244. Portraits: Mae - Leslie

• FADE IN:


• EXT. SUNSHINE CAFE - DAY


• MAE sits on the edge of the sidewalk, the edges of her cargo pants whipped back and forth by the passing cars.


• Her brilliant red hair obscures the massive, industrial-strength headphones she is wearing.


• She holds a cup full of steaming tea in her hand.


• Dipping a finger into the tea, she captures a drop of liquid on her skin, then holds it up to the light; the bead of tea shimmers for a moment before she dabs it on her tongue, with a little smile of satisfaction.


• She does this again and again, drinking her tea with excruciating slowness.


• JOHN, sitting at a nearby table watches her quizzically.


• ARNIE, a waiter dressed crisply in black stops by his table.


• ARNIE
• Is there anything else I can get you?


• JOHN
• No, everything was delicious. I do have a question. What in the world is she doing?


• ARNIE
• Ha! I wish I knew. She comes here every Tuesday, gets a different tea and sits on the curb, drinking just like that. I don't think she's homeless, but...


• John stands up and walks over to her.


• JOHN
• Excuse me, excuse me, I don't mean to bother you, but...


• Mae dips her finger into the cup.


• He taps her on the shoulder and she calmly turns to him.


• JOHN
• What exactly are you doing and why?


• She smiles at him, shakes her head, and puts a finger to her lips, then turns back to the street, drinking the droplet from her finger.


• John returns to his seat shaking his head.


• ARNIE
• I'm kind of glad she didn't answer, it would have ruined the mystery.


• The two men stare at her, watching in confused awe as she holds a bead of tea up to the light.


• FADE TO BLACK.

243. On a Hill - Leslie

• FADE IN:


• INT. STAGE B, CRAFT SERVICES - DAY


• A group of crew members sit around a large plastic table digging into their food.


• LANCE grabs his plate and sits down at the table, adjusting tool belt.


• He glances around a for a second, then closes his eyes and offers a quick, silent prayer for the food.


• He glances around a for a second, then closes his eyes and offers a quick, silent prayer for the food.


• TIM
• You mind praying out loud, for both our meals?


• Lance's eyes pop open.


• LANCE
• Uh, sure.


• He leans towards Tim and speaks in a quiet voice.


• LANCE
• Father, thanks for friends and work and sharing food. Thanks for community. Bless this food, help it give us strength, Amen.


• TIM
• Amen.


• LANCE
• I didn't realize you were a believer.


• TIM
• I'm not, but you shouldn't be ashamed of what you believe, you don't have to look around and hide it. I just wanted to share your faith with you, experience what you believed for a moment. A holy moment, no?


• Lance looks at Tim, slightly stunned.


• Tim smiles at him; his radio beeps.


• KEY GRIP (VO)
• Hey, this is Erica for Tim.


• TIM
• Go for Tim.


• KEY GRIP (VO)
• Need you for a quick pow wow.


• TIM
• Copy, I'll be there in a sec.


• Tim nods to Lance.


• TIM
• Thanks for praying with me.


• He grabs his plate and walks briskly towards the main stage leaving Lance still staring in wonder at him.


• FADE TO BLACK.

242. Unspoken - Leslie

• FADE IN:


• EXT. MAINE BEACH - NIGHT


• JACKIE and RIC sit by the embers of a dying fire on the sand.


• Black waves lap onto the sand, the silver of moonlight tangled within their dark mass.


• The light plays off of the couple's faces.


• Jackie sits cross legged, arms perched on her knees.


• Ric has his head on her shoulder and they watch the embers.


• Jackie's face is strong with delicate features, high cheekbones and an angular face.


• She wears a tank top, which reveals the spirals and bands tattooed around her arms and spilling onto her chest.


• Her dark loose pants ripple in the light breeze.


• Rik has short cropped hair and an earring in his left lobe.


• He wears a tight-fitting t-shirt and jeans, his bare feet partly buried in the sand.


• He takes his head off her shoulder and begins slowly, gently tracing her tattoos with his forefinger.


• He stops and they look at each other; she smiles.


• He follows the spirals up and down, feeling her smooth skin.


• She leans over to kiss him and suddenly he flickers and disappears.


• She lets out a gasp and looks around.


• She stands, spinning backwards and forwards looking for him.


• INT. LAB 31 - DAY


• Jackie's body lies strapped to a hospital bed, wires extending from her body into a bank of computers.


• Bags full of fluid surround the bed, quietly pumping her full of the nutrients she needs.


• DR. O'MARTIN watches a bank of paper-thin monitors along the walls.


• The monitors show Jackie racing around the sand, yelling soundlessly for Rik.


• His colleague DR. MARTINEZ steps into the room, with a guest, MR. HAYDEN.


• Mr. Hayden inspects the monitors.


• DR. MARTINEZ
• As you can see, we can see what our subject is seeing in the virtual world we've crafted for her.


• MR. HAYDEN
• Excellent. Dr. O'Martin, good to meet you.


• O'Martin nods.


• MR. HAYDEN
• And you've run her through the narrative how many times?


• DR. MARTINEZ
• This is her 20th time, sir.


• MR. HAYDEN
• She doesn't remember a thing?


• DR. O'MARTIN
• We do a thorough mind wipe after every session.


• MR. HAYDEN
• And what about...?


• DR. MARTINEZ
• She's held out the longest of our subjects, but she should lose her mind completely in the next several sessions.


• MR. HAYDEN
• Excellent, excellent.


• DR. MARTINEZ
• We'll let you know as soon as she's complete.


• DR. O'MARTIN
• You'll be able to mold her however you wish. You can have her do anything once we finish our process. We aim to provide you with a quality product.


• MR. HAYDEN
• She'll never remember?


• DR. MARTINEZ
• She'll have some fight left, but it'll be instinctual...we can wipe that as well?


• MR. HAYDEN
• No, no, it's fine. I like a little spunk.


• DR. MARTINEZ
• Good, well let me show you out to the receptionist and she'll get the rest of your information for payment.


• She guides Mr. Hayden from the room.


• Dr. O'Martin watches Jackie run around a little longer, then touches a full buttons on the screens.


• Jackie's body twitches.


• EXT. MAINE BEACH - NIGHT


• JACKIE and RIC sit by the embers of a dying fire on the sand.


• Ric has his head on her shoulder and they watch the embers.


• He takes his head off her shoulder and begins slowly, gently tracing her tattoos with his forefinger.


• FADE TO BLACK.

241. Cells - Leslie

• FADE IN:


• EXT. CITY SIDEWALK - DAY


• JESSICA and MATT walk slowly down the sidewalk, their arms weighed down with groceries.


• MATT
• You know, there's something so amazing about human touch.


• JESSICA
• Yeah...


• MATT
• I've seen people cheered up by just a second of contact. Odd when you think about it, just patches of cells pressing together.


• JESSICA
• And the neurons under that skin getting all jumpy.


• MATT
• I suppose so. It's what I miss about dating. Just that you knew that on a bad day you could just have that contact. What is it really? I mean the minute you're touched, everything seems to lift away.


• Jessica stops, turning to him.


• Smiling, she puts her arms around him and gives him a long hug.


• He reciprocates, their sudden stop almost causing a pedestrian pile-up.


• She lets go and they slowly begin to walk again.


• MATT
• Thanks.


• JESSICA
• Figured that's what you were getting at. Better?


• MATT
• Much.


• FADE TO BLACK.

240. Small Holes - Leslie

• FADE IN:


• EXT. LORIEN RESIDENCE - DAY


• RABBIT, a nine-year-old boy, sits on the porch steps of his house carefully knitting a blue and orange scarf.


• His glasses are pushed to the end of his nose and he squints at his work.


• The wind rustles through the chimes that hang all around the porch's awning.


• The grass in the yard is bright green and large oak shadows the house.


• Herbs and flowers ring the house's margin.


• Marigolds line the path that connects the porch to the street.


• There is a soft whistling sound and Rabbit looks up from his work, pushing his glass up with a finger.


• A GIRL IN PINK stands on the path, her head tilted to the left as she watches Rabbit.


• She is dressed in a pink dress with jeans underneath and ballet shoes on her feet.


• She holds a ice cream cone in one hand, ignoring the pink, sugary drops melting onto her hand.


• In the other hand, she holds a silk leash attached to a richly-colored FLAMINGO.


• FLAMINGO
• Don't mind her, she gets lost in her head all the time. Come on dear, let's go.


• Rabbit doesn't seem to be too bothered by the fact that the flamingo is speaking.


• He waves, and the bird nods in a dignified way, pulling the girl away.


• They wander down the street.


• Rabbit stands, putting his knitting down on the porch and walks into the house.


• INT. LORIEN RESIDENCE - DAY


• Rabbit stands at the top of the basement stairs.


• RABBIT
• Mom? Mom?


• MRS. LORIEN, a young woman with goggles perched at the top of her head and dressed in grease-smeared jeans, pops out of the shadows.


• She holds a strange-looking welding torch in one hand.


• Her hair is held together by a pencil and rows of earrings glint from her ears.


• She smiles up at him.


• MRS. LORIEN
• What's up Rabbit?


• RABBIT
• You haven't fixed the hole yet.


• MRS. LORIEN
• I'm working on it, dear, it's not all that easy to fix the time-space continuum.


• RABBIT
• It'd be easier if you quit making holes in it.


• MRS. LORIEN
• But this was just a small one. And all the parallel worlds you get to see!


• RABBIT
• You promised.


• Mrs. Lorien makes a face.


• MRS. LORIEN
• One a month, I know.


• RABBIT
• This is three. It's not that I mind so much, but the neighbors keep freaking out.


• MRS. LORIEN
• Alright, alright, I'll do better.


• RABBIT
• Thanks Mom.


• He turns to head back out.


• RABBIT
• Love you.


• MRS. LORIEN
• I love you too honey. Remember to stay away from any yammering bandersnits if they make it through, you remember what happened last time.


• He rolls his eyes and replies dutifully.


• RABBIT
• Yes, Mom.


• He turns, walking back out.


• Mrs. Lorien smiles after him.


• She turns, pulling her goggles back on and cranks on the torch.


• It burns bright violet, the light it casts revealing a shimmering hole hanging in midair.


• She whistles to herself and starts working.


• FADE TO BLACK.

239. Red in A Minor - Leslie

• FADE IN:


• INT. THE ARIANA PROJECT - NIGHT


• ALEX walks into The Ariana Project, a small bar tucked away on a small street.


• Wicker lamps hang from the ceiling, giving the room a muted, warm feel.


• He looks down and realizes he is in his pajamas.


• An OLD MAN in overalls walks past, holding a red balloon filled with green butterflies in one hand and a glass of wine in the other, his pinky extended just so.


• Alex blinks and looks around.


• An ASTRONAUT sits in the corner, playing Spanish guitar with amazing skill, despite his thick gloves.


• An OTTER and a uncomfortably large CHIPMUNK sit at the bar engaged in an intense discussion.


• Alex makes his way to the bar and sits a safe distance from the chipmunk.


• The BARTENDER, a woman whose eyes are full circles of pale gold smiles at him.


• She is dressed in a elegant corset and jeans, her hair wrapped around two black and silver chopsticks.


• BARTENDER
• Hi Alex, what can I get for you?


• ALEX
• This is a dream right?


• BARTENDER
• Sure.


• ALEX
• Wow, I think I'm more screwed up than I realized...umm, what are the house specialties?


• BARTENDER
• Maybe I'll tell you on your next visit. But...I can make anything you want.


• ALEX
• Anything?


• She nods.


• ALEX
• I want red in A minor with a twist of lemon.


• BARTENDER
• Coming right up.


• The Bartender grabs a bottles off the shelves behind her.


• She places a large flask full of glowing red light on the bar, then deftly peels a lemon into spiral shapes.


• She pours a measured amount of red into a shaker and tosses the lemon in after it.


• Alex laughs softly, amazed.


• She closes the shaker and attaches what looks like an old ear horn to the top.


• BARTENDER
• Hey Buzz!


• The astronaut looks up.


• BARTENDER
• A minor!


• His gloved fingers race along the strings and the bar is filled with a beautiful, melancholy ballad.


• The Bartender points the ear horn at the astronaut, gently shaking the drink.


• BARTENDER
• Thanks!


• The astronaut nods and waves.


• Alex watches everything slightly slack-jawed.


• The bartender grabs an elegantly hand-blown glass and pours the drink, placing a lemon slice on the rim.


• It is a strange combination of liquid and light with flecks of glowing yellow floating through it.


• She hands it to Alex and nods.


• He takes a sip and his eyes go wide.


• He takes another sip.


• ALEX
• Oh wow, wow...I should definitely get more sleep.


• The bartender smiles then makes her way to the chipmunk, who is impatiently tapping his empty mug.


• FADE TO BLACK.

238. Winter Meditations - Leslie

• FADE IN:


• EXT. COURTYARD - NIGHT


• LEAH sits on a wooden bench in the small, tree-filled courtyard.


• A few bright Autumn leaves still cling to the trees.


• Snow has created a light frosting on the cobblestone floor.


• Flakes fall gently into the space.


• LEAH (VO)
• There's something about this place and this time of year that is healing.


• She stands, dancing under the flakes.


• Twirling, her feet cut through the layer of snow, her movements tracing strange symbols out of the flakes, dance translated into written word.


• LEAH (VO)
• I remember, I'm filled with memories and for a few months, they spill out, then go back to sleep. Maybe I sleep too. Everything else passes in a blur, but winter seems to stop, everything shifting into sharp relief.


• She continues dancing, fading slowly.


• LEAH (VO)
• A few months, then nothing.


• She disappears completely.


• MICHAEL and ANDREW walked out into the courtyard, warm light from outside spilling out onto the snowy cobbles.


• Michael stops short and points down.


• MICHAEL
• Hey look, something moved the snow around here. Weird...they look like strange symbols.


• ANDREW
• I always imagine that memories come here to dance in the snow.


• MICHAEL
• Ummm...


• ANDREW
• Just a childhood fantasy...but how do explain those?


• Michael shrugs.


• GRANDMA (OS)
• Boys! Come to supper.


• ANDREW
• Ah well, whatever, let's go eat.


• They walk back into the house.


• Leaves rustle and more footprints are melted into the snow, adding to the symbols, placed there by an invisible dancer.


• FADE TO BLACK.

237. Infinite Loop - Leslie

• FADE IN:


• INT. MOTEL ROOM - DAY


• BREE paces around the dingy motel room, biting her lip.


• The room has a single bed with a stained comforter; bad prints of bad artwork hang over the bed and chest of drawers.


• The yellow wallpaper is stained and torn.


• Bree's only belonging is a faded, dusty pink, carry-on suitcase.


• She stops, looks out the window, then starts pacing again.


• Taking a deep breath, she unzips the suitcase.


• Small vials of glowing blue liquid are neatly packed into the small space.


• Bree clenches her fist, squeezing her eyes shut, then opens them, determined.


• She closes the case and marches out the door.


• EXT. MOTEL DUMPSTER - DAY


• Bree flips open the dumpster lid and tosses all the contents of the suitcase into the garbage.


• She closes the case, exhaling with relief.


• Standing on her tiptoes, she looks longingly at the vials scattered across the stinking trash.


• She breathes in, then turns slowly and walks away.


• INT. MOTEL ROOM - DAY


• Bree sits on her bed, trying not to fidget.


• Finally she hops up and begins pacing again.


• She pulls up the mattress, revealing a small wooden box.


• She grabs the box.


• Inside is a set of needles, a spoon, a lighter, a tourniquet, and two glowing vials.


• She sits down on the bed...pushing the box away from her.


• Bree stares it down and loses.


• She grabs at it, flipping it open with a practiced movement.


• Scratching at her arm in desperation, she finds a vein and ties it off.


• She pours the glowing blue substance into the spoon, heating it with the lighter.


• She fills the syringe and injects herself, closing her eyes, and letting out a gasp of pleasure.


• She sits, eyes closed for a long moment, then returns to earth.


• She pulls off the tourniquet, walks to the sink and washes her face.


• Bree looks up seeing her face in the mirror and tries to study the reflection.


• Shame fills her eyes and she hurriedly turns away from the image.


• She walks back to the bed, puts her head in her hands.


• Looking up with red rimmed she spots the second vial.


• She looks away, then back.


• Grabbing at the tourniquet, she reties it around her arm, then grabs the vial.


• FADE TO BLACK.

236. Communal Rites: The Hungry

• FADE IN:


• EXT. SUNSET STRIP - DAY


• PASTOR HANK, a kind-faced man with a crisp clerical collar and PASTOR DARREN, a man with a thin face and a well-pressed suit sit at one of the sidewalk tables of a nice cafe.


• A half-finished salad filled with strawberries and walnuts sits in front of Pastor Darren.


• A large bible is open in front of them.


• It is open to ISAIAH 58.


• They are engaged in a intense, though civil discussion of the chapter.


• Pastor Hank taps his finger on VERSE 6 which reads:


• "Is not this the kind of fasting I have chosen: to loose the chains of injustice and untie the cords of the yoke, to set the oppressed free and break every yoke?"


• A waitress comes to their table with bowls of chili and plates stacked high with thick steak fries.


• They dig in, still consumed in conversation.


• Across the street, a YOUNG HOMELESS WOMAN several months pregnant sits surrounded by her few belongings.


• She hugs the wall behind her, trying to avoid being trampled by the packs of pedestrians browsing the chic shops on the strip.


• ELAINE walks briskly down the sidewalk, laden with Trader Joe bags, anxious to get home.


• She passes the young woman and sits down at the bus stop, taking a deep breath.


• She glances back at the woman and then at her watch.


• Across the street, the pastors are digging into their meals, Pastor Hank waves his hand, illustrating a point.


• Elaine makes up her mind, gathering her bags.


• She walks to the young woman and sits down beside her.


• Silently, she pulls containers a food from the bags, then tears the paper bags, creating an improvised picnic blanket.


• She spreads the food out, arranging the hummus and flat bread and juice.


• She pulls an apricot from the bag and hands it to the young woman.


• The woman takes it, hesitantly; she bites into the fruit and sighs, her body relaxing, pleasure reflected in her irises.


• Elaine smiles and reaches for the hummus.


• The two women sit on the sidewalk, eating quietly.


• FADE TO BLACK.

235. Communal Rites: The Thirsty - Leslie

• FADE IN:


• INT. STUDIO APARTMENT - DAY


• The apartment is narrow, a small futon at the far end, a Japanese screen creating some separation from the kitchen.


• Small black and white photographs in simple frames and ebony shelves with candles dot the walls giving the room some warmth.


• JAMIE sits on the futon crying.


• He bites his lip, and looks out the small window, avoiding any eye contact with REBECCA who stands in the kitchen.


• She peeks around the screen, pursing her lips, then turns back to the stove.


• A small, cast-iron tea pot sits on the eye, slowly heating.


• She checks the pot, then satisfied that it is close to boiling, turns her attention to a drawer next to the stove.


• She rummages through the odds-and-ins and finds a box of matches.


• Glancing at the pot again, she closes the drawer and walks over to the window, passing Jamie.


• She pulls rich, red curtains closed, blocking the late afternoon sun and begins lighting candles.


• The tea pot begins whistling softly, growing louder in a piercing crescendo.


• Rebecca slips back into the kitchen and pulls two large mugs from a cabinet above the stove.


• She fills the mugs with the steaming water, then places two infusers packed with loose tea in the mugs.


• She places it all on a small tray, adding a small jars of white honey and raw sugar to the collection.


• Walking carefully, Rebecca walks back to Jamie and places the tray on the small coffee table by the futon.


• She prepares his cup and with one hand gently grabs his chin and pulls his face towards her.


• She hands him the mug and he takes it gingerly, inhaling the steam.


• He holds it for a long time.


• Rebecca takes her own mug and scoots in to him.


• He puts his mug down and places his head on her shoulder.


• They sit in the candle light and filtered sunlight, fragrant steam drifting around their faces.


• FADE TO BLACK.

234. Beached - Leslie

• FADE IN:


• EXT. BEACH - DAY


• JIM and EMILY stroll down the beach, holding hands.


• They come around a curve in the cliffs and find themselves walking towards a beached baby humpback whale.


• A small group RESCUE WORKERS and BYSTANDERS sit on the beach, watching.


• ANDY, a rescue worker in an orange vest is filling a bucket with sea water.


• He takes the bucket and pours it over the whale, gently caressing the whale's tough, gray skin with his hands.


• Jim and Emily walk past the people sitting in front of the whale and approach Andy.


• JIM
• Hey, what's going on?


• ANDY
• We couldn't save her; we tried everything, and the tractor is going to be too late...she'll already be dead, so we decided to sit shiva for her. Join us?


• Jim and Emily nod and join the others, sitting.


• They are talking, sharing.


• ANNA
• She really loved the kelp you could find here in the bay; the others laughed at her, but she knew it was better. Her mother loved her deeply and will miss her deeply. No parent should have to bury their daughter.


• She stops, waits, then turns to Jim and Emily.


• ANNA
• It's your turn.


• EMILY
• Our turn?


• ANNA
• We've all been telling stories about her, who she was, the people...whales that loved her. We're preserving her memories.


• Jim looks at the whale for a long moment, then clears his throat.


• JIM
• I remember how she used to swim, all that childish joy exploding over the surface of the water. Her gray intertwined with the blue glass of the sea. And her mother would laugh to see it.


• He stops, surprised that his eyes are watery.


• He nods to Emily.


• She stands...walks to the whale and puts her hand on it's cool skin.


• She begins to sing, almost inaudibly, then louder and louder the Ave Maria.


• When she finishes, the group sits in silence.


• She turns back and sits down next to Jim.


• They wait.


• Finally, the whale gives a ragged breath and doesn't move again.


• AMY stands and opens her backpack, pulling out a wine bottle and plastic cups.


• AMY
• I brought it for a picnic.


• She fills the cups and those sitting with the whale stand, receiving it.


• AMY races a her cup to the whale and they responded, silently saluting.


• The group dissolves, leaving the rescue workers waiting for the tractor.


• Emily grabs Jim's hand and they stay seated in the and, watching the waves lap at the humpback's fin.


• FADE TO BLACK.

233. Haiku Break - Jazz Songs

• 1.
  There's a hole in space,
  Hole in my cerebellum,
  Venting my scared thoughts.


• 2.
  A wail in B flat
  Dissonance to harmony
  Silk and gravel twined.


• 3.
  Take a twist of lime
  Toss in two teaspoons honey
  Add one drop velvet.

232. Requiem - Leslie

• FADE IN:


• INT. CAFETERIA KITCHEN - DAY


• ALEX wipes his hands on his apron and grabs a stack of plates from the conveyor belt and rinses them off before sticking them into the industrial dish washer.


• The small room is cramped and muggy; steam rises from the dish washer.


• Alex looks across the room.


• SAMANTHA stands by a stack of clean dishes waiting to be placed in their plastic containers but she isn't doing anything, her head tilted to the side, her eyes far away.


• Alex digs into his pocket and finds a penny.


• He walk up to her and places the coin next to the stack of plates.


• ALEX
• Thoughts.


• Samantha blinks, then looks over at him.


• SAMANTHA
• If I got to pick a piece of music to die to, I'd pick the soundtrack for "Lady in the Water."


• Alex backs away slowly, jokingly.


• ALEX
• Ok, then.


• SAMANTHA
• Close your eyes.


• Alex rolls his eyes, but obeys.


• SAMANTHA
• Listen, the voices come in, wordless chant. The gentle xylophone. And then the strings with the theme; it's quiet, swelling just so...


• Alex opens his eyes just a bit.


• Samantha's eyes are closed shut as she spins slowly around the room, conducting an invisible orchestra.


• Alex winces as she spins dangerously close to a stack of dishes.


• SAMANTHA
• Do you see it, there, the violins, louder and louder...oh and then they pull back, it's a simple theme again, just a single thread. Can you hear it Alex?


• Alex opens his mouth.


• SAMANTHA
• It's music that breaks your heart while you fall in love with it. Now it's a rumble, turmoil. And then the simple piano. It makes me feel a thousand inexpressible things. And very quietly, under the piano, the theme, softly, softly.


• She moves her fingers slowly.


• SAMANTHA
• Ah and there it is, coming to full bloom. And it disappears, weaving into variations and then appearing again.


• She tilts her head back, swaying, exhaling.


• SAMANTHA
• It's music that makes me feel heroic and melancholy all in a ball; music that is unbelievably beautiful, calling me to be some tragic figure in a great myth...and now! The theme with the full orchestra swelling, filling every part of you.


• She opens her eyes slowly, savoring the moment.


• SAMANTHA
• How could you not want to die to music like that? Overlooking the water as the sun sets, surrounded by thousands of butterflies.


• Alex shakes his head.


• ALEX
• Dude, I can't even remember what the music sounded like, I was just so irritated at that film.


• Samantha stares at him in disbelief, her perfect moment ruined.


• ALEX
• I'm just saying.


• She shakes her head and turns back, grabbing dishes from the dish washer on her side of the room.


• Alex returns to work, then turns slightly to watch her.


• She works steadily and then, slowly, she tilts her head and her right hand reaches into the air; and she begins directing the invisible orchestra again.


• Alex smiles and shakes his head, returning to his work.


• FADE TO BLACK.

231. Into the Dark - Leslie

• FADE IN:


• EXT. SOLOMON TOWER - DAY


• ROBIN sits on the edge of the skyscraper, her feet tucked under her.


• She pulls at her trenchcoat.


• Her dark hair is cropped short with the exception of three thin braids that curve down her face.


• ROBIN
• I like it up here. I can get away from the rollercoaster. The constant up and down; all the feelings that I can't ever quite figure out. Just me and the wind.


• She looks out at the city lights twinkling below her and licks her lips.


• ROBIN
• You know what's funny, I still like vampire movies. How ironic is that? What do you think?


• She turns, looking at the person with whom she is speaking for the first time.


• ALAN is handcuffed, arms in front, to a lighting rod, his face pale in the moonlight.


• His tie is loose and his suit a bit rumpled.


• ALAN
• Look lady, I just want to go home, just let me go, please.


• ROBIN
• Shhh. Shhh. Turns out I don't care about your opinion as much as I thought I did a second ago.


• he puts a finger to her lips, then licks her long, thin incisors.


• Alan pales even further.


• ROBIN
• Huh. I didn't think it was humanly possibly to turn that shade.


• She turns back to the street.


• ROBIN
• Three years ago I missed sunlight so bad that I went outside sunrise, just to see. It was wonderful; I lost three fingers and my retinas were melted; not to mention the third degree burns. Took me months to heal-you know, bone takes a ridiculous amount of time to grow back. Completely worth it.


• He shivers, the cuffs clanking against the metal pole.


• ROBIN
• So you wake up one day and realize that the infinite just isn't worth it. Not without a little human blood. I've been living on cows with the occasional raccoon thrown in for the last twenty years. 7,300 days, 21 hours, and 31 seconds as of right....now. I try not to steal from blood banks...but sometimes, I just need the taste, you know? I'm sure you get it.


• She chuckles.


• ROBIN
• So what do I do with you?


• She turns back.


• ROBIN
• Why do I have you here? No, don't bother to answer, I'm asking myself. I could feed, certainly would make eternity a little friendlier. All that warm, fresh...no no, none of that. Hi, I'm Robin, and loved to drink you dry.


• She giggles a bit.


• Alan cries softly.


• ROBIN
• Shhh, shhh, it's ok. I could turn you if you wanted. Someone gave me the choice...not that it's much of a choice! But it's something. I'm so hungry. And you've got such pretty skin. Mmmm, silky and chocolate. I like a little chocolate with my meals...


• ALAN
• Look, please don't torture me, just get it over with.


• ROBIN
• Torture you? Torture you? Do you realize I'm trying to make a really difficult decision here. Torture you! I'm torturing myself, so just hold off a bit on the begging, you might need to save that for a bit later.


• She tilts her head up and stares at the moon in silence for a long moment.


• ROBIN
• I like it up here. It's so peaceful. Do you think it's quiet after you die? That's all I want now. It's been a loud life. The afterlife better be quiet as a...well, insert your own death-related pun there, you seem like a creative guy.


• She turns to him and he can see the silver tears that have left trails all over her face.


• ROBIN
• I'm gonna miss this; but there's only so much eternity I can deal with and I can see all their eyes. And they're all asking why and I don't have any answers. Oh, the keys to the cuffs are...


• She pulls them out of her coat pocket and tosses the keys at his feet.


• ROBIN
• Can't make it too easy.


• She hops off the ledge onto the roof and wraps herself around him, nuzzling his neck.


• He closes his eyes.


• She steps back and he opens his eyes, pulling back as far as he can.


• She smiles at him, then turns back to the ledge.


• ROBIN
• Let's see if stakes really do the trick.


• She runs, diving off the edge of the building, her body floating as she freefalls.


• Below her is a fenced-in collection of power transformers, the large power towers, a steel forest towards which she hurtles.


• She has aimed well and is falling directly into the top of one of the towers.


• She looks up at the stars and focuses on them she falls.


• There is a thud, a sharp inhalation of breath, a soft, ragged exhalation, and finally, silence.


• FADE TO BLACK.

230. Little White Shoes - Leslie

• FADE IN:


• INT. HOTEL ROOM - NIGHT


• A PAIR OF WHITE SOCKS lies neatly on the wooden floor of the hotel room.


• Further up, BALLED UP BLACK SOCKS hit the floor by the bed skirt.


• The sound of water lapping at sand quietly fills the room.


• Further along the bed skirt TWO PAIRS OF SHOES, a pair of white ballet shoes with delicate stitching and tiny white roses and spit-shined black dress shoes, rest side by side.


• JEREMY sits cross-legged on the bed, his tux jacket draped neatly across a chair, his bow tie loose around his neck.


• ALLISON sits across from him, her wedding dress puff out around her.


• They sit, looking at each other, Allison with a goofy grin growing across her face, Jeremy serious.


• A smile pinches at his lips.


• JEREMY
• So, you glad we waited?


• ALLISON
• You think it'll be awkward?


• JEREMY
• Oh, it'll be incredibly awkward.


• ALLISON
• Shame...I was just in this for your body and your unbelievable sexual prowess.


• JEREMY
• It's true, I led you on.


• ALLISON
• I knew it! I'll be leaving now. Don't you dare call me.


• She turns, as if to go and they both burst out laughing.


• ALLISON
• Yeah, I am. I wasn't sure at first...you and your bright ideas. But I'm glad we stuck it out. This may not be the best ever, but it'll be special, unique. Maybe I should stop using shortbus synonyms.


• JEREMY
• Maybe. Thanks for respecting my boundaries.


• ALLISON
• You need to be shutting up right about now...there are boundaries I'm ready to start disrespecting.


• JEREMY
• Turn around.


• Allison scoots around on the bed.


• ALLISON
• I'm kind of giddy.


• JEREMY
• As long as you're more giddy when we're doing the same thing 90 years from now.


• ALLISON
• Oh, I like how you think.


• JEREMY
• Mmm, so it wasn't just for my body...


• ALLISON
• Darling...


• JEREMY
• I didn't actually believe I'd find you.


• She leans back at puts her head on his shoulder and he begins unlacing the corset top of her wedding dress.


• She reaches behind herself and finds his hands, then pulls his arms around her stomach.


• And they sit, two lovers at the edge of diving.


• EXT. HOTEL ROOM - NIGHT


• The hotel is modeled like a Swiss chalet, perched high in the Rockies.


• Allison and Jeremy are visible through their window as he keep an arm around her and gently continues to unlace her.


• FADE TO BLACK.

229. That Small Little Confused Feeling - Leslie

• FADE IN:


• INT. LEXI'S COFFEE SHOP - DAY


• AARON stares wistfully across the restaurant at a MIA, a waitress with red-hair cropped short around her neck.


• She spins around the tables, dancing to the tune playing on the house speakers.


• She drops coffee off at the a table, smiles at the patrons, then is off swaying to the music with the joy of a new soul drinking in all she can absorb.


• AMY sits across from Aaron and waves at him, trying to get his attention.


• AARON
• She looks nice.


• AMY
• That's what I've been trying to tell you, you dolt. That's my girlfriend. What is it with you? I swear, you're more attracted to lesbian women than I am.


• AARON
• I've just got no luck I guess.


• He sighs.


• Amy inspects her perfectly crafted nails.


• AMY
• Geez...if this goes on, we might just have to get you surgery.


• She pokes at him mockingly.


• AARON
• Shh, you, I'm quite happy being a guy; it just so happens that women from your tribe hold a special fascination for me.


• AMY
• Oh wait, wait...not my tribe.


• She flips her long hair.


• AMY
• You don't just like lesbians, you like butch girls. I don't know what happened to you inside Mom, but you are one messed up little boy.


• AARON
• Some would say the same about you...


• AMY
• What? I didn't hear you insult me. Speak up, mumbler.


• AARON
• Don't call me that.


• AMY
• Here's what we need to do...hook you up with a nice butch bi girl, then slowly ween you off onto straight chicks. If that doesn't work...we're just going to have to get you boobs.


• Aaron is still staring at Mia.


• AMY
• Hey, hey buddy...back off my woman.


• AARON
• It's my need to be...


• AMY
• Shh, I never need to hear my little brother say what he was about to say.


• AARON
• You're probably right. Still...


• He glances at Mia, then tries to focus on Amy.


• AMY
• Oh goodness! Fine! If you promise to keep your eyes off of Mia, I'll find you the butchest straight girl out there.


• AARON
• Oh you will, will you? That'd be super-d-dandy of you.


• AMY
• Sarcasm will get you nowhere.


• AARON
• This time, no fourth cousins, yeah?


• Amy waves as if to say "what's the big deal?"


• AARON
• And if she's a poet...even better.


• AMY
• Oh yeah? Mia's got some great stuff.


• AARON
• You're killing me, sis.


• AMY
• That's what I'm here for.


• AARON
• Great. Much appreciated.


• She smiles at him and he's forced to smile back.


• AMY
• Anytime, darlin'.


• FADE TO BLACK.

228. Pamper - Leslie

• FADE IN:


• INT. DAVIDSON'S GROCERIES - EVENING


• EMIE stands behind the cash register filing her nails as she waits for her next customer.


• Hipsters and well-dressed couples fill the boutique grocery store.


• ANA, dressed in jeans, a thin sweater, and a beret walks up to the register.


• Her hair extends out of the beret in all directions; her face has a smear of dirt on it and she is sweaty.


• She places her items on the conveyor belt: A fancy pizza, colorful designer juices, a large bar of chocolate, and candles.


• EMIE
• One of those days?


• ANA
• Oh you don't even know. I'm broke, I owe the IRS money, and my car just died. If I don't get some me-time soon, I'm going to snap.


• EMIE
• I know how you feel, I'm sorry.


• Emi finishes ringing her up.


• ANA
• So I'm going to go pamper me.


• EMIE
• Good for you. That'll be 23.20


• Ana pays and grabs her bag of groceries.


• She walks to the automatic doors, tripping, then regaining her balance.


• Emie smiles in her direction.


• ANA
• Soon, very soon.


• She sighs and returns her eyes to the register where a large, angry man in a track suit is demanding her attention.


• ANA
• Soon.


• FADE TO BLACK.

227. The River - Leslie

• FADE IN:


• EXT. STREETS OF ASUNCION, PARAGUAY - DAY


• Hundreds of people march along the streets of Asuncion, carry buckets and large gallon containers.


• FATHER DE LA MORA leads the column, the slums of Villa Laurelty behind them, the Paraguay River in front of them.


• ARACELI holds AIMEE, her twin sister's, hand.


• AIMEE
• I'm scared.


• ARACELI squeezes her hand.


• ARACELI
• We have to show the world; they have to see that they can't take away our water and sell it to those who can afford it. We are dying, and no one sees. Now they will.


• AIMEE
• I know, it doesn't stop the fear though.


• ARACELI
• Yeah.


• They continue to the edge of the city and stream towards the river.


• SOLDIERS and corporate MERCENARIES employed by AquaSera stand by their humvees, watching the defiant slum-dwellers approach.


• The priest steps to the edge of the water.


• A corporate official by the humvees raises a bullhorn to his mouth.


• CORPORATE OFFICIAL
• Step away from the water! You are not authorized for water collection; this river is the property of AquaSera.


• The priest, silent, raises his gallon jug and lowers it into the water.


• The crowd follows him.


• The soldiers rush in, pushing some into the water as they begin beating them with batons.


• FATHER DE LA MORA
• Don't fight back!


• The soldiers tire and fall back, leaving hundreds of bloodied peasants on the shoreline.


• Araceli and Aime huddle together.


• AIMEE
• I don't see any cameras, I don't see anyone from the news? How will the world see.


• Araceli looks for the news crews, her face falling as she sees they are absent.


• The corporate official nods and then gets into his humvee and drives away in a cloud of dust.


• The soldiers ready their guns and a soldier mounts a 50mm gun at the top of an armored humvee.


• Araceli cradles Aimee's bloody face, afraid.


• ARACELI
• I don't know, darling. But I believe that if just one person sees it is enough. And I believe one person will see. Today, we are Ghandi.


• From far above the river, the explosion of small arms gunfire is muted, the flames belching from the large gun strangely beautiful, and the hundreds of peasants falling to the ground, gently surreal.


• FADE TO BLACK.

226. The Butterfly Charmer - Leslie

• FADE IN:


• EXT. BUTCHER'S ALLEY, NEW ARIES - DAY


• The Alley is dark and damp and the smoky sky above only hints at the existence of a sun.


• A large shadow is cast over the entrance of the alley and soft footsteps slowly approach, then a giggle.


• RIEKA, a small 7-year-old girl skips across the dirty ground, her dress whirling around her.


• She sings quietly to herself.


• Rieka stops short, spotting a grapefruit-sized glass ball lying under a heap of trash.


• She pulls it out and brushes it off.


• She stands up and holds it to her chest and it begins to glow.


• Her eyes grow wider and she holds it away from herself as it begins to glow a rich orange.


• There is a popping sound sounds, a fizzling, and then a glowing, pale yellow butterfly flickers into existence above her.


• She doesn't notice and and walks to the edge of the alley, then stops, hearing the soft flapping.


• She turns around and puts her hand to her mouth, delighted.


• The butterfly circles the orb and then another and another glimmer into existence.


• EXT. MERCHANT'S BLVD, NEW ARIES - DAY


• Rieka walks out onto the main street, her amber orb and the small swarm of yellow butterflies that continues multiplying around her adding a patch of warmth to the dusty blue of the city.


• She skips along and the butterflies trail her, a ribbon of gold weaving in and out of tired pedestrians who pause for a moment to stare at the odd sight.


• Ahead of her, a small, ramshackle shack comes into view.


• EXT. RIEKA'S HOUSE - DAY


• She stops in front of it.


• RIEKA
• Mommy, mommy.


• There is silence.


• RIEKA
• Mommy!


• MOTHER
• Just a minute Rieka.


• RIEKA
• Quick Mommy!


• Her MOTHER opens the door, wiping her hands on a stained apron, lines weighing down her tired face.


• She sees the butterflies and her eyes go soft.


• She stands on the stoop of the shack, awed.


• The orb flickers and Mother holds her breath.


• .It flickers again, then dies.


• The butterflies buzz, then begin disappearing.


• Rieka shakes it, then looks at her mother forlornly.


• Her mother swoops down from the stairs and pulls her close.


• They walk back to the house, the door squeaking closed behind them.


• There is a soft buzzing sound and a single butterfly appear, hovering near the entrance.


• FADE TO BLACK.

225. A Little Night Music - Leslie

• FADE IN:


• EXT. BROADWAY (NEAR LINCOLN CENTER) - NIGHT


• MR. V sits on a small wooden box covered in stickers on a street corner, a violin case open by his feet.


• He clutches the violin, playing a melancholy ballad.


• The crowd grows larger, as sharply dressed New York Philharmonic members and their equally well-dressed audience pour out from the Lincoln Center.


• ANGIE walks past Mr. V, still in her dress black, cello in tow.


• Their eyes meet.


• He eyes her concert uniform, longing trickling into his eyes.


• Angie stops and turns back to listen.


• His technique is rough, but he has a beautiful tone.


• She walks over to him, nods, and opens her case.


• He stands, offering her, his seat, and she smiles, taking it.


• She tunes quickly; he never stops playing.


• She joins him, the ballad swelling with the bass of her cello, becoming richer.


• They play, a strange duo, he in his rags, she in her crips orchestra uniform.


• They close their eyes, lost in the music.


• The song ends and they both open their eyes.


• Both sets are brimming with tears.


• She stands, the pedestrians packing the sidewalk swirling around her.


• She puts her cello back in its case, then turns to him.


• She bows and he returns the gesture; then she turns and proceeds down the sidewalk, disappearing into the mass of bodies.


• He wipes his eyes, sits up a bit straighter, and begins another tune.


• FADE TO BLACK.

224. The Little Dressmaker (A Steampunk Parable)

• FADE IN:


• EXT. THE LITTLE DRESS SHOPPE - DAY


• The Little Dress Shoppe is located in the quaint little village of Sunrise.


• The village has a Victorian feel and the shop itself stands apart from the other buildings, its neatly tiled roof reflecting the sun.


• Chimes hang from the awning, tinkling gently in the breeze.


• An airship circles high above puffing steam.


• NARRATOR (V.O.)
• Once upon a time in the quaintly old-fashioned town of Sunrise, there lived a little dressmaker.


• INT. THE LITTLE DRESS SHOPPE - DAY


• THE LITTLE DRESSMAKER sits on the floor in the midst of her creations.


• Wooden mannequins covered in her creations fill the shop.


• The clothes look like the hippy love child of goth and boho fashion, corsets and loose skirts.


• Handcrafted wooden cabinets ring the edge of the shop.


• The little dressmaker is busily sewing in the midst of a mountain of cloth.


• NARRATOR (V.O.)
• The Little Dressmaker wasn't your usual Sunrise entrepreneur. She didn't go to the weekly chamber of commerce meetings, had never attended one the posh bi-monthly soirées, and everyone agreed her clothes were a bit strange.


• INT. THE LITTLE DRESS SHOPPE ATTIC - NIGHT


• The Little Dressmaker sits on the edge of her bed carefully counting her money.


• She wears a nightgown covered in little glowing stars.


• NARRATOR (V.O.)
• Every night before bed, the little dressmaker would count her money and smile just a little as she made plans.


• The little dress maker neatly stacks her money into a small metal box and places it under the bed.


• Then she tucks herself under the covers, closes her eyes, and smiles.


• INT. THE LITTLE DRESS SHOPPE - DAY


• The Little Dressmaker sits on the floor sewing.


• NARRATOR (V.O.)
• For you see, although the town's people thought her uncomfortably quirky and her clothes a bit odd for their tastes, they found that she was an excellent seamstress. So while her beautiful creations collected dust, she sewed what they thought was high fashion and indulged their whims.


• A woman walks past the window in a lavish dress.


• INT. THE LITTLE DRESS SHOPPE - NIGHT


• The little dress maker closes up, looks around at her creations and sighs.


• INT. THE LITTLE DRESS SHOPPE ATTIC - NIGHT


• She sits on the bed, counts her money and begins to smile.


• EXT. THE LITTLE DRESS SHOPPE - DAY


• The Little Dressmaker stands at the door of her shop with a large stack of envelopes.


• NARRATOR (V.O.)
• In no time at all, unbeknownst to villagers of Sunrise, the Little Dressmaker, through a series of thoughtful investments and careful acquisitions, had become, by far, the wealthiest person in town.


• EXT. MAIN STREET - DAY


• Airships float overhead and steam-powered carriages chug along the cobblestones.


• NARRATOR (V.O.)
• She decided that she wanted to share her newfound riches with the town and decided to throw a party for the villagers, secretly planning to announce that they could become co-owners in her little shoppe.


• The Little Dressmaker rides her bike, stopping occasionally to pull envelopes from the bike's basket and hand them to elegantly dressed villagers.


• The take them, looking with bemused interest at the odd figure winding her way down the street.


• A HANDSOME COUPLE peer at the letter together, the man squinting through his jeweled monocle.


• They shake their heads and toss the letter, then continue to strut elegantly past shop windows.


• The letter floats into the path of a carriage and is crushed into the stone by its wheels.


• INT. THE LITTLE DRESS SHOPPE - DAY


• The Little Dressmaker rushes around, sweeping, dusting, and arranging food.


• INT. THE LITTLE DRESS SHOPPE - DUSK


• The shop is decorated with candles and platters of food and drink fill the small place.


• NARRATOR (V.O.)
• But when the night of the party came, the Little Dressmaker found herself alone.


• INT. VILLAGE HOUSE 1 - NIGHT


• A GROUP of MEN and WOMEN sit on comfortable couches sipping wine.


• NARRATOR (V.O.)
• The people of the village decided they would rather not be bothered by the strange little dressmaker, preferring to enjoy the comforts of their wealth and tell each other that they were living at the height of elegance. For they believed that no one else could be quite so couth as they.


• INT. VILLAGE HOUSE 2 - NIGHT


• A GROUP of friends packed around a table salutes each other with wine glasses, content.


• INT. THE LITTLE DRESS SHOPPE - NIGHT


• The Little Dressmaker sits on the floor, chin in her hands.


• NARRATOR (V.O.)
• The Little Dressmaker despaired for a moment and then an idea appeared.


• The gas lights outside the shop switch on, filling the the front of the store with an eerie light.


• EXT. MAIN STREET - NIGHT


• The Little Dressmaker rides her bike along the deserted cobbles, her wheels drifting through patches of dusty light from the gas lamps far above the street.


• She stops at every HOMELESS PERSON she sees and hands them her carefully created envelopes.


• INT. THE LITTLE DRESS SHOPPE - NIGHT


• A small group of homeless people, ragged and worn from their lives on the street, wander through the shop, eating and staring in at the clothes in wonder.


• A MUDDY-FINGERED LITTLE GIRL plays with the dress on a mannequin, smearing the delicate fabric with mud.


• The Little Dress Maker stands in the center of the room, glowing.


• NARRATOR (V.O.)
• The Little Dressmaker was delighted. She had found a group of people who loved her creations, a group of people with whom she could share her carefully acquired wealth.


• INT. THE LITTLE DRESS SHOPPE - DAY


• The muddy-fingered little girl, freshly-scrubbed and in a new dress plays happily with an ink well, a saffron-orange bolt of cloth her canvas.


• The Little Dressmaker sits on the floor as several of her co-owners sit by the window, chatting merrily.


• NARRATOR (V.O.)
• The villagers were horrified when they woke the next morning and heard the news that the local riff-raff had suddenly joined their socio-economic caste. They were even more horrified when they realized how much money they had lost through their hubris.


• Outside the window, Main Street is far more crowded than before and many more people are wearing the Little Dressmaker's creations.


• NARRATOR (V.O.)
• Now, the Little Dressmaker could sew her creations to her heart's content and not one of them every collected dust, ever again. The villagers came to accept the Little Dressmaker, at least in polite conversation; but there was always a twinge of envy and pain when they passed The Little Dress Shoppe.


• FADE TO BLACK.

223. Utopia - Leslie

• FADE IN:


• INT. DOCTOR'S WAITING ROOM - DAY


• ALEX sits in the front row of waiting room chairs leafing through a Newsweek.


• Patients are scattered across the space reading and watching the tv which is blaring across the room from its perch.


• The majority of the people in the waiting room are seniors.


• The room itself is drab, ugly wallpaper and the colorful magazines clashing.


• Alex looks up as a catchy jingle rattles through the tv's speakers.
  


• TV NARRATION(V.O.)
• Why stop having fun when you hit 70?


• A group of good-looking seniors laughs on-screen as their yacht races through the water.


• One of the patients in the waiting room bobs his head to the beat.


• TV NARRATION(V.O.)
• Vitalix Bone Strength, it's the supplement that'll keep you energetic and give those young 'uns a run for their money. Enjoy your golden years the way you want!


• The men lounge by a beautiful pool sipping drinks.


• Alex rolls her eyes in disgust.


• The next ad comes on, once again showing seniors enjoying their elegant lives.


• TV NARRATION(V.O.)
• Do whatever you want with your life! You deserve it.


• Alex notices an OLD WOMAN staring wistfully at the screen.


• Alex stands up and walks to the tv, incensed.


• ALEX
• Come on! I'm sick of getting sold these lies. They're asking you to lose yourself in these people's lives and forget your tired existences. You can't do whatever you want...yeah, you deserve it, but it didn't turn out the way it was supposed to did it.


• She pulls a chair behind her, places it under the tv, and steps onto it and begins yanking at the tv.


• The patients stare at her, bemused.


• The RECEPTIONIST stares, reaching for the phone slowly.


• ALEX
• And this box is trying to tell you that it's all just find; especially if you by what their selling. They hook you with the promise of the good life, then leave you hanging. So pull your heads out of the tube and go do something, make your own utopia before it's too late!


• She rips the tv from its mount, steps off the chair and proceeds to the large window that looks out on the parking lot.


• With a strong movement she tosses the tv out the window.


• Glass shatters and patients scream.


• Alex stalks out the door, slamming it shut.


• A door opens and a nurse sticks her head out the door.


• NURSE
• Alex? Alex Gray?


• No one replies.


• She sees the broken glass and freezes.


• The wistful old lady lifts her hand and points to the entrance.


• WISTFUL OLD LADY
• I think she went that way.


• FADE TO BLACK.

222. Mental Gymnastics - Leslie

• FADE IN:


• INT. JOE'S Billiards - night


• TEDDY sits at the bar of Joe's Billiards watching the large HD screens over the clatter of pool cues and the occasional burst of laughter and argument over a score.


• He plays with the bowl of nuts by his drink.


• American gymnasts in leotards spin past on the screen.


• Teddy turns to SUE, the bartender.


• TEDDY
• You know, something about gymnastics inherently bothers me. Maybe it's the feeling that these little girls are being robbed of a childhood and hyper-sexualized, all at the same time.


• SUE
• You a feminist or something?


• TEDDY
• Something like that. You've got these small teenagers with stunted puberty doing floor routines that look like watered-down stripper moves racing around in skin tight leotards while announcers talk about how cute and adorable the female athletes are.


• SUE
• Nice delivery. I can't disagree about the announcers...you let men talk that long and misogyny will show up. But you ever think that the sport itself might be a bit more innocent than you're painting it?


• TEDDY
• Maybe it has to do with my ambivalence about sports. I am simultaneously a fan and a dissident when it comes to them.


• SUE
• So what would you change?


• Teddy shrugs.


• SUE
• You shouldn't criticize something without having at least an idea about how you should fix it.


• TEDDY
• What are you, a former gymnast or something?


• SUE
• That's um...that's quite an assumption and a bit of a non-sequitur.


• TEDDY
• Point taken. And you're right, I should have some brilliant solution to this, but i don't...it just bothers me.


• SUE
• And I am a former gymnast.


• She grins at him.


• He nods and raises his glass to the screen and to her.


• TEDDY
• Cheers!


• SUE
• I'll drink to that.


• FADE TO BLACK.

221. Paradise - Leslie

• FADE IN:


• INT. THE RETREAT, THAILAND - DAY


• THE RETREAT is a small, all-vegetarian resort on a rocky peninsula of the island Kho Tau, which is only accessible only by boat.


• The Retreat is built into the rock of the peninsula itself, the cabins a symbiosis between rock and wood.


• The main is built into a large opening in the rock, it's main support an ancient tree that grows up through the stone ceiling.


• WICKER sits in the lobby's loft, a small library built into the higher branches of the tree.


• He sits at a small wooden table, sipping apple-lychee juice and watching the waves wash in over the rocky beach.


• A long boat approaches the shore, its motor put-putting as it draws close.


• The BOATMAN sits by the large outboard motor, his face obscured by a dark hoodie.


• The boat's only passenger is a woman, DEATH, in a stunning white dress.


• Her graying hair stands in sharp contrast with her youthful face.


• Wicker follows her with his eyes as she walks up to the entrance and then up into the loft.


• She walks towards him, running her fingers over the row of books.


• He takes a deep breath.


• DEATH
• Hello Wicker.


• WICKER
• Huh, well, I didn't think I go this way.


• DEATH
• More peaceful than you expected?


• WICKER
• Something like that.


• DEATH
• I can arrange for something more...colorful.


• WICKER
• Oh no, this is fine.


• DEATH
• You know, I like you, so...I'll give you a chance to push this back a bit; say three years. Name the game.


• Wicker looks blankly at her.


• She gestures impatiently with her hands.


• WICKER
• Uh, rock, paper scissors?


• DEATH
• That's a first. Ok. First to three wins?


• He nods.


• They face each other.


• WICKER
• One, two, three.


• They throw.


• The both come up with paper.


• DEATH
• One, two, three.


• Wicker beats death, scissors to paper.


• WICKER
• One, two, three.


• She beats him, paper to rock.


• DEATH
• One, two, three.


• He beats her, paper to rock and her face twists.


• WICKER
• One, two, three.


• He beats her again, scissors to paper and she grunts in frustration.


• DEATH
• Well done, how about first to five?


• WICKER
• Five years?


• DEATH
• Done.


• WICKER
• One, two, three.


• He beats her with rock to her scissors.


• DEATH
• Best to seven, just two more.


• He smirks.


• DEATH
• Ten years.


• WICKER
• Sure.


• She smiles in a strange way and Wicker goes a bit pale.


• DEATH
• One, two, three.


• She beats him paper to rock.


• He takes a deep breath.


• WICKER
• One, two, three.


• He beats her rock to scissor and smiles, regaining his balance.


• She gives a slight shake of her head.


• DEATH
• One, two, three.


• She beats him, scissors to paper.


• He sits down in his chair and looks out over the ocean.


• WICKER
• Ok.


• DEATH
• Hubris does it every time, dear.


• WICKER
• You planned this?


• She shrugs innocently.


• DEATH
• Sleep well.


• She strokes her face, then turns and walks down the stairs leaving the loft and back to the long boat.


• Wicker watches her leave as his eyelids grow heavy.


• The boatman starts up the engine and begins to pull away as Wicker slumps onto the table.


• FADE TO BLACK.