72. Diary of a Male Prostitute-Eric

• FADE IN


• INT. BEDROOM-DAY


• NATE and EVELYN lie nude on a bed. Nate is a young, muscular, good looking blond man in his early twenties; Evelyn is an elderly lady with gray hair.


• Nate's face is above her knees; he grimaces and dives his head between her spread legs.


• Eveyln reaches to the nightstand for an ivory-framed, black and white photograph of her and her husband. She turns it face down.


• Nate gags and coughs. Evelyn sighs and grabs a full glass of red wine from the nightstand. Nate looks up and she throws the glass of wine at his face.


• Nate sits up and turns around, facing away from her. He touches his bleeding face and flakes a few shards of glass from his cheek.


• EVELYN
• You're nothing but a cheap little whore. Get out!


• INT. MOTEL ROOM-DAY


• Nate sits on a chair next to an open window, staring out of it and smoking a cigarette. His face has a few cuts on it. The window pane is old looking and the paint is peeling.


• He looks at the ashes as they float out of the window like tiny feathers. An open journal, dated and written like a diary sits on another chair near him. He grabs his journal and writes.


• EVELYN VO
• Cheap little whore!


• The hotel phone rings. He lets it ring for a long while before finally answering.


• INT. BEDROOM-DAY


• Nate is having sex with a very attractive thirty-something woman. She is moaning. An elderly MAN enters the house and hears the moaning. He is pissed and grabs a golf club out of the foyer closet. He creeps back to the bedroom and peeks through the door.


• He rushes through the door with the golf club raised, yelling obsenities. Nate turns around and ducks his swing; the club smashes the lamp. The man swings again, barely clipping the side of Nate's head. The club slips out of the man's hand and crashes through the window.


• Nate holds his hands over his face and head. The man looks down at him.


• NATE
• You hit me again.


• MAN
• Oh man, I'm sorry.


• The man leaves and comes back with a cotton ball and a bottle of rubbing alcohol. In his other hand he has a band aid. Nate sits on the edge of the bed. The man dabs Nate's face with the cotton ball. Nate grabs the bandaid and bats the man's hands away. He stands up, putting on his clothes. he has a cut under his left eye.


• NATE
• Don't call me ever again.


• After Nate puts on his shirt he leaves.


• Nate drives off in a brand new, shiny-red custom-painted, Tesla Roadster. He drives past the Radio City sign, down the brightly lit street.


• INT. LIVING ROOM-DAY


• LOIS, an aged and withered woman is sits in a wheel chair watching TV; her eyes slowly open and close. She is wearing a bib and a tray sits over the arm rest of the wheelchair. There is a respirator stand next to her.


• JANE, an older, very large woman wearing scrubs is feeding Lois pudding with a little spoon.


• Nate pulls into the driveway. He opens the living room door carrying a boquet of purple. He has a bandage under his left eye.


• Lois and Jane smile; Jane puts the spoon in the bowl of pudding and meets nate at the door, grabbing the boquet from him. She looks at his face and takes the boquet to the coffee table and replaces the older flowers with ther new.


• Nate walks over to his mother and pecks her on the cheek. She doesn't recognize him and is blank; eyes slowly opening and closing.


• NATE
• She doing all right?


• JANE
• I was about to ask you the same thing about yourself.


• Nate begins feeding Lois, wiping the spoon on her bib from time to time.


• NATE
• My cat got me.


• Jane runs sing water and dumps dishwashing liguid into the sink. She looks at Nate while he feeds his mother, admiring him. She smiles.


• JANE
• I bet a cat did.


• Nate stops feeding Lois and looks up. Jane is washing dishes and gives Nate a coy smile. Nate looks back to his mother and continues feeding her.


• Nate's cell phone rings. he answers it.


• NATE
• Hey Kev.


• KEVIN'S voice can be heard on the other line.


• KEVIN
• You holding up?


• NATE
• Yeah, I'm good.


• KEVIN
• Got your favorite. I dumped a the whole damned bottle of garlic on it.


• NATE
• Thanks man. I'll see you in a bit.


• Nate closes the phone and kisses Lois on the cheek.


• NATE
• Love you mom.


• Nate walks out the door. Jane watches him and admires him, smiling after he is gone while she washes the dishes.


• EXT. OCEAN SIDE-EVENING


• Nate pulls into the front of the restaurant, one wheel is on the sidewalk. There is a red no parking sign where he is parked. He enters the restaurant.


• INT. OCEAN SIDE-EVENING


• Nate wanders through the crowded and loud restaurant past the Hostess. She smiles at him as he walks by. A line cook fries samon on a frier. Another cook stirs a boiling pot. A glass case of live lobsters stands next to them.


• Nate walks past to the bar, which is fairly empty. Kevin, a thirty-somehting man with bright blue eyes wipes a glass. He smiles at Nate when he enters and then walks to the back. Nate takes a seat at the bar and kevin quickly returns with a steaming plate of manocotti and another plate of steaming, sautéed shrimp.


• Nate smiles and looks up at Kevin. Kevin looks at his wounds.


• NATE
• What happened?


• NATE
• Client.


• Kevin rolls his eyes. Nate picks at his shrimp with a fork.


• KEVIN
• Oh jesus. Those role-playing freaks?


• Nate doesn't respond.


• I talked to Rob. We need a waiter.


• Nate eats.


• KEVIN
• Nate man, you're not going to be an Adonis forver. And those rhoids man.


• Kevin looks around and grabs a rolled up napkin; he holds it to his private parts, acting like it's his penis. Then he folds the end of the napkin down so it hangs limp.


• KEVIN
• Dude, how long you think you can keep this up? Don't you worry about diseases?


• Nate looks up from his food.


• KEVIN
• You're killing me.


• Kevin walks off shaking his head. He comes back with a tall mug of beer and sets it down. He smiles at Nate.


• KEVIN
• Sorry bud, I'm preaching again. I'll just say this one more time, if you want a job you're already hired.


• NATE
• Thanks man.


• Kevin nods and wipes a glass. Nate smiles back.


• EXT. TUDOR HOME-TWILIGHT


• The sun sets in front of the huge Tudor home, reflecting off the Gable dormers.


• EXT. TUDOR HOME-TWILIGHT


• The black and white, italian marble floor gleams with a polished look. Large healthy plants sit at either end of the foyer. Two full plates of armor with feathered helmets stand next to them holding halberds. The suits of armor have tiny, rusty holes. Through the HOLES of the left suit Nate is in the shower.


• INT. BATHROOM SHOWER-NIGHT


• Nate scrubs his sudsy head. His face bleeds.


• Nate walks into his huge bedroom in a towel past his computer. The monitor displays a web site about Creutzfeldt-Jacob disease. There is a $2,000 bill lying on the computer desk. Part of the bill reads in-home hospice care. Next to the bill on the computer are several stacks of one-hundred-dollar bills, tied with a red clip. There are also several stacks of bills on his dresser.


• Nate flops on his bed naked.


• NATE VO
• I used to laugh at Kevin.


• INT. SUBWAY-NIGHT


• Kevin enters the already crowded subway with a crowd of people that push past him. He is wearing his work uniform. Someone takes a seat before he can get to it. He holds the rail, scrunched between people.


• INT. APT-NIGHT


• Kevin walks through the door of his dingy apartment wearing a stained apron. He walks to the bathroom and pulls out a wad of money from the apron and fans it. He smiles at is and fans it again.


• NATE VO
• Maybe tonight was a good night and he made a bill, or a bill and a half. He's holding it like he just found a pot of gold.


• Kevin takes off the dirty apron and throws it into a hamper.


• INT. APT-NIGHT


• Nate's cut bleeds.


• NATE VO
• But at the end of the day I can't scrub the filth away, no matter how hard I try.


• INT. HOSPITAL-HALLWAY


• A shift-eyed DOCTOR runs his thumb around the circle of his STETHOSCOPE, talking to Nate.


• DOCTOR
• ...a year, a little over a year if she's lucky.


• INT. APT-NIGHT


• Nate uncaps a syringe and sticks it into the top of a vial.
  
• NATE VO
• Sometimes I wonder if I'm doing this for my mother. Maybe I'm just lying to myself.


• Nate flicks the syringe.


• NATE VO
• I'm selling little pieces of my soul for $350 a pop, or $750 an hour. I eventually black-list people who ask me to do S&M. I can't sell my soul with my face is caved in and my teeth knocked out, my agency would fire me. I've got to be Adonis.
• 
  
• Nate sticks himself with the syringe and injects himself.


• NATE VO
• But sometimes I wonder if I even have a soul left. Sometimes, what you think is a one-time event tumbles into a lifestyle, and before you know it, you’ve dug yourself into a hole so deep it seems impossible to get out.


• INT. LIVING ROOM-NIGHT


• Lois sits in her wheelchair watching Television. A different nurse lies on the couch behind her.


• NATE VO
• I'm not saying there's no free will, I'm just saying that you know what to expect with misery, especially if you've lived with it your whole life.


• INT. MOTEL-NIGHT


• Nate stares out of the peeling window, smoking a cigarette and watching the ashes float through it. His journal lies opened on the bed with a pen on top of it. There is an Ocean Side menu with a phone number scribbled on it next to the journal.


• NATE VO
• I wish I could fly on their dusty wings and leave this life behind.


• There is a tap at the door. Nate stubs his cigarette out and answers the door. Jane is standing their dressed in a low-cut dress. There is small food stain on her cheek.


• Nate is shocked and stands in silence for a moment before closing the door on her. He dead bolts it.


• He picks up the menu and opens his cell phone. He dials the number on the menu.


• NATE VO
• Maybe sometime change is easier than misery.


• FADE OUT