213. Veiled - Leslie

• FADE IN:


• INT. LIVING ROOM - DAY


• AZZAH sits in the corner of the livingroom watching the chaos.


• BADI'A, her mother, stands, swathed in a dark burkha, at the center of the room shaking her fist at KARIF, her husband.


• She clutches a smaller burkha in her hand.


• Her brothers RAFI and SAAD join in.


• BADI'A
• It's time for her to wear a burkha.


• KARIF
• She's young...and small, let her run around a little more, enjoy her freedom.


• He smiles at his daughter.


• She relaxes a bit in the warmth of his glance.


• RAFI
• She's right Dad, that one runs around like a boy shaming all of us.


• KARIF
• Just a few more months.


• BADI'A
• Do you want me to show you the panties again?


• Karif sighs.


• KARIF
• No.


• BADI'A
• She's a woman and she will not dishonor this house running around naked. The guests will be here soon and I will not have her dressed immodestly.


• Karif sighs and glances apologetically at Azzah, then waves his hand in assent and leaves the room, followed by the boys.


• Badi'a hurries over to Azzah and pulls her up, then carefully dresses her in the burkha.


• The room seems to grow darker around her and she blinks, trying to adjust.


• She stands, now only her scared eyes showing and seems tiny and lost in the sea of black.


• FADE TO BLACK.

212. Three Chances - Leslie

• FADE IN:


• INT. ETHIOPIAN RESTAURANT - NIGHT


• JACOB and MARY VANCE sit cross legged on the floor, a low table covered with food separating them.


• Mary tears a piece of bread and dips it into the stew in front of her.


• Jacob fidgets with his napkin.


• JACOB
• I, uh, I wanted to talk to you about something.


• Mary glances up, then continues to eat.


• JACOB
• Mary.


• She stops.


• MARY
• Yes, honey?


• JACOB
• I've been working on a way of saying this for years now...


• Mary freezes and waits.


• JACOB
• Any way I say this is just going to be strange. I don't know exactly how to start.


• MARY
• Just say it.


• JACOB
• I've always felt wrong...twisted, no, that's not the right word...conflicted. I realized what the problem was years ago, but I've been fighting it for a while. I'm in the wrong body. I wasn't supposed to be a man. I guess that's the easiest way to say it. And I can't go on walking in this lie.


• MARY
• I know.


• JACOB
• Know what?


• MARY
• I've known for a while. Maybe longer than I want to admit.


• JACOB
• Where do we go from here?


• MARY
• I don't know. But let's do it together.


• INT. ETHIOPIAN RESTAURANT - NIGHT


• JACOB and MARY VANCE sit cross legged on the floor, a low table covered with food separating them.


• Mary tears a piece of bread and dips it into the stew in front of her.


• Jacob fidgets with his napkin.


• JACOB
• I, uh, I wanted to talk to you about something.


• Mary glances up, then continues to eat.


• JACOB
• Mary.


• She stops.


• MARY
• Yes, honey?


• JACOB
• I've been trying to say this for years, but never found the right way...so, I'm going to try now; I'm so sorry.


• MARY
• What is it, baby?


• JACOB
• I'm a woman living in a man's body?


• MARY
• You're gay?


• JACOB
• Shhh.


• MARY
• Don't shh me.


• JACOB
• Not gay, I was never supposed to be a man, I need to have surgery.


• Mary stands up knocking food off the table.


• MARY
• You're sick! You're going to ruin 15 years of marriage, screw my children up forever for some twisted fantasy of yours?


• Patrons look around uncomfortably.


• JACOB
• Honey, please.


• MARY
• Don't you dare "honey" me. You stay away from the kids you hear?


• She storms away, leaving Jacob sitting in tears.


• INT. ETHIOPIAN RESTAURANT - NIGHT


• JACOB and MARY VANCE sit cross legged on the floor, a low table covered with food separating them.


• Mary tears a piece of bread and dips it into the stew in front of her.


• Jacob fidgets with his napkin.


• JACOB
• I, uh, I wanted to talk to you about something.


• Mary glances up, then continues to eat.


• JACOB
• Mary.


• She stops.


• MARY
• Yes, honey?


• JACOB
• Goodness, I'm really scared.


• Mary reaches across the table.


• MARY
• It's ok, babe.


• JACOB
• I've always felt like I was more a woman than a man, like I was in the wrong person...or body...I'm the right person, just everything else was wrong. I've been fighting it for years, but I can't keep it up. I need to get out of this body.


• Mary starts smiling and lets out a deep breath.


• JACOB
• Is that funny?


• MARY
• No, no babe. I, uh...how do I say this? Me too.


• JACOB
• What?


• MARY
• I'm in the same boat. If you'd waited another two months, I would have been the one taking you out to dinner.


• They look at each other for a moment.


• Mary still holds his hand.


• He starts smiling and she bursts into laughter.


• They sit at the table, lost in mirth as other customers turn to stare.


• FADE TO BLACK.

211. Chill - Leslie

• FADE IN:


• INT. BUS - DAY


• JAMES REINER sits impatiently on the bus.


• He holds an iPhone to his ear.


• JAMES
• Yes, yes...the car broke down, so I have to take the bus and it's going nowhere fast.


• The bus pulls into another street-side stop.


• JAMES
• Oh for goodness sakes! How many stops does this bus have? Seriously. Ok, Ok, I'll see you at work.


• He hangs up and puts the phone away, glaring out the window past the heads of HISPANIC MAIDS.


• The bus turns into GRIFFITH PARK and begins to chug slowly up the incline as it head to Burbank.


• JANE, a homeless woman, leans towards him.


• James cringes and looks away.


• JANE
• Sir, excuse me, sir?


• James turns reluctantly to her.


• JANE
• You're going to miss all the great little things about life racing around in a rush like this. Look outside! Look at how beautiful the park is this morning. But you're going to miss all that...you should seriously reconsider all the rushing and chill.


• She leans back in her seat and closes her eyes.


• James looks at her then looks out the bus window.


• A gentle mist rises the ground.


• JOGGERS run through the beautiful summer greenery.


• James looks back over at Jane who is lost behind her closed eyelids.


• He looks at the park and then at the the wire hanging across the window.


• He grabs the wire, tugs it, and the "stop" signal lights up.


• The bus pulls over at the next stop and James hops off.


• The air is fresh and he inhales deeply, the stress draining from his face.


• He looks around and then sees the path.


• He walks over and awkwardly hops the fence, briefcase in hand.


• JOGGERS stare at the site of a man in an expensive suit and even more expensive shoes ambling towards them on a dirt path.


• Some turn around to look again as they pass him.


• He throws back his head and laughs, then walks on.


• INT. BUSINESS OFFICE LOBBY - DAY


• James bursts into the lobby, suit-rumpled and sweaty.


• LINDA, the receptionist, looks at him with mild shock.


• LINDA
• Wow, so you weren't kidding about the bus trip.


• He grins at her and chuckles.


• JAMES
• You have no idea.


• He walks into the elevator and the doors close.


• Linda stares at the elevator then shakes her head.


• FADE TO BLACK.

210. Dr. Z and the Dream Monsters

• FADE IN:


• INT. BEDROOM - MORNING


• DR. Z stands over MOLLY's bed, watching her sleep. MRS. HAMER, her mother, and LUCY, her sister watch nervously near the doorway.


• MRS. HAMER
• She's been asleep for three days now. We just can't wake her up.


• LUCY
• I've tried shaking her, cold water...


• DR. Z
• You have to understand, the world of sleep is a very real dimension, and there are beings that exist who will do anything to keep her within that dream world and feed on her.


• Mrs. Hamer shudders.


• LUCY
• Can you do anything?


• DR. Z
• I'm going to have to go in.


• THEO, his assistant, comes bustling into the room with a large case.


• He opens the case and sets up a small, comfortable-looking chair and then begins connection sensors and wires to Molly's head.


• He nods to the Doctor who precedes to sit in the chair and connect the wires to his forehead and arms.


• The wires feed into a a computer.


• He looks over at Mrs. Hamer and Lucy.


• DR. Z
• We're going to do everything we can.


• Theo presses several buttons and the doctor's head drops in instant sleep.


• EXT. FOREST CLEARING - DUSK


• The doctor finds himself on the clearing.


• A large stake stands at the center of the field.


• Lucy is tied to the center of the stake.


• A wave of darkness approaches from the other direction, lapping back and forth like a persistent tide coming in.


• LUCY
• Please help!


• Her words are thick as if she can barely force them out of her mouth.


• DR. Z
• Oh dear, it's quite nearly too late.


• He reaches up and pulls a knife from midair.


• He runs to the stake and begins cutting Lucy away.


• The tide laps closer and closer.


• He cuts the final strand of rope away.


• DR. Z
• There dear girl, you're free, let's get you awake.


• Lucy grins and the doctor steps back.


• Her eyes become flush with darkness.


• The grin becomes wider revealing razor teeth.


• LUCY
• Right into my trap, doctor; she's been mine for the last three days; she was weak. And now you are mine.


• Lucy's body explodes into a cloud of emptiness, smoky tendrils coiling around the doctor.


• He screams, then is lost in the dark.


• INT. BEDROOM - MORNING


• The doctor's body slumps and Lucy continues to breath evenly, lost in sleep.


• Theo frantically pounds away at the keyboard, then slows.


• THEO
• I'm so sorry. They've both been taken.


• Mrs. Hamer begins to sob and Lucy leans against her.


• Theo rushes, packing, as he wipes a tear from his eye.


• He leaves quickly, turning back as he steps through the door, tears gone.


• He smiles, licking at razor sharp teeth.


• FADE TO BLACK.

209. Set Crush - Leslie

• FADE IN:


• EXT. POOL - DAY


• MODELS in bikinis ring a large pool filled with shimmering blue water.


• The pool sits in the backyard of a home high in the Hollywood hills with the sprawl of LA far below and seemingly reaching into infinity.


• The deck area is filled with camera gear and crew.


• MARK leans against a C-Stand making sure the large light is secure.


• He is dressed in cargo shorts and a faded t-shirt; a small toolbelt containing measuring tape, clothespins, tape, and other assorted tools rings his waist.


• He pulls off a pair of gloves and clips them onto his belt.


• The FIRST AD steps past the sliding glass door of the house, where the director and producers are huddled.


• FIRST AD
• Take a break, get some water, we'll be back in twenty.


• He slips back into the house.


• Mark relaxes, and finds a place to sit on the deck near the light.


• VALERIE, one of the models walks up to him.


• VALERIE
• Hey, you mind if I ask you a question?


• MARK
• Go for it.


• VALERIE
• So I noticed that you are the only guy on the crew who hasn't been checking us out.


• MARK
• Want the honest truth?


• VALERIE
• Always. I can take it.


• MARK
• I love a bikini as much as any other guy, but, the model thing has never really done it for me. Sorry.


• VALERIE
• You know, even models have self-esteem issues.


• MARK
• Oh I believe it. And I'm sorry...


• VALERIE
• Well there's no accounting for taste.


• MARK
• It's true, I mean, beauty is such a subjective thing. Now I find you beautiful and sure, sexy...but that doesn't necessarily add up to the kind of beauty that attracts me.


• VALERIE
• So what does it for you?


• Mark looks around.


• MARK
• Wait just a sec.


• The pause and Val watches as his eyes travel across the set.


• TheY wait.


• AMY, one of the craft service PAs jogs across the set delivering water to the crew and background cast.


• MARK
• There, right there.


• Amy's dark hair cropped short and the hint of a tattoo peeks under her sleeves and reappears around her collar.


• Valerie wrinkles her brow.


• VALERIE
• Ok...


• MARK
• Just wait.


• He waves, catching Amy's attention.


• She turns and smiles, and the smile fills her face, the light catching her eyes.


• Mark turns to Valerie and nods.


• VALERIE
• Wow. You really are a great guy. Not many men would have waited long enough for that smile.


• MARK
• I think she's gorgeous with or without that smile...but boy does that seal the deal.


• Valerie leans over and kisses him on the cheek.


• VALERIE
• Wish there were more of you. Go get her.


• She smiles and glides away, her stilettos clipping against the tile, her body a beautiful brown, her thin body barely concealed by the swimsuit.


• Mark smiles at her but doesn't watch her go; he's busy looking for Amy.


• FADE TO BLACK.

208. Picky, Picky - Leslie

• FADE IN:


• INT. FOOD ON THE CHEAP GROCERY STORE - NIGHT


• AMY and TONY stalk the spice aisle of the Food on the Cheap grocery store.


• Amy moves gingerly.


• TONY
• Oh for goodness sakes, it's not that bad. It's just a cheap grocery store.


• AMY
• Cheap means low quality and less sanitary.


• Tony rolls his eyes.


• TONY
• Ok, I want some rosemary, let's see...we just need a pinch of white pepper, but that's always nice to have on hand, so let me get the big bottle.


• AMY
• Mexican oregano?


• TONY
• Oh! Good call.


• Amy slips a small bottle of hand sanitizer from her purse and attempts to clean her hands without Tony noticing.


• He sees her.


• TONY
• Oh for the love of Saint Pete! See, it's a requirement of mine that the woman I marry can shop in an Asian wet market and not blink. This isn't anything.


• AMY
• And that's why you travel and I don't. So what else does your ideal woman do?


• They leave the aisle and head for the fresh produce.


• TONY
• I worked on set with a grip once. She could wear a tool belt. Not everyone can wear a tool belt and look good, much less hot. She was smokin' with that tool belt. Not a requirement though....but if my wife can wear a tool belt like that...oh yes, yes it will be a good thing.


• AMY
• Well, seeing as I don't even know what a grip is, I'm just going to stay in the no comment zone.


• Tony starts inspecting fresh basil leaves.


• Amy rests her hand on a shelf then yanks it off, reaching for the hand sanitizer again.


• TONY
• Seriously? What are you afraid of, catching poor people germs?


• A woman in front of Tony turns and glares.


• TONY
• Sorry Ma'am...was speaking in a completely sardonic fashion there. I myself, as a member of the poorer species, ooze poor people germs.


• The lady shakes her head and turns back to the broccoli.


• TONY
• Yeah, but most importantly, my wife will be able shop a wet market fearlessly and with the skill of Leonardo da Vinci.


• AMY
• Good thing I'm your cousin then, Mr. Picky Picky.


• He pokes her shoulder.


• TONY
• Good thing.


• She rolls her eyes at him.


• FADE TO BLACK.

207. Strong Women - Leslie

• FADE IN:


• EXT. DESERT HIGHWAY - DAY


• ARTHUR JONES stands, stranded by the side of the road, staring at his blown tire with frustration.


• His car, a small Honda, is pristine other than the obvious.


• The spare and assorted lie on the road next to him.


• Cars whizz past, ignoring the 70 year old man standing helpless on the shoulder.


• A dented Honda Accord slows behind him and comes to a stop.


• ANN LEE steps out of the car, dressed in a short, off-white dress and jeans.


• She walks towards Arthur.


• ANN
• Need any help?


• ARTHUR
• I could. Blew a tire and to be honest, I'm completely clueless about how to change one of these. Not sure how I made it this far in life without learning that, but here we are.


• ANN
• Ok, let's see. Well, you got the spare out, that's a start...and, OK, hand me the jack and iron? Those right there.


• Ann points at the tools and he brings them to her.


• ANN
• Ok, you're in park right? Emergency break?


• Arthur nods.


• ANN
• Cool. Watch carefully.


• She grins and Arthur chuckles.


• She grabs the tire iron from him and starts loosening the lugs, gritting her teeth as she fights with each of the tightly screwed lugs.


• She gets them loose, then slides the jack under the car.


• ANN
• See these? These are jacking points, this is the only place you want to use this thing. No accounting for what will happen otherwise.


• She makes sure it's firmly in place, then begins rotating the hand crank.


• The jack slowly rises and the car creaks as it is forced up.


• ANN
• Mind if I ask a personal question?


• ARTHUR
• Please do?


• ANN
• You don't seem that embarrassed that I'm changing this tire for you. I mean...


• ARTHUR
• Well, I'm certainly embarrassed that I haven't learned how to do this; and I've had enough time to learn; but if you're referring to the fact that you're a woman, there's no reason for me to be ashamed about that.


• ANN
• That's a unique perspective.


• ARTHUR
• True, but it shouldn't be.


• Ann finishes jacking up the car and starts removing the lugs.


• ARTHUR
• A truly strong man is one who respects the strength and independence of women.


• Ann pops the flat off and begins attaching the spare.


• ANN
• I don't think I've ever heard that before.


• ARTHUR
• And that's a shame.


• The stand in silence as she lowers the tire.


• ANN
• Why do you respect strong women?


• ARTHUR
• Because my father didn't. Young lady, if a man doesn't treasure your obvious power and wisdom, he isn't worthy of you. If he doesn't understand that respecting your strength doesn't diminish his own, well, then...pfft!


• Ann smiles at him.


• ANN
• All done.


• ARTHUR
• Thank you very much. I don't even know your name.


• ANN
• Ann.


• ARTHUR
• Well Ann, thank you for attempting to teach this old man a new trick.


• ANN
• Thank you, Mr...


• ARTHUR
• Arthur, just call me Arthur.


• ANN
• Mr. Arthur, thank you.


• They shake hands and he bows slightly.


• She turns and walks to her car, waves at him, then gets in and drives away.


• He returns the tools to the trunk, gets into his car, starts the engine and drives onto the highway; slowly disappearing into a mirage.


• FADE TO BLACK.

206. White Flight - Leslie

• FADE IN:


• INT. ITALIAN RESTAURANT - DAY


• JAMAL, ANDY, SUSAN, and KELSEY sit at a corner table in the well-lit, comfortable restaurant.


• Susan and Andy shift a bit uncomfortably, attempting to hide behind their menus.


• KELSEY
• Come on, you know you're not the typical black guy.


• JAMAL
• Oh I'm not? That's really unfair. What, because I'm educated, because I can quote Tolstoy and Kierkegaard, I'm suddenly not really black? So what does black look like to you?


• KELSEY
• That's not what I said.


• JAMAL
• It's what you meant. What does a typical black guy look like to you?


• KELSEY
• You know.


• JAMAL
• So to really be black, I should speak like this, carry a few guns, deck myself out in bling, and put on my ignant mask? What about Langston Hughes, Martin Luther King Jr., McCoy, Matthew Henson, James Baldwin? They weren't really black? Oh, so you think Frederick Douglass was a thug?


• KELSEY
• Hey, relax, come on, you are different.


• JAMAL
• And what about the black middle class?


• SUSAN
• Sure, you have the black middle class, but it isn't that large or that typical.


• Jamal rolls his eyes.


• ANDY
• I wonder how we would have developed as a society if whites hadn't fled to the suburbs when blacks moved in.


• JAMAL
• That would be interesting. Maybe more of an awareness of the black middle class for one thing.


• SUSAN
• Why does white flight happen when blacks move in?


• KELSEY
• Cause stuff starts disappearing. Hey! I'm just saying.


• Andy ducks behind his menu again and Susan looks away.


• A group of people one table over shuffle nervously.


• Jamal stares.


• Susan slowly picks up her menus and begins to study it intently.


• Jamal takes a deep breath and speaks very quietly.


• JAMAL
• Don't you dare equate my people with low class thugs. You flee because you fear what you don't know and you assume, you don't listen. My people are far more complex, far deeper, far more intricate than your caricature. So don't you dare justify your ignorance with the fears you believe to be true. I'm going to wash my hands.


• He stands and turns towards the bathroom.


• A woman walks past him and pulls her purse a little closer to her chest.


• Kelsey notices and blushes.


• Jamal sees and turns.


• JAMAL
• Typical enough for you now?


• FADE TO BLACK.

205. That First Moment - Leslie

• FADE IN:


• INT. LIVINGROOM - NIGHT


• TED and EMILY sit on a the couch, separated by a comfortable distance.


• The room around them is packed with fellow partiers.


• Emily rolls her eyes in the general direction of the room.


• Ted grins and leans in.


• TED
• So I have a pet peeve.


• EMILY
• Other than the obvious.


• Ted looks around at the loud party-goers.


• TED
• Yeah, other than the obvious. I was watching a movie last night, and it was based in the 31st century. Fine, all well and good; but the technology they had...felt like it could be developed in, oh...the next 200 years. I mean, a thousand years is a long time.


• EMILY
• It could be assumed that the world had another dark age and technology had just slowed.


• TED
• Yeah, maybe. I guess I just feel like if you're going to push that far in the future, you should develop things that almost unrecognizable. I mean...they were still wearing suits and carrying suitcases.


• Emily smiles at him, then looks away, moving herself closer to him casually.


• EMILY
• Would you be ok if it was a steampunk future?


• TED
• Yeah, I could go for that, as if we'd had a loss of technology, a return to some serious dark ages, and then emerging from that had gone a different way techno. I could buy that.


• EMILY
• I love how Dune handled it.


• Ted notices she's closer and moves in a bit.


• TED
• I love Dune...what did you like about how they dealt with the future, with technology?


• Emily is distracted by how close Ted is now.


• He works hard at studying a shape on the wall to avoid looking directly at her.


• EMILY
• Like you said, some things were completely unrecognizable, it was a new way of looking at human society, and yet...Oh, screw it.


• TED
• You too eh?


• She reaches over and slips her hand in his.


• TED
• You sure about this?


• EMILY
• It's been kind of inevitable. Are you?


• TED
• Yeah.


• EMILY
• Good.


• TED
• How long did this take us?


• EMILY
• Seven years, hey, we take our time.


• He pulls her closer in.


• TED
• So what was that about Dune?


• EMILY
• Screw Dune.


• She leans into his shoulder and they sit alone on the couch, lost in their on world.


• FADE TO BLACK.

204. Greener Grass - Leslie

• FADE IN:


• INT. THE 101 CAFE - DAY


• JASON and DAVID sit across from each other at a small table.


• The Cafe is decorated in 70s browns and oranges, the large picture windows at the front look out over busy Franklin Ave.


• The sound of the nearby 101 freeway is a constant hum.


• Jason sips at his hot chocolate.


• JASON
• I had this really odd moment earlier today.


• DAVID
• Do tell.


• JASON
• So you know I'm still subscribed to ThreeFinger's youtube channel? Right, well, they put their new showreel up. It had a few clips with the gang from Atlanta. And I just really started missing that job.


• DAVID
• Dude, we hated working there, what are you talking about?


• JASON
• I know, that was the funny thing. But it was the fact that we were meeting all these neat people and the fact that I felt secure and had some goals.


• DAVID
• And were miserable.


• JASON
• Yeah, there was definitely a part of me that was thinking "Oh thank God I'm not there anymore. I'm so glad I'm not working on any of those features." But, I had a plan then.


• DAVID
• And you were burnt out.


• JASON
• Dang it! I know I know; you know I haven't forgotten any of that. But I just started missing those few good people and the great little diners and streets in Atlanta. And you know what; I used to take you out to eat, you come and visit now, and you have to pay for me. I'm tired of that.


• DAVID
• Hey, you would do the same for me, you did; don't even think about it.


• JASON
• And yet.


• David nods and sips his Chai.


• JASON
• I'm not nearly in as bad a place mentally as last year, but I'm ready for a change. I'm jut tired of feeling so aimless. I'm a worker, I work hard, and here I am, spending most of my time twiddling my thumbs and trying to figure out what to do next.


• DAVID
• You're here for a reason, and of the two of us, you had the guts to come out here; it'll work out.


• JASON
• You're so sure.


• DAVID
• I am.


• JASON
• Thanks. I still might go back and curl up in a ball and be miserable, but it'll be a happier miserable than before lunch.


• DAVID
• Good, that's all I ask.


• They grin at each other and sip their drinks.


• FADE TO BLACK.

203. Into the Deep - leslie

• FADE IN:


• INT. MENTAL INSTITUTION - NIGHT


• DR. BERNARD peers into the thick glass of the cell in front of him.


• AMELIA crouches in the corner of the room, peeking between her hands, her head swiveling.


• A thick restraint around her ankle keeps her close to the wall.


• The GUARD near him chuckles.


• GUARD
• New here eh? Supposedly she's seen the face...


• DR. BERNARD
• The face of God. I know. She saw the deep and couldn't handle it. Not sure anyone could.


• GUARD
• Don't get too curious, Doc...strange things happen around her. I mean, she's tried to kill herself a few times...whatever she saw...


• DR. BERNARD
• Let me in.


• GUARD
• You sure about that?


• DR. BERNARD
• Just do it.


• GUARD
• Whatever you say; just be careful of what you bring in there.


• He walks over to the door and carefully unlocks it, then opens it just a bit.


• Dr. Bernard nods at him and slides past the guard into the room, stealing the keys before closing the door behind himself.


• INT. CELL - NIGHT


• DR. BERNARD
• Amelia? Can you see me Amelia, can you hear me.


• Her head twitches towards him and her eyes fix on him for a second, then she stares back at the wall, jerking backwards, yelping in fright.


• DR. BERNARD
• Tell me what you see Amelia, what do you see?


• She rocks back and forth.


• He approaches her, standing right in front of her.


• DR. BERNARD
• Tell me Amelia.


• She tilts her head, then grabs his jacket and pulls him close.


• Bernard turns to the window and sees the guard reach for the keys to open the door.


• Bernard pulls the key chain from his pocket and waves them at the guard.


• The guard's eyes go wide and he turns and runs down the hall.


• Dr. Bernard turns back to Amelia.


• Her eyes are fixed on the keys.


• She reaches for them and Bernard pulls away.


• DR. BERNARD
• Show me.


• She pulls him to her and her eyes go pure white.


• He begins shaking, but she holds him tight.


• Moments pass as she holds him still; finally she lets him go, her eyes cooling.


• He shakes, jabbering madly, waving at his head.


• She reaches for the keys, but he stumbles back, dodging something invisible.


• The doctor grabs the keys and plunges the longest one into his temple, his eyes going wide then filling with relief as death takes him.


• The guard returns to the door and through the window, she can see him pulling out a master key.


• Amelia jumps from her corner of the cot racing for the bloody keys, but the ankle restraint holds her in place.


• She lies on the floor, struggle as she screams and cries for relief.


• The guard races in, a medical team pulls the doctor out, and Amelia is left on the floor, screaming.


• FADE TO BLACK.

202. On Innocence Lost - Leslie

• FADE IN:


• EXT. PLAYGROUND - DAY


• KATIE, a 7-year-old, sits on the swingset, rocking gently back and forth.


• She smiles as a large ANGEL appears by the slides.


• It waves at her, eyes glowing.


• She swings higher, happy.


• The Angel is at least 9 feet tall, with eyes so white it appears blind; it feels the air with its fingers twitching like antennae.


• It is completely androgynous.


• The angel puts its hands together and then pulls them apart, revealing a slowly spinning ball of flame.


• It offers it to Katie.


• She jumps off the swings and runs towards the slide.


• A HAND reaches out and stops her mid-stride.


• Her MOTHER looms above her.


• KATIE
• But Mommy! The Angel.


• Her mother pales.


• MOTHER
• Honey, honey, come here. Don't look at the slide, look straight at me.


• KATIE
• But Mommy!


• MOTHER
• Look at me.


• Katie obeys, stealing a peek at the angel before being pulled away.


• Katie's mother pulls her to a park bench where her FATHER sits, he smiles at them.


• MOTHER
• Dear, I think it's time.


• His smile fades.


• FATHER
• She's still seeing?


• Her mother nods.


• He stands and they walk quickly to their car and pull away from the park.


• INT. HOSPITAL WAITING ROOM - DAY


• Katie's father stands with a doctor in an open doorway speaking in hushed tones, a worried look on his face.


• The doctor nods, then walks to Katie.


• DOCTOR
• Hello Katie, I hear there's a little problem we need to take care of.


• Katie looks up confused.


• The doctor looks at her parents.


• DOCTOR
• Just follow me.


• They head through the open door.


• INT. EXAM ROOM - DAY


• DOCTOR
• Up on the table.


• Katie's Dad picks her up and places her the cold table.


• She whimpers as she the doctor pulls out the tray of needles.


• DOCTOR
• Now don't worry, it won't hurt a bit.


• The door opens, but no one notices but Katie.


• The Angel slips into the room, sitting on the floor to fit its massive frame.


• Katie smiles.


• DOCTOR
• See? What a trooper.


• He pulls out the needle and quickly readies Katie's arm.


• The Angel looks forlorn.


• Katie doesn't notice what the doctor is doing.


• He removes a needle from the tray; it is filled with a dark blue liquid.


• DOCTOR
• Ready?


• Her parents, stand, looking worried.


• The doctor inserts the needle, but Katie doesn't stir.


• He begins injecting the fluid and the angel flickers, slowly disappearing.


• Katie begins to scream, reaching for him.


• Her father holds her still.


• The doctor removes the needle.


• DOCTOR
• She'll have a few occasional flashes, but as the weeks go past, she'll barely remember. I certainly can't remember. I just remember hating the shot.


• He chuckles.


• FATHER
• Have they ever figured out what causes the delusions?


• The doctor shrugs and taps the needle.


• DOCTOR
• But we know how to fix it.


• Katie sits on the table, sobbing and reaching for empty space.


• Her mother picks her up and carries her out into the hallway.


• INT. HALLWAY - DAY


• They walk out down the hallway, her mother reassuring her as she reaches back for something Katie can no longer see, sobbing.


• FADE TO BLACK.

201. The Parable of the Shiny Little Pill - Leslie

• FADE IN:


• INT. DIATERIX PHARMACEUTICALS LOBBY - DAY


• JULIA sits quietly in the large comfortable chairs scattered around the small lobby.


• The room is decorated with small lamps and prints that appear elegantly crafted on first glance and then conveyor belt-cheap on second and third inspection.


• STEVE COOPER bursts into the room.


• STEVE COOPER
• Julia! Welcome, we're really glad to have you here.


• JULIA
• Glad to be here.


• He waves her to the elevator.


• STEVE COOPER
• Come on, let's get you situated.


• They step into the elevator and the doors close.


• INT. ELEVATOR - DAY


• Cooper adjusts the collar of his expensive suit, shrugging uncomfortably.


• Julia looks at him out of the side of her eye.


• He hits the third floor button.


• STEVE COOPER
• So, Diaterix is a great company. We're a fairly unique pharmaceutical, which I'm sure you already know.


• JULIA
• Yeah, that's why I really wanted this job, I heard about the AIDS treatment you developed specifically for free distribution. That's really exciting.


• STEVE COOPER
• Excellent, and that's why we wanted you. I think you'll fit right in.


• The door opens.


• INT. DIATERIX PHARMACEUTICALS MARKETING - DAY


• The marketing department isn't your typical cubical-filled office space.


• The employees have decorated their individual spaces in wild colors and strange lamps.


• Julia grins in spite of herself.


• STEVE COOPER
• Cool eh? Your space is right over there.


• JULIA
• Awesome. I remember this place from my second interview. I think this is what sold me.


• Cooper grins and guides her to an empty cubicle.


• He scratches at his arm, revealing the edge of a rash.


• Julia tries not to stare.


• STEVE COOPER
• It's all yours, take the first day to get adjusted, maybe get some ideas about decorating and we'll get you started on the marketing for one of our new projects tomorrow.


• He scratches harder at his arm.


• Julia starts to say something, then closes her mouth again.


• STEVE COOPER
• One more thing.


• He reaches into his pocket, pulling out a clear plastic bottle full of small, glowing pills.


• STEVE COOPER
• We get exposed to some pretty strange diseases in here, even in marketing. There's a virus that circulates here every once in a while, but not to worry, these will help you out.


• He scratches the rash on his arm, then at his neck.


• His collar pulls away for a brief moment, revealing a thick red welt crawling down towards his chest.


• JULIA
• Umm, how often should I take it?


• STEVE COOPER
• Well, research downstairs says that we need to take one a day you know, we really don't worry about it. We take it if the infection gets really bad and there's a good rate of it being successful.


• JULIA
• A good rate?


• STEVE COOPER
• Sure, sure, it's not a big deal. So yeah, I'll get going and let you get acclimated and we'll see you a little later on.


• He grins at her and walks away, still scratching.


• Julia shakes her head in disbelief.


• She looks over at her new coworkers.


• They type away, occasionally scratching at rashes; some are small, some larger and thicker.


• At each of their desks sit bottles of glowing pills, untouched.


• She sits down shaking her head, opens the bottle and pulls out a pill, swallowing it quickly.


• FADE TO BLACK.

200. Whispers of the Divine - Leslie

• FADE IN:


• EXT. BEACH - NIGHT


• DENNIS sits with ANDREW, ERIC, MARK, ELLEN, SUSAN, and TONY around a small bonfire on the beach.


• He sits on the edge of the group looking a bit lost.


• ANDREW
• So she was completely feeling me up and I just felt...


• ELLEN
• Oh please, don't tell me you felt used. Ha! You were loving it.


• ANDREW
• Hey, that's not fair, talk about a double standard. I did love it.


• The group laughs.


• Dennis gets up and walks quietly away, towards the water, brushing sand off of his pants.


• ERIC
• Dude, you always have these crazy experiences.


• SUSAN
• Tell me about it...I'm fairly sure you spend most of your time just looking for random people who will give you good stories to tell.


• The conversation fades as Dennis gets close to the water.


• He begins walking parallel to the water, looking at the beach houses scattered across the shore line, their warm lights making the area feel warm and inviting.


• The full moon scatters tiny light-gems across the surface of the water.


• Dennis walks on, carefully avoiding the tide as it laps in.


• He hears a splashing sound and turns out to the ocean.


• There is nothing at first, then sunlight glints off of hair, a face, a person in the water and he stops to stare.


• A YOUNG WOMAN walks waist-deep in the water, hair trailing down her back, white dress floating up in the water.


• He walks closer, forgetting about the tide, then jerking back as it laps his sandals.


• The woman walks, head down, arms at her sides.


• She pulls her hands out of the water and lighting sparks around them.


• Dennis' jaw drops and he tries to move into shadow while watching her.


• A hand claps onto his shoulder.


• He whirls around to find MARGARET, an old woman in jeans and a sturdy cane, behind him.


• MARGARET
• Shh.


• DENNIS
• What is she?


• MARGARET
• A star.


• DENNIS
• Excuse me?


• MARGARET
• Shhh! You're making enough noise to wake a stone Buddha.


• DENNIS
• I think that's a bit of an exaggeration.


• MARGARET
• Shh!


• DENNIS
• What's this about movie stars?


• MARGARET
• I never said anything about movie stars. I said star. She fell. I think she's from Outer Ring.


• DENNIS
• Wait...you lost me at fell. A star star?


• Margaret nods.


• MARGARET
• She's my third. I saw my first when I was seven, my second when I was 43. That's when I started tracking them.


• DENNIS
• Outer ring?


• MARGARET
• Of our galaxy.


• Dennis begins walking towards the woman.


• MARGARET
• Wait, I wouldn't do that.


• Dennis keeps walking, into the surf.


• The young woman watches the lighting in her hands a lost look on her face.


• Dennis walks deeper into the water.


• MARGARET
• Stop!


• He reaches out and touches the star's shoulder, and his hand goes right through.


• She turns, eyes wide and sees him.


• Her eyes soften, and a molten tear drips down her face.


• She reaches back to him and touches his face.


• His eyes go wide and his eyes fill with light, becoming pure silver.


• She jerks her hand back and he falls into the water.


• Margaret rushes to him, splashing around with her cane and pulls him to safety.


• He blinks opening his eyes and stares down the beach as the star looks at him, then turns, eyes full of sadness, and continues walking through the shallow water.


• Margaret shakes her head as Dennis stares after the star.


• MARGARET
• Well know, if that isn't the saddest thing I've ever seen.


• FADE TO BLACK.

199. Haiku Break - Songs of Comfort

• 1.
  She wakes him gently,
  Pulls him into the soft light
  Into their own world.


• 2.
  He curls up tightly
  Bathed in cotton and moonlight,
  Under soft covers.
  


• 3.
  Hold my hand and smile,
  Let's steal long, midnight kisses
  In our secret place.

198. Haiku Break - Songs of the Deep

• 1.
  He shudders, so soft
  On the edge of something big
  Unable to grasp.


• 2.
  She stared into space
  Saw the infinite and smiled
  Swam in galaxies.
  


• 3.
  Leap from what you know
  Into the silent unknown
  Embrace dark madness.

197. Haiku Break - Songs of Dance

• 1.
  Quick flamenco steps
  Flash of red, twist of tart lime
  Dance in A minor.


• 2.
  She spins dizzily
  Lost in infinite moments
  Shadow of divine.
  


• 3.
  Flame licks her small wrists
  She whirls in a burning arc
  Pyromaniac.

196. Sh3kina: Demonology - Leslie

• FADE IN:


• EXT. CITY SIDEWALK - DAY


• ERIC walks with AMANDA down the sidewalk.


• ERIC
• Not to deny any of your experiences, but I'm pretty skeptical of the whole dark spirits thing. I mean, seriously?


• AMANDA
• How can you be skeptical? Isn't that part and parcel of your religion? Didn't Jesus cast out demons?


• ERIC
• Eh, he could have been healing mental illness...people didn't know better back then.


• AMANDA
• But you believe in healing? You Christians are strange. I certainly believe in evil spirits.


• ERIC
• Hey, don't take me as an exemplary model of Christianity. Just one who chooses to be rational.


• They come to a stop in front of an apartment building.


• AMANDA
• Well, thanks for walking me home.


• They hug.


• AMANDA
• I'll light some incense and put up a prayer flag for your enlightenment.


• Eric snorts.


• Amanda shakes her head and walks to the door.


• He waves and turns back down the sidewalk.


• He turns the corner and sees a HOMELESS MAN wandering towards him, weaving across the cement.


• Eric moves to the side to avoid him.


• The homeless man walks closer then stops, his head snapping towards Eric.


• HOMELESS MAN
• We know you.


• He pulls out a knife and Eric freezes.


• ERIC


• The man smiles and tilts his head.


• HOMELESS MAN
• Oh we know you and you are filthy. We see all. Shall we tell him? Shall we show him his filth?


• The homeless man's smile drops and he hisses backing away.


• A LITTLE GIRL steps from behind Eric.


• LITTLE GIRL
• You know me.


• HOMELESS MAN
• We have no quarrel with you.


• LITTLE GIRL
• This one is mine.


• HOMELESS MAN
• But he is filthy!


• LITTLE GIRL
• Leave.


• HOMELESS MAN
• Please.


• LITTLE GIRL
• Leave!


• The man screams, then crumples onto the sidewalk.


• The girl firmly pulls at Eric's hand.


• He follows her, numb.


• She guides him down the sidewalk.


• LITTLE GIRL
• Your car.


• Eric stares at her.


• LITTLE GIRL
• You should probably get in.


• He fumbles for his keys, unlocks the door, then gets in.


• The little girl peeks into the door.


• LITTLE GIRL
• Call me.


• She closes the door, then walks down the sidewalk, a small, bright spot of light in the darkness.


• Eric stares after her in shock watching her disappear into the night.


• He locks his doors and puts his head in his hands.


• FADE TO BLACK.

195. Sh3kina: The Dancer - Leslie

• FADE IN:


• EXT. INDUSTRIAL DISTRICT STREET - NIGHT


• STEPHEN walks through quiet streets scanning the buildings around him.


• He stops in the light of a streetlamp to inspect a small calling card.


• It reads: You're invited to a night of magic at The Robot Bride for an exclusive concert by Intricate Delusions. 379 Industrial Dr.


• He looks up and down the street, then spots a warehouse with "The Robot Bride" projected onto the wall.


• He approaches and stops as a massive BOUNCER steps out of the shadows.


• STEPHEN
• Hey, I'm here for the concert.


• BOUNCER
• Name?


• STEPHEN
• Stephen Meier.


• The bouncer inspects the list in his hand, then nods and steps aside, opening the door.


• Stephen walks into the warehouse.


• INT. THE ROBOT BRIDE - NIGHT


• The space is almost completely pitch black.


• Stephen looks around confused.


• There is a loud pop and then another and lights hum on at the edges of the room.


• There is a hiss and then flames ignite in the center of the room.


• THE DANCER stands in the center of the room spinning flaming poi in the middle of a ring of tea lights.


• STEPHEN
• Oh, I think I have the wrong place, sorry...I'm looking for the concert?


• THE DANCER
• Hi Stephen.


• STEPHEN
• Wait...how do you you know my name?


• THE DANCER
• You should probably take your shoes off.


• STEPHEN
• Excuse me, what?


• THE DANCER
• Off. This is sacred space.


• Stephen backs up to the door and tries to open it but it is locked.


• STEPHEN
• Hey! Look, I'm sure I have the wrong place, I'll just go...you can do your voodoo dance on your own.


• THE DANCER
• Stephen, now.


• There is something about the voice, enchanting and terrifying that causes him to listen, removing his shoes and walking forward.


• STEPHEN
• Who are you?


• The dancer whirls the flames around her face, smiling.


• THE DANCER
• I AM.


• Stephen pales and steps back again.


• THE DANCER
• Don't be afraid. Come here.


• Stephen walks towards her slowly.


• THE DANCER
• I've chosen you.


• STEPHEN
• For what? What could I possibly do?


• She smiles again, mischievous.


• THE DANCER
• I should warn you, I am the wind, here one day, there the next. I'll make you like the wind; You will touch strange dimensions and command my armies with a word?


• STEPHEN
• Armies? You have the wrong guy. I don't think I have quite the qualifications you want. I still struggle with whether you exist or not, and in two days, I'll be rationalizing this. Wait, I'm doing it right now. And I'm not a good guy, I'm really not, you know this. I'm have no right to do anything for you.


• THE DANCER
• Stephen Lewis Meier, I don't make mistakes. Come here.


• Stephen steps to the edge of the ring of candles.


• The dancer walks forward and allows the flaming poi to hang from her hands.


• She reaches out and flame leaps from her forefinger.


• She touches his lips with her burning finger.


• THE DANCER
• You are clean. Go, be my subversive, whisper the words I give to you, spread my revolution quietly. I will never leave you, I will always be with you.


• She turns and steps outside of the circle.


• The candles extinguish and she is gone.


• Stephen touches his lips and walks out the door, his finger still at his mouth.


• He exits the warehouse and sees that no one is there.


• He walks back down the sidewalk, pauses, then extends his hand in a quick motion.


• A flame ignites above his palm and he laughs in amazement, then continues into the dark.


• FADE TO BLACK.

194. Sk3kina: The Quiet One - Leslie

• FADE IN:


• INT. CHURCH - DAY


• DAVE kneels at the front of the church praying softly.


• DAVE
• God, thanks so much for all the blessings you've given me. I don't know what it is about me, but thanks, you keep doing more than I could imagine.


• The door at the back of the church opens the SILENT WOMAN peers inside.


• She is dressed in a flowing white dress and combat boots.


• DAVE
• In Jesus'...oh, if there's anything you want me to do, just let me know. Show me how I can serve you.


• He pauses for a half second.


• DAVE
• No? That's alright, I know you're silent sometimes, just let me know, OK? In Jesus' name, Amen.


• He stands, turns around and almost bumps into the Silent Woman who is right behind him.


• She studies him for a moment, then slaps him, hard.


• DAVE
• Ow! Look, you have no right just hauling off on me, I don't even know you.


• She tilts her head to the side sardonically, then grabs his hand and pull him towards the back of the church.


• DAVE
• Hey, wait just a minute!


• He struggles, but she pulls him with ease to the door and opens it.


• She shoves him outside.


• EXT. CHURCH - DAY


• Dave blinks in the sunlight.


• An OLD WOMAN pushes a cart down the sidewalk in front of the church's beautiful exterior.


• The Silent Woman points to the woman.


• DAVE
• What?


• The Silent Woman looks at him meaningfully, then points to the woman again.


• Dave moves down the church steps, then turns around.


• There is no sign of the silent woman.


• DAVE
• Hey, lady!


• The old woman turns around.


• Dave waves his hands apologetically.


• DAVE
• Not you.


• She shoots him a dirty look, then continues at her painstaking pace.


• Dave looks around again, looks at the old woman, then sits down on the stairs and exhales.


• He looks up at the sky.


• DAVE
• Fine. Fine.


• FADE TO BLACK.

193. Sacrifice - Leslie

• FADE IN:


• INT. CONCERT HALL - NIGHT


• The audience is packed with well dress attendees and dignitaries.


• A sharply dressed MASTER OF CEREMONIES in a a top hat stand at the center of the large stage.


• The audience stares slackly at the stage.


• EMCEE
• Presenting Sergeant Eric D. Hare, hero!


• SGT. HARE strides onto the stage.


• The audience perks up, cheering.


• He stands, bemused by the accolade.


• The MC waves him gently off the stage.


• Hare exits and seconds later, a gunshot rings out.


• No one in the audience reacts.


• EMCEE
• Presenting Private Emily Archer, hero!


• Pvt. Archer strides out, the audience cheers, she leaves, and there is a gunshot.


• Soldier after soldier is presented, the audience waiting expectantly for the next hero.


• INT. CONCERT HALL BACKSTAGE - NIGHT


• EMCEE (VO)
• Master Chief Arlen Wright, hero!


• A SOLDIER exits the stage and find himself facing A FACELESS MAN with a gun.


• Fear and betrayal fill the soldier's eyes.


• The gun is fired, the soldier's body falls, and the man kicks the body over into a uniformed pile.


• EMCEE (VO)
• Captain Ryan Vasquez, hero!


• FADE TO BLACK.

192. Gomer - Leslie

• FADE IN:


• INT. LIVING ROOM - NIGHT


• JASON sits in his living room reading SILENCE by Shusaku Endo.


• His FRIEND TOM flips slouches on the couch, flipping idly through TV channels.


• The DOORBELL rings and Jason jumps up.


• TOM
• You've been jumping like that for that last 10 months. When are you going to quit?


• JASON
• When she comes back.


• He starts to open the door.


• TOM
• There's a reason there's a peephole. One day you'll let in some psycho.


• Jason waves at him, annoyed, and pulls the door open.


• He stands there in dead silence.


• TOM
• What?


• JASON
• Come in.


• HARMONY walks into the house, a heavy duffel bag on her shoulder, her face and arms covered in bruises.


• She drops the bag and stands, needing to be hugged but afraid to move.


• TOM
• Hey, no offense to you Harm, but Jason, don't let her stay. You keep breaking his heart. Jase, you're just another trick.


• HARMONY
• Screw you Tom, that's not fair. I love Jason.


• TOM
• Ha! You're...you, look I can't even talk. You gonna stop spreading your legs this time around? Please...


• JASON
• Tom, back off.


• TOM
• Don't do it man.


• JASON
• Tom, I'll see you tomorrow.


• They stare at each other.


• TOM
• Fine.


• He tosses the remote onto the coffee table and walks out the open door.


• HARMONY
• I'm really sorry. Thank you for waiting.


• JASON
• It's what I do, I guess.


• HARMONY
• Please, not you too.


• JASON
• It's tough, Harm...are you going to stay this time or are you going to get the urge to disappear in 6 months.


• Harmony shrugs and it's such a pathetic gesture that Jason heart breaks.


• He pulls her into his chest and holds her.


• JASON
• It's ok, we'll start over slow. It's ok, it's ok.


• FADE TO BLACK.

191. Cynical Man - Leslie

• FADE IN:


• EXT. DOWNTOWN SIDEWALK - DAY


• CYNICAL MAN slouches against lamp pole in red tights and a black cape.


• He watches passerbys glumly.


• He spots a WOMAN and her CHILD stop in front of a storefront window.


• He approaches them slowly and stands behind them.


• The woman turns.


• WOMAN
• May I help you?


• CYNICAL MAN
• You know you're not wearing that hideous pair of shoes because you really want to. Wake up! Some corporate exec is brainwashing you.


• As the woman's jaw drops, he turns to the child.


• CYNICAL MAN
• Santa isn't real. She's been lying to you.


• The child turns, horrified, to his mother.


• Cynical man shrugs and shuffles off as the child begins crying.


• He walks past a cafe where TWO LOVERS sit, staring into each others eyes.


• He walks to the table.


• CYNICAL MAN
• Seriously? He's wining and dining you for the sex. She's putting up with your bad jokes for the security. You don't believe me? Ask her.


• He walks away as the couple turns in shock towards him, then back to each other.


• CYNICAL MAN
• 5, 4, 3, 2, 1.


• The couple begins bickering.


• CYNICAL MAN
• Every time.


• As he continues down the sidewalk, people begin clearing away. A view down the street shows the mess he's created.


• A few intersections down, two cars are wrecked, a little further up, fire hydrants are going off.


• A MAN IN A BUSINESS SUIT sits on the ground staring blankly ahead.


• As people move quickly for cover, he shrugs again.


• CYNICAL MAN
• Hey, I'm just being real.


• He continues walking, revealing even more of the chaos he has caused.


• FADE TO BLACK.

190. Yogurt - Leslie

• FADE IN:


• INT. LIVING ROOM - DAY


• Shafts of afternoon light shine through the rooms large windows, giving the space a melancholy air.


• PATRICE sweeps in, tidying the already neat room in an attempt to stay busy.


• She pauses, then sits down on the couch and starts crying.


• The front door creaks open and ANDREW sticks his head in.


• ANDREW
• Patty?


• She looks up.


• ANDREW
• Patty.


• He walks over and sits next to her.


• PATTY
• I wasn't ready for her to go.


• ANDREW
• I know. None of us were. She was such an amazing woman.


• Patty stands and tries to bustle around the room.


• PATTY
• I got to spend time with her just before she died. If that hadn't happened, I'd be in terrible shape. Tony's going to be a wreck. He's off in Uganda this week. She says...said to tell you that you're a beautiful scoundrel and that you'd better miss her.


• Andrew throws back his head and laughs.


• ANDREW
• I already am.


• Patty starts crying again.


• Andrew pulls her into his arms and holds her until she catches her breath.


• PATTY
• Thanks for being here.


• Andrew leans over and peeks into the kitchen.


• ANDREW
• Darling, I'm just here for the yogurt, I just wanted to let you know before someone else told you. That's all I'm interested in.


• She smacks him, laughing and sniffling.


• ANDREW
• I'm not kidding, get me some yogurt, woman.


• He tries his best to keep a straight face.


• PATTY
• Thank you.


• He nods.


• ANDREW
• Of course.


• PATTY
• Now help me get the food set up before anyone else comes.


• She slips into the kitchen and Andrew follows her.


• ANDREW (VO)
• Yogurt!


• FADE TO BLACK.