274. Shift - Leslie

• FADE IN:


• EXT. THE LUDWIG ART GALLERY - DAY


• The Ludwig is a small art gallery that enjoys specializing in especially challenging works of art.


• Through the large glass windows, the current exhibit, a collection of work by the artist 09 is on display.


• Her pieces are large paintings are drawn with the crisp hyper reality of certain graphic novels - normal situations with just one or two disturbing variations, variations that the viewer usually misses at first glance, but with repeated viewings, become more and more obvious.


• There is the family around the dinner table, perfectly happy, but upon closer inspection, one sees that their faces are sewn-own masks, their eyes dead; or the country gentleman enjoying a game of golf with an ornate club woven together with the tiny bones of children, his cheerful smile become more twisted the longer the viewer stares.


• Outside the gallery, MICKEY, ELLIE, and THEO, a group of young artists, stand in a circle debating.


• MICKEY
• I'm just so tired of watching corporations roll over every one in this country; and most of them are too stupid to notice.


• ELLIE
• Yeah, it's so frustrating. But I think that's the brilliance of Zero Nine's work. She's making some great statements about the whole structure of the life we live.


• THEO
• She does, definitely; but so what...I mean, we've been philosophizing about this stuff for years; I mean, I've been talking about all the social ills we see since I was a kid. Has that stopped anything? Not really, all we do is talk.


• ELLIE
• Hey, there's our art.


• You're preaching to the converts. I mean, come on...is Joe Blow from Hoosierville going to have any interest coming to a place called The Ludwig and look at art by someone who calls herself Zero Nine? I mean for goodness sakes here...who are we really reaching?


• Dude, chill. Besides, it's a quiet thing art, it kind of trickles down where you least expect it.


• SHIFT, a woman at a nearby newspaper, looks over at them over the top of the magazine she is reading.


• She wears an odd bowler-like cap, a blouse with rolled-up sleeves, and torn jeans.


• Two scarves are thrown loosely around her neck, and hints of strange tattoos, peek out from under the sleeves.


• She has a slightly mad look in her eyes.


• THEO
• There's nothing wrong with a little preaching to the choir, but if that's all we're doing...just creating a little mutual admiration society.


• MICKEY
• Hey, it's more than that, and if Joe Redneck Blow doesn't get it, then screw him, he's part of the problem.


• Theo snaps his fingers.


• THEO
• And just like that, we become one of them, the facists, the politburo, the small group of elite controlling everything and we've traveled 180 degrees from what we've wanted to accomplish. I need more, I need to engage real people, not just people I know I can get an Amen from. And look, I know we're trying to do something, but I think we're unbalanced, we're on this far side of the spectrum and we've gotten closed off. We're totally ineffective. we talk about setting off on grand adventures and yet we're chained to all the bits of technology we're surrounded by. Aren't we supposed to be vagabonds, lonely prophets?


• MICKEY
• Glad you got that off your chest?


• THEO
• Yeah, yeah...let's go back to the choir loft.


• The three chuckle.


• Shift sidles up as they turn to enter the gallery.


• SHIFT
• You serious about what you said?


• They turn, hearing her melodic east-european voice.


• THEO
• Yes.


• SHIFT
• You sure?


• THEO
• Dead sure.


• SHIFT
• Oof, you be careful with those words you throw around; but if you're serious, follow me.


• Theo, Mickey, and Ellie see the madness and it frightens them, but Theo is also delighted and drawn it; it's the type of madness that sends certain people running and invites others in deeper.


• THEO
• Ok...er, what's your name?


• ELLIE
• Are you serious? She's nuts. No offense lady.


• SHIFT
• None taken, darling, I am quite mad. Call me Shift. So?


• She turns and walks away.


• Theo only has to think about it for a second.


• He runs after her.


• Mickey and Ellie stare after them.


• THEO
• Where to?


• She turns and looks at him for a long moment.


• SHIFT
• I'm the White Rabbit, are you sure you want to be Alice?


• THEO
• You terrify the hell out of me and right now, that feels alright.


• SHIFT
• Here, have some chocolate, it always helps.


• She pulls a bar of semi-sweet from her pocket and he takes it.


• THEO
• You still haven't said where we're going.


• SHIFT
• I have no idea. Shall we?


• She begins walking.


• Theo grins to himself and catches up.


• FADE TO BLACK.

273. The Kingdom - Leslie

• FADE IN:


• EXT. THE KING'S HIGHWAY - DAY


• Travelers make their way up the dusty road, a walled city standing in the distance.


• TALIB walks with the gait of a man who has traveled for a long time.


• He is focused, keeping his movements efficient and powerful.


• He approaches a GROUP OF TRAVELERS.


• TALIB
• Excuse me friends, is that the Kingdom?


• The LEADER of the group scoffs.


• LEADER
• That's the city of Aran; there is no Kingdom, friend. It's just a fairy tale.


• Talib nods politely and continues; it's an answer he's heard many times before.


• EXT. CITY OF ARAN: SHEPHERD'S GATE - DAY


• Talib arrives at the gates and is pulled through with a wave of merchants and travelers pouring into Aran.


• Talib pulls one of the GUARDS aside.


• TALIB
• Sir, I'm searching for the Kingdom, do you know which road I must take?


• The guard laughs and pushes Talib past him.


• GUARD
• Don't waste my time.


• Talib bows politely and continues into the city.


• EXT. CITY OF ARAN: MARKET STREET - DAY


• Talib wanders through the market, looking for someone to help him.


• He passes IDRIS, a dignified man with an ancient face, and spins around.


• He runs back to catch up with him.


• TALIB
• Sir, sir. You appear to be wise and well-traveled.


• IDRIS
• You are correct as to the extent of my travels, the wisdom bit, I suppose we shall have to see.


• TALIB
• Please, could you tell me which road I must take to find the Kingdom?


• Idris smiles.


• IDRIS
• Child, the Kingdom is all around you.


• For the first time, Talib's face falls.


• TALIB
• How can that be? I've searched all these years. That sounds like the fable everyone believes it to be.


• He rushes away.


• EXT. CITY OF ARAN:INN STREET - NIGHT


• Talib walks along the street, his gait slower, weariness etched on his face as he looks for an inn.


• A BEGGAR at the side of the street holds out his hand.


• BEGGAR
• Alms, sir, alms? Alms for the poor.


• Talib pauses, then sits beside the man and pulls a loaf a flatbread from his pouch.


• TALIB
• Here, friend.


• The beggar takes the bread thankfully and stands, scooting away.


• He turns.


• BEGGAR
• The Kingdom is all around you.


• And then he is gone.


• Talib stares after him in surprise, then feels a hand on his shoulder and turns to see Idris towering above him.


• IDRIS
• I see you understand the Kingdom more than you realize.


• TALIB
• But, I don't understand.


• IDRIS
• Good, that's an excellent place to begin.


• He holds out his hand, revealing a royal signet ring with the seal of the Kingdom.


• IDRIS
• Follow me.


• Idris turns and strides away.


• Talib stares for a moment, then rushes after him and as he catches up with him, for a moment, he sees the building washed in a glow of gold and jewels scattered along the street and a palace larger than he could ever have imagined stretching out before him.


• It disappears and he throws his head back, laughing so hard he shakes,and Idris joins him.


• FADE TO BLACK.

272. The Mark - Leslie

• FADE IN:


• EXT. THE HOUSE - DAY


• THE ASSASSIN pulls into a spot in front of the house, carefully parallel parking his rental by the sidewalk.


• He moves briskly, pulling open a briefcase on the front seat and retrieving a Heckler & Koch pistol from a hidden compartment and screwing on a silencer, all the while chewing on a long, thin toothpick.


• He tucks the pistol under his suit jacket and shuts the car door, scanning the area.


• He strides to the door and pulls his lock pick set from his inner jacket pocket.


• THE MARK (O.S.)
• No need for that, the door's open.


• The Assassin steps back, cautious.


• He feels the door, testing for booby traps, then pulls the toothpick from his lips and runs it around the edge of the door, testing for wires.


• Finding nothing, he draws his weapon and opens the door carefully.


• INT. THE HOUSE - DAY


• He slides into the house in a practiced motion and shuts the door behind him.


• The house is completely empty, save for a rocking chair that faces away from the door.


• THE MARK (O.S.)
• Please, come around this way, no reason to be impolite.


• The Assassin takes his time, walking around the chair carefully.


• THE MARK, a dignified older man, sits comfortably in the rocking chair jeans and a t-shirt that reveals a surprisingly strong body for someone his age.


• THE MARK
• You'll have to excuse me, I didn't have time to change for the occasion, was working on a big project.


• The Assassin pulls a photo from his pocket and confirms his mark.


• THE MARK
• I suppose you're here to kill me.


• The Assassin pulls his weapon.


• THE MARK
• You're certainly not the first you know?


• THE ASSASSIN
• Just here to do the job.


• THE MARK
• Of course you are, don't let me hold you up.


• The Assassin falters.


• THE MARK
• Come, come now, you've done this a hundred times before.


• THE ASSASSIN
• More.


• THE MARK
• True, 167 times. That's quite an impressive body count. I've been called psychopathic in my day, a mass-murderer even. I suppose that might be why you're here.


• THE ASSASSIN
• Just a professional, nothing psychotic about me.


• THE MARK
• Tch, tch, of course there is child.


• The Assassin blinks.


• The Mark is no longer a man, but an old woman, long gray hair twisted into a pony tail.


• A book of fairy tales is in her lap.


• THE MARK
• Your mother never knew, it would have broken her heart. And you knew it. But you were good at hiding. You've hidden from yourself too.


• The Assassin is shaking.


• THE MARK
• Would you like me to read you a fairy tale? No, no, of course not, you never did like them; but I think you'd appreciate Hansel and Gretel so much more now. Humans are so very clever aren't they?


• The Assassin's hand is at his side now, he can't seem to raise the gun.


• THE MARK
• Why so surprised? You knew what to expect when you took the job. Of course, this isn't a job is it? You've been looking for me for a long time. Quite personal I would say.


• THE ASSASSIN
• You took everything away from me, you're a scourge, everything you've touched turns to dust.


• THE MARK
• Would you risk the world for your revenge?


• THE ASSASSIN
• It would be a relief for us. Nothingness would be welcome.


• THE MARK
• Tsk, words have power, be careful with them; especially when you understand so little.


• THE ASSASSIN
• Why? Do you hate us so much? And don't say anything about love. If you love me, I wouldn't be here right now.


• The Mark is once again an old man.


• THE MARK
• Have you stood in the center of an ice storm on Europa? Can you spin a gas cloud on the surface of Jupiter. Have you seen the dreams of an ant, or traveled to where the blind termite makes its nest. Can you explain the genome of a lion and expound on the meaning of each separate gene. Have you seen the building blocks of the building blocks and their building blocks?


• THE ASSASSIN
• Enough!


• He raises his weapon and fires.


• The Mark slumps in his chair.


• The Assassin rushes from the house.


• EXT. THE HOUSE - DAY


• He walks quickly down the sidewalk, and into his car.


• INT. ASSASSIN'S CAR - DAY


• He drives away from the curb.


• A motion at the edge of his peripheral vision catches his eye and he turns.


• A LITTLE GIRL sits, strapped into the seatbelt, in the passenger's seat.


• He screams, running the car off the road and smashing into a tree, his head slamming into the air bag.


• Everything is blurry as he pulls his bloody face away from the steering wheel.


• The girl sits, watching him, unharmed.


• THE ASSASSIN
• Who are you?


• THE MARK
• You know who I am.


• He frantically unbuckles himself and forces the door opening, stumbling and running down the block.


• The little girl sits in the seat, feet dangling, a little smile on her face.


• THE MARK
• You know where to find me and next time, you don't have to bring the gun along.


• FADE TO BLACK.

271. Haiku - Songs of Spirit

• 1.
  She sits alone, spent
  Plaything of disgraced angels
  Hoping for rescue.


• 2.
  Hide deep in your dreams
  The waking world is cursed
  Far too frightening.


• 3.
  The emptiness hunts
  Beware beloved, it comes,
  The killer of gods.

270. Super Nova - Leslie

• FADE IN:


• INT. WEAVER'S CHAMBER - NIGHT


• The Chamber is a small space ringed with wall sconces that seem to glow magically.


• The floor is tiled with simple, beautiful designs; every 12th tile carrying a strange rune.


• In the center of the room is large glass column filled with a strange liquid; and suspended in that liquid is the WEAVER.


• Her eyes are closed, hair floating around her like rays radiating from the sun.


• Her arms move dreamily and her long fingers pluck at the space around her, pulling unseen threads on an invisible looms.


• As she plucks, the tiles with symbols ignite, the runes glowing then fading back to gray.


• The room shakes and her eyes fly open.


• She plucks faster and faster, becoming frantic.


• The room shakes more violently, tiles tearing out of the floor.


• The sconces begin to melt.


• The weaver stops and reaches out, touching the thick glass of her cage.


• She watches, her face growing calmer and calmer.


• The walls begin to melt around her.


• EXT. WEAVER'S CHAMBER - NIGHT


• Shock waves push out of the room and it is now apparent that it is a dark sphere floating in the burning heart of a star.


• The shock waves race with blinding speed up through the molten layers to the surface of the star, where rivers of flame pool into burning lakes.


• Flares through themselves out into space, webs of nebula coloring its distant sister stars.


• The waves hit the surface and flares explode far out int the dark.


• The star convulses.


• INT. WEAVER'S CHAMBER - NIGHT


• She closes her eyes and spreads her arms as she begins to glow.


• She smiles for a moment, lost in the space between consciousness and nothingness.


• She becomes even brighter and her eyes open, her pupils becoming white hot.


• Her faces wrenches in pain and she screams.


• EXT. STAR SURFACE - NIGHT


• The star condenses, the dark sphere drinking in the nuclear chaos surrounding it, until it is all that is left.


• There is silence, then the sound of the Weaver's breath exhaling.


• The sphere tears apart waves of light and fire exploding outwards in a sphere of flame as the star goes supernova, breathing its last fiery breath.


• FADE TO BLACK.

269. Perchance - Leslie

• FADE IN:


• EXT. SIDEWALK - NIGHT


• Julie walks slowly down the sidewalk, lost in thought.


• She clutches a large art portfolio in her hands as she makes her way to the bus stop.


• Ahead of her, ANGIE, a girl in a gray hoodie, tries to make a comfortable space against a store's metal security shutters.


• She looks up at the approaching footsteps, ready for anything and her hoodie slips back, street light pulling her face from the shadows.


• Julie freezes.


• JULIE
• Angie?


• Angie winces, then looks up and recognizes Julie.


• JULIE
• Angie.


• They stop, trying not to look directly at each other.


• JULIE
• Let me take you out. Coffee or something.


• ANGIE
• It's fine.


• JULIE
• Really, I insist.


• Angie pauses, then sighs and nods.


• She stands, rolls her sleeping bag carefully, slips it into a large backpack, and joins Julie.


• The Blue Spiral, a little cafe across the street glows invitingly.


• They both look at it, then at each other and nod.


• INT. THE BLUE SPIRAL - NIGHT


• Julie pushes the door open and Angie follows.


• They slip into seats at a window table near the front.


• Angie looks at a menu, but doesn't touch it.


• Julie pushes it towards her.


• JULIE
• Please.


• Angie opens the menu and scans it slowly, savoring each of the words as if they are the dishes themselves.


• Julie scans her menu quickly.


• Angie looks away from the menu and sees some of the PATRONS casting speculative glances at her.


• She pushes her backpack with her toe, trying to shove it further under the table, but with no real effect.


• The WAITRESS walks past.


• WAITRESS
• You guys ready to order?


• Julie motions for Angie to go first.


• ANGIE
• I'll take this.


• Angie points at the menu.


• WAITRESS
• The veggie burger with fries?


• JULIE
• Angie, you can get more if you want; it's on me.


• ANGIE
• That's all I want.


• JULIE
• Ok, I'll get a vanilla caramel milkshake please.


• WAITRESS
• Alright ladies, I'll get those to you ASAP.


• She grabs their menus and bustles away.


• There is a moment of strained silence.


• JULIE
• I can't believe you're here. I mean, the last time I saw you was...


• ANGIE
• Junior year.


• JULIE
• Wow...high school, yeah. Seems so far away now. How'd you end up all the way out here?


• ANGIE
• Just how life worked out I guess. You?


• JULIE
• Well, I finished up my degree two years ago and decided this was the best city to really pursue what I wanted to do. I want to set up my own gallery, display art that really needs to be seen, stuff that everyone else ignores you know? Maybe even display some of my pieces every once in a while. It's been two years and still it feels so far off. There are some days...living here is so ridiculously hard sometimes...oh, oh, I didn't mean, I mean, I'm sure that sounds pretty ridiculous coming from me when you're....


• ANGIE
• It's ok. Everything's relative right?


• They sit in awkward silence.


• Julie reaches for a menu before remembering that it's been taken.


• She fidgets with the condiment tray.


• Angie pushes at her backpack.


• JULIE


• I never understood, why'd you run away?


• WAITRESS
• The waitress bustles back with the burger, fries, and milkshake.


• Ladies. Enjoy!


• She deposits the food and then rushes off to another table.


• Angie takes a bite of her burger.


• Julie sips at her milkshake and watches Angie tear through the food.


• Angie finishes the burger and starts polishing off the last of the fries.


• JULIE
• One day you were there, the next...we had no idea what happened.


• Angie looks up as she finishes the last fry.


• She carefully wipes her hands and stands.


• ANGIE
• Thank you.


• JULIE
• Look, please, you can crash at my place, we can get you some work, something, please.


• ANGIE
• Julie, thank you.


• She stands, picks up her pack and walks out the door, down the sidewalk and into the night, her body becoming a silhouette.


• Julie pushes her milkshake to the side and watches her disappear, then puts her face in her hands, her neglected milkshake growing warm.


• FADE TO BLACK.

268. Rainbow Tasters - Leslie

• FADE IN:


• 0TH STREET APARTMENTS LOBBY - NIGHT


• ANDY, dressed in torn jeans, and old t-shirt, and looking slightly bleary-eyed, stands in front of a vending machine, contemplating its treasures.


• AMY stands behind him, waiting.


• He finally makes a choice and slides his hand under the metal flap as a packet of Skittles lands with a thud.


• Grabbing it, he spins around, to find a smiling Amy approaching the machine.


• AMY
• Your favorite?


• ANDY
• Kind of. I like trying new things, but felt kind of nostalgic today.


• AMY
• Oh?


• ANDY
• When I was a kid, I went with my Dad on a business trip and discovered a Skittles dispenser in the hotel lobby. I'd never really had anything like that before...you know how it is when you're a kid, a variation on something you know is amazing.


• AMY
• So essentially, you discovered fruity M&M's.


• ANDY
• Exactly! And it was just so wonderful. It opened up a whole new world, made me think anything was possible. I spent my entire allowance on them. I'd slip down to the lobby and hold them in my hands and savor them; and it was heartbreaking every time one fell.


• AMY
• Still is...You've sold me. I'll get the Skittles.


• ANDY
• And now I feel like a corporate shill.


• AMY
• Well corporate shill, what's your name?


• ANDY
• Andy, from 278.


• AMY
• Amy, 301.


• ANDY
• Good meeting you Amy. I have to get back to some editing...film stuff. Hopefully we can bump into each other again


• Amy grabs her bag of Skittles and shrugs, smiling.


• AMY
• Thanks for the memories.


• She slips into the stairwell and Andy listens to her feet pound upwards for a moment, then turns and follows her up.


• FADE TO BLACK.

267. Old Secrets - Leslie

• FADE IN:


• INT. GABRIEL'S HOUSE - AFTERNOON


• The living room of Gabriel's house is dark, venetian blinds carefully limiting the sunlight that enters the room to several blocks of light that cautiously touch the edge of the floor and go no further.


• The room is lined with beautifully crafted mahogany and teak bookshelves.


• Several of the bookshelves are draped in cloth, hiding their contents.


• GABRIEL sits in the center of the room in a large, cushioned rocking chair.


• His hair is pure white and his face seems youthful despite being lined with age.


• The doorbell rings and he pauses, memorizing the page number, then carefully placing the book on an end-table.


• He stands and strides to the door.


• e opens it, careful to stay in the shadows.


• ELLEN, a 12-year old, stands patiently at the door.


• ELLEN
• Hello Mr. Gabriel.


• GABRIEL
• Hello Ellen, do your parents know where you are?


• ELLEN
• Yeah, they said it was ok if I came before dinner.


• GABRIEL
• Well child, come in.


• Ellen wrinkles her nose at "child" but doesn't say anything and follows him in.


• Gabriel returns to his chair and Ellen closes the door behind her.


• She crosses the floor to the living room and pulls herself onto the couch, tucking her feet under her.


• The two look at each other, silent.


• Finally, Gabriel nods, then smiles.


• ELLEN
• Mr. Gabriel, tell me a story.


• GABRIEL
• Well, let's see.


• They smile at each other, repeating a routine with which they are quite familiar.


• GABRIEL
• Once upon a time...


• EXT. THE SILVER PALACE - DAY


• The Silver Palace is more city than single building, numerous levels and shining domes, clustered together into a single eye-popping structure built onto the foothills of the Mount Aeolia.


• GABRIEL (V.O.)
• ...in a time so ancient almost all history has forgotten it, there lived Kirvo, a servant of the Sultan who lived with the royal family in the Silver Palace.


• INT. KIRVO'S LABORATORY - LATE AFTERNOON


• The lab is built into one of the domes at the top of the palace, beautifully crafted windows sealed shut, thick curtains showing slivers of the magnificent landscape outside.


• The room is filled with books and designs and small inventions.


• GABRIEL (V.O.)
• Kirvo was the Empire's official inventor. He delighted the royal children with his toys...


• INT. SILVER PALACE HALLWAY - DAY


• A young PRINCE happily chases a mechanical dragonfly down the hall.


• EXT. FARMLANDS - DAY


• A small dirigible hovers about a farmer's field spraying seed across the field.


• GABRIEL (V.O.)
• ...and he created such magnificent tools that the Empire was the envy of the known world.


• INT. SILVER PALACE HALLWAY - DAY


• KIRVO glides through sunny halls, wearing a simple robe, a hood carefully protecting his face, goggles obscuring his eyes, and gloves hiding his fingers.


• GABRIEL (V.O.)
• Many thought it was strange that he rarely seen during the day and then only when he was completely covered. But although rumors spread like wildfire when he first arrived, the years of amazing craftsmanship quieted the worst of the whispers.


• INT. KIRVO'S LABORATORY - NIGHT


• Kirvo pulls his hood back and the goggles off.


• GABRIEL (V.O.)
• No one knew his deepest secret; save for a single person. For you see, Kirvo was the king of a band of gypsy vampires, the last survivor of an ancient tribe.


• PRINCESS ILANAH floats into the laboratory and Kirvo smiles at her.


• She slips into his arms and they embrace in the moonlight that flows into the room, through windows now thrown wide open.


• He takes her hand, places a small object into her palm, and closes her fingers around it.


• She opens her hand, deliberately uncurling each finger.


• A small, brass pendant in the shape of a firefly sits on her palm, its amber thorax pulsating gently with light.


• GABRIEL (V.O.)
• he Princess Ilananh was the only person who knew his secret. They were madly in love, but they kept it a secret. Try as he might, he would grow hungry; over the years, the Sultan had grown accustomed for low-ranking servants to occasionally disappear. The princess feared his teeth and he feared losing her.


• INT. KIRVO'S LABORATORY - DAY


• Kirvo works feverishly, building a a large tank with gauges and pressure dials.


• It is built into a beautiful mahogany casing and from the wrong angle, could easily seem like a bookcase.


• GABRIEL (V.O.)
• Kirvo knew he would never age but that one day Ilanah would die. He searched high and low for a cure.


• EXT. FOREST - NIGHT


• Kirvo inspects a plant with the light of his lamp, then throw it away with disgust.


• GABRIEL (V.O.)
• He realized the there was only one way to have her by his side through all eternity.


• INT. KIRVO'S LABORATORY - NIGHT


• Kirvo and Ilanah argue in front of the large tank.


• She becomes quiet, then nods.


• They kiss and then he lifts her up a ladder that curves around the tank.


• He pulls a small vial from his vest and she drains it, looking at him once more before her body becomes still.


• He places her in the tank, then seals her in, cranking a wheel to shut the door at the to.


• INT. THRONE ROOM - DAY


• The sultan sits at his throne, an awe-inspiring sight in his finery, his face swollen with anger.


• GABRIEL (V.O.)
• When the Sultan discovered her disappearance, he killed thirty peasants to ease his anger, then declared war on several nearby kingdoms, sure they had taken his daughter.


• EXT. THE SILVER PALACE - DAY


• The silver palaces burns.


• GABRIEL (V.O.)
• Those who learned the tale of Kirvo called him destroyer of kings, for the ensuing war engulfed the world, a 100 year war of attrition that left the mighty kingdoms shells of their former glory. Some who tell the legend say that Ilanah's mind never stopped working, all the aeon's trapped in her cage.


• EXT. FOREST - NIGHT


• Kirvo sits in the back of a mule-drawn cart, a large cloth-covered object next to him.


• The flames from the palace paint the sky a bloody orange.


• GABRIEL (V.O.)
• It is said Kirvo wanders with Ilanah, two lovers always together, always separate; her unblinking eyes watching the horror their loved unleashed; his tired eyes never able to look away from the world he destroyed. And so they wander to this day, trapped together in a cage their love built.


• INT. GABRIEL'S HOUSE - AFTERNOON


• Gabriel leans back in his chair.


• ELLEN
• That was really depressing Mr. Gabriel.


• She looks at her watch.


• ELLEN
• Oh!


• With an exclamation, she bounds from the couch towards the door.


• ELLEN
• I'm late! Can you tell me a happier story next time? Maybe a comedy for once?


• GABRIEL
• Maybe next time.


• ELLEN
• Thanks!


• She runs outside, shutting the door hard behind her.


• EXT. GABRIEL'S HOUSE - AFTERNOON


• Ellen peeks into the window through a gap in the blinds.


• Gabriel stands slowly, then walks over to one of the shrouded book cases.


• He pulls the cloth aside, revealing a large tank filled with thick liquid.


• Suspended in the tank is a beautiful young woman, her clothes so strange and beautiful that they cause Ellen to gasp.


• Gabriel touches the glass and the woman stares back.


• He stays for a moment longer, then replaces the cloth and walks back to his rocking chair and book.


• FADE TO BLACK.

266. Sir Rigby - Leslie

• FADE IN:


• EXT. SIR RIGBY'S COTTAGE - DAY


• Sir Rigby's Cottage sits in a beautiful meadow surrounded by a lush forest.


• The cottage is surrounded by rows of beautiful flowers.


• NARRATOR (V.O.)
• Once upon a time in the land of Ilia, in the meadow of Nin, surrounded by the Whispering Forest, there lived a knight named Sir Rigby.


• Sir Rigby walks out of his doorway.


• He is dressed in a full suit of armor, a sword strapped to his side, and one at his back.
  


• His head swivels suspiciously.


• NARRATOR (V.O.)
• Sir Rigby was a master gardener, a valiant warrior, a maestro with the oven - his carrot cake was not to be missed - and deathly allergic to marigolds, an important detail, as you shall see.


• Sir Rigby inspects his flowers.


• NARRATOR (V.O.)
• Now Sir Rigby had but one fault, one his fellow townspeople found fairly docile and amusing. Sir Rigby had the unfortunate habit of thinking that every little challenge was a battle.


• A fly buzzes down past his ear and he pulls his dagger and dashes off in waving at it madly, his armor clanking.


• INT. SIR RIGBY'S COTTAGE - DAY


• NARRATOR (V.O.)
• Though amusing, Sir Rigby's affliction could incur a heavy repair bill at times.


• Sir Rigby stands over his sink trying to turn on the faucet; the water sputters, then stops.


• He draws his sword.


• SIR RIGBY
• Foul faucet! Relent!


• The faucet drips.


• SIR RIGBY
• Surrender, I say!


• The faucet is silent.


• With a cry, Sir Rigby attacks the faucet, hacking at it with his sword.


• EXT. THE WHISPERING FOREST - DAY


• Sir Rigby walks through the forest with LADY FARNSWORTH FARNSWORTH who smiles fondly at him.


• NARRATOR (V.O.)
• Thankfully, Sir Rigby balanced his unfortunate habits with his wonderful charm. A wonderful charm he spent most of his time expending on a certain Lady Farnsworth Farnsworth of whom he was most fond of (the Farnsworth Farnsworth's insisted on the repetition of their name, though the original reason was lost in the shrouds of Farnsworth Farnsworth legend).


• He picks a flower and hands it to her.


• NARRATOR (V.O.)
• They would walk through the forests and enjoy long conversations about all sorts of wonderful things. And every once in a while, they would hold hands.


• Lady Farnsworth Farnsworth grabs Sir Rigby's hand and they each smile to themselves.


• EXT. SIR RIGBY'S COTTAGE - DAY


• Lady Farnsworth Farnsworth waves goodbye to Sir Rigby and begins walking down the path back to the town.


• He waves back, smiling; then draws a dagger to ward off a threatening bee.


• NARRATOR (V.O.)
• As time passed, Sir Rigby grew more and more suspicious of Lady Farnsworth Farnsworth. Their disagreement on the matter of the earth's rotation bothered him greatly. Like all good Ilians, Sir Rigby knew the earth rotated to the right, but Lady Farnsworth Farnsworth supported the idea the terrestrial spin was in a leftward direction. This bothered him, for he wondered if it hinted at darker and deeper heresies. As time passed, he began to wonder if she had been sent by enemies to exploit his vulnerabilities.


• EXT. SIR RIGBY'S COTTAGE - DAY


• Lady Farnsworth Farnsworth walks down the path to the cottage holding a bouquet of flowers.


• NARRATOR (V.O.)
• One fateful day, Lady Farnsworth Farnsworth came to visit, bearing a bouquet of tulips and marigolds. She had thought it was so beautiful that any thought about Sir Rigby's deathly allergy had slipped clear from her mind.


• She enters the house and we see her silhouette greet Sir Rigby's silhouette through the window.


• Sir Rigby draws back.


• NARRATOR (V.O.)
• Seeing the deadly bouquet, Sir Rigby was convinced that Lady Farnsworth Farnsworth was truly a spy sent from the nearby Republic of Hamshire to kill him.


• Sir Rigby draws his sword, there is a shriek, and his silhouette plunges it into Lady Farnsworth Farnsworth's silhouette.


• NARRATOR (V.O.)
• Two days later, the neighboring Kingdom of Brockham upon Devon invaded, and the brave warriors of Ilia marched to meet them, but Sir Rigby was no where to be found, for he had fled, but to this day, a bouquet of marigolds and tulips wet with tears can be found on the steps of his cottage once a year on the day of Lady Farnsworth Farnsworth's untimely demise.


• FADE TO BLACK.

265. Death of Dreamer - Leslie

• FADE IN:


• INT. 10TH FLOOR UNIT, APARTMENT BUILDING - NIGHT


• The sparse apartment is dark, save for the lights from the city below leaking into the room and spilling over the large dining room table and splashing patches of color onto bits of furniture.


• A hand appears out of the darkness, pushing an object out of the shadows.


• As the object is hit by more light, it can be made out as the barrel of a high-powered rifle and the sharp sound of a bullet being chambered rings off the wood.


• EXT. WOODFORD PARK - NIGHT


• A large stage is set up at the edge of the park, a huge crowd of people waiting around it, their faces washed with the warm park lights.


• Secret Service agents can be spotted around the stage.


• The crowd begins to clap and whistle.


• GOVERNOR STEPHEN DAVID, a short man, bounds onto the stage, grinning, and the cheers grow.


• He stands at the simple podium, waiting for the applause to die down.


• It does, slowly.


• GOVERNOR STEPHEN DAVID
• Hey y'all! My apologies to your great Mayor Swanson; I decided to ditch the introduction.


• MAYOR SWANSON waves from the edge of the stage.


• GOVERNOR STEPHEN DAVID
• I hope you don't mind?


• The crowd roars.


• GOVERNOR STEPHEN DAVID
• It's good to be back here on Earth. But I'm not here as a Luna or as merely a representative of the Lunar states, I'm here firs as an American. We're at the edge of a dangerous time. We stand on the brink of civil war. I'm here to say that if elected, I may not be able to stop it. The forces pulling our nation apart are strong. But I will be a clear voice for our defense and for a change in how this nation works. In this time of great danger, we are presented with great opportunity.


• INT. 10TH FLOOR UNIT, APARTMENT BUILDING - NIGHT


• THE SNIPER walks to the window and surveys the massive crowd that stretches back a mile to where he is.


• Screens hang above the street and the audience watches in rapt attention.


• EXT. WOODFORD PARK - NIGHT


• GOVERNOR STEPHEN DAVID
• I am here, not only to be the first Luna candidate for president, but to say that in the case of war, the Lunar states will stand with our blue sisters.


• The crowd roars.


• GOVERNOR STEPHEN DAVID
• There have been times in our history for working with those who disagree with us and I beg those who would destroy this nation to stop and consider what this nation as a whole means to them. But if they intend to destroy this nation, I have no fear of being partisan. I urge the colonial governors like Governor Amelia Mbeki to stand with us. I am willing to shed blood for this nation and for the dream of America. This is something we understand from the fields of Iowa to the energy farms of the Sea of Tranquility. We will not surrender to the fascists!


• INT. 10TH FLOOR UNIT, APARTMENT BUILDING - NIGHT


• SNIPER
• Enough.


• He moves to the rifle, looking into the scope.


• He takes a deep breath, then holds it.


• EXT. WOODFORD PARK - NIGHT


• The governor pauses, sensing something.


• INT. 10TH FLOOR UNIT, APARTMENT BUILDING - NIGHT


• The Sniper pulls the trigger.


• The bullet exits the barrel of the gun, going supersonic.


• EXT. WOODFORD PARK - NIGHT


• The bullet tears through one of the screens floating above the street, causing a commotion as it crashes to the ground.


• Milliseconds later, there is a loud thump and the governor slams into the ground, his entire chest bloody.


• He gasps as agents swarm.


• He is miraculously still breathing.


• GOVERNOR STEPHEN DAVID
• Up, help me up!


• Mayor Swanson helps pull him to his feet.


• The audience screams as they see him.


• He raises his fist.


• GOVERNOR STEPHEN DAVID
• We will not be afraid, we will fight! Fight, my friends, first with words, then with bullets if you must, but never surrender.


• The governor falls to the ground.


• INT. 10TH FLOOR UNIT, APARTMENT BUILDING - NIGHT


• The cries of the crowd can be heard through the open window of the apartment, but there is no one to hear; it is completely empty, a single bullet casing carefully placed at the center of the table, a warning, a call to war.


• FADE TO BLACK.

264. Gazers - Leslie

• FADE IN:


• EXT. APARTMENT ROOF - NIGHT


• DOUG sits on the ledge of his roof watching LEANN, his 8-year old daughter, fiddle with her telescope.


• The sounds of traffic whizzing below on Hollywood Blvd travel up to the roof.


• The palm trees lining the street are dark silhouettes punching the sky.


• LEANNA
• Ooooh, I just saw a shooting star!


• Doug grins.


• DOUG
• Nice!


• She pulls away from the telescope and leans next to him on the ledge.


• LEANNA
• I wish we could see the stars from up here without a telescope.


• DOUG
• Me too. One of these days, I'm going to take you out to the desert and you'll see more stars than you ever thought were possible.


• LEANNA
• Really?


• DOUG
• Really really. Hey, look at the time, you need to be in bed young lady.


• LEANNA
• Are you being con..con...condesting?


• DOUG
• Condescending? No dear, I'm not. It's just that time.


• LEANNA
• Ok, but can I stay just a few more minutes?


• She snuggles up to him.


• DOUG
• Ok, ok, fine.


• LEANNA
• Daddy, where would Orion be if we could see it?


• DOUG
• Hmmmm, I think it would be there.


• He points slightly north towards the sky above the Hollywood Hills.


• LEANNA
• And Cassiopeia?


• DOUG
• Where do you think it would be?


• LEANNA
• There!


• She jabs her finger up.


• DOUG
• I think you're right. I think it would be there. How about the Big Dipper?


• She traces the pattern of the dipper across the sky.


• From high above, they are two small specks staring up in wonder at the expansive night sky.


• FADE TO BLACK.

263. Migration - Leslie

• FADE IN:


• EXT. MAINE COAST - LATE AFTERNOON


• SANDRA and ROBERT sit on a simple bench overlooking the Atlantic Ocean.


• They look down the cliff on which the bench is perched.


• SANDRA
• You sure you're going to be ok? I'm not sure I should take you away from the hospital for so long.


• ROBERT
• I'll be fine; how many chances will I have to see this?


• Sandra smiles.


• Robert coughs.


• SANDRA
• Are you sure?


• ROBERT
• I'm fine.


• They wait, watching the water lap at the stones rocky beach far below them.


• The sun sinks lower on the horizon and Robert looks around nervously.


• SANDRA
• It's going to happen, you'll see; just wait.


• He coughs again and Sandra looks over at him.


• She shakes her head and as she looks to the north, a motion catches her eye.


• SANDRA
• They're coming!


• A dark fluttering cloud has appeared.


• It comes towards this faster and faster, thousands of monarch butterflies spread across land and see.


• Sandra looks in awe as the orange cloud surrounds them.


• She turns to Robert, who is smiling up at butterflies.


• His breathing is shallow.


• ROBERT
• Could you hold me?


• Sandra puts her arm around him as his breathing slows.


• SANDRA
• Rob? Rob? Robbie?


• He smiles at her, his breathing growing increasingly labored.


• SANDRA
• You're not ok.


• Robert smiles at her.


• SANDRA
• This is not funny. We need to find a local hospital. I should have never brought you here. Come on.


• Robert shakes his head, closing his eyes.


• A moment without breath passes, then he forces his lids open.


• He takes a large rattling breath, then is gone.


• SANDRA
• Robbie! You knew, you knew and you came anyway, you should have let me keep you in the hospital. Robbie!


• She cradles his body as Monarch butterflies drift overhead, burnishing the blue see with dark gold.


• FADE TO BLACK.

262. Drunkard - Leslie

• FADE IN:


• INT. THE ALTERNATIVE - NIGHT


• The Alternative, a popular club among those who like to imagine themselves as counter-cultural, is packed with people who are pierced, tattooed, and corseted.


• A loft looking over the dance floor holds a single large table around which a sizable crowd is gathered.


• Commanding their attention is JOSPEH, a muscular, plain-looking man in jeans and a t-shirt, he takes a sip from the mug of beer in front of him and the crowd watches in rapt attention.


• MATT, a lawyer; JOHN and PETER, fishermen sit next to him.


• Peter, a young man with thick, calloused hands tries not to stare at a young WAITRESS with thick plugs in her ears who has stopped at a discrete distance to listen.


• Joseph grins, speaking in a soft southern accent.


• JOSEPH
• You sure know how to throw a party Miri.


• MIRI, the club owner, sits next to Joseph, curled up with SYDNEY, her partner.


• MIRI
• For you, anything. Tell us one of those amazing stories of yours.


• JOSEPH
• Y'all want a story?


• Someone in the crowd yells in the affirmative and everyone laughs.


• JOSEPH
• Well, there was dressmaker who lived once upon a time in a world a lot like ours, and she wanted to throw a party, maybe something a lot like this one. Let me start from the beginning, because every good story has to start like this. Once upon a time...


• CUT TO:


• SCRIPT # 223 THE LITTLE DRESSMAKER - A STEAMPUNK PARABLE


• CUT TO:


• INT. THE ALTERNATIVE - NIGHT


• Joseph takes a sip from the mug.


• JOSEPH
• That's the kingdom of God in a nutshell. That right there.


• He grins, delighted.


• The crowd exhales, almost as one, and some clap softly.


• JOSEPH
• Alright, I'm out of stories for the night.


• MIRI
• I don't understand why no one else has every explained things like this before. You're not like the others. Never ceases to amaze me.


• Joseph smiles sadly but doesn't respond.


• He stands to leave, and Matt, Peter, and John stand with him.


• Hugs and handshakes are exchanged and then the four men slip out towards the back entrance.


• The waitress with the plugs slips up behind them and touches Joseph gingerly as they open the door.


• EXT. THE ALTERNATIVE - NIGHT


• The five step out into the night to find a group of PASTORS and PAPARAZZI waiting for them.


• Lights flash as the pastors approach.


• The waitress is not deterred.


• WAITRESS
• Sir, sir, I'm so sorry, I...


• He leans over, clasps her hand, and speaks softly.


• JOSEPH
• It's alright Alice, I know. I forgive you. Go, sin no more.


• She nods, trying not to cry, and slips back into the club.


• The pastors have reached them now and PASTOR JACKSON scowls as he smells the club on them.


• PASTOR JACKSON
• How dare you travel around this country and spread your lies? You're just a drunk and a hypocrite. And then spending the night with this scum! And tomorrow every paper in the nation will have you touching...her...on its headlines.


• Joseph puts a hand on his shoulder.


• JOSEPH
• If you're healthy, there's no reason for you to visit a doctor. My Father sent me here to take care of the sick and the hurting.


• He keeps his hand on the pastor's shoulder and the man squirms.


• Joseph turns away, leaving a livid Pastor Jackson silent.


• He nods to the three men who are waiting quietly


• They walk out of the alley disappear down the street, leaving a group of angry and confused pastors, and befuddled paparazzi.


• FADE TO BLACK.

261. Autumn Awakening - Leslie

• FADE IN:


• EXT. ENGLISH GARDEN - DAY


• MIYA sits on a worn stone wall, watching water whisper across the garden, around hedges and under a small arch bridge.


• Lacy, black vintage fishnet stockings wrap around her small legs, spiderweb-like roses woven into the lace.


• She wears a short, ruffled jean skirt and a black blazer with a bow on the back; under the blazer, she wears a white t-shirt and lacy cut-off gloves.


• She stands almost frozen, her body shuddering slightly with her slow, measured inhalation.


• MRS. ROBIN EDGAR-JONES walks slowly around one of the shrubs, admiring the greenery.


• She stops, seeing Miya.


• She slowly approaches her.


• MRS. ROBIN EDGAR JONES
• Excuse me, are you alright?


• Miya turns to her and smiles, her short haircut framing her oval face.


• MIYA
• I'm fine, thanks.


• MRS. ROBIN EDGAR JONES
• What exactly are you doing? You were so still.


• MIYA
• I'm watching autumn begin.


• MRS. ROBIN EDGAR JONES
• Excuse me?


• MIYA
• There's a point in September where Autumn starts and I'll always try to be in a place like this to watch it happen.


• MRS. ROBIN EDGAR JONES
• What exactly happens


• Miya points to a beautiful oak tree.


• MIYA
• Watch. Start at the tree and then the stream and the hedges. You can see it.


• Mrs. Robin Edgar-Jones stares, then shakes her head and slips carefully away.


• Miya looks after her a little sadly, then turns back to the tree.


• A leaf drifts off the oak tree, floating to the ground and she smiles.


• FADE TO BLACK.

260. Haiku - Songs of Isolation

• 1.
  She stands on the edge
  A tranquil pond in winter
  Silent, cold, deadly.


• 2.
  Strange being, the human
  So isolated, adrift
  A lonely bubble.


• 3.
  I swear your honor,
  We talked, friends with benefits,
  Didn't lead her on.

259. Into the Dark - Leslie

• FADE IN:


• INT. THE SIERRA NOEL LAUNCH DECK - NIGHT


• LIEUTENANT NATALIE "MOSQUITO" HEDER stands on the deck, doing her final flight check.


• The deck is large space with room for three battle squadrons.


• Each fighter docked on a launcher, primed to fire the ships into space at a moments notice.


• Natalie's Dragonfly class ship is lithe, smaller than the fighters belonging to the other squadrons; it seems a perfect match for her small, strong frame.


• Thin blades used for flying in atmosphere fold into the top of the ship.


• Natalie flashes a thumbs up at the control room high above the deck.


• NATALIE
• Good to go.


• CONTROL ROOM (VO)
• Roger that Mos; you have a few minutes, head to the lounge, stretch your legs a bit.


• NATALIE
• Yes, sir.


• She turns to head into the lounge, then hears the slow groaning of metal creaking as the bay doors slide open.


• Pivoting, she heads to the opening and peers out.


• Nothing but a thin force field protects her from the massive vacuum of space.


• The battle group is arrayed around the Sierra Noel, a Dreadnought class carrier.


• The ship stretches for miles past the bay door.


• Looking down, she can see the hundreds of levels below her, bay doors hiding hundreds of other squadrons.


• Large, horizontal shields, attached to the hull by sinuous beams mirror the hull's shape, providing a first layer of defense.


• Small messenger ships and a fighter wing whiz through the space between the shields and the hull.


• CONTROL ROOM (VO)
• I thought I told you to go to the lounge, Lieutenant Heder.


• NATALIE
• If you don't mind sir, I'd like to wait here. I've never quite gotten used to the sight.


• CONTROL ROOM (VO)
• Roger that.


• The battle group hovers above a fiery nebula, red and purple light bouncing off the war-scarred fleet.


• The HENRY ADAMS, a Destroyer moves past the Sierra Noel, tiny in comparison to the massive carrier, its hull proudly displaying the Orion Collective's flag.


• CAPTAIN PARK HYUNG LEE walks around her fighter and stands beside her at the bay door.


• PARK HYUNG LEE
• So you're the famous Mosquito.


• NATALIE
• Captain Lee.


• PARK HYUNG LEE
• Glad we're finally getting to work together; I can find out whether the woman lives up to the myth.


• NATALIE
• Not just that, I'll surpass it.


• PARK HYUNG LEE
• Oh, well, well, that's a lot of talk for a pilot with a Dragonfly.


• She grins at him.


• NATALIE
• My Dragonfly is a thing of beauty, don't you forget it.


• He chuckles and turns to stare out at the nebula.


• PARK HYUNG LEE
• I still get a spark of pride seeing the battle group. But I sometimes wonder if it's worth it. I was part of the battle of Io, and we were in the wrong there. Two colonies wiped clean.


• NATALIE
• Respectfully sir, we don't have space to think like that; we do what we have to do. I don't know about you, but I'd rather not live under the Hegemony. I like my freedoms, thanks you. Yeah, we make mistakes, I've had my share of collateral damage and the dreams because of that. We know what our mission is.


• CONTROL ROOM (VO)
• All strike force pilots to their ships. Launch will commence in one minute.


• PARK HYUNG LEE
• So what do you do?


• Natalie is already off and running towards her fighter.


• A crew member helps her into the cockpit and begins sealing herself into her suit.


• Park Hyung Lee races towards his ship, a large Black Widow bomber, a craft that simply intimidates with its looks.


• Her canopy slides into place, sealing with a hiss.


• She checks her controls, then gives the crew member one more thumbs up.


• He nods and flashes a twenty seconds with his hands.


• She checks her comm, double checks her weapons.


• Her comm crackles.


• PARK HYUNG LEE
• What do you do?


• The crew member flashes ten seconds and begins counting down.


• NATALIE
• I try not to see the faces in my dreams and I do my job. I go back out into the dark.


• There's a whoosh and her ship explodes out of the bay, into silent space, the bombers close behind as they dive into the deep space beyond the nebula.


• FADE TO BLACK.

258. Wired - Leslie

• FADE IN:


• EXT. SUBURBAN HOUSE - EVENING


• Sirens reverberate down the street as an ambulance comes to a stop in front of a split-level home.


• Two medics, ERIC and HANK, jump from the vehicle and rush towards the door.


• EXT. TROPICAL ISLAND - DAY


• THEO sits in a beautiful wooden beach chair under the shade of a palm tree that curves out over the beach.


• A small table next to him is stacked with exotic fruits.


• He picks up a mangostein, twists it open, and begins to eat the sweet, white flesh of the fruit.


• INT. SUBURBAN HOUSE LIVING ROOM - EVENING


• ALISON lets the medics into the house.


• ALISON
• I just got back from a business trip and he was still in the network, I don't think he ever disconnected, he smells terrible. He's not moving - I couldn't get him to respond.


• The men look at each other.


• ALISON
• He's in the room at the end of the hall.


• The medics move quickly down the hall.


• EXT. TROPICAL ISLAND - DAY


• Beautiful women pass Theo and he nods at them, smiling contentedly.


• Triple suns hang above the beach, their light sparkling off the rich blue of the ocean.


• He yawns.


• INT. SUBURBAN HOUSE STUDY - EVENING


• The medics push open the study door.


• Theo is slumped in his net-chair.


• Hank wrinkles his nose at the smell.


• HANK
• I've heard about this happening. People staying online and forgetting they need to take care of themselves...virtual food, perfect little worlds...


• Eric reaches over and feels for a pulse.


• He pauses, then shakes his head.


• ERIC
• I thought they put in controls to boot you off?


• HANK
• Probably overrode them.


• Alison comes to the door.


• HANK
• I'm sorry ma'am.


• She turns away, her face tight.


• EXT. SUBURBAN HOUSE - EVENING


• The medics carry Theo's covered body out on a stretcher, their bodies washed in blue and red light.


• EXT. TROPICAL ISLAND - DAY


• Theo stands from his chair and walks toward the edge of the water


• He yawns again.


• THEO
• Mmm, nap time.


• He curls up on the sand.


• Waves lap at his toes as he goes still.


• FADE TO BLACK.

257. Alt - Leslie

• FADE IN:


• INT. BANQUET HALL - NIGHT


• ERIN and SHELLEY stand quietly at the edge of the hall watching the party in front of them.


• They are both dressed beautifully, Erin in long, flowing dress that pretends to show far more than it does.


• Shelley is dressed in a flared skirt and an eye-catching blouse whose collar wraps around her neck, then descends into buttons crossing diagonally across the fabric.


• Shelley holds a glass of water in her hand; Erin is drinking a colorful concoction with an orchid garnish.


• ERIC strolls up to them.


• ERIC
• Shelley! Looking beautiful.


• SHELLEY
• Erin, this is Eric, he works at the magazine with me.


• ERIC
• We just love her odd little stories about alternative culture.


• He takes Erin's gloved hand and kisses it.


• Erin whispers, coyly.


• ERIN
• Charmed.


• ERIC
• She's a quiet one.


• Shelley smiles.


• SHELLEY
• He is, sometimes. He has a nice silence though, I think, thoughtful.


• ERIC
• He?


• SHELLEY
• Erin. He's my husband.


• Eric takes a closer look at Erin's fine features and smooth skin and blinks hard.


• Erin speaks in his normal voice.


• ERIN
• Pleasure to meet you.


• ERIC
• Uh, you'll have to excuse me, I, uh, there's Nathan, I need to talk to him about an article.


• He spins and makes a beeline for the center of the room.


• Shelley and Erin look at each other and grin.


• He grabs her hand.


• ERIN
• And this, darling, is why I married you.


• SHELLEY
• Mmm, ditto, ditto. Oh, let me introduce you to my boss.


• Erin sips daintily at his drink.


• ERIN
• Excellent.


• Shelley walks into the crowd, Erin in tow.


• FADE TO BLACK.

256. Blue Flowers - Leslie

• FADE IN:


• INT. AMELIA'S BEDROOM - LATE AFTERNOON


• Amelia sits in a rolling chair in front of a large mirror over her dresser.


• Tattoo ink, needles, and other tattooing paraphernalia are neatly arrayed on the low dresser surface.


• Amelia is dressed in a black tanktop.


• She holds a tattooing machine by her neck, the needle drawing blood as black ink is injected under her skin.


• She dips the needle in ink.


• INT. AMELIA'S CHILDHOOD BEDROOM - DAY


• YOUNG AMELIA runs around her bed, trying to get away from her MOTHER.


• Her mother, dressed in a crisp business pantsuit, chases her into the corner and backhands her.


• Young Amelia falls to the carpeted floor.


• INT. AMELIA'S BEDROOM - LATE AFTERNOON


• Amelia draws the outlines of flower on her neck, focusing carefully in the mirror.


• INT. AMELIA'S CHILDHOOD BEDROOM - DAY


• Amelia's mother holds her down, taking a lighter from her purse.


• MOTHER
• You're an evil little girl. I don't want to do this, but you push me, you push me, and you get what's coming.


• Young Amelia squirms away, crying.


• Her mother grabs her arm and begins burning her, adding new scars to patches of scar tissue that run up her arm and neck.


• INT. AMELIA'S BEDROOM - LATE AFTERNOON


• Amelia is filling in the flower with a rich cobalt, creating a stylized, blue, cherry blossom.


• Each of the blossoms covers a scar, her last flower, begin to create a beautiful mask over the shiny, slick, burned tissue that runs up the side of her neck.


• She puts the needle down and inspects her handiwork.


• The full tattoo stretches down from her neck, around her shoulder and down her arm, a beautiful semi-abstract painting on a living canvas.


• She smiles a little into the mirror and traces the path of the tattoo up her arm, remembering.


• FADE TO BLACK.

255. Rocking Chair Meditations - Leslie

• FADE IN:


• INT. WAREHOUSE - DAY


• Light filters onto the massive concrete floor through windows filmed with thick dust.


• The room is ringed with large shelves all filled with large books, each numbered.


• LENA sits in an wicker rocking chair in the center of the building, dressed in a hitch skirt and a corset; a pair of goggles rests on her forehead.


• The chair is surrounded by blown glass candle holders, which hang from the ceiling.


• The chair is surrounded by blown glass candle holders, which hang from the ceiling.


• She rocks back and forth thoughtfully.


• One of the massive book sits on her lap, dusty and worn with age.


• Flipping the book open she flips past images of strange creatures; fauns, unicorns, cherubim covered in eyes and wings, dragons, and creatures completely unrecognizable.


• She turns to a new section, revealing sketches and designs for dolphins, panthers, elephants, platypuses.


• She smiles at the platypus sketches, then nods.


• LENA
• It's time.


• She extends her hand, palm upwards and blows gently.


• A dark shadow appears above her hand, a dark planet wreathed in clouds.


• LENA
• Let there be light.


• Winds sweep across the planet surface, the dark clouds vanishing, allowing the light of a nearby star to touch the planet's surface, the rich cobalt waters sparkling for the first time in sunlight as blood red veins of magma flow underneath.


• She smiles.


• LENA
• Beautiful, let's get to work.


• She reaches for the planet and begins to sculpt it as we pull away.


• FADE TO BLACK.

254. Ghost World - Leslie

• FADE IN:


• INT. LUNAR DOME 347, OBSERVATION DECK - day


• AKIRA sits on a metal chair under the massive glass dome of the observation deck at.


• She is hunched over, using a book as a surface to write a letter.


• She writes hurriedly in tight cursive.


• AKIRA
• Dear Grandpa, you always talked about the dreams you had for us; imagined what the future would be like. Well, nothing's the way you said it would be. And it's your fault. I don't mean to be disrespectful, but it is true. Your generation was supposed to stop the madness; but you just dreamed big and kept doing the same things draining earth of everything. Grandpa, why did you keep burying your head in the sand. You were frustrated with the government, kept saying they didn't do enough, but neither did you. And now, those of us who managed to leave are here, trying to figure out how to stretch our fading resources to keep us alive one more year.


• She looks up at the Earth, rising above the moon's dusty horizon.


• AKIRA
• It looks so beautiful and calm from here. But that's just another lie. It's a wasteland worse than this one. Maybe we'll figure out how to send this back in time one day. I hope so; I want you to get this, so you can try again, do it right this time. Until we figure that out, I'll keep it safe with me. I love you Grandpa, I miss you.


• Akira pushes her pen back in her pocket, carefully folds the letter, and slips it into her jacket's inside pocket.


• She stares up at the Earth, which has moved even higher; she can't take her eyes off of the beautiful ghost world lost in space.


• FADE TO BLACK.