152. The Angel and The Agnostic - Leslie

• FADE IN:


• INT. CHURCH OFFICE - DAY


• Pastor DAN O'REILLY sits at his desk writing a draft of his sermon on some scratch paper.


• His pencil drops and he groans, then leans down to grab it.


• As he comes back up from under the desk, a fluttering noise grabs his attention.


• He looks up and nearly falls off his chair.


• AMARIEL, a tall angel, is perched on the edge of his desk.


• Dan chokes.


• AMARIEL
• Don't be afraid.


• DAN
• Uhhhh.


• AMARIEL
• I thought you'd say something like that.


• She smiles, her warm, caramel skin luminous.


• Dan slumps in his chair.


• DAN
• How are you here? You don't exist.


• AMARIEL
• You preach my existence.


• She looks at him for a long time.


• DAN
• You get used to patterns; one day you realize you don't believe them anymore, but it's comfortable.


• AMARIEL
• Besides, there's that shining reputation to uphold.


• DAN
• Why are you here?


• AMARIEL
• Perhaps I'm a little mosquito sent here to give you an itch that won't go away. Or maybe just a hallucination; that in a few weeks you'll question and in a few months you'll doubt; and in a year you'll have forgotten.


• She stands.


• AMARIEL
• Maybe it's up to you to make of it what you will. And maybe you need to dig deep and figure out what He wants from you.


• She walks out the door.


• Dan runs after her and looks into the hallway; it is empty.


• He walks back to his desk, and slumps onto the wood surface next to a small radio.


• The RADIO crackles to life.


• DAN (VO)
• Today's sermon is going to be different. I'm here not to admonish or to teach, but to beg forgiveness. I am taking a leave of absence effective today. I can no longer stand here and be a liar. I can no longer be your minister and preach what I cannot know and do not believe.


• The radio hits static and hisses.


• FADE TO BLACK.

151. A Decent Proposal - Leslie

• FADE IN:


• EXT. CITY PARK OPEN MEADOW - NIGHT


• MATT carefully prepares dozens of small paper bags in a large circle around a park bench.


• ROSA (V.O.)
• What's important to me? Heh, I'm a cat person, love 'em, love their smarts, their independence. I love tea, a good warm tea on a beautiful night; there's nothing better. Oh, oh, and warm lights on a dark night. There's something so comforting about glowing amber against a night sky.


• INT. ITALIAN RESTAURANT - NIGHT


• DEREK sits fidgeting as he waits at a table for two.


• He readjusts the napkin opposite him.


• EXT. CITY PARK OPEN MEADOW - NIGHT


• Matt sits at the bench, carefully arranging a tray with two large mugs.


• He checks to make sure that the large thermos beneath the bench is still there.


• There is a mew from below the bench.


• MATT
• Shhhh, baby, it's almost time.


• INT. ITALIAN RESTAURANT - NIGHT


• WOMAN 1 enters the restaurant; we can only see her back.


• She walks to Derek's table and gives him a hug.


• They sit and a waiter appears instantly to take their orders.


• He carries a bottle of wine with him and allows them to sample it.


• Derek nods.


• WAITER
• Are you ready to order?


• WOMAN 1
• Mmm, do you have a potato gnocchi?


• WAITER
• Certainly, with a lovely garlic cream sauce.


• WOMAN 1
• Thanks, I'll take that.


• DEREK
• You know, I'll just take a side of bruschetta.


• The woman chuckles.


• WOMAN 1
• Something on your mind? You're going lightweight?


• DEREK
• Yeah, just got stuff on my mind.


• EXT. CITY PARK OPEN MEADOW - NIGHT


• WOMAN 2 walks down the path and jugs when she sees Matt.


• Again, we see only her back.


• MATT
• Hey you.


• WOMAN 2
• Hey!


• She gives him a long hug and they sit on the bench.


• He pulls out the thermos and pours tea into the two mugs, placing a freshly sliced lemon in her cup.


• WOMAN 2
• And you know me well.


• MATT
• I do what I can.


• INT. ITALIAN RESTAURANT - NIGHT


• Woman 1 and Derek dive into their food, hunger silencing them momentarily.


• EXT. CITY PARK OPEN MEADOW - NIGHT


• MATT
• Come here.


• He takes her hand and pulls her up.


• She quickly pulls her hand away.


• Matt looks at her and she laughs.


• WOMAN 2
• Sorry, weird day.


• He looks at her, questioning, and she waves her hand dismissively.


• He shrugs and motions her down the path.


• They stop at the edge of the paper bags.


• WOMAN 2
• I saw those, what are they?


• MATT
• Close your eyes.


• She slowly shuts her lids.


• Matt pads quickly down the line of bags, lighting wicks in the bags quickly.


• WOMAN 2
• May I?


• MATT
• Not yet. Ok, now.


• She opens her eyes, and gasps.


• Paper lamps float past her.


• MATT
• Amber lights for you, Rosa.


• He races to the bench.


• Rosa laughs.


• ROSA
• What are you doing?


• He races back and slides to one knee.


• ROSA
• Matt?


• He hands her a small kitten.


• ROSA
• Oh!


• Attached to the kitten's collar is a simple, beautiful diamond ring.


• INT. ITALIAN RESTAURANT - NIGHT


• Woman 1 stops chewing.


• She places a napkin over her mouth and pulls out a sauce covered diamond ring.


• DEREK
• Rosa, I'm madly in love with you. Will you marry me?


• EXT. CITY PARK OPEN MEADOW - NIGHT


• ROSA
• Matt, Matt.


• She fishes into her pocket and pulls out a ring.


• ROSA
• It's too late. Derek.


• MATT
• Derek? He doesn't, well he might love you, but he certainly doesn't understand that. You know that.


• ROSA
• He'll take care of me.


• MATT
• And I won't? Give it back. You're not even wearing it on your finger.


• ROSA
• It's too late.


• MATT
• Why, you're not married. Your parents are great, but they aren't always right. I care about you...I know what's important to you.


• ROSA
• I can't.


• She hands him the cat and begins to walk away, looking up at the lights.


• Matt grabs her arm.


• MATT
• Please.


• Rosa shakes her head and walks into the darkness.


• Matt walks to the bench and places the kitten onto the bench.


• He grabs her mug and flings it into the darkness, the soft sound of shattering echoing in the quiet night.


• INT. ITALIAN RESTAURANT - NIGHT


• Rosa is still wiping sauce from her mouth as she considers the ring.


• She looks at Derek and back at the ring.


• ROSA
• Yes.


• FADE TO BLACK.

150. Brevity - Leslie

• FADE IN:


• INT. EMPTY ROOM - DAY


• AISHA sits in a room that is bare with the exception of a baby grand piano, a purple orchid sitting on the piano, and small tea lights scattered around the room.


• A small window allows sunlight to leak into the room.


• A single door, thick with locks is behind her.


• Aisha plays, her eye closed, as a plaintive melody fills the room.


• The sound of keys being inserted into the locks breaks the beauty of the music, but she never stirs.


• A MAN in an immaculately pressed suit enters the room, his well-polished shoes reflecting the candles.


• He surveys the room, then begins to meticulously extinguish each of the candles.


• As the candles die, Aisha slows down.


• She struggles to move her hands as more candles die.


• She slumps, still struggling to play.


• The man blows out the last candle and peers over at Aisha.


• She is still playing, a single finger pressing out the notes.


• He frowns and walks to the piano.


• He studies her, then turns to the orchid.


• He gently runs his finger up its delicate stem, caressing it.


• In a seamless movement, he snaps the orchid away from the stem, crushing the flower in his hand.


• Aisha's head hits the keys and she gasps once, then freezes.


• The man surveys the room, then walks briskly to the door and closes it.


• The sound of his keys locking the door sound through the room.


• FADE TO BLACK.

149. Blind - Leslie

• FADE IN:


• EX. WHEAT FIELD DIVIDING WALL - DUSK


• DIANA walks along the stone wall dividing the wheat field from open meadow, her eyes closed as she feels the stone, her hand moving along its rough surface, fingers trying to learn every texture, every detail.


• ANDY walks up behind her.


• ANDY
• Boo.


• DIANA
• Heard you coming.


• ANDY
• You're getting good.


• DIANA
• I have to, in a few weeks...pfft.


• She makes a throwing away motion with her hand.


• DIANA
• You're quiet, which means you want to say that you're sorry, that you want to make me understand you sympathize. It's ok, I'm accepting this.


• ANDY
• Then stop pretending like you're already blind and enjoy what you can. Drink it in, and then remember it.


• DIANA
• I think it'll be less painful if I just forget what it was like to see.


• ANDY
• Just open them. There's a beautiful sunset happening right now. Just look. You got three weeks to just look.


• Diana keeps her eyelids tightly shut.


• DIANA
• Andy, I'm not really interested in making this even more painful.


• ANDY
• Please.


• Diana half opens her eyes.


• ANDY
• Thank you.


• He turns to the west and marvels at the beautiful colors.


• ANDY
• Look at that!


• Diana opens her eyes wider, guessing at where Andy is looking.


• DIANA
• It's beautiful.


• Her eyes are already a dead white, but Andy does not see.


• ANDY
• See!


• DIANA
• Thanks.


• She closes her lids again, and a tear forms on her eyelid, growing larger, then rolling down her face.


• FADE TO BLACK.

148. Intersection - Leslie

• FADE IN:


• EXT. CITY STREET - NIGHT


• Rain pounds on the street as pedestrians rush, huddled under umbrellas, along the sidewalk.


• JASON steps to the edge of the street, and watches as the streetlight turns to green.


• Cars race past, splashing him with water; he doesn't flinch.


• The light turns yellow, and the cars slow.


• He folds his umbrella, the rain immediately soaking his head.


• The light turns red and he runs into the street, between cars, kicking up puddles and dancing in the rain.


• Pedestrians peek at him as they attempt to stay dry.


• He spins gracefully, laughing.


• JULIE watches him from the opposite side of the street, amused.


• He catches her glance and beckons.


• She hesitates, then folds her umbrella, tucks her purse under her arm, and runs into the street.


• They twirl, laughing, and he spins her.


• Cars begin to honk as the light turns green.


• Jason spins Julie to her side of the street and skips over to the sidewalk.


• He bows to her, and grinning, she bows back.


• They raise their umbrellas, and disappear into the crowds flowing past.


• FADE TO BLACK.

147. Inside - Leslie

• FADE IN:


• INT. BASEMENT - DAY


• PAUL walks slowly down the dusty stairs into the basement and pulls a lightbulb cord.


• The light reveals a small room lined with dusty shelves and equally dusty jars.


• He walks to the nearest shelf and inspects the jars.


• Taking his index finger, he selects a jar and wipes the dust away from the glass.


• The light shines through the thick glass revealing a tiny skeleton at the bottom of the jar.


• He unscrews the lid, wrinkling his nose a bit as the smell from the jar hits his nose.


• He upends the jar, tossing the small bones onto the floor, then kicking them away from him.


• He wipes more dust from the jar, and carefully places it back on the shelf, grasping the lid with his fingers.


• He pulls off his shirt and then digs his fingers into the skin on the left of his chest.


• His ribcage pops open revealing a chest cavity that is empty with the exception of a small cage hanging into the cavity.


• A FAERIE sits in the grasping the bars.


• He pulls open the cage and grabs the faeries before she can escape and pulls her out of the cavity.


• She deflates as she sees the line of dusty jars.


• FAERIE
• Please, not again, please don't kill me again.


• He places her into the jar with a practiced speed and screws the lid shut.


• She screams soundlessly and bangs on the glass of the jar.


• He ignores her, turning from the shelf, closing up his chest, and pulling on his shirt.


• He flips the light off and walks up the stairs leaving nothing but a thin stream of light through a small, drity window and the faint "tink, tink, tink" of the Faerie beating against the glass walls of her tomb.


• FADE TO BLACK.

146. Post Apocalypse Blues - Leslie

• FADE IN:


• EXT. COUNTRY HIGHWAY - DAY


• SAM walks slowly, pushing a shopping cart down a desolate country highway.


• The highway is littered with destroyed cars; smoke from distant cities rises beyond the line of dead trees.


• Everything is covered with a layer of thin ash.


• The pavement is torn up in chunks, which she is careful to avoid as she pushes what is left of her life towards the emptiness ahead.


• Clothes are neatly stacked at the bottom of the cart, and a few paper bags packed with food cans rest towards the back.


• A dirty teddy bear rests at the front, and other odds and ends of a different life poke through the cart's metal sides.


• Next to the teddy bear is what was once a beautiful prom dress, neatly folded, waiting.


• She hears a rustling in the bushes and pulls a long knife from her side, adrenaline melting her fatigue away.


• TAD, A young man, breaks through the dead brush on the side of the road.


• He carries a large travel pack on his back.


• He walks slowly towards her with his arms raised.


• TAD
• I'm safe.


• SAM
• There's no way you can prove that.


• TAD
• But you could use a travel partner.


• SAM
• And you could use my food.


• TAD
• And you could use someone watching your back. How many times have you been raped?


• SAM
• You watch your words.


• TAD
• I'm just saying. I've been robbed more times than I can count and I'm not looking for it to happen again, but it probably will, without you.


• SAM
• And what's so special about me?


• TAD
• You haven't given up yet, I can still see fight in your eyes. Besides, you're traveling on the highways, which means you're either crazy or ready for anything, or both. And neither are a bad thing to be.


• SAM
• Why do I need you?


• TAD
• My winning smile? Ok, guess not. How about this?


• He slowly takes the backpack off and unzips it carefully.


• He looks up for affirmation ands she nods, hand tightening around the blade.


• He pulls out a large gas container.


• Her eyes widen.


• TAD
• It's enough to get us to the camp at Cedar Falls. I don't know if they'll let us in, but it's better than the roads.


• Sam beckons to him.


• SAM
• Alright, and where do you plan to put that gas?


• Tad clambers onto the highway.


• TAD
• There's a station wagon tucked away about a mile from here, by Exit 42.


• SAM
• Let's go.


• She points with her knife.


• He walks slightly ahead of her, and she watches him.


• He turns.


• TAD
• Thanks.


• They walk together, Sam relaxing slightly as they travel.


• They reach the car and Sam points to it with her knife.


• SAM
• Go ahead.


• TAD
• Guinea pig?


• SAM
• You're the one with the tip, check it out.


• Tad walks gingerly towards the car, checking for traps.


• He sinks to his knees feeling the ground around the tires.


• He nods to her and Sam approaches carefully.


• He gases up the car and she loads the contents of her cart into the back seat.


• Her back turned, she finishes loading the car.


• Tad slips a small knife from around his leg and presses it into Sam's side.


• She gasps.


• TAD
• You really shouldn't be walking the highways alone.


• Sam closes her eyes.


• TAD
• Alright, real slow, drop the knife and walk down the road that way, leave the cart.


• Sam lets go of the knife and it drops.


• She catches it mid air and pivots, slamming the blade into the center of Tad's ribcage.


• He chokes grabbing at his chest.


• She kicks him to the ground.


• Sam looks at the blade, considering, then wipes it off on the dead grass.


• SAM
• You might survive that. If you do, maybe you'll learn something. If you don't, well, one less scumbag in the gene pool, limited as it is these days.


• Sam pulls the pack off of him and tosses it in the back of the car.


• She moves quickly, hot-wiring the car and driving it onto the road.


• Stopping, she turns and looks back at Tad.


• She pulls a can of pears from the back seat and tosses it next to him.


• SAM
• If you live. You just tried to rob me, that's something.


• She hops into the driver's seat and the car whizzes off down the road, towards the burning cities in the distance.


• FADE TO BLACK.

145. Angels Rise the Mad Society

• FADE IN:


• INT. BOOKSTORE - DAY


• VAN walks cautiously down the rows of books that pack the small store.


• He sniffs at the air, shakes his head, and walks on.


• He comes to the end of the row which opens into a small, cozy reading space ringed with circular shelves that crawl up the walls to a high ceiling.


• Worn, old chairs ring the circle, providing patrons with a comfortable spot to curl up with book after they've braved the ladders that climb the shelves.


• AMI sits on the floor, a large candle clasped in her small hands.


• Her dirty dreads wrap around her face, and she wears a long, faded dress.


• She sways back and forth mumbling.


• VAN
• Excuse me, lady? You can't have candles in here. Ma'am?


• AMI
• The mad society, the mad society.


• VAN
• Ma'am, I'm going to have to ask you to put that candle out.


• AMI
• The world must burn, can't you see it burning? Into nothing, even the dust burns.


• VAN
• Ma'am.


• Ami stands and waves the candle, it's flame elongating dangerously towards the books.


• VAN
• Hey somebody, need help at the back!


• AMI
• Don't you see it? It's already burning! The angels, do you see the angels?


• VAN
• No, Ma'am, there aren't any angels here, please, you need to leave now.


• AMI
• The angels rise the mad society kingdom. And it will all burn!


• She tosses the candle into the books and the rows of wood and paper lick up the flame hungrily, a symbiotic destruction.


• Van pulls his polo off and begins beating at the flames.


• AMI
• No, no, no.


• Ami tries to stop him, and he pushes her away.


• VAN
• Fire! Somebody call 911!


• Van manages to beat out the fire, but rows of books are charred.


• Ami stands rocking as a fire fighter comes in.


• VAN
• Always late.


• A police officer arrives after the fire fighter, and they survey the damage.


• Van, out of breath, simply points to Ami.


• The officer pulls her aside and Val stares at the burned shelves.


• Ami just mumbles.


• The office puts her in handcuffs and begins to lead her away.


• She turns to Van.


• AMI
• You'll see. It's already gone.


• Ami is pulled away.


• The firefighter looks over at him and smiles.


• FIREFIGHTER
• She's right you know? It's already gone.


• He bursts into flames, and as he burns, the specks of dust he dissolves into burn as well, drifting to the ground.


• Van stares and then realizes that one by one, the books are dissolving into flames.


• He looks down at his hands, and sees his fingertips dissolving into burning dust.


• He screams and falls to his knees as his body ignites.


• Ami breaks free from the officer who has begun to burn and runs back to Van.


• She cradles his burning body.


• AMI
• There, there, now we can start over. It will all be new. Shhh. I'll be here in the morning.


• FADE TO BLACK.

144. City Air - Leslie

• FADE IN:


• EXT. CLUB ROOFTOP - NIGHT


• AARON leans against the brick wall that separates him from a long plunge to the busy street below.


• He hugs himself as the breeze raises goose pimples on his flesh.


• The city lights spread out in all distances, growing up the hills.


• He watches the city, drinking it in.


• He turns slightly at the sound of footsteps.


• MARIE walks to the railing tottering slightly, a cigarette clutched firmly between her fingers.


• She stumbles hard; Aaron grabs her hand and helps her to the wall.


• AARON
• A little too much to drink?


• MARIE
• I don't drink.


• Aaron raises an eyebrow.


• MARIE
• I can't really walk in heels either.


• Aaron chuckles.


• AARON
• So why don't you drink?


• She waves her cigarette.


• MARIE
• Health reasons.


• Aaron raises his eyebrow again.


• MARIE
• Hey, hey, everyone's got to have a vice. What are you doing out here, Mr. Eyebrow?


• AARON
• It's Aaron, actually, and I just like watching the city breathe.


• MARIE
• Inhaling, exhaling.


• AARON
• And we breathe it's breath in.


• MARIE
• Aren't we poetic?


• A heavy breeze hits them, and Marie turns from the wall, tottering back to the stairs.


• AARON
• Hey wait, I never caught your name.


• Marie, turns shivering, looks at him, smiles, then walks into the stairwell.


• Aaron looks after her, then back to the city, then back again, then shakes his head and goes back to the railing.


• FADE TO BLACK.

143. Plastic Dreams - Leslie

• FADE IN:


• INT. DEPARTMENT STORE - DAY


• HARRY walks through the perfume section of the department store, scanning the wares.


• He looks up, and sees a DARK-HAIRED WOMAN in the women's clothing section.


• He freezes, takes a long look, and turns pale.


• He carefully maneuvers towards the clothing section, using aisles that circumvent her line of sight.


• He comes up behind her.


• HARRY
• Excuse me. Excuse me.


• She ignores him.


• He takes a deep breathe and moves around her until he is facing her


• HARRY
• I know this sounds crazy, but you're my dream girl. I mean, oh, that sounds all wrong out loud. No, wait, don't go. I mean, I've had these dreams since I was a kid, and there was always this woman running through them, daring me to catch her. It was you. I knew you were real. I'm madly in love with you.


• She freezes.


• He grabs her hand.


• A SECURITY GUARD sees what is happening from a distance and begins approaching.


• HARRY
• Wow, cold hands! But no cold feet, right? Heh, heh. Right, I shouldn't talk so much, I have a problem with my mental filter. But please you have to believe me, we are right for each other. Why else would you be in my head. Was I in your dreams?


• The security guard grabs Harry.


• Harry struggles for a moment, refusing to let go of the woman.


• HARRY
• Sir! Please unhand the mannequin!


• Harry stops, really staring into the woman's face for the first time, then scurries away from the bemused guard and the now ruffled display model.


• FADE TO BLACK.

142. Young Men and Visions

• FADE IN:


• EXT. CITY STREET - DAY


• Henry rushes down the sidewalk, a cup of coffee in hand.


• He walks past an alley, and then pauses, hearing faint music.


• The alley leads into a small park that is covered with gothic-looking carnival tents.


• He looks around, then heads into the alley.


• EXT. CARNIVAL - DAY


• HENRY wanders around the strange carnival in awe.


• FIRE DANCERS wander around the dark-hued tents spinning flame.


• STILT WALKERS pass, watching him, and nodding quietly to themselves.


• A CONTORTIONIST twists himself into shape after shape, never taking his eyes off of Henry.


• Clowns in Victorian garb and sinister face paint flow in-between the tents.


• A JUGGLER casually tosses beautiful glass balls in the air.


• He follows Henry with his eyes, then begins to juggle with a single hand.


• He points with his free hand to a tent that sits at the edge of the carnival.


• JUGGLER
• Hello Henry, the Seer is waiting for you.


• HENRY
• I'm just here to look around.


• The juggler looks continues to look at him and point towards the tent.


• Henry hurries past him, then double takes.


• He spins around.


• HENRY
• How do you know my name?


• The Juggler doesn't reply and simply continues to juggle.


• Henry ponders the far tent and begins to make his way to it.


• A HOODED WOMAN stands at the entrance.


• She nods to Henry and opens the tent flap.


• He hesitates, then ducks inside and she follows him inside.


• INT. SEER'S TENT - DAY


• The room is lit with strange spherical lights, flames dancing inside them.


• Glowing vials line shelves that circle the tent.


• The hooded woman leads him into another room of the tent, a small, dark area lit with small votive candles.


• A chair sits in the center of the space.


• The chair is built into a strange machine whose tubes wrap around the chair and up into the ceiling of the tent.


• She directs Henry to the chair, and he sits.


• She adjusts some dials on the machine, and something resembling the viewing column of a periscope extends towards him.


• She pushes him towards the strange goggles, and then straps his head into the device.


• Henry struggles a bit, but the woman places a firm hand on his shoulder, restraining and reassuring.


• She begins to wind a crank.


• Images flash faster and faster before Henry's eyes.


• EXT. DESTROYED CITY - DAY


• The images slow and Henry finds himself standing in a battle scarred, ruined city.


• The street is eerily silent.


• He looks around, then takes a step forward.


• The street erupts in battle, a group of young guerrilla's launching an attack from one side of the street on the barricaded buildings across from them.


• Henry freezes, then drops to the ground.


• A young woman leaps from a window yelling a battle cry.


• Her compatriots flood the street.


• The barricades across from the street open in a barrage of fire and the young soldiers begin to fall, but a lucky grenade blows a whole in the thick defenses and soldiers from both sides flow into the street.


• Henry cowers in the middle of the battle.


• A bullet hits his shoulder, and he stares in disbelief as blood begins to trickle down his arm.


• He hears faint singing, and looks up.


• A woman is walking into the battle from down the street.


• Her small frame is dwarfed by large white wings that extend from her back into the air.


• She carries a candle in one hand and a large book in one hand.


• She sings in a strange language, calling to the battling factions, but they never stir from their task as more bodies hit the ground.


• She sees Henry and sings louder, holding out her candle to him.


• He stares at her, frozen.


• She motions to him and walks a little closer.


• Bullets begin to tear into her wings and she stumbles but manages to stand as bloodied feathers float to the street.


• She is hit again and again, but stands, singing, holding the candle for Henry.


• The images begin to flash again.


• INT. SEER'S TENT - DAY


• Henry tears the straps off of his head and scrambles out of the chair.


• The Seer watches as he leaves the tent, then slowly follows him.


• EXT. CARNIVAL - DAY


• The Seer watches Henry move quickly towards the alley.


• Carnies part to let him through.


• The Seer begins to sing the strange melody, and the tents slowly fade into mist, the carnival performers drizzling into smoke until only she is left.


• She turns and slowly walks away, dissolving, leaving only city streets around her.


• FADE TO BLACK.

141. Baby Talk - Leslie

• FADE IN:


• INT. AIRPORT CONCOURSE - DAY


• DAISY stands by a small stroller and rolls it back and forth gently as she looks out over the mass of people rushing past on the concourse.


• She is dressed in jeans and a simple black t-shirt.


• Her hair is knotted in a single braid down her back.


• The collar of the shirt is low enough to reveal a collar of tattooed orchids that rings her neck.


• Her entire left arm is covered in collection of tattoos.


• Another WOMAN WITH A BABY CARRIAGE slows as she sees Daisy and slows, staring, then rolls on shaking her head.


• Daisy leans over the carriage, the piercings in her lip flashing.


• DAISY
• Don't worry about her, she just wishes she had my taste in art. You don't let anybody judge you, you hear me? You just keep your chin high.


• The BABY coos and Daisy smiles back at her.


• Daisy checks her watch and grabs her bag.


• DAISY
• Gate C12, C12...


• She pushes her stroller into the flow of human traffic, dodging PANTSUITED WOMAN who is charging towards the moving walkway daring anyone to get in her way.


• DAISY
• Quick, look. Darling, you see that look in her eyes? That's called crazy, you'll see it again. Best thing to do is get away...and if you can't, just nod slowly, agree, and try to run.


• She grins and pushes the baby on.


• She finds the gate and searches the crowded area for an empty seat.


• She finds one, and makes a bee-line for it.


• She sits, and struggles for a moment with her backpack, finally extricating a laptop from the tightly-packed bag.


• She surfs the net for a moment, pausing every so often to point out a picture or two to her child.


• DAISY
• Oh, look at this!


• The baby gurgles.


• DAISY
• I know, indulge me for just a second. See this woman. Senator Clinton. She's a tough cookie kid. I respect that a lot. Yes, that's a good point, I didn't vote for her. Doesn't mean I can respect her. Remember that, try to keep a healthy dose of respect tucked away for people you don't like. There's always something to find below the surface; but know when to toss the towel in too.


• A TEENAGER sitting next to her turns and watches for a moment.


• TEENAGER
• Dude, why are you talking to her like she's an adult? What are you telling her?


• Daisy looks up and contemplates the boy for a moment.


• Then she pinches his cheek.


• DAISY
• Aww, aren't you so cute? Look at that, are you flying all by yourself today? And the questions you ask, so grownup. Precious!


• He pulls back, confused, and stands up quickly, finding another seat.


• Daisy looks back at the baby.


• DAISY
• He'll get it at some point. You don't think he will? He looked like a bright enough kid. Fine, fine.


• The teenager has found a seat a few rows away.


• DAISY
• Hey kid!


• People turn and stare.


• The teenager tries to ignore her.


• DAISY
• I'm just leaving her with a few life lessons. You can't really do that with goo goo gaa gaa.


• Daisy returns to rocking the stroller and smiles down at her child.


• FADE TO BLACK.

140. Haiku Break (Songs of Capture) - Leslie

• 1.
  Destiny chases
  On quiet cat-feet, it hunts
  Don't run, embrace her.


• 2.
  My muse wandered by
  A little smile on her face
  Oh, I've got you now.
  


• 3.
  I crawled into night
  Its arms pulling me in, tight
  No escape, no fear.

139. Haiku Break (Songs of Escape) - Leslie

• 1.
  She lifted her wings
  Dove down, away from fear
  Let the sea drink her.


• 2.
  Close your eyes, child
  Disappear into your mind
  Lose yourself in dream.


• 3.
  She found the cell keys
  Slipped out through the wall's pores
  Melted into earth.

138. Perfect Timing - Leslie

• FADE IN:


• INT. STEVEN'S KITCHEN - DAY


• Steven paces the tile, tapping his fingers against the countertops.


• He looks in the refrigerator, it's completely empty.


• The house is bare, all his belongings packed away.


• A moving guy walks briskly past with the last of Steven's belongings.


• The door slams, and the truck moves away.


• Steven takes a deep breath, and paces some more.


• He opens the refrigerator again.


• STEVEN
• Stop, stop.


• He turns away from the fridge door and digs into his pocket.


• After a bit of fumbling, he pulls his cell phone out and flips it open.


• He places it to his ear.


• The faint sound of ringing escapes past his ear and echoes softly in the empty room.


• AUTOMATED VOICEMAIL
• I'm sorry, "Erin White" is not available at this time, press one to send a numeric page or wait until the tone to leave a message.


• STEVEN
• Hey Erin, I'm a few hours away from catching my flight. I'm feeling those lonely, moving jitters. Like I haven't been able to see everyone, or I'm forgetting something. I'd hoped you'd pick up. I just need a few minutes with you. I'm sorry for being an idiot these last few years, and it's probably too late to do anything about that right now, but I just want to see you. I think I missed out on the best thing in my life because I was scared you weren't exactly right. I'm probably running out of time. Meet me at the usual...I'll be there until three.


• EXT. ARCHER'S FIELD - DAY


• Steven paces the newly mowed field, around and around a copse of trees at the far edge. The large field curves across the hills.


• He looks at his watch, it's 2:45.


• He shakes his head, and hikes back to his car.


• He hesitates as he reaches the car, looking at the road, waiting.


• He sighs then gets in, and drives slowly back onto the road.


• The field sits empty, the trees swaying in the warm breeze as he begins to leave.


• A car pulls onto the field, coming from the opposite direction.


• The driver's side door flies open, and ERIN tumbles out in jeans and flip flops.


• She races after Steven's car.


• ERIN
• Steven, Steven!


• He never looks back, driving on.


• She slows, running out of energy and breath.
  


• Erin looks at her watch and her face twists. 2:55.


• She walks across the field.


• She sits down in the expanse of trees against a broad trunk and buries her head in her hands.


• FADE TO BLACK.

137. Nomadism - Leslie

• FADE IN:


• INT. KITCHEN - MORNING


• 5-YEAR OLD JACK MARSHALL runs into the kitchen and shows his mother an acorn he's found.


• She holds it up to the window as morning light and dust motes caress it.


• She reaches under the sink and pulls out a small plastic pot and hands it to Jack.


• Jack races out and his mother watches him through the window as he collects dirt for the pot.


• He returns inside with the pot and he and his mother carefully plant the seed and place it in the window.


• INT. KITCHEN - MORNING


• 10-YEAR OLD JACK carefully tends to a large pot in which a young oak tree is growing.


• EXT. KITCHEN WINDOW - DAY


• 15-YEAR OLD JACK works on trimming what has now developed into a small bonsai.


• He carefully pats the dirt around the base of the tree and stands up, satisfied.


• He walks to the driveway and places the tree in a small holder on the side of a motorcycle above saddlebags packed tight.


• He pulls on a leather jacket and waves to his mother before hopping on the bike, roaring out of the driveway, and down the road.


• EXT. GALLEY WINDOW - EVENING


• 25-YEAR OLD JACK sits on the deck of a sailboat, leaning against the galley window.


• Helen sits next to him holding his hand and the bonsai tree sits between them, behind the window, it's delicate leaves still as the boat rocks.


• He points out Venus to her and she pulls in a little closer.


• EXT. GALLEY WINDOW - DAY


• The tree has grown little, but it has thickened, it's tiny branches still reaching out and tasting the sky as it sits outside above the galley window. 40-YEAR OLD JACK sits beneath it watching his two DAUGHTERS race around the dock.


• EXT. GALLEY WINDOW - DAY


• 50-YEAR OLD JACK prunes the tree as his daughters watch.


• He begins to teach them how he takes care of his friend.


• EXT. GALLEY WINDOW - EVENING


• 70-YEAR OLD JACK sits on the deck winding rope by the tree watching his daughters tend the boat. He carefully picks up the tiny oak and works on trimming its roots. HELEN sits next to him and watches.


• EXT. SAILBOAT - DUSK


• HELEN and JACK's children stand by the boat's railing. One holds the tree as the other lowers two urns into the ocean. They turn, placing the tree in its spot of honor on the deck then sail away into the night.

136. Domesticity - Leslie

• FADE IN:


• INT. KITCHEN - MORNING


• 5-YEAR OLD JACK MARSHALL runs into the kitchen and shows his mother an acorn he's found.


• She holds it up to the window as morning light and dust motes caress it.


• She reaches under the sink and pulls out a small plastic pot and hands it to Jack.


• Jack races out and his mother watches him through the window as he collects dirt for the pot.


• He returns inside with the pot and he and his mother carefully plant the seed and place it in the window.


• INT. KITCHEN - MORNING


• 10-YEAR OLD JACK carefully tends to a large pot in which a young oak tree is growing.


• EXT. KITCHEN WINDOW - DAY


• 15-YEAR OLD JACK works on transplanting the tree into the ground outside the window.


• He carefully pats the dirt around the base of the tree and stands up, satisfied.


• EXT. KITCHEN WINDOW - EVENING


• 25-YEAR OLD JACK sits under the tree with HELEN and they hold hands, watching the stars.


• He points out Venus to her and she pulls in a little closer.


• EXT. KITCHEN WINDOW - DAY


• The tree has grown large, overshadowing the house, 40-YEAR OLD JACK sits beneath it watching his two DAUGHTERS race around the yard.


• EXT. KITCHEN WINDOW - DAY


• 50-YEAR OLD JACK prunes the tree as his daughters watch.


• He begins to teach them how he takes care of his friend.


• EXT. KITCHEN WINDOW - EVENING


• 70-YEAR OLD JACK sits in a rocking chair by the tree watching his grandkids play in the yard. HELEN sits next to him and watches the kids.


• EXT. KITCHEN WINDOW - DUSK


• HELEN and JACK's children stand by the tree as two urns are placed in the ground and the base of a tree and a plaque attached to its thick trunk.


• FADE TO BLACK.

135. The Enlightenment of Art - Leslie

• FADE IN:


• EXT. CITY BLUFFS - LATE AFTERNOON


• ART sits cross-legged at the edge of the cliff looking over the city.


• ANGIE sits next to him, legs dangling off the edge.


• ANGIE
• I'm glad you got this time off. Ever since the bombings you haven't had a chance to sleep...do you think it'll ever happen here?


• ART
• I don't think so; but who knows? I think you can't live with that hanging over you.


• Art's cell phone begins to ring.


• ART sits cross-legged at the edge of the cliff looking over the city.


• He pulls it off his belt and looks at the number; his back stiffens to ramrod straight as he sees it.


• ANGIE
• Your boss?


• Art grins.


• ART
• Habit.


• He answers the phone.


• ART
• Sir? Yes, sir. Sir? And there's no chance of...? Yes sir, Could I bring...? No, sir? Alright. Yes, I'll be doing that. Thank you, sir.


• He hangs up, looking at the phone for a long moment.


• ANGIE
• You have to go to work?


• ART
• No.


• ANGIE
• Good. Wait, what's wrong?


• Art looks up and smiles at her.


• ART
• Nothing. It's good to be here with you.


• She pokes him in the ribs.


• ANGIE
• BFFs?


• ART
• Always.


• He looks at her.


• ANGIE
• Something's wrong.


• ART
• I just realized that I've been an idiot for a very long time.


• He kneels in front of her.


• ART
• I think I've been scared for a very long time. Scared of this, but we're the best thing that ever happened...for each other anyway, I mean. Will you marry me?


• Angie looks at him for a long moment, her eyes dancing.


• A flash catches her attention, and she starts to turn towards it.


• ART
• Look at me.


• He pulls her face back towards him.


• ANGIE
• Yes.


• He leans in and kisses her.


• Behind them, a mushroom cloud expands, a silent shock wave racing towards them.


• He stares straight into her eyes, and she is lost, unaware.


• The world turns white, and shockwave after shockwave passes over the cliffs.


• As the dust fades, all that is left are the shadows of the kissing lovers.


• FADE TO BLACK.

134. Contact - Leslie

• FADE IN:


• INT. DEREK'S APARTMENT - EVENING


• Derek stands by a window in his apartment.


• He holds a pair of binoculars in his hand and peers out the window across at LEE's apartment.


• A phone sits on the end-table next to the window.


• He looks at his watch as the second hands tick towards 12; then looks up in anticipation as the hour hand ticks to 7 pm.


• LEE opens the blinds of her apartment.


• Derek pulls the binoculars to his face and watches her.


• She dances around the apartment, her black t-shirt and striped pajama bottoms standing out from the deep red walls of her living room.


• She plays air guitar for a while, lost in the music.


• Derek watches, completely still.


• She disappears from sight.


• The phone behind Derek rings and he reaches for it without even looking.
  


• He puts it to his ear.


• DEREK
• Hi Lee.


• LEE (V.O.)
• Hi Derek, good evening.


• She steps back into sight across the street, holding her own pair of binoculars.


• Her arms are covered in tattoos that swirl into each other, dancing dizzily on her skin.


• DEREK
• Nice moves.


• LEE
• Why thanks. I like that tie you're wearing.


• Derek loosens it a bit and readjusts his thick glasses.
• 
  
• DEREK
• Man will only become civilized when he stops tying a noose around his neck.


• Lee throws back her head laughing, binoculars at her side.
• 
  
• Derek smiles, pleased.
• 
  
• LEE
• How was your day?


• She looks at her watch.
• 
  
• DEREK
• You should go, I know you don't have too much time today. I'd like to do coffee soon.


• LEE
• Thanks for understanding. About the coffee; I don't know, are you sure we're ready for that?


• DEREK
• I don't know.


• LEE
• I don't think I am.


• DEREK
• Well, I won't rush you, we'll wait.


• LEE
• You're a sweetheart. I really can't wait to see you in person, I just, it's not time yet.


• DEREK
• I can't say I completely get it, but I'll respect it; I can't wait either.


• LEE
• Thanks babe. Tomorrow?


• DEREK
• Same time.


• They hang up at the same time, the phones clicking.
• 
  
• She peers at him for a moment longer through her binoculars, then closes her blinds.
• 
  
• He waits, then closes his too, turning towards his apartment with a quiet sigh.
• 
  
• FADE TO BLACK.

133. Threes - Leslie

• FADE IN:


• INT. GYM - DAY


• ERIK and JORDAN stand by a set of free weights by the gym window.


• Erik slides onto a nearby bench and begins doing a set of curls, head cocked as he stares admiringly at his biceps.


• Jordan is glued to the window watching the ebb and flow of pedestrians.


• JORDAN
• I need a woman.


• ERIK
• I'll get right on that.


• JORDAN
• I'm serious. But she's gotta be a ten...I mean, I might settle for a nine, but she's gotta make up for that missing point somehow.


• He leers at Erik.


• ERIK
• So what constitutes a ten in your mind?


• ALANNA, who is working out nearby, tilts her head to listen closer.


• Jordan holds up his hand.


• JORDAN
• One, she's got to...you know what? Better I just show you.


• Erik finishes his set and comes to the window.


• He points to a woman.


• JORDAN
• Ehhh, five.


• ERIK
• How about that one there?


• JORDAN
• Ooh, nice, could be an eight but she walks all wrong. Six.


• A woman walks past with a seductive gait.


• ERIK
• There's a seven.


• JORDAN
• Hmm, yeah, seven.


• ERIK
• Ok, I see what you're going for. Nice taste.


• JORDAN
• Thanks.


• Alanna turns to them.


• ALANNA
• Ehem.


• The guys twist towards her, surprised and gape; she's beautiful.


• She looks them up and down, then looks straight at them.


• ALANNA
• Three.


• She turns on her heel and walks off.


• The guys stand shocked, watching her exit.


• FADE TO BLACK.

132. True Love - Leslie

• FADE IN:


• EXT. LIGHT RAIL TRANSIT STATION - DAY


• ROBBIE stands, leaning against a column on the station platform, eyes half-closed.


• He readjusts, trying to find a comfortable position before giving up and staring enviously at the benches packed with other waiting passengers.


• A movement catches his eye and he opens his eyes and lets them dart across the room to pinpoint the distraction.


• AMI walks across the platform, loose pants swishing against the ground and scarf catching a slight breeze and floating behind her.


• Robbie stares at her.


• She notices and turns to find the eyes boring holes in her back.


• She sees him and stops.


• They stand still, looking for each other for a long moment, lost in a silent conversation.


• Her train arrives breaking the peace.


• She shakes her head and races onto the train.


• Robbie instinctively follows her as his own train pulls into the station.


• He stops, looks back at his train, and then hers. He runs for her train as she steps in.


• The doors begin to close.


• Ami sees Robbie and their eyes catch each others' again.


• She pauses, then grabs a pen from her purse and scribbles down her contact info onto a piece of scrap paper from her purse.


• She tosses it out the window as the trains begins to leave the station.


• It floats towards Robbie, then away towards other train tracks.


• Robbie pauses, considers the electric current buzzing through the subway system's central rail.


• He looks at the piece of paper, drifting tantalizingly close.


• A train screams past on the next track, and he turns his head to see it, then watches the paper again, then down to the third rail.


• He purses his lips and begins to run, following the paper.


• It wafts closer and closer to him when a gust of wind pulls it away, down the tracks.


• Robbie sits, staring at the paper as it moves further and further away from him.


• FADE TO BLACK.

131. Immortal - Leslie

• FADE IN:


• INT. CAR - DAY


• ADAM sits inside a small compact car, an empty look on his face.


• He flinches every so often with concentration as he drives.


• ADAM (V.O.)
• Hey honey, I have something to tell you. I went to jail today.


• The little compact whizzes past medians on the wrong side of the road.


• ADAM (V.O.)
• It's simple really. I'm invincible. I mean, on some intellectual level I know I'm not; but it's how I feel, and that's all that matters.


• Tires squeal as cars slide out of his way.


• Adam's path never changes as he hurtles along the highway in a perpetual game of chicken.


• ADAM (V.O.)
• I'm not always like this; but some days I just have enough, and frustration turns into anger and I lock it away inside and it sits there and festers and I break out with a case of numbness. And then I become invincible.


• Lights begin flashing behind him as a cop follows in mad pursuit.


• ADAM (V.O.)
• Something on the edge of my conscious mind tells me I should be worried about this. But I'm more worried that I'm not worried. But I'm not really worried about that either, if you get my drift.


• A car slams into the guardrail as it tries to avoid Adam.


• ADAM (V.O.)
• Sometimes I just snap. My dad used to say he saw red when he got angry. I see cold blue. When I snap, there's no explosion, just a gradual descent into this. And for a few moments, I know that I will live forever.


• His car races faster.


• As he rounds the bridge, a bank of cops line the road, creating a blockade.


• He slams through a line of nails and two of his tires blow.


• He slides towards the row of police cars flashing their lights.


• ADAM (V.O.)
• Cops really don't like invincible people.


• FADE TO BLACK.

130. Haiku Break (Mind States) - Leslie

• 1.
  My private ocean
  Mental space: storms/doldrums
  A grand neuron sea.


• 2.
  She dances in blue
  Rhapsody in orange blossom
  Spinning through my dreams.


• 3.
  Seethe, release, seethe more.
  Don't hold it in, could explode
  Seethe more, go numb, seethe.

129. Haiku Break (Found Art) - Leslie

• 1.
  Honeysuckle air
  Find my small, city treasures
  Love Chattanooga.


• 2.
  Two inky black swirls,
  A dash of purple, hard shell
  Oh! marbles; that one's mine.


• 3.
  Listen to the roar.
  Run! Look in the gravel. There!
  A quarter, no more.

128. Chip or Death? - Leslie

• FADE IN:


• EXT. PORCH - DUSK


• AUTUMN sits pensively on a rocking chair a bag of butterscotch baking chips balanced on one leg, and a bag of cinnamon baking chips on the other.


• She carefully pulls one chip from each bag, studies them, then tosses them into her mouth, chewing slowly.


• She closes her eyes, satisfied.


• AARON
• You and all that sugar. It'll kill you some day.


• AARON stands at the door of the house, an apron around his waist.


• His face is creased with laugh lines, and his thick, strong hands rest easily at his side.


• AUTUMN
• Dying is unavoidable.


• AARON
• Yeah, but I wouldn't mind you postponing your imminent demise a bit.


• Autumn shrugs.


• AARON
• Dinner's almost ready.


• He turns back to the house but Autumn grabs his hand.


• AUTUMN
• Just a few minutes.


• He consents, and lets her pull him into her lap.


• They sit, the chair squeaking as it rocks, looking out over the city.


• The setting sun picks up the gray hairs on Autumn's head and turns them a deep silver.


• She carefully selects two chips and pops them in his mouth.


• He closes his eyes and savors them.


• AUTUMN
• Screw death.


• AARON
• Mmhmmm.


• She pops another chip in his mouth; he chews.


• AUTUMN
• Hypocrite.


• AARON
• Mmhmmm.


• They rock for a long moment.


• AARON
• The food's going to burn.


• AUTUMN
• Screw the food.


• Aaron laughs.


• AARON
• This is why I said yes.


• AUTUMN
• Hmm?


• AARON
• When you proposed to me. Today is almost as pretty as that day was.


• AUTUMN
• Almost.


• She smiles and kisses him on the nose.


• AARON
• You think that we have this network of...something, something that connects us that's gotten broken somewhere along the way and this, this right here fixes the damage?


• AUTUMN
• Some metaphysical telephone line that connects humans?


• AARON
• Something like that.


• AUTUMN
• And we're the technicians working on fixing it?


• AARON
• Something like that.


• AUTUMN
• A little late in your life for deep thoughts, hmm? Keep it simple A. But...who knew fixing telephone line could be so complex...or fun?


• She grins slyly at Aaron.


• He squeezes her and she shrieks.


• They rock as the sun sets and as gray smoke begins to seep out from under the door, oblivious to the world.


• FADE TO BLACK.

127. Box Dance - Leslie

• FADE IN:


• INT. LIVING ROOM - DAY


• AMY sits cross legged on the floor of her bare living room, surrounded by neatly sealed boxes and plastic containers.


• Her laptop sits open on one of the boxes, softly playing music.


• The door squeaks open and FERNANDO walks into the room.


• FERNANDO
• Hey, you ok?


• AMY
• Hate leaving, makes me feel nervous. I start feeling it here.


• She touches her ribcage.


• FERNANDO
• A little hard to breathe?


• AMY
• And I want to see everyone and I'm afraid I want, and I want to hold onto them.


• Fernando moves closer and sits on a box next to her.


• AMY
• Nothing really seems to fix it. Thanks for helping though, I couldn't have finished without your help.


• Fernando shrugs.


• FERNANDO
• Sorry I can't take away the moving anxiety.


• Damien Rice's "Cold Water" begins playing on the laptop.


• Amy sinks a little lower.


• AMY
• I love this song, but so wrong for my mood.


• Fernando, stands up, moves over to her, and offers his hand.


• She takes it and stands up.


• He pulls her close into a dance position and begins slow dancing to the music.


• Amy places her head on his shoulder.


• AMY
• Thanks, Nando.


• He spins her out, and back again, and they dance in-between the boxes.


• FADE TO BLACK.

76. I Met Obama Today! by Scott Wright




• I met Barack Obama today, at 6:35 AM, in Mishawaka, Indiana! Both Hillary and Obama have been in and out of my backyard for the last three weeks, trying to rally up that last push before primary day here in Indiana.
  
  I had been drinking heavily last night and I knew if I went to bed I wouldn't wake up in time to vote. So, what I did was drank coffee with my Southern Comfort all night and set my alarm for 5:45 AM. I listened to Crosby, Stills and Nash for most of the night because I was drunk, or maybe I was drunk because I was listening to them. Either way, when the alarm went off I walked out to my car with a pounding headache, and the door was locked. I went back inside to look for my keys, nothing. My car window was rolled down about an inch so I tried to shimy it down and squeeze my arm through to unlock the door. I heard a crack. I sighed, and ripped my arm back out, cracking half the window. My forearm was cut. Damn it. On my front seat was a purse and there was a chrome, scarab beetle hanging from the rear view mirror on Mardi Gras beads.
  
  I didn't have a purse or Mardi Gras beads, or a chrome Scarab. It wasn't my car and that's when I realized how drunk I was.
  
  I found my keys and drove to the voting precinct, even though it was only a block and a half away. That's when I noticed the crowd at the 7-11, which is right next to the Regency where you vote. That's when I saw him. It was seriously like seeing an alien figure or an Our Lady of Fatima sighting. I didn't even notice I had run a red light and there were about ten cops behind me. Apparantely, they were too caught up to notice me.
  
  So I parked like three blocks down due to lack of parking spaces. By the time I made my way back they were heading into the Regency. I ran as fast as I could, closing one eye so I could see because I was so drunk everything was double. I made my way in the small foyer, and broke through the crowd. I found a seat right next to him and sat down. There were women and men of all ages surrounding him. I wanted to tell him that I wasn't a redneck. That here, in the Rust belt, when the jobs are shipped over seas I don't cling to guns or religion in times of crisis, that never works. I mean it does help, but not like good old fashioned whiskey. Now that's what does work. I wasn't going to tell him that, though. These thoughts went through my head when people started slowly filtering out. Finally, a man in a nice suit coat walked up to me and asked if he could help me.
  
  I said I wanted an autograph from Obama. He said, who?
  
  Obama.
  
  He said Obama wasn't here, that they're not allowed to hang out in front of a voting booth. I said, oh, well I'm a redneck, sorry. I asked him why the crowd was here. He said, um, sir, it's Primary day. I got out of there before he could call the cops, but before I left I saw Obama again in the back, but he was making coffee and sweeping up the floor. Damn it, no more booze.

126. Rows of History - Leslie

• FADE IN:


• INT. KITCHEN - DAY


• Warm summer sunlight pours in through the windows on two sides of the kitchen, highlighting the chair on which LANDON, an eight-year-old slouches.


• ARLENE, his mother, pulls at his hair, forming it into tight cornrows.


• Landon winces.


• LANDON
• Ouch!


• ARLENE
• Stay still Landon, or it'll just take longer.


• He twists in the chair, moving his head.


• His mother gently smacks his skull with her comb.


• ARLENE
• Keep your head down.


• LANDON
• I just want to go outside and play, I don't want these stupid braids!


• ARLENE
• There's history in those braids, son, don't you forget. These braids hold the history of your people. They hold the stories of the slaves. They traveled with us across the great sea. Don't you forget.


• Landon appears bored.


• Arlene gives a strand of hair a final quick twist.


• ARLENE
• Alright, all done, go play.


• Landon bounds from his chair and races to the door.


• EXT. FRONT YARD - DAY


• Landon joins a few of his FRIENDS, playing near the sidewalk.


• ERIC, one of the largest in the group, points and laughs.


• ERIC
• Hey look, Landon got cornrows! Going to wear some bling with that?


• Landon draws himself up.


• LANDON
• Hey! Back off. There's history in my braids.


• FADE TO BLACK.