182. New Soul - Leslie

• FADE IN:


• EXT. SUNSET BLVD SIDEWALK - DAY


• OLD MCHENRY passes, walking three steps forward, three steps back, up and down a single crack in the sidewalk.


• OLD MCHENRY
• Ehhh, one, one, one, ring around, ring around Eve and Adam, mmmm. New soul in the garden.


• The SECURITY GUARD at a nearby bank watches.


• SECURITY GUARD
• Hey McHenry, think you could do that horizontally, mix it up a bit? You're boring me to tears.


• McHenry doesn't blink.


• He stares intently at a TINY palm sapling that has fought it's way up through a crack at the end of the sidewalk.


• Pedestrians cautiously pick their way around him.


• He swings his head towards the oncoming traffic, the finest thread of sanity shining in his pupils.


• The guard walks over wrinkling his nose at McHenry's stink.


• SECURITY GUARD
• What're you looking at Mac?


• He spots the sapling.


• SECURITY GUARD
• Stupid weed.


• He leans down and plucks it out of the ground, casually tossing it onto a small patch of grass.


• McHenry's eyes go wide and he shrieks.


• The guard walks backwards nervously, then shakes his head disgusted.


• SECURITY GUARD
• Demented idiot.


• McHenry wails, rocking back and forth.


• He grabs for the sapling as pedestrians walk into the street to avoid him.


• He pulls the plant to his chest, then attempts to carefully push it back down into the crack.


• When he does not succeed, he pushes harder and harder trying to force it down.


• Finally he stops, the dead plant lying on the hot cement.


• He kneels, huddling over the crack with the sapling lying under his shadow, rocking back and forth.


• OLD MCHENRY
• New soul, new soul, new soul, new soul.


• FADE TO BLACK.

181. Haiku Break - Songs of Waiting

• 1.
  Thin-skinned, fragile, soft
  A cocoon in space, drifting
  Your fingers, my skin.


• 2.
  Patience is virtue,
  Wait, wait, longing, wait for it
  We'll pass, stop, then know.
  


• 3.
  She steps into sky
  Trusting distant deity
  Will she find her song?

180. Fragility - Leslie

• FADE IN:


• INT. YE OLD MUSIC SHOPPE - NIGHT


• Ye Olde Music Shoppe is small, comfortable venue, with couches scattered across the floor along with little end tables covered with candles.


• Tiny paper lamps hang from the ceiling, strategically placed to accentuate the mood.


• A small bar is tucked into a corner in the back and patrons whisper their orders to the bartender as musicians play.


• ROBIN sits on a dark blue couch with ANDREW as they wait for the next musician to play.


• ALYSSA, a slight woman in a t-shirt and faded jeans, steps onto the stage and climbs onto a bar stool.


• Her guitarist slips into the shadows of the stage and sits behind her.


• Her dark hair wraps around her face and down her chest.


• She turns and nods to her guitarist and his fingers caress the strings.


• Alyssa closes her eyes and begins to sing.


• Robin freezes and stares at her caught within moments by her voice.


• The whispering at the bar softens.


• Andrew yawns and looks over at Robin.


• Alyssa's voice dances between delicate whispers, so small that any other noise might shatter it, and powerful harmonies, rich with passion.


• Andrew leans over.


• ANDREW
• Well look at that, I can now say I've been present as an infatuation of yours was conceived. I'm glad I've actually witnessed this.


• ROBIN
• Shhhh.


• ANDREW
• So what does it for you about her.


• ROBIN
• Look at her, she's looks like Lisa Hannigan; and sounds like her too, but the stories she's telling, it's like a female Counting Crows; how could I not fall in love?


• ANDREW
• Lisa Hannigan?


• ROBIN
• Sings with Damien Rice.


• ANDREW
• Ah, right. I tell you what else it is; she seems fragile.


• ROBIN
• Come on.


• ANDREW
• Dead serious; you may talk the talk, equality, all that, but deep down, you want to rescue some girl...you're just dying to do that.


• ROBIN
• Oh come on, maybe I know I'm fragile and I want someone who understands that.


• ANDREW
• Sure sure. You know, the thing is, we're the fragile ones, so I'm glad you get that.


• ROBIN
• We're all fragile. We all break when we're dropped.


• Andrew rolls his eyes.


• ANDREW
• Ok, now that the cheesy is out of your system. Your problem is that you live in here.


• Andrew taps Robin's forehead.


• ANDREW
• You fall in love, date, and beak up with hundreds of women all in your head. You're an emotional slut in a weird one-way street kind of way.


• ROBIN
• Nice, real nice. Dude, can I just listen?


• Andrew shrugs.


• ANDREW
• Fight your fear or whatever...you should go talk to her.


• ROBIN
• Ehhh.


• ANDREW
• She has a nose ring, you love nose rings. I get it, you're fragile. Get over it. Go be fragile together. And I'm sure you love the fact that every song she sings breaks your heart just a little...y'all would be perfect for each other.


• Robin leans back, attempting to ignore Andrew and listen to Alyssa's set.


• Alyssa finishes up her sets and the small crowd claps appreciatively.


• She steps off the stage and Andrew looks over at Robin and raises an eyebrow.


• ROBIN
• Fine!


• Robin take a breath, gets off the couch and walks over to her.


• Andrew watches as Robin introduces himself and they begin speaking.


• Alyssa's face lights up and they move to a corner to talk.


• Andrew watches them for a bit, his lips pursed, then shakes his head wistfully.


• ANDREW
• I'm one to talk about being afraid.


• He takes a long look at Alyssa, then sighs and stands up, slowly walking to the door.


• He turns back one more time, then steps outside, the darkness swallowing him.


• FADE TO BLACK.

179. The Basin - Leslie

• FADE IN:


• INT. SKID ROW HOMELESS SHELTER CAFETERIA - EVENING


• TANYA sits inside the large room with a large basin and pitcher at her feet and towel draped over her knee.


• She fidgets, twisting in the chair towards the open door at the end of the room, waiting.


• JOE walks up behind her and puts a hand on her shoulder.


• JOE
• You ok?


• TANYA
• Just a little nervous.


• JOE
• Yeah, I was too, my first night.


• TANYA
• I just, it's hard pulling my emotions and my intellect together. Intellectually, I'm ready to do this, emotionally I still, I don't know; I'm still scared, still really judgmental.


• JOE
• I still catch myself sometimes, thinking I'm better; but I'm not. Just a few different choices, and I could be out there on the streets too.


• Footsteps sound in the hallway.


• JOE
• Well, here they come.


• He pats her on the shoulder and walks off.


• A group of homeless women walk into the room and into the cafeteria as volunteers guide them between tables.


• ELLEN, a young woman is pointed in Tanya's direction.


• She walks cautiously to the empty chair in front of Tanya and sits, clutching a stained backpack covered in little buttons.


• TANYA
• Hi, I'm Tanya. I like your buttons, those are pretty cool.


• ELLEN
• Hi.


• TANYA
• You can put your backpack down.


• ELLEN
• I'd rather not. Um, is there food or something? What's the bowl for?


• Tanya smiles.


• She reaches down for Ellen's foot.


• TANYA
• May I?


• ELLEN
• Uh, wait, you're taking my shoes off? Wait, wait.


• TANYA
• I'd like to wash your feet.


• She gets off the chair and kneels by Ellen.


• ELLEN
• Uh, I guess you can.


• Tanya finishes taking Ellen's shoes off.


• Her feet are cut up and bruised from walking, thick callouses on the soles.


• Tanya takes her feet and gently places them in the warm water of the basin.


• As she washes, Ellen looks down uncomfortably, tears threatening at the edge of her eyes.


• Tanya rinses her feet, then slowly begins to dry them.


• Ellen wipes her eyes quickly.


• Tanya begins putting the shoes back on Ellen's feet.


• ELLEN
• I can do that.


• She puts her shoes on, then looks up.


• ELLEN
• Thank you, I've never had anyone do anything like that for me before.


• TANYA
• You can head over there for some food and your bed assignment.


• She points to the other end of the room where a line is forming.


• Her eyes meet Ellen's and Ellen smiles for the first time, shyly.


• Tanya begins crying.


• Ellen sits still for a moment, then puts her hand on Tanya's shoulder.


• ELLEN
• It's ok, it'll be ok. Thank you.


• Tanya nods.


• Ellen kisses her on the cheek, then stands, disappearing quickly into the gathering crowd.


• FADE TO BLACK.

178. Dead Weight - Leslie

• FADE IN:


• EXT. CITY RUINS - DAY


• The city lies dead, its towers shattered, streets empty of almost all life while a gray sky keeps watch overhead.


• The hills around the city are covered with the remains of battle, thousands of bodies in that flow from the streets onto the once-green slopes.


• A WOMAN in a torn skirt and dirty corset walks slowly through the streets, kneeling at each body for minutes at a time.


• Her face is hidden underneath a thick gas mask.


• A BOY and his FATHER walk quickly through the streets, their faces also covered by masks.


• The boy spots the woman and tugs at his father's sleeve.


• FATHER
• Come on, we can't stop.


• The boy keeps tugging.


• His father looks down at him and the boy points to the woman.


• FATHER
• That's the Death Angel.


• His son's eyes widen.


• FATHER
• Not a real angel, that's just what they call her. They say she holds all the names in her head. All the faces and the names of the dead. I've heard people say the dead sleep insider her mind.


• He speaks softly, almost to himself.


• FATHER
• The weight of that...


• He pulls his son away.


• The woman kneels next to a body and searches for identification.


• She finds dog tags and wipes them off, then reads the name.


• DEATH ANGEL
• Sgt. Rebecca Murcheson. Rebecca. Rebecca. Peace to you Rebecca.


• She touches the sergeant's face and then inhales deeply.


• Holding her breath she pulls her mask off, exposing her face to the toxic air.


• A tear has traced its way to her cheek, about to drip down.


• She catches the tear, then takes it and with it, draws a tear-streaked cross on the sergeant's cheek.


• She pulls the mask back on, then wearily stands and walks to the next body, kneeling slowly.


• FADE TO BLACK.

177. All In The Eyes - Leslie

• FADE IN:


• EXT. TOMB OF THE UNKNOWN SOLDIER - DAY


• SGT. LOUIS GRAY stands ramrod stiff, watching the crowds of tourists flock past his guard post.


• He stares straight ahead, keeping alert for trouble makers and scanning the area as best as he can with his peripheral vision.


• A motion catches the corner of his eye and he sees a YOUNG TEENAGE BOY with a super soaker coming into his range of vision.


• The boy stops right in front of him, staring him down.


• Sgt. Gray stares back, his eyes becoming steely.


• He tightens his jaw and the teenager lowers the barrel at him.


• Gray's eyes focus.


• The boy grins, his own eyes taunting as he plays with the trigger.


• They stare at each other for a long moment, then the boy nods, surrendering and begins to lower his gun.


• Gray's eye's relax and a movement catches his eyes as they reflexively flick left towards a LITTLE GIRL out of control on her bike.


• A stream of water hits his face and his eyes zip back to boy.


• The teenage boy's gun is raised as he grins triumphantly pumping away and soaking the sergeant's uniform.


• The surprise leaves Sgt. Gray's eyes and they return to their previous steeliness, but he gives a small slight nod to the boy still soaking him.


• FADE TO BLACK.

78. Murder or Not, Here I Come-Eric




• "This story is just light comedic exercise I did when I get bored. Hope you enjoy.
  
  Well, what I'd like to do is stick a chain saw so far up that cock sucker's ass he could mow grass with his teeth," said Brandon, sipping his coffee.
  
  The large mug looked so tiny in his gargantuan hands. Brandon looks as rugged as the pine trees he logs all day.
  
  "It's not like you to be polite and coy, Brandon. Why don't you tell us what you really want to do with him?" Little Tim said sarcastically.
  
  Any passerby could mistake them for a comedy sketch-short twig-thin Tim sitting next to a giant.
  
  "What do you think, Chipen Dale?" Brandon says.
  
  His name was actually Dale, but they often referred to him as Chip, or Chipen Dale. He earned the moniker by being the group's computer geek. Chip was the only one in the group savvy and sly enough to put a hidden miniature camera and recorder in his wife's purse before her appointment with Craig Rake, a licensed psychologist. Thanks to Chip (whose idea it was for their wives to visit Craig in the first place) they discovered he wasn't your garden variety psychologist.
  
  The three of them couldn't help but to notice how their wives shined throughout the week after their appointments with him. They also noticed, and overheard telephone conversations between their respective wives. And how they would run off to a back room to talk when discussing Craig Lake. It wasn't long before they made a few slips here and there and that's when Chip decided to take matters in his own hands.
  
  Chip waived cigarette smoke out of his face that drifted over from the booth behind them and said, "What do I think? I think we're looking at this all wrong. You guys know how when you were a kid, well not even a kid. Tim, remember when your coworker, that dipshit what's-his-fuck, got that supervisor position before you did? You didn't even want it, you said you didn't like doing customer retention. You never in a million years would have taken that job, but it doesn't matter, he had something that you didn't that you thought you deserved and you despised him for it."
  
  Brandon eyed his half-eaten stringy omelet with disgust and looked back to Chip.
  
  "What's your point, Chip?" Brandon asked.
  
  "My point is, it's just like when you're a kid, and another kid takes a toy you haven't even played with in five years. You might even despise the damned toy. But you get mad anyway because that's just human nature. You have some kind of ego stake in it."
  
  Tim drained that last bit of coffee out of the chipped mug and said, "So what you're saying is, even though this guy bagged not one, but all three of our wives when they were supposed to be getting therapy, we should let it go on the pretense, this twisted notion that we should forgive him because we've evolved and put away our boyish pride and selfishness?"
  
  "No, what I'm saying is, maybe this guy is just doing us a favor, a bigger favor than we realize. You guys haven't been laid since your Honeymoon, you both probably couldn't get laid if you were in prison. Anyway, you don't care about your wives, you don't concern yourselves with them. So I say let this bloke do it for us," Chip said.
  
  Brandon waived away the waitress in her short skirt carrying a coffee pot, and sneered at Chip. He said, "First of all you're crazy if you think I'm going to let that bastard get away with this. And you're even crazier if you think I'm going to pay him to do it."
  
  Brandon stood up, like a towering wall that no arrow of reason or suggestion could penetrate, except for Little Tim. Brandon pointed to his side, a spot in his shirt bulged slightly. He lifted it, revealing a black holster and strap.
  "I should go over there right now!" Brandon yells.
  
  The other patrons turned and stared at him. Their waitress leaned over and whisper something into the ear of the manager.
  
  Tim grabs his shirt collar and slowly tugs him down.
  
  Tim looked to Brandon nervously and said, "I'm all for hurting this guy, but I ain't gonna commit murder and neither are you."
  
  Sometimes Little Tim, although physically puny, had a commanding and soothing air about his voice. Things made sense when Little Tim said them, just because he was Little Tim.
  
  But Chip was the real brains, the logistics expert, the planner.
  
  "Look guys," Chip said, "How many times have you cheated on your wives?"
  
  They both lowered their heads, staring at their empty coffee mugs.
  
  "My point exactly. What I think we need to do is shake this guy up a bit," Chip said.
  
  He lowered his head and voice and continued, "But no guns, not even weapons. We can all be waiting for him in his living room when he comes home-"
  
  The waitress placed the check on the table and glowered at Chip for a moment before leaving.
  
  Chip continued, "I'll find out what time he gets home and the details-"
  
  Brandon interrupts him with his gruff tone, "What about alarms?"
  
  Chip grins like a wolf and says, "I'll take care of it. And we better get out of here before they throw us out."
  
  The waitress and manager were looking at their table, arms crossed.
  
  "I'm staying right here until I figure out what kind of food they slopped on my plate," Brandon said.
  
  Tim eyed the omelet, which was now dry. The chess smeared and stuck dry on the rest of the plate. Chip opened his wallet and through a few bills on the table and stood up.
  
  "Suit yourselves," he says, and walks out of the smoky diner.
  
  A minute after he leaves, Brandon turns to Tim and shakes his head.
  
  Brandon lifts his shirt and says, "I don't care what Chip says, I'm going to kill that bastard psychologist, just you watch."
  
  Tim flushes white and places a hand on Brandon's shoulder.
  
  "Brandon, Brandon," he says, "Let's think about this, okay?"
  
  Brandon shakes his head and stands up. He walks out of the diner. As he leaves, the bell over the door jingles and the waitress and manager's shoulders seem to sink down in relief.
  
  ***
  
  A few days later, Chip drives down the interstate in his old green Camry. He flips open his cell phone and presses a button. The evening sun sinks behind a purple mountain as he continues cruising down the interstate.
  
  Chip's face contorts in a mixture somewhere between fear and anger.
  
  "We were supposed to go there together, what the hell are you guys doing there? Hello? Hello?"
  
  Chip flips the phone shut and throws it at the passenger side window.
  
  "Just great, just fucking great," he mutters, and floors his little sedan as fast as it will go.
  
  Some twenty minutes later he arrives, traveling so fast he skids onto the yard from the driveway. The tires dig deep muddy trenches into the grass. Chip opens the door and launches out of the car. He runs to the large colonial house. There are no lights on. Two stone lions guard the door. He rushes to the porch and runs into the house. The first thing he hears is a muffled scream in the back of the house and then glass shattering.
  
  Chip walks slowly through the house, like a cat prowling through a dark house at night. It smells like a museum. He scans the room and notices a fireplace. Paintings he doesn't recognize line the wall, and the long dark hallway. The floor creaks beneath his feet as he passes what seems like an infinite row of oak doors on either side of the hallway.
  
  Eventually he hears a muffled scream through a door on his left. He opens it to find one Craig Rake bound and gagged on a stool in a large study. Dusty books line the wall. A piece of unknown varnished furniture is nestled in the open space where the window used to be. Craig's back is arched uncomfortably to a sloop and he is red as a strawberry; dried blood cakes his face like mud.
  
  Behind him, and holding a .45 to Craig's head is Brandon. He is red-faced and the veins on his neck could burst at any moment. Chip looks to Tim, hoping to gauge what is happening. All Tim does is roll his eyes and raise his arms in a don't-ask-me gesture. Chip knows that Craig doesn't have much longer left to live if Brandon has anything to say about, and he knows he will be culpable as well, an accessory to murder.
  
  He scours his mind for something, for anything that might help Brandon land back on Terra firma.
  
  "Come on," Chip says softly, "we can talk this out. There's no need for murder."
  
  Brandon chuckles, an almost happy chuckle and says, "Glad you could make it. You ready?"
  
  Craig squirms. They can't see it but even his horseshoe-patterned hairs on his head stand on end. His little blue eyes are wet like glossed marbles. He screams as Brandon shoves his head so far forward with the gun it looks like the plastic ties around his chest will snap at any moment. Craige screams and pleads for his life, although no one can decipher his words through the muffle.
  
  Brandon finally squeezes the trigger as Tim looks away in fright and Chip closes his eyes, bracing for the skull fragments and brain matter that will splatter his face.
  
  Click.
  
  "Oh Jesus, thank God," everyone mutters simultaneously.
  
  "I'm just screwing with yah. You know, Craig, you're a lucky man. If it weren't for Little Tim you would be Monday's obituary. Messing with wives is a no-no, even our wives. But I want to thank you," Brandon says, almost giddy.
  
  Brandon slowly unties him and rips out the rag from his throat.
  
  Brandon continues, "You did me a favor. Now I can get a divorce. Believe it or not, I wanted things to work out with my wife. But Chip's right for once, we're no good for any of our wives. None of us. We cheat on them, and they cheat on us apparently. And it took us this dufus to refer us to you to figure it out. But hey, we're all happy right?"
  
  Craig is silent, he continues to weep, hunched over holding his hands over his face.
  
  "Don't think about calling the cops. First of all you're gonna lose your license. Second of all we happen to know several wives of cops you've slept with but didn't know about it," Brandon says, winking at Chip and Tim.
  
  "That's right buddy," Chip says, "don't even think about it. We'll go our separate ways and pretend this never happened right?"
  
  Craig nods.

176. First Step - Leslie

• FADE IN:


• INT. STUDY - AFTERNOON


• SAM sits at his desk, a mug of tea in his hand as he blinks hard, trying to stay awake.


• He tries to focus on his computer screen.


• The monitor is covered with blue stick-it notes; books and magazines are piled around the speakers on either side of the monitor.


• His neck buckles, his head coming to rest on the monitor, the battle against sleep lost.


• The mug slips from his fingers and begins to fall to the floor.


• INT. GRAND LIBRARY ATRIUM - DAY


• Sam stands in the center of a large circular courtyard under a massive domed skylight.


• He stands on beautiful clay tile-work.


• He blinks, drinking in the scene around him.


• Strange trees with leathery bark arch around him, their pinkish-orange blossoms floating in the air around him as they make a slow descent to the tile.


• Beautiful stone benches line the edge of the atrium.


• He hears a soft shuffling and turns.


• AYANA towers above him and he takes a step backwards.


• She is a strange being, two large shimmering wings folded behind her back.


• She is dressed in a simple white gown that trails behind her.


• He looks up and sees that she has no eyes.


• Her face, complete except for the missing eyes, is covered in soft, almost invisible down.


• She smiles down at him and unfurls her wings.


• Sam almost gags in reaction, then catches his breath.


• Ayana's wings are covered with eyes, blinking and watching him; it is a sight that is at once wonderful and deeply disturbing.


• AYANA
• Child, you have very little time; you have a journey of a thousand miles to begin. She is waiting for you, but she is in danger, you have so little time.


• SAM
• Who? What? I don't mean to sound stupid, but where am I going?


• AYANA
• All will be explained. But you cannot stay here. It is not wise for the Keeper to find you in her Library. She tends to...detain those who linger too long.


• SAM
• Who am I supposed to find?


• AYANA
• You've chased her through every dream you've had. And now she waits. Quickly, the Keeper may come soon, and then I cannot protect you.


• Her wings flutter, the eyes scanning the atrium and the hallways that connect to it.


• She kneels, drawing a glowing blue line across the tile.


• It pulses, sending flutters of energy up to the glass ceiling high above.


• AYANA
• Make your choice; return to an empty world, or begin your journey.


• Sam looks around, then pinches himself and feels nothing.


• SAM
• Well, I've never said no to a dream.


• He steps across the threshold.


• INT. STUDY - AFTERNOON


• The mug slams into the ground splashing hot tea as it breaks.


• Sam's eyes jerk open.


• He pulls himself away from the monitor and stares at the tea on the floor, trying to process.


• Licking his lips and swallowing, he tries to get rid of the sour taste of sleep.


• He squints, trying to remember the dream, but can't.


• Turning back to the monitor, he tilts his head, seeing a flutter of blue dance across the screen.


• A flutter of blue dances across the screen. He watches for a moment, trying to grasp the memory, then shrugs and begins slowly typing again.


• FADE TO BLACK.

175. The Quartet - Leslie

• FADE IN:


• INT. CONCERT HALL BACKSTAGE - EVENING


• Orchestra members pour backstage chatting amongst themselves.


• RUSS walks in the center of a group of admiring musicians, clutching his violin case.


• AMY, a first violinist, throws her arm around him jokingly.


• AMY
• You were absolutely brilliant tonight.


• Russ chuckles.


• RUSS
• Bach and I always did get along.


• AMY
• You want to come with a few of us for drinks tonight?


• RUSS
• Sorry, I can't, I've got a prior commitment.


• AMY
• Oh I see how it is. Well, I'd love to pick your brain sometime.


• RUSS
• You know where to find me; you guys were amazing tonight. Thanks so much.


• He waves and pulls himself away from the group and heads for an exit.


• EXT. ALLEY - EVENING


• DODGER, ART, and MICKEY, a group of homeless musicians sits at the opening of the alley, using the street lamps to play, though most of them know their instruments so intimately they could play in total darkness if they had to.


• A fourth chair that sits empty.


• ART
• That boy's late again.


• Russ comes running around the corner still in his tux.


• RUSS
• Sorry guys, I'm late. We had a few encores.


• DODGER
• Oh, so he thinks himself a musician now this one. All established. They asked for an encore did they?


• RUSS
• Encores.


• ART
• Oh well look who's getting too big for his britches.


• RUSS
• Bring it old man.


• He sits in the fourth chair and tunes his violin.


• Art plucks at his cello sourly.


• Mickey inspects his viola then looks up.


• MICKEY
• So the Beethoven tonight, boys?


• ART
• Bah, tonight we're doing Arvo Pärt. You keep avoiding him Mickey.


• DODGER
• You and your modern junk. How about the Haydn or Paganini?


• RUSS
• Gentlemen, no fighting now.


• DODGER
• You shut your mouth, boy. Art, we'll play that noise of yours tomorrow if you shut your mouth about the Hadyn tonight.


• MICKEY
• You mean the Beethoven.


• They glare at each other.


• Dodger makes a decision and raises his violin; the other musicians snap to attention.


• He looks around the circle and they nod.


• DODGER
• Beethoven it is.


• He counts and raises the scroll of his violin and they begin playing Beethoven's String Quartet No. 4 in C Minor.


• Dodger stops them and stares at Russ.


• DODGER
• Your technique is sloppy. Kreutzer, now.


• Russ nods and begins to run through violin exercises skillfully, his fingers flying.


• He finishes and stops.


• RUSS
• You happy?


• Dodger makes a face.


• They begin playing again, the music causing curious glances from onlookers at the unusual quartet.


• The men look at each other, smile, and lose themselves in the music.


• FADE TO BLACK.

174. Silent Conversation - Leslie

• FADE IN:


• INT. SUBWAY TRAIN - NIGHT


• ARLEN walks between the rows of empty chairs and finds a seat across from AMY.


• He sits down sighing, closing his eyes and rubbing them wearily.


• He hears a loud shudder and opens his eyes.


• Amy sits with her back against the arm of a chair, her shoulder against the train window, crying.


• ARLEN
• Hey, you ok?


• She doesn't move.


• ARLEN
• Hello?


• She doesn't move.


• He walks cautiously over.


• She feels the footfalls and turns.


• He stops halfway as she turns.


• ARLEN
• Are you ok?


• She shakes her head and signs.


• AMY (SIGNING)
• I have a hard time reading lips, can you sign?


• He waves his hands awkwardly.


• ARLEN
• I don't understand. Um...are..you..ok?


• She understands and shakes her head, no.


• Arlen points to the seat next to her.


• She nods.


• He sits down and looks over at her.


• She nods and points to herself, then stops.


• She grabs her messenger bag and pulls out her water bottle.


• She opens the cap and pours the water on the floor, then points to herself.


• Arlen opens his mouth to speak, then stops.


• She looks through her pack then pulls a notebook out and pulls a piece of paper from the pack and crumples it, then points to her chest.


• Arlen nods.


• ARLEN
• I think I get it. I'm sorry.


• She watches his lips carefully and nods.


• AMY (SIGNING)
• Thank you.


• Then she repeats slowly.


• AMY
• Thank you.


• They ride together in silence, her face turned as she stares through the glass at the darkness racing by and he studies the stained plastic seats across from him.


• FADE TO BLACK.

173. A Reverie of What Could Be - Leslie

• FADE IN:


• EXT. APARTMENT COMPLEX COURTYARD - DUSK


• Jasen D'Amiglio sits by the apartment complex's fenced-in pool under a small canopy.


• His leather jacket rests on the back of his chair and he slouches in the plastic seat drumming his fingers on a plastic table.


• Jasen is an Elvis impersonator with the hair and sideburns to prove it.


• He rests his hands on his paunch and watches the lights under the surface of the pool flick on.


• BILLIE MAE walks slowly towards the table, nursing her arthritic knees.


• Jasen turns, watching her approach.


• His face is chalky with makeup caked on to hide his wrinkles.


• JASEN
• Billie Mae, you old broad, you're an ugly old bat. And those knees of yours aren't helping.


• She slowly settles into the chair across from him, taking her time.


• BILLIE MAE
• You always were a fool.


• JASEN
• Can't deny that. Should have gone to college on that GI bill the day they discharged me.


• BILLIE MAE
• But you're a big fool and you went off and had yourself a grand time.


• JASEN
• I was too old.


• BILLIE MAE
• Only thing that was too old was your pride.


• JASEN
• And what's that supposed to mean?


• She shakes her head, disgusted.


• BILLIE MAE
• And now all you have is this getup. You never did have great taste, but this?


• JASEN
• This has nothing to do with my taste...it's a matter of my profession.


• Billie Mae chokes.


• BILLIE MAE
• Oh it definitely says something about your personal taste when that's all your wear.


• JASEN
• I never wanted to be here. And you're right, look at me. I could have been anything. I never had enough for my family, never really did provide for them; and all I have now are my regrets and they're always here, like vultures, eating away.


• BILLIE MAE
• You're a veritable Sisyphus. You make me tired. You've been making me tired since you were a little bitty boy.


• She stands up and limps away.


• Jasen watches her leave.


• JASEN
• Should've married her when I had the chance.


• He looks back over to the pool and watches the wind ripple the surface of the water.


• FADE TO BLACK.

172. Leap - Leslie

• FADE IN:


• INT. SKYSCRAPER OFFICE - DAY


• JOE sits at his desk, fixated on his computer screen.


• The phone rings and rings again but he continues to scan the screen, zoned out.


• He snaps out of it and grabs the phone.


• JOE
• Hello, Joe Stanley at...


• AMY (VO)
• Jump.


• The phone clicks as she hangs up.


• JOE
• Amy? Amy? Is that you? What the heck?


• He turns back to his computer and sees that the webpage he has been surfing has disappeared.


• JOE
• Come on...


• He refreshes the page and a single word loads onto the page, "Jump."


• He shakes his head and refreshes again.


• The old page reappears.


• JOE
• Stupid hackers.


• He continues reading, then stops to write down some information.


• He looks for some scrap paper and grabs a pad of sticky notes.


• He looks down and sees a note written to him, "You have to jump now, trust me."


• JOE
• It's her handwriting...


• He shakes his head and puts the pad down, then picks it up again and studies the note.


• JOE
• Nahhhh, she's just playing a practical joke.


• Worriedly, he looks out the window.


• It's completely placid.


• He looks back at the note, then the computer screen, then the phone.


• JOE
• She must have a reason.


• Joe straightens, walks to the window, passing a backpack on the floor by the window.


• He opens it and walks onto the ledge, takes a deep breath, and leaps.


• We return to the backpack which has a note taped to the side.


• "Dear Joe, use this when you finally listen, (the building's about to collapse) you'll need it." - Amy


• The room starts shaking and chunks of concrete begin smashing downwards to the floor.


• The backpack sits, unharmed for a moment, by the window, then it falls away through a newly formed hole in the floor.


• FADE TO BLACK.

171. Haiku Break (Portraits) - Leslie

• 1.
  There is a small park
  And in that park a small tree
  In that tree, a girl.


• 2.
  Muscle-bound, long strides
  Powerful, untouchable
  With his little dog.
  


• 3.
  She sits with her rags
  Watching the world with mad eyes
  Full of untold pain.

170. Haiku Break (Portraits) - Leslie

• 1.
  Slip quietly down
  Silk entwines my soft descent,
  Into her strong arms.


• 2.
  He sits, hollow eyes
  Alone in his rigid world,
  Cage of rules and stone.
  


• 3.
  She stands unafraid,
  Beautiful prophet of doom,
  She longs for new worlds.

169. Dead Man Walking - Leslie

• FADE IN:


• INT. METRO BUS - DUSK.


• AMANDA quietly watching the light slowly drain from the streets as the bus bumps along.


• She shares the bus with just one or two other travelers.


• The bus pulls sharply into a stop and the doors whistle open.


• DANNY walks on board, loose jeans swishing.


• His thin t-shirt is worn and his arms are covered with generic tattoos.


• He sits across from Amanda and scratches his arms nervously.


• His knuckles are scarred, his lips chapped, and his face an unhealthy pale.


• She turns away, pointedly staring through the windows at the street.


• DANNY
• Hey. Hey.


• She hopes he's not talking to her, then decides it has to be her


• She turns to him.


• DANNY
• Mind if I borrow your phone? You have a phone, right?


• Amanda nods, then digs into her purse and pulls out a battered phone, its silver paint chipped.


• Danny takes the phone and dials.


• He waits and waits.


• DANNY
• Guess I'll have to leave a message.


• He looks at the phone in disgust and scratches at a snake tattoo on his forearm.


• DANNY
• Hey, it's me. I guess it's over. I don't even know what to say. I don't know what's going on with you. Thanks for all your help, I guess. I'll call you every once in a while to let you know I'm ok.


• He waits for a second, then flips the phone shut and hands it back to Amanda.


• She looks at him and he just shakes his head.


• She tries to focus on the road again.


• DANNY
• Hey. Hey.


• She turns.


• DANNY
• I have to get on another bus at Santa Monica, could you help me with fare? I'm sorry, I really hate asking.


• AMANDA
• No, it's fine.


• She digs in her purse, finding a few dimes and nickels and a pile of pennies.


• She collects them and hands them to Danny.


• DANNY
• Thanks. Now I gotta figure out how to make some money by tonight so I can get a place to sleep.


• Amanda nods, hoping it is empathetic enough, as if she understands exactly how it is.


• He begins counting the change.


• Once again, Amanda tries to focus anywhere but on Danny.


• The bus stops again and again as it works its way up the avenue, filling up.


• She can't concentrate and looks back at him.


• He sits there looking straight at her with the eyes of a man who has profoundly given up.


• She looks him in the eye long enough to make her quick glance at the road feel natural...hopefully.


• The bus draws closer to the Santa Monica Blvd. stop and Danny stands, giving her a peace sign and shrugging.


• High school students crowd around him as they head for the bus doors, blocking her view.


• She looks back at the street and then suddenly she remembers.


• Her hands fly through her purse as she looks for her wallet.


• Finding it, she pulls out a $100 bill.


• The doors squeak open and she stands, pushing to try to reach Danny, she sees his shoulder and reaches out to touch him, but the crowd shifts, and the contents of her purse spill everywhere.


• High school students snicker as she goes to her knees to collect her belongings.


• She races then looks up, but he is gone.


• She sits back in her seat, looks at the bill, then crumples it up and tosses it in her purse.


• She puts her head back and stares up as the passing city lights flash across the ceiling.


• FADE TO BLACK.

168. Seaweed Promises - Leslie

• FADE IN:


• INT. LIVING ROOM - NIGHT


• MIKAELA and ANDY sit on a comfortable, worn red couch, their feet propped up on their coffee table.


• A large plastic tub of dried seaweed strips sits between them.


• Mikaela wears a long undershirt over her underwear and Andy is in plaid pajama bottoms and an old "Science Camp" t-shirt.


• He reaches into the tub and grabs another strip while Mikaela chews contentedly.


• ANDY
• I can't stop.


• MIKAELA
• And why should you?


• ANDY
• I dunno, my deep-set Protestant values that tell me to value self-control above all.


• MIKAELA
• Screw 'em.


• ANDY
• This is why I married you.


• They look over at each other and nod half-seriously at each other


• She reaches in the tub and grabs another handful.


• MIKAELA
• You're 48 hours into being married, you're not supposed to be worrying about self-control.


• ANDY
• Oh, I like where this could go.


• She grins at him conspiratorially.


• MIKAELA
• Another tub? But that's madness captain!


• Andy tries to keep a straight face but bursts out laughing; she chuckles.


• MIKAELA
• Oh just you wait babe.


• ANDY
• Thanks for being the person I can share seaweed with 48 ours into being married. You're some kinda cool.
  


• MIKAELA
• Think we'll be able to do this in thirty years?


• ANDY
• I hope so; let's promise to learn to love each other better each year.


• MIKAELA
• I just don't want us to ever get too used to each other.


• ANDY
• It's ok, that's what I bought handcuffs for.


• She slaps at him.


• MIKAELA
• I promise.


• ANDY
• I do too.


• They return to comfortably staring ahead; Andy grabs the seaweed and munches.


• She holds her hands out, asking for some more.


• MIKAELA
• Hit me.


• ANDY
• No dear, whips come in on year four.


• They fight over it for a minute, then he gives in.


• She curls into his chest, tub firmly held between her knees, and they eat in comfortable silence.


• FADE TO BLACK.

167. The Keeper - Leslie

• FADE IN:


• INT. THE GRAND LIBRARY - INDETERMINATE


• THE KEEPER glides along an aisle scanning the long rows of the library.


• The aisles are not lined with shelves but with beautiful mahogany cabinets with of small doors.


• The cabinets stretch high above the aisles; ornately-carved ladders on rails stretch up to the cabinets' heights.


• Every once in a while a strange, electrical cracking sounds echoes from somewhere in the massive hall.


• The Keeper wears a flowing black dress and a thick black veil that shrouds her face.


• There is a loud crash, and the sound of metal crunching.


• The Keeper continues to inspect the cabinets giving no indication she has heard anything except for a small sigh.


• There is a crackling sound and the Keeper turns slowly.


• MARIA slowly appears, her image wavering, then slowly becoming solid.


• She stares, turning in a circle as she absorbs the room.


• She sees the Keeper and takes a step back.


• THE KEEPER
• It's alright, darling, don't be afraid.


• MARIA
• Who are you? And what is this place? It seems so familiar.


• THE KEEPER
• I'm the keeper and you're in the Grand Library. It's where dreams are stored.


• MARIA
• Why do I feel like I've been here before?


• THE KEEPER
• Because you have. You come here every night. This is the space between dreams.


• The Keeper motions her closer and slowly pulls open a set of doors.


• Golden light washes onto her face.


• Maria walks slowly to the open doors and peers inside.


• She gasps.


• The small cabinet is lined with tiny shelves, each holding rows of tiny solar systems, floating above the shelves.


• Some contain hundreds of planets orbiting their stars, some only one, and some have just a star.


• MARIA
• My dreams?


• The keeper nods.


• There is a soft crackling sound and A MAN stands next to them for several seconds, a confused look on his face before a drawer flies open from another cabinet and he is engulfed in a new dream, vanishing instantly.


• MARIA
• Why am I still here? Shouldn't I be in another dream? And why didn't you talk to him? Why are you only talking to me?


• THE KEEPER
• Darling, I've been waiting just for you.


• MARIA
• Waiting, why?


• She begins to dissolve


• The Keeper touches Maria's face.


• THE KEEPER
• I'm sorry darling, it's time for you to go.
  


• Maria is now transparent, her image shifts and fizzles.


• EXT. INTERSTATE - DAY


• TWO CARS sit at the center of several lanes pouring smoke.


• Maria lies crushed under one of the cars.


• Her eyes fly open and she inhales deeply, then dies, her eyes fixed on the stars shining above the road.


• FADE TO BLACK.

166. Here's the Catch - Leslie

• FADE IN:


• EXT. STREET - NIGHT


• ARIA stand under a street lamp, illuminated in a cone of light as light rains falls around her.


• Crowds of people pass her on the road, all walking in the same direction.


• There is a chilling scream that floats on the wind in the distance.


• ARIA
• Please stop! Turn around; there's death at the end of the road.


• No one stops or turns, they simply continue to move, herd-like down the road.


• The men are dressed in well-tailored suits and hats, the women in beautiful dresses, skirts, and crisp suit pants.


• ARIA
• Please listen to me. Please stop!


• Her eyes are milky and she stares blindly at the people, unable to see, only able hear the footsteps moving past her in constant rhythm.


• She walks forward but can only move a few inches before the thick chain around her ankle restrains her to the lamp post.


• The people continue forward and as the pass, it becomes obvious that they have no ears or eyes, they simple walk on, talking happily to themselves, oblivious.


• ARIA
• Why won't you stop? Just listen!


• The end of the road ends abruptly at the edge of a jagged cliff.


• People walk into space, lemmings plunging to their deaths, and Aria is the only witness to their screams.


• ARIA
• Listen to them! They're dying, just turn around. Please just listen, you fools! just listen.


• She strains against her chain as the rain continues to fall and the mass of people pushes forward, a constant flow of death.


• FADE TO BLACK.

165. First Kiss - Leslie

• FADE IN:


• EXT. BUST STOP - EVENING


• EVE and SCOTT sit alone on the bench watching the traffic go by.


• SCOTT
• Remember when we used to climb to the top of Mr. Allen's roof and watch the city?


• EVE
• Yeah. I miss doing that.


• SCOTT
• Me too. But poor Mr. Allen.


• EVE
• Who knew meth labs could explode like that?


• Scott snickers.


• SCOTT
• Who knew Mr. Allen would turn out to have a lab?


• EVE
• It shouldn't be funny.


• SCOTT
• But it so is.


• EVE
• Sadly. You ruined it all though, taking your little girlfriends up there, well, before Mr. Allen ruined it.


• SCOTT
• Yeah...


• EVE
• Making out with them. That was our spot!


• SCOTT
• I've never been kissed.


• EVE
• Not sure how you define kissing, but mashing your lips against one of those cheerleader types you went for counts.


• SCOTT
• To be fair, they weren't all like that.


• EVE
• Most.


• SCOTT
• Yeah, most.


• EVE
• So what do you mean?


• He looks at her for a long moment, weighing his words.


• Before he can speak, Eve inhales sharply.


• Scott spins around, then stops cold, feeling a coldness at his temple.


• ERIC and RICKY stand in front of him.


• Eric presses a gun to his head.


• SCOTT
• Look, I'm going to take my wallet from my pocket, you can take anything you want.


• Ricky grins playfully and flashes a rolex at him.


• RICKY
• You don't really have what I want, I can't speak for that one over there.


• He motions at Eric.


• RICKY
• She's got what I want.


• He grabs Eve's butt and takes her hand.


• RICKY


• EVE


• Come on sweety.


• Let go of me.


• Scott moves to protect Eve.


• Eric pushes the gun barrel into Scott's temple.


• ERIC
• You stay right there.


• Ricky begins pulling Eve to the dark lot behind the bus stop.


• RICKY
• You scream, your friend gets shot.


• EVE
• Please, please don't do this.


• Ricky responds by pulling her.


• Eve watches his eyes, then looks directly at Matt.


• He nods, almost imperceptibly.


• Ricky pulls her towards the lot and she goes limp.


• He relaxes and she spins kicking him in the groin.


• Eric begins to move the gun towards her and Matt elbows him, wrenching the gun from his grasp.


• He turns backing up against the wall of the bus stop and waving Eve towards him.


• She runs and stops next to him.


• He aims at Ricky.


• SCOTT
• Get up and walk away right now. Now


• RICKY
• Ok dude, ok.


• Ricky and Eric beat a quick retreat into the dark.


• Scott holds the gun, his hands shaking.


• Eve sits down next to him, quiet.


• She looks over at him, and touches his hand.


• EVE
• We still make a good team.


• Scott keeps looking around, watching.


• SCOTT
• We do. We really do.


• She scoots closer to him and lowers her voice.


• EVE
• What did you mean you'd never been kissed?


• SCOTT
• I never felt anything. That doesn't seem right...geez, how can you talk about this right now? Are you ok?


• EVE
• Yeah. It's better than just sitting here being afraid, and I'm curious.


• SCOTT
• There was never any kind of...spark, it was just skin on skin. It wasn't you.


• EVE
• What?


• SCOTT
• It wasn't you. I wanted to be kissing you. I was in love with you.


• EVE
• Wow.


• SCOTT
• But I was just the guy who was good at listening.


• EVE
• No, I was just waiting for you.


• SCOTT
• I was scared.


• EVE
• Of what?


• SCOTT
• A lot of things, they aren't that important right now. Look, what happens if they come back, with more guys?


• EVE
• We'll be ok...and you've got a gun.


• SCOTT
• Oh gosh, gun, yeah. I hate these things.


• EVE
• Well, keep pretending to know how to use it. You had me fooled. Do you still love me?


• There is an achingly long silence.


• SCOTT
• Yeah.


• Eve leans in.


• SCOTT
• Wait. Please...just wait for a second.


• He exhales slowly, looks around for good measure, then relaxes his grip on the gun, and looks at her, then breathes out again.


• SCOTT
• I just needed to be ready. Ok.


• They both lean in and kiss slowly.


• Eve places her hand against his cheek and presses it there for a long time.


• They both cry.


• EVE
• You feel that?


• Scott nods.


• She pulls his arm around her.


• EVE
• I'm so scared. Please just let the bus come soon.


• SCOTT
• It will. I've been waiting.


• EVE
• Me too; all my life.


• He pulls her closer, one arm around her, one resting on the gun as they wait in the dimly-lit bus stop for their ride home.


• FADE TO BLACK.

164. Daddy - Leslie

• FADE IN:


• INT. STUDY - EVENING


• MATT sits at his desk, his head buried in his hands as soft blue light from his laptop washes over his hair.


• He pounds his head against the desk slowly.


• MAYA, a tiny woman several inches tall peeks out from behind the computer.


• She walks gingerly forward, her skirt brushing the desktop, tiny piercings flashing in the blue light.


• When she reaches Matt, she grabs his sleeve, tugging on it.


• He pulls his face from his hands and looks around.


• MAYA
• Here, right here.


• Matt looks down.


• He pushes his chair back with a start.


• He stares.


• MAYA
• What's wrong?


• MATT
• Who are you?


• MAYA
• I'm Maya.


• MATT
• Maya?


• MAYA
• Maya, from your script...you know, you wrote it 3 weeks, five days ago? You threw me out of a window?


• MATT
• Whaaa?


• MAYA
• You created me.


• MATT
• I, uh, well...then you're the problem.


• MAYA
• What do you mean?


• Before Matt can answer, a movement catches his eye.


• ADRIANA, EMILY, and ARIA peer out from behind the computer screen.


• MATT
• Wait, how many of you are there?


• MAYA
• We're all here.


• MATT
• All?


• Maya whistles softly, commandingly.


• MAYA
• All.


• The desk drawers slowly open and Matt looks down.


• They are full of tiny people staring back at him.


• He slams the drawers shut.


• MATT
• You're the problem. All of you.


• The three other small women peer nervously at Matt.


• MAYA
• Hey!


• MATT
• Well you are, you're all little clones of each other.


• MAYA
• We're not anything like each other. We don't even look alike.


• MATT
• It doesn't matter what you look like, you're all tea-sipping, tattooed, pierced, a bit bourgsie...and you may seem deep, but there's not much substance really. There's also a good chance you're female and a barista at cool hippy cafe.


• MAYA
• Hey! Wow...that's not fair; and well, if it is true, isn't that a reflection on you not us? You created us.


• She begins to walk away.


• MATT
• I just can't stop making you. I keep wanting to make you, and I may change a detail here or there, but I keep creating you. And you never grow.


• He points to the other three women on the desk.


• MATT
• There, Adriana, you must be Adriana. You're madly in love with a boy who'll never see you. Emily, you're an amazing mandolin player on the run from your abusive husband. Aria, you're an angel stuck in a strange parallel universe, damned to preach to those without ears to hear your warning. So the details are different; but you're still the same person. Strong but scarred women who happen to share my interests. I keep writing me. You're all addled little me's. No character growth, no arc, just the same over and over and over. A me I can fall in love with. Isn't that a little sick?


• MAYA
• Addled? Addled children of an addled father, Daddy.


• MATT
• Don't call me that.


• MAYA
• What should I call you?


• Matt scowls.


• MAYA
• Look.


• She holds up her arm, it is semi-transparent.


• MAYA
• I'm not done yet. You have to finish me; you have to finish us.


• Matt just shakes his head and reaches into his pocket and pulls out a lighter.


• MATT
• Starting over.


• Maya stares as he opens the drawer.


• His creations stare up at him.


• He flicks on the lighter and lowers it into the drawer as they scatter.


• He pulls the flame across the crowd of small people and they begin to burn.


• He grabs the Adriana, Emily, and Aria and tossing them screaming into the drawer.


• The desk begins to burn.


• He feels something on his back and brushes his shirt, distracted, then turns to Maya.


• She stands watching him.


• They stare at each other.


• He nods then flicks the lighter one more time and sets her on fire.


• She closes her eyes and crumples to her knees.


• Matt slaps at his back again, feeling something, then his hands touch flame and he jerks it away.


• His back is awash in flame.


• It wraps around his knees and begins to crawl up towards his chest and face.


• He drops to the ground rolling and kicking, but now he, the desk, and Maya are completely engulfed.


• He screams and slaps at the fire.


• MATT
• Why?


• Maya looks at him from her melting face.


• MAYA
• Daddy.


• He collapses.


• Flame wraps races along the carpet now and begins climbing the walls, making the room an inferno.


• FADE TO BLACK.

163. The Edge - Leslie

• FADE IN:


• INT. OFFICE BUILDING - DAY


• ELLEN looks out over the city from her cubicle's large picture window.


• The city spread hundreds of feet below as the bright sun sparkles off the surface of the buildings around her.


• Construction cranes rise past the window from the lot far below.


• White clouds float across the deep blue sky above.


• She smiles and turns back to her her work.


• There is a a loud whistling sound and she turns back to the window just in time to see a huge, out-of-control wrecking ball careening towards her window.


• ELLEN
• You've got to be kidding.


• The ball smashes through the window and glass explodes into the office.


• A thousand shards fly towards her and then everything stops.


• She exhales softly.


• A chunk of concrete with rebar sticking out of it is frozen in the air, inches away from her head; the wrecking ball is frozen halfway through the window and wall, and a wall of now-frozen glass floats a hairsbreadth away from her face.


• She sits for a moment in frozen shock.


• She slowly pushes her chair back and it moves with some resistance.


• Standing, she pushes up on her tiptoes to look around the office: everything and everyone are frozen.


• She turns around and starts.


• A WOMAN is sitting at the edge of her desk, just beyond the reach of exploding glass.


• She is dressed in a breathtaking red evening dress, her hair flowing around her shoulders and a simple pendant around her neck.


• WOMAN
• Hello Ellen.


• ELLEN
• Who are you?


• WOMAN
• You can call me Neco.


• ELLEN
• Why has everything stopped.


• NECO
• You're in the edge. The edge of a moment. And it really hasn't stopped, it's just moving very slowly. No one else will even realize it; it's all going to be over in a split second.


• ELLEN
• The edge? The moment? What are you talking about?


• NECO
• You're about to die.


• Ellen, nods, not processing.


• ELLEN
• Some bedside manner you have. How do you know? Who are you.


• NECO
• Shh, enjoy thiS, this last moment, before the world goes dark.


• ELLEN
• I'm going to die? Why would I enjoy this?


• NECO
• Yes, you are going to die; would you rather be miserable?




• ELLEN
• I can't, I'm not ready, there are literally thousands of things I've never experienced. No one's proposed to me, I haven't seen Italy. Italy! I haven't even had gelato.


• NECO
• I'm sorry.


• ELLEN
• Who are you? Why can't you change anything.


• NECO
• I'm so very sorry.


• Ellen begins to cry.


• Neco notices the glass beginning to move slowly, almost imperceptibly.


• She carefully walks over to the chair.


• The closer she comes to Ellen, the greater the difference between the two seems.


• Neco carries with her an ancient grace and she towers over Ellen.


• She takes Ellen by the hand and pulls her into her lap, holding Ellen gently.


• Ellen cries, shaking.


• ELLEN
• Why do I have to be in, on, whatever, on this edge? Why couldn't have been painless? Instant, no regrets, no knowledge.


• NECO
• Do you have regrets?


• Ellen tries to regain control.


• ELLEN
• There's so much I'm going to miss; but I don't really want to think about what I'll regret. You didn't answer my question.


• Neco looks at her for a moment and then begins to sing, a beautiful, haunting melody.


• The debris and wrecking ball inches closer, becoming faster.


• Ellen notices now.


• She closes her eyes and listen to the lullaby.


• ELLEN
• You're Death.


• Her eyes open, looking for confirmation.


• Neco keeps singing, stroking Ellen's face.


• The debris comes faster and faster.


• ELLEN
• Please.


• Neco's lullaby becomes a soft, powerful chant.


• ELLEN
• Please.


• Tears pour from Neco's eyes.


• Time catches up and the chunk of concrete smashes into Ellen, followed by the wrecking bar.


• Ellen is pinned to the floor, dying.


• Neco has disappeared.


• Ellen gasps, dying, as the office workers swirl frantically around her.


• A firefighter walks to her, and kneels beside her.


• He begins singing the chant.


• Ellen's eyes flutter and then she dies.


• The firefighter makes a strange gesture above her and whispers a blessing in a language older than earth.


• He nods, stands, and walks away through the destroyed office.


• FADE TO BLACK.

162. Shining Armor - Leslie

• FADE IN:


• INT. ANDROGYNOUS CLAM - NIGHT


• SETH and Angie sit across from each other at a small table, the tension palpable.


• Seth fidgets with his napkin and Angie studies her water.


• SETH
• So...


• Angie jumps, startled, and knocks the glass of water to the floor.


• It crashes, sending cascades of water all around the table.


• Heads turn as other diners look to see where the noise is coming from.


• Seth grabs a napkin and crouches, getting most of the excess water up.


• He pauses, glancing up, and catches Angie's gaze.


• They look at each other for a long moment, then burst out laughing.


• SETH
• I'm not great at dating.


• ANGIE
• Me neither.


• Seth returns to his chair as a waiter arrives to hurriedly sweep up the glass.


• SETH
• Maybe that's why Andrew was so intent on setting us up.


• Angie taps her ring-covered fingers on the table and rolls her eyes.


• ANGIE
• Maybe. He seemed awfully interested in setting us up.


• SETH
• You too? Funny. He, uh, he told me what the rings were for.


• Angie stops tapping and looks at him.


• ANGIE
• Hey, I'm not looking for some night in shimmery armor to come charging down the hill to save me.


• SETH
• I'm not really looking to be a shimmery knight.


• ANGIE
• Good answer.


• SETH
• Is it true about the rings?


• ANGIE
• Yeah, too angsty?


• SETH
• Maybe, but it's not a bad thing. There's something poignant about remembering pain that way.


• ANGIE
• Good answer.


• SETH
• Why thanks. I'm not even going to pretend to act surprised that we have the same taste in things, by the way; because I have a feeling Andrew rigged the game and informed us both.


• ANGIE
• Five favorites, quick, no specific order, doesn't have to be the top five, just the ones that come to mind.


• SETH
• Satoshi Kon's Paprika, Donnie Darko, Three Extremes, Lady in the Water, Angel-A. And while I'm at it, total bookaholic too. Five authors same deal?


• ANGIE
• Kierkegaard in small doses, Flannery, Orson Scott Card, Anne Lamott, Homer on rainy days.


• SETH
• Good answer.


• He laughs and she smiles ruefully.


• ANGIE
• So maybe Andrew had a point.


• SETH
• Whoa, let's not rush it, maybe, but we haven't even eaten yet, or even started to appreciate the madness of this restaurant. Let's save hasty conclusions for the second date.


• ANGIE
• Two things; one, this is a wonderfully odd little place and two, second date?


• SETH
• You know it's going to happen, at least if we can get through this meal discovering horrifying and life-shattering facts about each other.


• ANGIE
• Ok, let's see about eating then.


• FADE TO BLACK.


• Seth catches the attention of a waiter and waves him over, then turns back to Angie.


• SETH
• You know, when I said I was bad at dating, I didn't mean I was bad at relationships.


• ANGIE
• Me too.


• SETH
• Good answer.