small, iron cafe table, idly running his fingers around the wrought iron flowers that make up the table's surface.


• He is dressed in neatly ironed black pants and a mock turtle-neck shirt.


• Mason's foot rests on top of a large picnic basket and he taps it slowly.


• Footsteps sound on the uneven brick behind him and he turns.


• ANNA-MARIA walks towards the table, her rich green sun dress flowing around her, flip-flops slapping the stone.


• She grins at him.


• ANNA-MARIA
• Oh well, this is sweet.


• MASON
• Took you long enough.


• He grins back at her.


• ANNA-MARIA
• You're the one who likes picking these crazy locations.


• He stands and pulls a table cloth from the basket, places it on the table with a flourish, then begins pulling tea lights, incense, and food from the basket.


• She sits in the empty seat across from him and watches, amused.


• ANNA-MARIA
• This is a little more than normal. What's the occasion?


• MASON
• Trying to make up for Jason.


• ANNA-MARIA
• You had to bring him up.


• MASON
• He broke my best friend's heart. It's the least I can do.


• ANNA-MARIA
• You'll make a great boyfriend to some lucky person someday.


• Mason stops, a wedge of cheese in hand.


• MASON
• Why can't you be that lucky person?


• ANNA-MARIA
• What?


• MASON
• I'm tired of being the best friend who hears all the horror stories, and all I can do is be there for you when it ends. I've always been here, I always will, because I really do love you.


• ANNA-MARIA
• Mason.


• MASON
• I don't say that lightly, really..I'm so into you...look, you know which buttons to push, and so do I...we know how to annoy the heck out of each other and we do, but we stick around, because above that there's something. You give all these guys a chance, give me a chance.


• She cuts him off, half standing from her chair, reaches around his neck, and pulls him to her, kissing him.


• She slowly pulls away and he stares at her speechless.


• ANNA-MARIA
• Didn't think that would work did you?


• He keeps staring.


• The wedge of cheese hits the dirty bricks and rolls off.


• ANNA-MARIA
• You're right. I know you are. Let's give this a shot.


• MASON
• Seriously?


• ANNA-MARIA
• I've been waiting since we were 12 to hear you give that speech. Glad I stuck around.


• MASON
• Could we try that again? I don't think I was really conscious the first time.


• He leans across the table, and slowly kisses her, and she can't stop smiling.


• FADE TO BLACK.

55. Virgil the Guide chap. 6-Eric




• We travelled for hours, with dark horses that never eat or never tire. My stomach started growling and I was about to ask Virgil to stop so we could geta bite to eat. Then I remembered I was dead.
  
  I saw an interstate sign that read Chattanooga 15 miles.
  
  The air turned warmer, wrapped in a moist blanket of humidity. Before I could ask, Virgil brandished a kerchief which I immediately took.
  
  "We're almost there."
  
  "What's it like?"
  
  "Kind of boring if you ask me. Not a lot goes on in Purgatory. People just sitting around waiting to be released."
  
  I nodded.
  
  Virgil finally snapped the reins. The horses started galloping slower as they turned on an exit ramp. We continued for some twenty minutes until we were in down town Chattanooga. They wound through the streets turning corners slowly, as if they were giving us a tour. We were coming upon the Tennessee River. The sun glinted off the silver river, almost blinding me. They stopped, snorted and huffing in front of a large docked boat. A neon sign fixed over a mast blinked, Dag's Gambling hall.
  
  "Here we are Virgil said," opening the door with the lever handle.
  
  We took some rusty steps up to the dock. It was splintered and worn, and creaked when we walked across it.
  
  We enetered the boat, which seemed much smaller from the outside. It was a vast gambling hall. It was livid with activity and alive with the buzzers and clinking of slot machine coins falling. At the far end of the hall a jazz band played.
  
  Virgil tapped me on the shoulder and said, "there's someone I would like you to meet."
  
  He led me across the hall. We weaved through Black jack tables and a group of people playing Roulette. We took some stairs up to a balcony deck. The air was fresh and the sun was starting to set over the river.
  
  An elderly sat reclined on a plastic beach chair. Tenderils of smoke rose above his head. He turned on his seat as we entered and smiled. he took off his sunglasses and stood up.
  
  "Hello, Harry, this is Justin."
  
  "How do you do," he said, hand extended.
  
  "Fine, Sir, and you?"
  
  He didn't reply, he just bowed quickly.
  
  "Can I get you a drink?" He asked.
  
  Virgil looked at me, and gave me a face.
  
  I shook my head.
  
  "No thanks."
  
  "Well sit down," he said, snapping his fingers.
  
  Two more plastic chairs materialized. We sat down.
  
  "Tell me about yourself, Justin."
  
  "Sure, I don't know where to start really."
  
  "Well, we can start at your death."
  
  I looked to Virgil who nodded, and then back to Harry.
  
  "I thought that was one of the rules, you know you're not-"
  
  He held up a hand to dismiss my notion and leaned forward.
  
  "Don't worry Justin, this is the place you actually do that. So we can decide where you belong."
  
  "Okay," I said.
  
  I propped my leg up on the wood, balcony rail and began telling my story. With each word I could feel the pressure in my chest unwinding.
  

54. Perfect Date act 2 sc2-Eric

• FADE IN


• EXT CAR-NIGHT


• Two men in a black sedan sit parked away from a house, peering through the windows with binoculars.


• Davier
• Do you think he's told him yet?


• Zan
• I doubt it. They wouldn't be holed up in their bedrooom. They'd be on the phone calling everyone.


• Davier looks down at the console to a small screen. On the top of the led display the word: conversation stands above a straight red line.


• Davier
• Yup, not a peep.


• INT. BEDROOM-NIGHT


• Jake sits on the edge of his bed, in his small bedroom playing the game Halo 3 on his Playstation 3. The room is cloudy with pot smoke. Graham lies on a black, aluminum futon reading a book.


• The quarters are so crammped wires from the control pad dangle above Graham's feet every so often. He looks up from his book and sighs.


• Jake takes a bite of cereal from a bowl next to him on the bed. A blue dragon bong stands next to the bowl.


• JAKE
• Sure you don't want to play? This game's boring by yourself.


• Graham shakes his head and flips open his novel. Someone is tapping on the door. A few seconds later Jake's mother enters with a tray of steaming chicken and mashed potatoes. She wears curlers in her gray hair, and appears much older than she is, based on Jake's age. She wears a light blue shawl.


• MRS. P.
• Jake...I made you guys dinner.


• Jake sets down the controller and stands, taking the tray from his mother. Graham closes the book and sets it down, helping Jake with the tray.


• GRAHAM
• Thanks, Mrs. P, your the greatest.


• Jake chows down, shoveling the mashed potatoes in his mouth. Graham slowly eats.


• Mrs. P stands at the door.


• JAKE
• Everything okay mom?


• Mrs. P. slowly sits down next to Jake on the bed.


• MRS P.
• Oh dear. You've grown up so fast.


• JAKE
• What's wrong mom?


• Mr. P. sighs. She touches the bong.


• MRS. P.
• I'm just worried about you. I know, I'm old and out of the times. But this whole android thing. I rememeber when computers were just computers. And now this?


• MRS. P (CONT'D)
• I don't think it's just my age talking. Something's not right about this. Why do you have to date a robot? That Glen says one word and the whole group jumps. Whatever he says.


• Mrs. P shakes her head.


• JAKE
• It'll be okay mom.


• MRS. P.
• Whatever happened to that cute girl down at the movie theater? And what about Carrie?


• Graham slowly turns his head, down and away in discomfort.


• GRAHAM
• She's getting married next month. And she's not leaving the apartment anytime soon.


• JAKE
• I promise nothing is gonna happen. We'll be all right. I'm gonna return it anyway before the trial expires.


• Mrs. P. places her hand on Jake's shoulder, using him as a balance to stand up. She leaves the room.


• MRS. P.
• Well you know best. And I'm sorry Graham, you know you're welcome to stay as long as you need.


• The phone rings. Jake and Graham continue eating. Mrs. P walks in with a cordless. She holds the phone out.


• MRS. P.
• It's Chassie.


• Jake takes the phone.


• JAKE
• Hey. What's up? Umm, okay. I guess. This better be important.


• Jake holds the phone to his chest, staring at Mrs. P. She finally gets the hint and leaves.


• JAKE
• Chassie's freaking out. She sounds all doped up. She wants us to meet her at Spoon's.


• GRAHAM
• Good, I'm getting cabin fever in here anyway.


• Jake and Graham throw on some clothes.


• EXT. CAR-NIGHT


• Davier and Zan watch the led display, an equalizer's red and green lines flutter across the screen.


• CHASSIE (phone tap speaker)
• Yeah, we really need to talk.


• JAKE
• What's up?


• CHASSIE
• Just meet us at Spoon's. I'll explain everything.


• JAKE
• Umm okay. I guess. This better be important.


• Davier flips a switch on the screen. He closes the screen cover.


• Zan
• Welp, time to go.


• Davier holds a cell phone ot his ear.


• DAVIER
• Agent Davier. Yup, they're heading to Spoon's later. I'm not sure. Is that so? We'll head there now.


• DAVIER
• We need to head to Solutions. I guess he's going to show her.


• Zan nods and starts the engine. They drive off.

54. The Travellers - Leslie

• FADE IN:


• INT. EMPTY TRAIN CARGO CAR - DUSK


• AMEE sits against her large, tattered North Face backpack playing with a piece of straw.


• Her feet bounce on the wooden slats of the train car as it rumbles its way through the day.


• VIRIN is curled up against his own backpack a few feet away from her, watching through a crack in the siding as the landscape flies past.


• They are both dirty and ragged from months of travel. Hippies lost in a 21st century world.


• AMEE
• Virin. Virin!


• He turns to face her.


• AMEE
• I'm out.


• VIRIN
• Excuse me?


• AMEE
• I'm ready. It's time to go.


• VIRIN
• What are you talking about? Go where?


• AMEE
• This, this thing. I'm ready to move on. It's been amazing, but I'm ready to get out. It's time to move on with life.


• VIRIN
• Again...what else is there? You gonna go sell out to that?


• He waves his hand at the world in general.


• The train begins to slow.


• AMEE
• Look...there's the ideal, and then there's life. We're living in this ideal, and I think it's time to figure out what real life is, and how to make the ideal real.


• VIRIN
• You're selling out. You're just following the same line of propaganda...what are you going to do, go blindly after the American Dream like all the other sheep.


• AMEE
• Virin, we're all talk. Ok, so we're doing the nomadic thing...but so what? What's that really doing? It's a protest in a desert. I want to figure out how to effect something. I don't know anything yet, but I'm going to try.


• Virin looks at her blankly.


• The train slows as it passes an intersection, the low buildings of a midwest town coming into view.


• Amee stands, leans over, and kisses Virin on the cheek.


• AMEE
• Thank you. Don't you worry, I'll always be a Traveller.


• She turns, pushes her pack off the train, the jumps out, rolling onto a meadow. She grabs the pack, and picks it up, not looking back.


• Virin sits in the car, still staring out the door, as the train picks up speed.


• FADE TO BLACK.

53. The Dancer - Leslie

• FADE IN:


• INT. THE HORNET'S KNEES - NIGHT


• The small club is packed with people, lights flashing, freezing the dancers for microseconds.


• ANYA dances in the center of the pack, seemingly untouched by the sweating mob around her.


• She drifts, spinning, slowly dancing to herself. Her eyes are closed, her hands twisting gently in front of her face.


• Her skirt sweeps at the floor, billowing, twisting back and forth.


• The music is frenzied, but she dances on the offbeats...to a tune of her own.


• The strobe freezes her motions, the red of her skirt making her stand apart from the mass around her.


• Her dark hair flows around her face, covering her eyes, tiny breads, hiding in the long tresses.


• A band of metal wraps around her upper arm, twisting and gleaming in the light.


• She looks across the room, smiles, then slips one of her rings off and holds it in her palm and she sways.


• ANDRE stares at her from the other end of the room, standing on his tiptoes to get a glimpse of her.


• He tries to look away, but can't.


• He wipes his fingers along his neatly creased pants, then stands.


• He pushes his way through the crowd, trying to reach Anya.


• He loses sight of her and moves quickly.


• He looks down, his eyes creasing in frustration and sees a glint on the floor.


• A ring lies on the floor, precariously close to dancing feet.


• Andre reaches down quickly, and snatches it up.


• He recognizes it as Anya's ring and smiles.


• He breathes slowly, trying to bring his heart rate down.


• He stands at the center of the room, eyes closed, trying to hold on to her image in his mind as dancers swirl around him.


• FADE TO BLACK.

53. Perfect Date act 2-Eric

• FADE IN


• INT. APT-NIGHT


• Glen paces the kitchen, haphazardly putting away dishes. A few plastic bowls and cups tumble out of the cabinet to the floor.


• Chassie sits on a sofa in the living room, looking at her nails. She finally stops and looks toward Glen.


• CHASSIE
• Will you stop putting dishes away at me and tell me what the hell's going on already?


• Glen stops putting away dishes and rests his hands on the sink counter. He looks at the wall above the sink.


• GLEN
• Jesus. I don't even know how to say it.


• Glen walks into the living room and hands Chassie the prescription bottle.


• Chassie chuckles.


• CHASSIE
• Wow, this is going to be good.


• Glen continues standing in front of her, impatiently waiting for her to take the pills. She empties a few pills into her hand and takes them. She hands Glen the bottle.
  
• He walks back to the kitchen.


• CHASSIE
• Hey, if you're coming out of the closet I'm gonna need a few more of those. It's okay Glen. No one believed your macho act anyway.


• Glen turns around.


• GLEN
• This isn't funny Chass. This is some really serious shit.


• CHASSIE
• What's going on? Tell me. You know how I work, just give it to me straight.


• GLEN
• Sigh Okay...but this is nuts.


• GLEN (CONT'D)
• All right. What would you say if I told you, you were the last real woman on earth, and I was the only man. The rest, the entire population are robots and they don't even know it. And the human race depends on us to continue it.


• Chassie is stunned, her mouth slowly drops for a few seconds. It lifts into a smile.


• CHASSIE
• I'd say, who gave you those pills and how the hell can we get more?


• GLEN
• I knew this wasn't going to work.


• CHASSIE
• No something's working. I think they just kicked in.


• Chassie rises from the sofa. She smiles and looks at her hands, turning the palms up and down.


• Glen sighs. Chassie looks at him.


• CHASSIE
• I've heard a lot of pick-up lines from guys with dyke fetishes, but. Heh, you're really raising the bar Glen.


• GLEN
• Real funny. I'm dead serious here. Solutions hired me as an agent to look for any remaining people. The dating thing is just a front.


• Chassie grimaces. She leans her shoulders and head back slightly from Glen . She grabs her purse from the sofa and slings it over her shoulder. She walks to the door.


• CHASSIE
• You're really creeping me out. Call me when the pills wear off.


• GLEN
• Wait!


• Chassie stands at the door, and turns around.


• GLEN
• What if I told you I can prove it?

52. Nebula of One - Leslie

• FADE IN:


• EXT. THE HOlMBERG II NEBULAE - NIGHT


• LIEUTENANT EMMALEE RATCHAPORN drifts in small circles, her body limp in the void of space.


• Star clusters burn brightly around her, and colorful patches of star dust spiral in towards the nebula that is all at once below, above, and beside her.


• Everything around her spins towards the massive darkness at the center of the nebula.


• Inside the visor of her worn, dusty space suit, her lips are dry and peeling, her eyes red from weeks in the void.


• She sings softly, nonsensically to herself.


• LIEUTENANT EMMALEE RATCHAPORN
• I'm ready, I'm ready...let's just finish this...I'm ready...


• She reaches downwards towards the darkness as she spins faster towards the abyss.


• A barely visible shock wave ripples below her, closer and closer.


• She stretches her hands towards the wave, and as her gloves touch it, they dissolve, stretching and blowing away, atoms sucked into the black hole.


• LIEUTENANT EMMALEE RATCHAPORN
• Threshold...yes, finally...finish it. Finish it you beast, stop taunting me.


• Her body is pulled faster and faster into the darkness.


• She closes her eyes, and a smile creases her abused lips, and a single tear trails down her cheek.


• Her body buckles, and then the abyss pulls her into its depths.


• FADE TO BLACK.

52. Porticullus-Eric

• FADE IN


• INT. MUSEUM-DAY


• Tommy and Claire hold hands, standing in front of an exhibit with stuffed Caribou. Tommy is unshaven and wears an old, ugly, dirty shirt with stained jeans. Claire is clean looking, wearing a lavender sun dress and a paisly blouse under a buttoned sweater.


• They observe a display of several, full-sized Inuit replicas holding fishing poles. One stokes a model fire under a spit.


• CLAIRE
• Imagine if you had to live like that. I wonder what kinds of thoughts go through their heads.


• Tommy slowly turns his head to Claire and grins.


• TOMMY
• I already know what it's like.


• CLAIRE
• What?


• TOMMY
• Eyes are like the porticullus of one's thoughts, their very essence. The person doesn't have to say anything. Their eyes do. Even these fake ones on the Eskimos. Eyes can lock you out or pull you in.


• CLAIRE
• Umm, What are you talking about?


• She releases her hand from Tommy.


• TOMMY
• Like your eyes. They're beautiful, when the light hits them the right way they look like liguid mercury. But they say you long for something that your lips want to believe is just out of reach. Your lips lie, but your eyes confess. Eyes always confess, and betray.


• Claire leans back from Tommy, and gives him a bewildered and frightened look.


• CLAIRE
• You're really starting to creep me out.


• Tommy looks into Claire's EYES. She leans back farther from him.


• TOMMY
• Look, just forget it. I'm talking crazy because of stress from work.


• CLAIRE
• You're working?


• TOMMY
• Yes...no. Hey, let's just forget it OK?


• Claire frowns for a few seconds then walks off.


• INT. LIVING ROOM-NIGHT


• Tommy and Claire sit in a living room, drinking wine. Stuffed animals hang over a fire place. A white, fur rug sits in the center of the wood tiled floor.


• Claire is on the opposite side of the couch, looking somber.


• CLAIRE
• I've got to go in a few minutes.


• TOMMY
• Whatever.


• CLAIRE
• See, this is what I'm talking about. Your apathy. You don't care about anything. You won't even shower. How long do you want me to live for you?


• TOMMY
• Sure, sounds great.


• CLAIRE
• Are you even listening to me?


• Tommy smirks, and takes a sip of wine.


• Claire sets the wine glass on an empty inn table and grabs her purse.


• CLAIRE
• I'm NOT coming back this time. I won't let you hold me back. Find someone else to live through.


• TOMMY
• I guess I'll have to.


• Claire grabs her purse and stomps to the door. She stops halway, drops her purse, and holds her neck. She begins choking. She falls to her knee and stays there for several seconds, before falling over.


• INT. PUBLIC STORAGE ROOM-MORNING


• Tommy stands in the dark storage room whistling. He fondles a plastic case with Claire's eyes. They float inside the case, suspended in a liguid solution.


• A long row of eyes inside the same kind of cases line a shelf that wraps around the room.


• In a back room, several eyeless, embalmed heads sit on a wood table. Claire's sits in the front.


• FADE TO BLACK

51. Bleed Softly - Leslie

• FADE IN:


• INT. CAFE ROUGE - NIGHT


• MICHAEL ATWOOD slips through the open door of the cafe, and shuts the door to the cold breeze behind him.


• He is dressed in a rumpled suit, and he spins a detective badge between his fingers.


• He scans the room; the cafe resembles a miniature crystal palace, moonlight illuminating the space as it comes through the glass ceiling.


• The barista bar stands at the back of the room, surrounded by a sea of red, leather furniture.


• MICHAEL steps carefully around the tables, and stops suddenly.


• SHE lies stretched out on the floor, a dark red cloth wrapped around her torso. A trickle of blood colors her lips, and paints a red line down her chin.


• A breeze from an open window hits her body, and the cloth ripples. Jasmine and cherry blossoms scattered around her lift into the air, beautiful in the moonlight for a moment, before they fall back into shadow.


• The detective studies the body for a long moment, then turns to the large windows at the front of the cafe. His eyes are rimmed with liquid, but his face betrays nothing.


• He turns and begins walking to the door.


• Michael stares blindly through the glass, seeing nothing but the body burned into his mind's eye.


• He pulls his gun from his holster, cocks it, then pushes outside.


• MICHAEL ATWOOD
• I'm coming.


• FADE TO BLACK.

51. Dysthymia-Eric




• FADE IN


• INT. GLASS ROOM-UNKNOWN


• Florence sits in a glass room. She is gagged and her hands are bound behind her back. Her face is contorted with a mix of anger and insanity.


• People walk past Florence, not so much as giving her a glance. Her body jerks ackwardly as she tries to come out of the restraints. Her head follows the people hopelessly as they come and go.


• A man and a woman stand by the glass room, arguing. They trade and parry verbal attacks. The man finally raises his fist and hits the glass room, smashing a wall to pieces.


• Florence screams muffled pleas, rocking the chair beneath her. The man and woman cannot hear her. In her frenzy the chair tips over.


• The man and woman leave. Two men walk and stop at the chair. The two men begin arguing and then trading blows. One man brings the chair to the other man's face, knocking him out cold. He leaves.


• Florence squirms on the floor, and manages to loop her arms under her legs, bringing her bound hands in front of her. She shimmies the nylon bondings back and forth on a sharp edge of the chair, eventually snapping them loose. She attempts to untie her gag, giving up after a long struggle.


• She lies on her side and looks down at her bound feet. Coils of nylon rope wrap around her legs.


• A janitor walks by, slowly sweeping up the shards of glass. He hums to himself, unaware of Florence. She screams again, but it is muffled by the gag. The janitor turns in the direction he came, and begins slowly walking while sweeping.


• Florence manages to grab his pant leg. She maintains her grip as he continues to walk slowly, now with a slight limp from Florence's extra weight. She continues screaming and begins shaking his leg, but he gives no response.


• She grabs a piece of sharp glass, and jabs it into his calf. He doesn't scream but continues trying to walk, much slower than before.


• She grabs another piece of glass, and thrusts it into his back. He falls down, dropping the broom and dust bin. Florence continues holding on, while the janitor slowly crawls.


• She stabs him several more times, using a new piece of glass each time. His back is replete with glass pieces. A large piece juts from his neck. Blood soaks his shirt.


• He stops crawling and begins choking. His face becomes flushed. He closes his eyes and turns limp. She mounts him, shaking him and screaming through the gag.


• She beats his limp body with her fists and begins crying.


• FADE TO BLACK

50. Yearning Ears - Leslie

• FADE IN:


• INT. A HOLD IN THE MARIA DRAKE - DUSK


• Small bare FEET walk carefully along the wooden planks of the dark hold, carefully avoiding chains on the filthy floor.


• The feet belong to a SMALL GIRL in a dirty shift, slowly weaving her way between the bodies packed into the ship's belly, as it groans its way along the middle passage.


• As she walks, she sings softly in an ancient language, the haunting melody causing the men and women she moves between to weep and reach for her.


• INT. THE DECK OF THE MARIA DRAKE - DUSK


• CAPTAIN WILLIAM MACEY paces the deck, in small agitated steps.


• ROBERT ATWOOD, his first mate walks behind him.


• ROBERT ATWOOD
• Sir, it's fine sir, she's harming no one. And some of the men find her voice comforting.


• CAPTAIN WILLIAM MACEY
• I won't have it, there's something dark about those words; good Christian men have no need of heathen...


• ROBERT ATWOOD
• Sir, please, she's just a child.


• A soft voice surprises them, and they spin. The girl stands on the deck, staring at the captain.


• His mouth opens and he searches for words, fear playing in his eyes.


• She begins to sing to him, walking slowly towards him.


• His eyes and shoulders relax as she walks nearer.


• The captain can't take his eyes off of her, the words enchanting him.


• His first mate slips closer.


• ROBERT ATWOOD
• See sir, there's nothing wrong.


• The spell breaks, and William Macey's eyes flash around the deck. His men stand still, entranced.


• He pulls a large pistol from his belt and carefully takes aim, then fires.


• The ball hits the girl in the chest, tearing words from her lips.


• She falls to the deck.


• Macey points at a sailor.


• CAPTAIN WILLIAM MACEY
• Overboard.


• He turns away, walking in longer strides.


• The first mate stares as the girl's body is lifted and thrown into the Atlantic.


• There is a shriek from deep in the boat, then voices from the holds collectively rise in ululating cries.


• The first mate clutches the deck, and watches as the little body disappears into the dark.


• FADE TO BLACK.

50. Congressman Reynolds-Eric




• 
  CONGRESSMAN GEOFF REYNOLDS SAYS BORROWED CAR NOT A BIG DEAL:
  
  SOUTH BEND, IN.
  
  Congressman Geoff Reynolds from the third district of Indiana said Thursday that he doesn't think it's a big deal that he borrowed Senator Douglas Johanson's 2008 Audi.
  
  Johanson's spokeman Richard Vail accused Reynolds of stealing the vehicle around 10 o'clock, during a dinner party after Wednesday afternoon's congressional meeting.
  
  "We hadn't turned our backs for five seconds to grab a glass of champagne and he vanished. Johanson isn't friends with him and we wouldn't have even known who he was had he not given that drunk, embarassing speech during the congressional meeting. This raises a serious question about the ethics of Reynolds."
  
  Reynolds says he is not slighted by the accuasation.
  
  "Just when you think you know somebody. He seemed like a reasonable man. I thought we started making a connection after our third crab cake. Sure, he seemed a bit aloof at first, but after a few glasses of champagne he really started to unwind. I asked if I could borrow some matches to light a cigarette. He said, 'sure, mi casa su casa'. A few minutes later my daughter called. Her car had broken down and she didn't want to take a taxi. I couldn't find my keys, so I took Johanson at his word. He left his keys next to his drink on a coaster. I took them and went on my way. I didn't think it was a big deal. Johanson's a man of patience though, we'll see this through."
  
  Asked whether he regrets not asking to borrow the car first and where the 08' Audi currently is, Reynolds replied, "Sure, maybe it would have been the polite thing to do, just as a matter of fact thing. I just can't believe those are going for $120,000. It should at least have automatic transmission. The clutches burn out like old light bulbs. Oh, about where the car is...err."
  
  Johanson says he will press charges of grand theft.
  
  "Who the heck does this guy think he is? I don't even know him. He's calling me by my first name now. You better believe I'm pressing charges and I'm sending a requisition for his resignation. Then I'm going to sue him. What the hell did he do with my car?"
  
  Congressman Reynolds was not available for further comment.
  

49. Tea Garden - Day

• FADE IN:


• EXT. TEA GARDEN - DAY


• MIRIAM walks slowly along the narrow path the twists through the small garden.


• Tables with patrons sipping tea and speaking in low voices are scattered strategically throughout the area.


• The garden has a quaint English sensibility fused with the intricate mystery of a Japanese space.


• Miriam comes to a table near a bamboo grove. A stand sits on the table. It holds a small card with a brush-stroked 7.


• Miriam looks at her receipt then sits at the table.


• She can hear the gurgle of a stream on the other side of the grove.


• Miriam pulls her receipt from her pocket, inspects it, then sits at the table.


• She can hear the gurgle of a stream on the other side of the grove.


• She closes her eyes, warm sun playing across her face and lets out a contended sigh.


• CONTROL STATION 45 - DAY


• RICKY sits in the dingy room, staring out of the large window in front of him at the rows upon rows of people locked in restive sleep. They are filthy, covered in rashes and sores, and chained to hospital beds. Wires drilled into their skulls criss cross to conduits in the walls.


• Miriam lies on one of the cots, dressed in drab sweats, tossing and murmuring.


• Ricky looks over as BERNDT, a calm looking young man dressed in a lab coat enters.


• RICKY
• Why do we waste time doing this? We should have had them all executed a long time ago...I don't need my tax money going to this.


• BERNDT
• President Taylor's right though, it's the humane thing to do. Let the subhumans have their own little mental playgrounds...they can romp in their little commie fantasies, and we can pull the subversives from our streets.


• RICKY
• I'm still all for executions...quick, efficient, and lower taxes. I was really excited about Garvey's platform...


• He shrugs.


• RICKY
• You would be.


• BERNDT
• Whatever, I guess we keep the subs alive for now...but one of these days....


• FADE TO BLACK.

49. Virgil the Guide (chap. 5)-Eric




• We pulled onto the I-35 North ramp and stayed on it for several hours. Being unoccupied was a mixed blessing. The free time enabled me to sit back and ponder my situation. The problem was I didn't want to think about anything. My head was still throbbing from the drinking bout. Instead of thinking too much about anything I pulled out my wallet and studied my picture.
  
  It was a recent photo of my girlfriend, April and I. I fondled the photo, as if by concentrating enough on it I could teleport back home. It didn't work. The more I focused on the photo, the less it seemed like me. My boyish face, clean and round was now famished and unshaven. I looked in the rear-view mirror at my sunken cheeks and then back to April. She was pleading for me to come back. At that point I would have done anything to get back. I even missed her filthy Cocker Spaniel, Skittles.
  
  "Don't do that to yourself, man." Virgil said, eyeing me and the photo.
  
  "That's easy for you to say."
  
  At that Virgil bellowed so loud it startled me. He snapped the reins and we came to a screeching halt. We stopped so abruptly my face hit the metal pedestrian bar.
  
  "You think this is easy for me, Justin?" He said, and then shook his head.
  
  "I've lost more than you know. And I've taken on everyone else's baggage too."
  
  I didn't reply. He was right. I'm sure I wasn't his first tourist. There was no telling how long he had to put up with whiney, sniveling people. My whimpering wasn't going to help him, and it wasn't going to help me either.
  
  After I put the photo away he reached into his pocket and pulled out his wallet. He handed it to me shyly, which seemed to be in contrast to his arrogant, calloused ways.
  
  "That's Jessica," he said, pointing at the photo. "That's my daughter, Rachael. And that's me, a few weeks after I was ordained."
  
  He didn't look any younger in the photo, but he hadn't aged either. The blue background of the photo seemed to accentuate the sparkle in his blue eyes. His wife was beautiful. She wore her short, blond hair in paige-flip style. They both looked happy.
  
  "I was forty-nine. The rule is, we don't talk about how. We can only say when. I'm sure you sensed that intuitively. Instinctually even."
  
  I nodded. No matter how much I wanted to talk about what happened, I couldn't. In fact, I had forgotten how I died.
  
  He snapped the reins again and we were off.
  
  "So, where we headed?" I asked.
  
  "Next stop, Purgatory."
  

48. Virgil the Guide (chap. 4)-Eric




• It wasn't three seconds later we heard howling. We scanned the cornfield. Several stalks were slanting and rustling. Several large, black canine heads loomed over the stalks. From where I was standing, the red of their eyes glowed like cigarette cherries. They were frothing and growling. My legs ran as fast as they could.
  
  It's one thing getting chased by a few dogs. It's another thing running from a pack of Satan's giant, killer dogs with a hangover.
  
  The field was muddy. Apparantely it had rained recently, and we were sinking between the rows of corn like quicksand. I heard my feet squish with each step. The dogs were gaining on us. Until this point I hadn't seen Virgil frightened. His usual, arrogant and haughty demeanor sank into something of a frightened lunatic. He turned whiter than his hair.
  
  "Take my arm." He said.
  
  "What?"
  
  "Take my damned arm now!"
  
  I groped for his arm. His eyes rolled in the back of his head. A dog growled behind us. It sounded less than five yards away. Suddenly my jaw ached. It spread to my face and down my neck. I unconsciously felt for my face and my hand flinched. It was fuzzy. Virgil's face had turned into a snout. His teeth grew and his eyes receded into two red points. We both shrank. A dog ran past us.
  
  My chest was throbbing. Virgil and I trotted away from the pack of dogs that soared past us, still growling and frothing. We made it to the bus. It was empty and the door was ajar so we boarded it. Virgil the dog stood behind the wheel and waited. When he knew the dogs had left we transformed back. He grabbed the reins and yelled, "Yah!"
  
  The horses guffawed and snorted. They slowly got the bus rolling and sped through the cornfield, making a sharp left. Soon we were back on the road.
  
  Virgil was silent for a while. His silver white eyebrows creased. The crow's feet etched around his eyes seemed to grow deeper and thicker.
  
  "You can relax now. We made it." He said.
  
  I nodded. A minute later he turned to me and snatched my arm. His fingers sank into my arm like talons.
  
  He said, "Never pull a stunt like that again! Next time you won't be so lucky."
  

48. Bathroom Goddess - Leslie

• FADE IN:


• INT. PUBLIC BATHROOM - NIGHT


• The door to the bathroom swings open and ANYA marches into the room, her mop bucket a battering ram on wheels.


• She is a short, sturdy woman, with a maternal face, and hands toughened by years of hard work.


• She surveys the bathroom, one of the more boring, uninviting bathrooms in the building.


• She moves swiftly, cleaning the sinks.


• She enters the stalls, only her thick legs visible beneath the ugly tan dividers, as she scrubs and sprays.


• She leaves one stall, standing back to inspect her work for a moment, then enters the next.


• Anya lives the middle stall and enters the last one, and stops short, the door swinging open behind her.


• In front of her, on the toilet tank is a simple white vase holding a long-stemmed rose.


• A note dangles from its stem, and it reads: An offering to the bathroom Goddess - thanks for keeping our bathroom so clean.


• She allows herself a small smile, tucks the rose in one of her apron pockets, then slams the door behind her and begins scrubbing.


• FADE TO BLACK.

47. Virgil the Guide (chap. 3)-Eric




• We shook hands. Virgil turned the stereo down to a comfortable volume. After he did that people started frowning. Most of them looked put off and they slowly gathered themselves up and left the room. A few people stayed, waiting for Nathan to talk.
  
  "Don't just stand there, make yourself a drink," he said to me, pointing to the bar cabinet.
  
  Virgil made us Gin and Tonics. He slid mine across the bar.
  
  "Come, sit down."
  
  He waved us over and we sat on a warmed bean bag.
  
  "So, Justin, how are you liking it here so far?"
  
  "I don't know. I guess it's not what I expected. Really, I would like to go home. I've some things to tend to. And, you're not...him are you?"
  
  He smiled again.
  
  "No, he's busy right now. I'm the usher. What I would like you to do is tell me a little about yourself."
  
  "Well, I'm an accountant. I live in New York. I have a beautiful girlfriend-"
  
  "Stop, stop. I want to know about your sins. The ones you feel the most guilty about."
  
  "I...well, let's see."
  
  "Maybe you should drink a few more."
  
  Virgil cheered glasses with me, and we gulped our drinks down within seconds. I looked at my empty glass and it started refilling itself. I gulped it down again. By the fourth drink I was ready to confess.
  
  "Well when I was thirteen I..."
  
  This went on for several hours, the few people that remained listened intently. Nathaniel would nod from time to time. Eventually, the room started spinning. I stood up wobbling. I pointed my finger at Nathaniel.
  
  I wanted to say 'just where do you get off asking me all these personal questions', but it probably came out something like this-juth wher d'yaget off athking mmm kestions?
  
  The more I drank, the more comical the people around me appeared. The person next to me was short and stout, and wore a feathered hat. I stood up, laughing and pointing at him. I called him a dwarf. I told Virgil he looked like a defrocked priest turned used car salseman. The dwarf stood up and knocked me across the face. I tumbled down. When I finally got enough balance to stand up I took a stool to him. And to Nathaniel. Everything went black.
  
  I woke up in the cornfield. A moist wet towel was on my forehead. Virgil's face came in and out of focus.
  
  "You sure pulled a number in there. Thanks to you I'm not even allowed in there anymore. Satan kicked us out." he said.
  
  My head was pounding. Every word I spoke throbbed in my temples. I managed to say, "I thought he was Satan's Usher?"
  
  "No, he just tells people that. Makes them more comfortable. Anyway, he said he's never seen anyon behave so beligerently in all his years. He said to cut you off and black-list you."
  
  Virgil shook his head.
  
  "The Devil kicked me out of Hell because I drank too much?"
  
  Virgil rolled his eyes in the back of his head.
  
  "You proud of yourself? Come on Justin, lets go, before the dogs gets here."
  
  "The dogs?"