Reverie by Geoffrey Nel

Name (of company, if applicable) Address Phone Number

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INT. BATHROOM - NIGHT SOPHIE JONES (28) stands naked in front of a cracked bathroom mirror. Sophie opens the cabinet, removes a jar of prescribed medicine, fills her mouth with thirty tablets, then drinks them down with a glass of water. CUT TO:

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EXT. CITY PARK - NIGHT An aged, bleeding, homeless dog limps across a park towards city traffic. CUT TO:

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CLOSE UP: An ink pen trails across a map of Wisconsin, along the “Ice Age Trail.” (V.O.) ARCHIE Start in Taylors Falls... head East, through forests and marsh... hike south almost entering Illinois, climbing along the border of Lake Michigan... going north all the way to Sturgeon Bay. Pick up our motorcycle, take the ferry across to Michigan and we’re on our way to the east coast. (V.O.) JESSICA This is going to be beautiful, honey. The greatest trip of our lives. (V.O.) ARCHIE I can’t wait. (Archie and Jessica smooch.) CUT TO:

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INT. MARIE’S CAR (MOVING) - NIGHT MARIE FONTAINE (24) speeds down a residential two-way street, passing through stop signs.

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Her sobbing is uncontrollable, loud music blasts from the car stereo: I keep looking for a place to fit in where I can speak my mind/I’ve been trying hard to find the people that I won’t leave behind. CUT TO: 5 EXT. CITY PARK - NIGHT The old dog limps into traffic. Cars swerve out of the way, the dog rushes as fast as he can to get to the other side. CUT TO: 6 CLOSE UP: SCOTT MCKIERNAN (35) applies makeup to his face, covering up the many pock marks on his cheeks. He applies gel into his bleach blond hair and styles it to a point. CUT TO: 7 CLOSE UP: Scenes from the movie TRON. AUSTIN O’MOYLE is a five year old child watching fervently the movie which has characters made of light battling inside a computer world. CUT TO: 8 INT. LIQUOR STORE - NIGHT HENRY REEF (25) walks through a busy liquor store, grabs a bottle of cognac and a six pack of beer and walks to the front counter. CUT TO: 9 INT. MARIE’S CAR (MOVING) - NIGHT Marie smashes head on into the old, limping dog. She puts on the brakes, the dog flies above and beyond the car, leaving behind it a trail of blood and guts smeared across the front hood and windshield. CUT TO: 9 8 7 6 5

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INT. OFFICE - MORNING Scott walks past MAX, a younger man wearing stylish clothes. To Max; SCOTT Hey Max, how’s it going this morning? MAX Fabulous, how you doin’ Scott? SCOTT Can’t complain. Have a wonderful day today. MAX Thanks, you too. Always do. SCOTT CUT TO:

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INT. BATHROOM - NIGHT Sophie lays in the tub, a stream of cold water pelts her naked body. CUT TO:

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INT. GLENWOOD VAN (MOVING) - DAY KRIS ANDERSON (26) sits behind the wheel of a van hauling mineral water. (V.O.) KRIS My name is Kris Anderson. I deliver mineral water through Glenwood Water Services. My route is pretty much the same every day. I go to the flower shop in the morning, those offices off of twenty-fifth - all in a row they got ‘em made up, so I don’t back track my schedule. Some grocery stores, a few restaurants serve what we offer. New stop on the route today, though. I’ve filled orders to bars before, this shouldn’t be too different, or difficult...

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Kris drives up to a corner bar, parks, turns on the hazard lights. CUT TO: 13 INT. CORNER BAR - DAY 13

A long bar on one side leading to a stage at the other end, window walls on the opposite wall illuminate Gini. GINI (26) takes down the chairs from the tables. Kris enters the bar. KRIS Afternoon... I’m looking for Gini. GINI That’s me, Gini. KRIS I’m Kris, from Glenwood Mineral Springs. GINI Ah the water guy. You ever get confused with the Culligan man? KRIS Happens frequently, actually. GINI I bet it does. Where do you need to go? KRIS Closest door to your-the kitchen. If you can show me where the previous water system was, i can pretty much figure it out from there. GINI Okay. Let me direct you to the back of the kitchen. Come with me. (V.O.) KRIS I liked her from the start. She had a sort of relaxing, playful way about her that didn’t seem too dangerous.

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INT. CORNER BAR - KITCHEN - DAY GINI Here we are. I don’t know what’s wrong with the water system, exactly... the maintenance guys from the water works came around last week and fixed something, I wasn’t here. KRIS Okay. Well, they should have fixed whatever piping problems you guys had - previously, that is. There’s the hole, that’s where I install my bottles. Gini laughs. GINI Install those jugs. Purified water is what this place needs. I’ll be in the front if you need anything. Thank you. KRIS

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Kris watches Gini walk into the front of the bar. (V.O.) KRIS The place didn’t open until five o’clock. I thought that was kind of funny, being that it was a bar. I always assumed they were open all day. But, then, I didn’t drink too much liquor. Just water. She would occasionally come in and check up on me to see how I was doing, offered me a beer oncethat was nice. Usually folks just leave me alone with the work all by myself. She even made me a deli sandwich when I was finished. Free of charge. Kris installs water system. When finished, informs Gini of the adjustments to the new system and such. CUT TO:

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INT. GLENWOOD VAN (MOVING) - DAY Kris drives around town. CUT TO:

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INT. CORNER BAR - DAY (V.O.) KRIS Gini wasn’t there the next week. The other boss was there, fella by the name of Tony Vitulli. He was just as relaxed as she was. I found it kind of strange. You two related? I asked. Nope. Huh. Anyway, while I refilled the water system Tony hung around, talked all about these musicians I had never heard of before. Apparently they were legends, or, unsung heroes of the underground movement - people whose music was largely ignored at the time, was now considered ahead of its time. Kris answers No to every artist Tony cites. TONY Now you may have heard of some of these guys: R. Stevie Moore? Roky Erickson? Daniel Johnston? Hasil Atkins? Gary Wilson? Shuggie Otis? Moondog? The Shaggs? Tiny Tim? Aw come on you gotta know Tiny Tim! (V.O.) KRIS He was a nice enough guy. Never shut up. Offered me a beer, said no. I was thinking of Gini. CUT TO:

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INT. GLENWOOD VAN (MOVING) - DAY Kris drives around the city. CUT TO:

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INT. CORNER BAR - DAY (V.O.) KRIS The next week Gini was there. My face gushed red when I caught sight of her cherry red hair, blue eyes and clear skin. I was suddenly overcome with an intense bought of emotions that made my words stumble. My knees began to shake and my heart was pounding faster as I approached her. GINI Hi there. We just keep drinking up your water, everyone loves it. KRIS That’s good-thanks. GINI Heh, it’s all set up in the back. Kris bumps into CHRIS as he walks toward the kitchen. CHRIS Oh sorry, man, I wasn’t watching where I was going. KRIS That’s okay. Kris watches as Chris talks with Gini. Chris bears a striking resemblance to Kris: identical in height, weight, hair color - brown, same stature; everything about Chris mimics the image of Kris. (V.O.) KRIS That’s when I met Chris. The new guy, apparently. He talked with Gini the entire time I was there. I could barely overhear what they were talking about, but from what I gathered it sounded like she was training him in. I couldn’t make this my last stop of the day with this guy working here. There just wasn’t something right about him. KRIS (CONT’D) All finished, Gini. Gini walks to the back of the kitchen.

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GINI Great, thanks Christopher. a good one. Gini exits the kitchen. It’s Kris. KRIS

Have

Kris exits, leaving his work gloves on the counter. CUT TO: 19 INT. GLENWOOD VAN (STATIONARY) - DAY Kris holds a tight grip on the steering wheel. bulges out from the center of his forehead. A red vein CUT TO: 20 INT. CORNER BAR - DAY GINI ... And we usually stock more than we need, so... Kris bursts through the front door. KRIS I’m sorry I left so quickly I forgot my gloves. Kris brushes past Gini and Chris, into the kitchen. GINI Oh that’s... Just as quickly as he came, Kris walks back with gloves in hand. SLOW MOTION: Kris glares an evil eye at Chris as he passes. CUT TO: 21 INT. GLENWOOD VAN (MOVING) - DAY 21 20 19

Kris speeds through busy city traffic. At a clustered intersection Kris attempts a left turn only to veer directly into oncoming traffic. Kris pushes the brakes and stops inches from the front bumper of a black Jaguar. The man in the Jaguar yells at Kris then spits onto his windshield.

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Kris drives off down a quieter street. rings from inside his pants pocket. Hello? KRIS (V.O.) SCHEDULER Kris, Jason with scheduling. Hi Jason. KRIS (V.O.)

Kris’ cell phone

SCHEDULER Hi, listen, I have a last minute reroute for you, a new client. KRIS Okay where(V.O.) SCHEDULER I’m sending the data to your GPS right now and it should upload within the next twelve seconds. The dashboard GPS displays the new route and numbers. KRIS Okay, yeah, I received it. (V.O.) SCHEDULER Good. Um, this new place is... kind of out of the city, so if you run out of gas it will have to be out of your expenses. KRIS Will I be reimbursed? (V.O.) SCHEDULER Oh of course, yes. Don’t worry about that, just save your receipts. KRIS How far out of the city is it? CUT TO:

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EXT. HIGHWAY - NIGHT A thin fog enshrouds the road underneath a full moon. (V.O.) KRIS I had been on the road for four hours... I had gone off the major highway an hour back... I hadn’t seen another car since then... the moon was becoming larger the closer I drove to my destination, and the fog... the fog was thinning so I could see... CUT TO: BLACK TITLE: September CUT TO:

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EXT. HEXAGON BAR - NIGHT Henry and Suzie bike up to a bar and lock theirs together to a stop sign. Henry and Suzie walk past the group of smokers into the bar.

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INT. HEXAGON BAR - NIGHT The bar is full and busy. Henry and Suzie order beers and drink. Henry and Suzie’s words are inaudible over the noise from the band in the opposite room. CUT TO: Henry and Suzie dance to the two-piece band. is small. The audience

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Henry orders two more beers, gives one to Suzie. CUT TO: Henry and Suzie have become progressively drunker, now dancing to the music of Alice Conroy’s Gypsy Caravan. The audience is bigger, rowdier. Henry and Suzie grind on each other, they kiss. CUT TO:

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EXT. CITY STREET - NIGHT Henry and Suzie drunkenly bike through residential streets without crashing. CUT TO:

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INT. SUZIE’S APARTMENT - BEDROOM - NIGHT Suzie and Henry stumble into the moon-lit bedroom. and Henry fall onto the bed as they makeout. Suzie

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Suzie tears off Henry’s clothes. Henry rips off Suzie’s jeans. Suzie straddles Henry. Henry grabs Suzie’s breasts. Henry and Suzie converge into one being of sweat, grunts, and bodily fluids gyrating under the pale moon light. CUT TO: 27 INT. SUZIE’S APARTMENT - BEDROOM - MORNING A fully dressed Henry ties his sneaker’s shoelaces and exits the room while Suzie sleeps. CUT TO: 28 INT. NEIGHBORHOOD CAFE - MORNING 28 27

The diner is busy, three waitresses working the floor, the clang of the kitchen & conversations from each table fill the air. JOHN (24) and BRENDA (21) sit at a table near the front window. JOHN I started reading Picture of Dorian Gray again, and, it wasn’t as good as I remembered it. Some interesting parts in it,but what irritated me was the comedy of manners thing - just the whole concept of it kind of tired me out. BRENDA I thought that was, like, a Gothic horror story. JOHN Yeah that was his style. I guess you’re right in that respect, that was his style - and he was very stylish. I just got tired of it. It. Wasn’t. That. Good.

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Suzie walks up with two plates of breakfast food. SUZIE Two eggs, bacon, white toast... and the omelet. Can I get you guys anything else? JOHN Some more water when you get the chance. SUZIE More water, sure. Suzie walks into the kitchen. ROSIE (37) and EDDIE (47) sit at a table near the front window on the other side of the diner. Both are middle aged, dressed in suits, noticeably gesticulating through their conversation. ROSIE Hank and Tina are doing well, I saw them last... March I think it was. I was on a business trip to Boise, Hank and Tina live in Boise, so I had dinner with them one night. It was nice. EDDIE Oh that’s great, how are they doing? ROSIE They seem to be doing fine. Will is at college, so they have an empty next which they are completely okay with, I mean, I remember when Greg and Sandy left and it was only Dan and I... oh god it was so much quieter. I bet. EDDIE Enjoy.

ROSIE I could come home, there wouldn’t be any drums - Greg played the drums for a band so he was always banging on the drums - I’d open a bottle of red wine, fill two glasses and listen to the evening sounds on the porch while Dan rubbed my feet. EDDIE And how’s Sandy liking Oberlin?

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ROSIE We haven’t heard from her in weeksEDDIE So she’s doing well, then. ROSIE Yeah that means she’s doing fine. If she doesn’t call us we assume she’s having a good time, if she calls, it’s usually because she has a problem, or needs money, either of the two. EDDIE Oh but doesn’t she call you to tell you she loves you? ROSIE Yeah, she does that, too. I’m joking of course she does. EDDIE That’s great. (beat) Well I spoke with Aunt Irma yesterday. ROSIE Oh my god you did? doing? How is she

EDDIE She’s... she’s hanging in there. I visited her at the hospital and she had all those tubes going in and out of her nose and out her veins, it was a shock to see her like that. I just wasn’t used to it. ROSIE I’ve been meaning to visit her. EDDIE Yeah I don’t think she gets many visitors. Tony has stopped talking to her, has for a while, I think. ROSIE That incestual incident really ruined that family. I am serious.

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EDDIE It’s a shame, really. I go to see Irma because she’s family, and I never deny my family no matter how strange or socially isolated they may become. I don’t know where I would be without my family. Tony has made some bad decisionsROSIE Eddie, Tony fucked... (quieter) Tony molested his cousin, he made every family function uncomfortable as hell because he would flirt with all his auntsleering at his cousins... Bad decision making yes, completely out of his fucking mind is a better description of Tony. EDDIE You’re right. It’s too bad. That family had so much potential. Eddie and Rosie drink their coffee, nibbling on their breakfast. The waitress walks to their table with a pitcher of water. OLGA More water? EDDIE Yes, please. Thank you. ROSIE

ARLO (35) and BETSY (30) sit at a table behind Rosie and Eddie. Arlo is on his cell phone. ARLO No she’s not picking up. I’ll leave a message-oh hello? She picked up the phone, hello Carol? Hi, it’s Arlo. Just fine, thanks. Say, I’m here with Betsy, and we’re catching up and having a bite to eat. We got talking about Uncle Fred’s cabin in Duluth, and our summers up there, remember-as huh... yeah... exactly, that’s what she said! Right... uh huh... oh no, really? (MORE)

15. ARLO (CONT'D) That’s too bad. Okay, yeah, well, we were just trying to recall the name of the bridge we used to cross, the one going from Duluth to Superior. Do you remember the name of that bridge? We can both picture it, but it’s driving us nuts not being able to name it. Oh shoot, same... yeah, same here, it’s on the tip of our tongues we just can’t name it. The Mackinac?

BETSY No that’s Michigan. ARLO No Betsy’s telling me the Mackinac Bridge is in Michigan. That’s okay. Okay say hi to the kids for us, take care, Carol. Bye. Arlo ends the call. ARLO (CONT’D) What is the name of that bridge? BETSY Hold on let me call my father. He knows all this sort of trivia stuff. Betsy takes out her cell and dials a number. BETSY (CONT’D) Hello dad? Just fine. Hey, do you know the name of the bridge that goes across from Duluth to Superior? I’m here with Arlo and we’re trying to figure out the name but it’s escaping us. Hold on, he said... Blatnik? Hey says it’s Blatnik. Blatnik. ARLO That’s it!

BETSY The Blatnik Bridge. Okay, thanks dad. Okay, talk to you later, mbye. (ends the call) I’m glad he knew that or it woulda been driving me nuts all day. ARLO Yeah, sheesh.

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The waitress in the kitchen talks to the cook. WAITRESS It’s like Heath Ledger. He does something significant and really great, then goes and dies. A balding man eats his breakfast as he sits at the counter of the diner. The television in the corner ceiling displays the morning news. NEWS ANCHOR ... On the corner of Chicago and Noble. The ambulance was transporting local artist Jimmie Bonner to North Memorial Hospital after he had received a gunshot wound to the face in his apartment around nine-thirty last night. The EMT team barely grazed the cause of the crash - a bike messenger - as they sped through the intersection. The vehicle flipped onto its side, crashed into traffic and was stopped by a lamp post. Those involved in the crash are in care at the hospital and are in recovery... CUT TO: 29 EXT. NEIGHBORHOOD CAFE - MORNING Henry sits outside the cafe. walks past Henry. To the woman; HENRY Hello yellow woman where are you going? The woman does not respond, she just keeps walking. follows her. HENRY (CONT’D) Wait, I need to tell you something. I need to tell you what I have been longing to tell you since I first met you. BLONDE WOMAN What is it? Henry A bleach-blonde haired woman 29

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HENRY I want you to know, that I will be with you where ever you go, and that the moments we spend away from each other will be heartache for both of us, but I will be in pain the most. I want to be with you on your journey, tell me where you are going? BLONDE WOMAN Get away from me creep! HENRY I want to go the same way. BLONDE WOMAN You’re following me, you know. HENRY I never want to part from you again. I was gone much too long from you until this second, now I realize how stupid I was. I am sorry for ever leaving you. I am sorry that I left you when you needed my love. But I am back, you have returned into my life for a reason, and I yours, to be together on this journey, forever, into eternity. I want to be with you, can’t you see that? BLONDE WOMAN I think you’re out of your mind. HENRY You haven’t changed one bit. BLONDE WOMAN I don’t know you. HENRY Still the same crotchety priss I remember. Why I even looked at you with such lust and desire I will never know. Why I gave my heart to you when yours was broken, and fed you, and cleaned you, and tucked you into bed, and caressed your skin until your pores opened and sweat dripped from every orifice of your body as we made fucking love in every room of our apartment... I will never know why I did all that.

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BLONDE WOMAN Do you want me to call the cops? HENRY So long. Maybe you can write me a postcard some time. Remember to double stamp it, though, because there are international fees for letters from hell! Henry spits onto the ground. The blonde woman leaves, walking down the street in a the haze of car exhaust. Across the street, a car door slams, a tall woman with fiery red/orange hair steps out into traffic - the cars stop and slam on their brakes. The woman waves to the drivers, “thanks,” then jogs across the street, walking past the young poet and into the cafe. HENRY (CONT’D) Who is that? What is that? She is the one. The girl with hair the color of autumn leaves, her skin: clear and white as clouds in between eyes of sky blue. She sets fire to my imagination giving me visions for tomorrow. She is the phoenix. I am reborn in her arms. Now she’s sitting down, looking at the menu, turn the page... she’s drinking her coffee... good god, she radiates as she orders her food... how can a woman look so beautiful in the most banal of situations? I must speak and hear her voice. Henry walks into the cafe. Henry walks right up to the red haired woman and begins speaking with her. Henry sits down in the booth with her. CUT TO: CLOSE UP: Austin’s left hand has an onset of warts just below the surface of the skin, ready to break out at any moment. (V.O.)

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AUSTIN What’s making this happen, doc? I remember having warts on my fingers when I was a kid, but they were burnt off and never came back. (V.O.) DOCTOR SAM Hmm... yeah, those warts may disappear on the surface, but they remain dormant underneath the skin, almost waiting for another chance to breakout. 30 INT. DOCTOR’S OFFICE - DAY AUSTIN So you’re saying I'm having a breakout of warts. These aren’t just going to disappear? DOCTOR SAM Well-no, you see they’re just below the surface of the skin so they haven’t declared themselves yet. As for disappearing completely, well, I don’t see why they shouldn’t fade away as long as you keep yourself clean. You do stay clean, Austin? AUSTIN I take two showers a day, wash my hands after every flush - even if it’s only a tinkle. I was at the hospital once before because of cleanliness-well it wasn’t so much a hospital as it was a free clinic... and I was too dirty, you see, and this Jamaican nurse had to freeze the warts off my penis. Beat, then; DOCTOR SAM You had warts on your genitals? AUSTIN No. It wasn’t genital warts, thank god. I was just very dirty... (MORE) 30

20. AUSTIN (CONT'D) I wore the same pair of underwear for about three weeks once, my apartment was dusty-there was construction going on outside, blew the dirt in.

DOCTOR SAM So you weren’t keeping clean. AUSTIN I’m clean now. DOCTOR SAM And those warts never returned on your genitals? Nope. AUSTIN Hey, do you think--?

DOCTOR SAM The warts which appear underneath the skin of your left hand could be the same warts that once were on your penis. These things tend to travel. Shit. AUSTIN

DOCTOR SAM Are you sexually active, Austin? AUSTIN Not really, I masturbate twelve times a week. DOCTOR SAM That much huh... I highly doubt you caught these warts from someone else, these types of things, once you’ve had them they never really go away. AUSTIN So are you saying I’m my own disease? DOCTOR SAM I wouldn’t put it that way, Austin. Are you right-handed or a lefty? AUSTIN Right-handed... Dr. Sam writes out his report on a pad of paper.

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DOCTOR SAM Okay. I’ll prescribe you some ointment which should reduce the inflammation of the warts on your palm. If you feel the ointment isn’t working we can use other means to remove the warts. AUSTIN Like liquid nitrogen? DOCTOR SAM Yes that’s most common, here. Dr. Sam hands Austin a prescription note. The handwriting is illegible, scribbles scrawled across the paper. CUT TO: 31 EXT. DOCTOR’S OFFICE - DAY Austin takes out his cell phone as he walks to his car. Austin stops in his tracks. AUSTIN What the fuck? Austin scrolls through his address book. phone numbers to his contacts are empty. AUSTIN (CONT’D) Where are all my numbers? CUT TO: 32 INT. AUSTIN’S CAR (MOVING) - DAY Austin’s phone rings through his pants. get the phone call while driving. Austin answers the call. Hello? AUSTIN (V.O.) Hi Theo. MONA Austin rushes to 32 The names and 31

AUSTIN No you have the wrong number. (V.O.)

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Oh sorry. That’s okCLICK she hangs up.

MONA AUSTIN

CUT TO: 33 EXT. COFFEE SHOP - DAY Austin walks across the street. Austin’s phone buzzes in his pants pocket. Austin removes the phone, he has received a text message: Sally has sent you a message. (V.O.) AUSTIN Who the hell is Sally? CUT TO: 34 INT. COFFEE SHOP - DAY 34 33

Austin walks into the coffee shop, stands in line. A woman with orange hair walks into the cafe and stands behind Austin. The coffee shop is quite busy, each table taken with gabbing, caffeinated men and women. Austin turns to the woman with orange hair, he smiles. Hi. Hello. AUSTIN THE GIRL

The line moves up closer to the counter. Austin turns face to face with a blonde-haired woman wearing dark-rimmed glasses. Hi. LILY

AUSTIN Hello. I’m looking for Alex, I have an interview with him at one o’clock. LILY Alex should be in the back. knock on the door. Just

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Lily points to the manager’s office in the back of the coffee shop. AUSTIN That door thereUh huh. LILY

AUSTIN Okay, thanks. LILY Yup, good luck. Austin walks to the back of the cafe. Austin knocks on the door, the door opens swiftly and Alex bursts through to almost knock Austin over. ALEX (26) mimics Lily in appearance - he speaks in an almost fey accent, accentuating his own girlish tendencies to gush externally in any situation. ALEX Oh my god. That was a close one. I almost knocked you right over. AUSTIN Luckily you stopped. ALEX Right, I stopped. Can I help you with something? This is the door to my office. AUSTIN You’re Alex. ALEX I am-you must be Austin. That’s me. AUSTIN

ALEX Austin, I have to put some cash into the register, you can sit down in the office. I’ll be right back. Okay. AUSTIN Alex

Austin walks into the office, leaves the door open. turns to check out Austin as he walks away.

CUT TO:

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INT. COFFEE SHOP - OFFICE - DAY Austin sits across from Alex. in his hands. Alex holds Austin’s resume

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ALEX I thought you said you had barista experience. AUSTIN Oh I didn’t put that on there? ALEX No, there’s just a bunch of construction jobs, and a line that says, “stripper.” AUSTIN Oh, yeah, that was when I stripped wood, furniture, banisters, door frames. ALEX Cause I was about to say, stripper doesn’t really qualify you for a barista position, strip club, yes, coffee shop not so much. AUSTIN I mean I could strip down to my skivvies right now if it would get me the job. ALEX Ha, ha that would... that’s funny, but, no. I mean I shouldn’t force you toAUSTIN I must have forgotten to update my resume because I do have barista experience. I worked at the Dunn Brothers on Larpenteur for six months. ALEX Dunn Brothers on Larpenteur? I didn’t think there was one, which cross street is it on? AUSTIN Hamline... Larpenteur and Hamline. It’s one of those drivethru places. Oh. ALEX

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AUSTIN Yeah I worked there for six months, but had to leave because, well, I needed a place closer to where I lived. I thought it would be fine, it’s only a ten mile bike there, but, last winter I injured my leg riding over Snelling-you know, when it turns into a highway and they up the speed from thirty to fifty miles an hour-I was rushed off the road by a reckless driver, spun around on the ice, flipped over the handlebars and landed underneath the bike. Crushed my leg as I slid down the Como avenue exit. Oh my god. ALEX

AUSTIN Yeah, I was out commission for a while, close to four months, decided I’d like to work some place closer. ALEX Did you try any other routes? AUSTIN I did, same situation. A long haul I wasn’t able to commit to. Plus they wouldn’t take me on because the meds I was taking had adverse effects on the way I worked. ALEX Hmmm... that’s awful. You’re better now, though, right? AUSTIN Been walking on my feet without crutches for the past month now. ALEX Wow that’s great, I’m glad to see that you’re much better. So you live closer to my place than you did to the one on Larpenteur? AUSTIN Much closer.

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ALEX Cause, Pleasant avenue, Minneapolis, sounds further away. What is that, at least ten miles? AUSTIN Uh... Pleasant avenue? what it says on there? resume did I give you? live there anymore. That’s Which I don’t

ALEX Your name is Austin Solomon, right? No. AUSTIN My name is Austin O’Moyle.

ALEX Austin O’Moyle. AUSTIN That says Austin Sullivan? ALEX Solomon, Austin Solomon. AUSTIN Yeah that’s not me. O’Moyle. I’m Austin CUT TO: 36 EXT. COFFEE SHOP - DAY 36

Austin sips from a cup of coffee as he walks across the street to his car. Austin removes his cell phone from his pocket, checking the text message from Sally, To reply text “P.” Austin replies back with the letter “P.” Message sent. CUT TO: 37 INT. AUSTIN’S CAR (STATIONARY) - DAY 37

Austin searches through his backpack, unearths a pocket calender, flips to the back of the book to the address/phone number section. All of the entries have been torn from the book. AUSTIN What the fuck?

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Lily the barista walks out of the coffee shop, stands in front and lights up a cigarette. Austin copies the number from where the text message was sent onto a piece of paper. CUT TO: 38 INT. DUNN BROTHERS COFFEE SHOP - DAY Austin sips on a coffee, connects to the internet from his laptop. Austin searches the number, the number is nonexistent. Austin’s phone buzzes on the table, he’s received a text message: RE: Here’s that number, Amanda, 651-646-8921, call me soon. (V.O.) AUSTIN Who the hell is Amanda? CUT TO: 39 EXT. DUNN BROTHERS COFFEE SHOP - DAY Austin dials a number on his phone. AUSTIN Call the only number I do know. Austin waits for an answer on the other line. CUT TO: 40 INT. BILBO’S PAD - DAY 40 39 38

BILBO (28) eats chicken from a Chinese take-out carton. The phone rings, he picks up the receiver. Bilbo speaks in an British accent. ‘ello? BILBO

AUSTIN Bilbo, it’s Austin. BILBO Hold on mate I’ll call you right back.

28.

Bilbo hangs up the phone. An Asian woman strips erotically, gyrating to sexy music in front of Bilbo. CUT TO: 41 EXT. DUNN BROTHERS COFFEE SHOP - DAY Austin returns the phone into his coat pocket. A second later, the phone buzzes, Austin takes out the phone. Text message received: You have a new message from Sally. Austin opens the text message: To reply, press “P.” AUSTIN What’s the message? Austin puts the phone back in his coat pocket. Austin turns around towards the coffee shop. A tall woman with red/orange hair turns the corner, entering the coffee shop before Austin. Austin enters the coffee shop. CUT TO: 42 INT. DUNN BROTHERS COFFEE SHOP - DAY The redheaded woman orders a drink at the counter. glances at her as he walks to his table. Austin 42 41

In Austin’s e-mail inbox he has received one new message. Austin opens the message: Barnes and Noble 50% OFF Sale. Austin reads the message, deletes the message. The redheaded woman walks out of the coffee shop. Austin types text message into his cell phone: “P.” ... Message sent. CUT TO: 43 CLOSE UP: Austin splashes an ointment onto his left hand palm over the forthcoming warts, he rubs his palms together; the liquid dissolves into his skin. CUT TO: 43

29.

44

INT. AUSTIN’S APARTMENT - BATHROOM - DUSK

44

Austin hides a rolled up newspaper behind his back, opens the bathroom door, turns on the light - two cockroaches sit on the sink. Austin smashes the roaches, scrapes the dead junk off into tissue paper, throws the tissue into the garbage. CUT TO: 45 INT. AUSTIN’S APARTMENT - BEDROOM - DUSK 45

Austin lies in bed above the sheets. The cell phone buzzes against the window sill. Austin has received a text message: You have a new message from Sally. CUT TO: 46 INT. AUSTIN’S APARTMENT - KITCHEN - DUSK Austin sits at the table and reads the classified section of the newspaper. (V.O.) BILBO I knew a girl named Penelope Breedlove once. She was a fox. Clear skin like, well, clearly white, but it was like she was lit from inside, you know-she was glowing all the time. Dark black hair, great tits, a big cunt, though. We dated for about seventeen months before callin’ it quits. I realized that Penelope looked just like my mum, rest in peace. I told her about it, she called me a freak, ended the relationship right there. Got a last screw in, though, that made me proud. I fucked her for two hours knowing I was going to tell her I envisioned my mother in her place. AUSTIN You’re a sick bastard, Bilbo. BILBO Don’t judge me for who I am you insignificant prick. 46

30.

AUSTIN What time is it there? Did I wake you from a nap, because I can call back at a more convenient time ifBILBO No, no, fuck you I’m joking, mate. This guy, got to take everything so seriously. Why so serious? Why so serious, son? No seriously, what’s the problem? AUSTIN Strange things are occurring. BILBO Strange like how? or David Lynch? Twilight Zone

AUSTIN I feel like my life is just like The Truman Show. BILBO Oh come off it your life ain’t that special. AUSTIN No, I don’t think it is, either. Yet I’m receiving these messages from strange women, numbers, I lost all of my addresses, phone numbers. Someone tore out all my contacts from my address book. BILBO Strange shit. You say you lost all your contacts? You don’t save ‘em on your computer? Blackberry? Iphone? AUSTIN I am about as technologically retarded as anyone can be. I still use a pen and paper. Since I lost all my numbers I can’t recognize who it is that’s calling me, or leaving me messages on my phone. So, for all I know, whoever is sending me these messages could be someone I know, but I wouldn’t know, because I don’t recognize the number.

31.

BILBO Right, heard of that. Strange women leaving messages? Have you called any of ‘em? No. AUSTIN Do you think I should?

BILBO You said yourself, for all you know this could be a girl that you’re familiar with. Maybe she wants your penis, son. AUSTIN I do remember meeting a girl at the bar last week-the other night, maybe it’s her, she gave me her number, but I know I forgot it. BILBO But you got my number, right? AUSTIN You’re my brother. CUT TO: BLACK 47 TITLE: October CUT TO: 48 INT. BEHAVIORAL HOSPITAL - BEDROOM - MORNING The darkness is interrupted when the flashing fluorescent bulbs turn on. The room is static with bland colors, a series of cabinets line the wall. Two curtains shade the window on the west wall. Two female nurses enter the room with a heart rate machine on wheels. NURSE BETTY Good morning. CARLTON (29), groggy, replying half-awake. CARLTON Morning... what’s that for? 48 47

32.

NURSE EDITH We need your blood. NURSE BETTY Bet you never got woken up like this before. CARLTON Not like this, no. The nurse pricks Carlton’s veins with a needle, and takes three vials of blood. NURSE BETTY Doing okay? CARLTON Oh yeah just fine. NURSE EDITH Almost finished. Great. CARLTON

Nurse Edith removes the needle from Carlton’s arm, patches it up with a cotton ball and tape. NURSE EDITH There, all finished. Thank you. CARLTON Sure, any time. NURSE BETTY And there’s breakfast in the lounge when you’re ready, Carlton. Do you prefer Carlton? CARLTON You can call me Carl, if you like. NURSE BETTY Okay, thanks Carl. The nurses exit the room. CUT TO: 49 INT. BEHAVIORAL HOSPITAL - GROUP ROOM - AFTERNOON 49

Carlton sits in front of a room of patients in blue smocks. CARLTON Hi, my name is Carlton, and my day has been pretty okay. (MORE)

33. CARLTON (CONT'D) My girlfriend visited me, and we talked a lot about our future, and how prepared we were to stay steady through all this. It was a very strong, loving, helpful talk.

MARGIE (33) is thin as a rail, her clothes hang from her body; her hair is black and blond, greasy; her brown eyes bulge out from behind her round glasses. MARGIE That’s great, Carlton. CARLTON Yeah. Um, I was feeling a tad bit anxious in the morning, only because I think I just got rid of my hangover. For the first day or two I was still slightly drunk, dazed rather. I’m not looking forward to the shakes. MARGIE And so this is why you were admitted to the hospital, because of your drinking problem? CARLTON It was the drinking, and the noose hanging from my bedroom ceiling. When I became-when I felt unsafe in my own home I decided it was time to seek out some help. MARGIE Good, good. It’s great that you understood that you had a problem, and you took the necessary steps for help. That takes a whole lotta courage to say to yourself - hey, I’ve got a serious drinking problem - that could cost me my life - I need help. I’m glad you’re here, Carlton. You made the right decision. Thank you. CARLTON

MARGIE And, so, while you’re here, what do you think are the next stages of your recovery? (MORE)

34. MARGIE (CONT'D) What are you going to work on to better yourself here, what can we do to help you?

CARLTON I’ve never given AA a proper chance, and that’s the first thing I’m going to sign up for when I get back out there. Go to the meetings, learn the twelve steps and get on board. BRYAN All AA ever did to me was make me want to drink more. MARGIE Bryan-please. CARLTON As for now, I think I need time to reevaluate myself. I need to take a look at who I am and really question him. Um, I know this is therapeutic, we’re not all cuckoo in here. I mean, I may be a drunk, but... The room is silent. MARGIE Thank you for sharing with us, Carlton. I hope you find what you’re looking for here, and that we can help in your safe recovery. CARLTON I appreciate that. Margie looks over to the man sitting next to Carlton, TIMOTHY (23). Timothy, rubbing his hands on the tops of his thighs, speaks in a low, monotone voice. Timothy’s eyes are half open, as if half asleep. TIMOTHY Uh I ain’t feeling too good today. Little, little tired. MARGIE Would you first like to tell us your name? I know who your are but some of the rest of us might not. TIMOTHY Timothy, but...

35.

MARGIE And how are things going, Timothy? Didn’t get enough sleep last night? TIMOTHY Eh... yeah, yeah. Little, little tired. MARGIE Timothy, do you want to talk about why you’re here? No. TIMOTHY

MARGIE Aside from maybe getting more sleep - going to bed earlier what do you think will make your situation better? TIMOTHY If I move back in with my sister. MARGIE If you move back in with your sister? Yeah. TIMOTHY

MARGIE Where does your sister live? Elk Lake. TIMOTHY

MARGIE Elk Lake, I’ve hear it’s nice up there. Yeah. TIMOTHY DISSOLVE TO: 50 INT. BEHAVIORAL HOSPITAL - BEDROOM - DAY Carlton sits on his bed and writes into a journal. (V.O.) CARLTON Living - is it futile to keep questioning this “drama”? (MORE) 50

36. CARLTON (CONT'D) Is it all too much of a romantic vision? I need to feel significant, to not always dwell on the depressing aspects of life and of my existence. To make sense out of what is going on and to be at least in control of my actions... I remember that I liked who I was then. Why even write this down? For future readers? For myself? For Veronica?

Carlton reaches underneath his smocks and scratches the skin at the edge of a large bandage wrapped around his left hand’s wrist. DISSOLVE TO: 51 INT. BEHAVIORAL HOSPITAL - LOUNGE - NIGHT Patients eat their dinner, talk, some are on the phone talking to their loved ones or their lawyers; others watch the six o’clock news. DAVID I’m never getting out of here. My lawyer is the most incompetent ass on the planet! I can’t believe I’m paying this guy to help me. ZEE Fight the power! CAROL David, please keep your voice down. Carlton sits alone in the corner, slowly eating his meatloaf and mashed potatoes. DISSOLVE TO: 52 INT. BEHAVIORAL HOSPITAL - GROUP ROOM - DAY 52 51

ALICE (32), black hair, short, pale skin, speaks in a quiet voice. ALICE How is everyone feeling today? Are you ready to start a new project? The patients slowly file in to the group room, sitting at the tables.

37.

Alice unlocks and opens the adjoining cabinets to reveal an arsenal of art supplies. Sunlight bursts in through the large window walls. CARLTON Wow what’s this? ALICE This is occupational therapy. We usually start a project. Some people paint, draw pictures, sculpt with clay, you can create a collage. We have model trains and cars you can construct. It’s really all up to you. CARLTON That’s it, just arts and crafts? ALICE Yup. But you have to finish the project. We require that if you start something you must finish it. CARLTON Makes sense. Let’s see what I want to make today... CUT TO: Carlton is constructing a wood model train. ALICE So you decided to build a train. CARLTON Yes, but we don’t call it a train - the correct term is “choochoo.” ALICE Looks good. Thanks. CARLTON CUT TO: 53 INT. BEHAVIORAL HOSPITAL - COUNSELOR’S ROOM - DAY 53

One wall is a two-way mirror reflecting the scene. Carlton sits at a table with his counselor, Margie. Margie has Carlton’s file in front of her.

38.

MARGIE Now, we have an inpatient program for mental illness and chemical dependency - which I strongly suggest you take into consideration as your next step. CARLTON Inpatient, is that... ? MARGIE Inpatient you stay inside the hospital for a minimum of thirty days at a facility not unlike this one, unfortunately, I don’t think we have dual MI/CD treatment centers at this hospital. I could have you talk with someone from alcohol dependency and they could give you more information about the program. CARLTON I would like that. MARGIE Okay, great, I’ll call someone today and setup an appointment. They should be able to see you by tomorrow. Otherwise, Carlton, how do you think you’re doing? How have you been doing? You got here, what, on Tuesday? CARLTON Yep, got here Tuesday afternoon, been three days. I’ve actually had two really vivid dreams, which have helped me to understand what it is that’s going on inside my head. MARGIE Really? Your dreams have been helping you figure some things out? CARLTON Very much so. The first dream I had I was at a bar, and I ordered a beer, the bartender asked which kind I would like - there were seven hundred variants of the same brew, I picked one, then he said it was seven bucks. I thought that was too much money and left without the beer.

39.

MARGIE That’s very good, sounds like your subconscious is trying to tell you something. Let me ask you a question, Carl, have you ever thought of volunteering? CARLTON Volunteering? Um, no, never. Where did that come from? MARGIE I only say that because in group you mentioned that you were selfish-I’m sorry, you admitted that your empathy towards those less fortunate has been, or is, lacking. I know Diane mentioned volunteering for her church, and that helps her in spreading... some kind of joy and hope to those who need it. I mention this before it got too late, I don’t know when you’re leaving, so... CARLTON The thought crossed my mind, definitely. I know that I am a selfish person, I am coming to terms with that, maybe volunteering at a shelter, or a hospital? I don’t agree with the church. I could not only make my life feel worthwhile, but influence someone else just the same. MARGIE Yeah, that’s great, Carl. It feels good giving back to the needy, the disabled, or those less fortunate. Right. CARLTON CUT TO: 54 INT. BEHAVIORAL HOSPITAL - LOUNGE - NIGHT A female patient is being rolled into the ward. Two EMT drivers bring her down the corridor on a mechanized stretcher. The nurses scatter to find the paperwork to check her in. The sound of the six o’clock news blares on the television. 54

40.

The stretcher is lowered to the ground. Sophie is unchained, she stands up, her body frail and wiry, her hair frazzled, dark circles of grey entomb her eyes into their sockets. CUT TO: 55 INT. BEHAVIORAL HOSPITAL - BEDROOM - NIGHT Sophie is led into her room by an attending doctor. lights are off. DR. FOWL Here you are Sophie. The bathroom is locked, so if you need to use the facilities - even the shower or bath - just let one of us know and we’ll be there. Are you hungry? No. SOPHIE The 55

DR. FOWL Okay, well, there is a dinner waiting for you in the lounge if your appetite gets stronger. The doctor leaves the room. the bed and sits down. Sophie stares at the ground. CUT TO: 56 INT. BEHAVIORAL HOSPITAL - LOUNGE - NIGHT All of the patients are eating their dinners. CARLTON I think I’ve figured out the people’s reactions from when they first get here. The first day they almost never speak, not isolating themselves, but more or less becoming used to the fact that they’re actually here. The second day, they loosen up slightly, but not as much as the third day. The third day they seem to come around, open up a bit more and talk to the group. HENRIETTA (62) is dressed in her smocks, she is chubby, her bleach blond hair is greasy. 56 Sophie walks to the edge of

41.

HENRIETTA That’s an interesting observation, Carl. Maybe by the third day they get used to the fact that the food they order isn’t necessarily what they’re going to get. CARLTON Oh did they get your order wrong again? HENRIETTA Yeah. I ordered the chicken salad, and I get meatloaf and mashed potatoes. Tell me how you can confuse salad with meatloaf? I swear, or maybe I did order meatloaf. BYRON (24) speaks in a faux-Southern accent. BYRON No, they’re pretty bad about getting your food orders right down in the kitchen. I order the same thing for every meal every day, and if they get something wrong I know it’s not my fault. I order the same meal, every time. I know what I ordered, this ain’t it, you report it to the doctors, they won’t do anything about it. CARLTON Now that I look at it, I don’t remember ordering the banana bread. That’s what I’ve got here, banana bread. I’ll eat it, but, I didn’t order this. HENRIETTA See! They’re really pretty inept down there, they should really do something about it. Anyone want to trade with me? BYRON No, I’m all set. I got the oven roasted pork, it’s delicious. Best thing on the menu if you ask me. CARLTON What’s so good about it?

42.

BYRON It’s real tender. Don’t even need to use the knife, I can cut it with my fork. HENRIETTA I guess I’ve gotta eat it. ZEE is a small woman, she speaks in a Turkish accent. ZEE I order two of everything on the menu. I can’t finish it all, you can take from me. CUT TO: 57 EXT. ICE AGE TRAIL - DAY ARCHIE BOOSEY and JESSICA PAYNE step out of their station wagon and walk up the hill of a forest trail. Archie and Jessica are dressed in hiking gear, both with large packs on their backs. JESSICA This looks beautiful, honey. This is going to be great. ARCHIE Getting outside finally. The end to a wonderful summer. Two months on the trail. JESSICA Do you think Fiona will be angry that we’re not starting at the beginning? ARCHIE She doesn’t need to know that. I don’t think she would be angry, anyhow. We’ll say we couldn’t get out of work that early. Which is true, to an extent. JESSICA We’re making our way up to a hike of that length. We can’t jump into it willy-nilly, after god knows how many years inside we’re expected to start hiking across the state? ARCHIE We trained57

43.

JESSICA I know, I know, I’m only kidding. I’m trying to justify our situation. ARCHIE Fiona said cheeseburgers were unhealthy. JESSICA She’s a vegan. ARCHIE I hope she doesn’t turn us into vegans. Archie and Jessica walks past the trail’s opening sign. JESSICA Oh, look, it’s a five mile hike. ARCHIE Ha, should be a piece of cake. CUT TO: 58 INT. SCOTT’S CAR (STATIONARY) - AFTERNOON Scott sits in his car. straw. Scott sips on a soda pop through a CUT TO: Two young men walk out of an office building together. They carry their lunch pails with them. The men laugh at each other’s jokes. CUT TO: Scott sips on the straw. Scott puts the car into drive and exits the parking lot. The two men get into their respected cars and drive off behind Scott. CUT TO: 59 INT. LIQUOR STORE - AFTERNOON Scott walks down a wine aisle. A woman with blond hair enters the aisle on the opposite end. Scott moves to another aisle, perusing the hard liquor selection. The blond woman picks a bottle of wine and moves to the front register and pays, exiting the store. 59 58

44.

Scott returns to the wine aisle. A businessman peers at the wine selection. Scott moves towards the man at the other end of the aisle. Excuse me. SCOTT

Scott brushes past the backside of the man as he moves down the aisle. BUSINESS MAN Oh I’m sorry. Scott reaches for a bottle of red wine close to where the man stands. CUT TO: Scott pays the front clerk with two ten dollar bills. CLERK Out of twenty. Six is your change. You want a bag for this? SCOTT Yes please. Thanks. The clerk bags the bottle of wine into a paper bag. CLERK Have a good one. SCOTT Thanks, you too. CUT TO: 60 INT. SCOTT’S CAR (MOVING) - EVENING Scott sings along to the music on the stereo. CUT TO: 61 INT. SCOTT’S APARTMENT - LIVING ROOM - EVENING Scott enters his apartment to the sounds of a pug dog barking, snarling, hopping for joy that his owner is home. SCOTT Hey Willy. Are you glad I’m home? How is my puppy! Scott walks through the living room with a bag of groceries in his arms and into the kitchen. 61 60

45.

Scott opens the fridge and removes the contents of the grocery bag into the fridge. CUT TO: 62 INT. SCOTT’S APARTMENT - LIVING ROOM - NIGHT Scott watches a baseball game on television as he eats sushi and drinks a glass of wine. FADE TO BLACK. 63 EXT. ICE AGE TRAIL - DAY Archie and Jessica walk through the forest, underneath trees and over small streams. ARCHIE It’s great to get away from the city. JESSICA I can’t remember the last time I was outside like this, in the woods, I mean. You forget how beautiful nature is when you’re stuck inside the city all the time. ARCHIE Exactly. We’ve been so busy and forgot about the simpler things in life. The smell of the forest. The clean air we’re breathing. The birds’ song, the color of the earth. The mosquitos... the ow-honey did you bring any of that mosquito spray with you? JESSICA Huh? Yeah, are you getting bitten? ARCHIE Yeah, well, I think if we keep walking they won’t have a chance to bite, but, just to be on the safe side... Jessica stops in front of Archie. Condoms? Archie unzips her pack. 63 62

ARCHIE (CONT’D)

46.

JESSICA Oh how did those get in there? ARCHIE We can put up the tent together then. Jessica chuckles. ARCHIE (CONT’D) Here we are. Archie sprays a cloud of mosquito spray around his body. Archie sprays some on Jessica. JESSICA Ick that stinks. ARCHIE Close your mouth so you don’t swallow it. JESSICA How many more miles do you think we have until our first stop? I’m getting kind of tired. Archie returns the spray can into Jessica’s pack. ARCHIE Tired, already? We’ve been on the trail for about... (looking at his wristwatch) twenty minutes... got quite a ways to go still. Darn. JESSICA

ARCHIE Let’s not think about time right now, can’t we enjoy this? Remember our plan, dear. The first part of this journey is going to be difficult, and not without pain, but the harder we try, and the more effort we put into this thing, the more we are going to get out of it. JESSICA You’re right. This is beginning of our new life. We should keep on going. Why, we’ve only been on the trail for twenty minutes! That’s nothing! We should be so tired, ha!

47.

ARCHIE That’s the spirit!

Onward! CUT TO:

64

INT. BEHAVIORAL HOSPITAL - GROUP ROOM - DAY

64

BETH (21) is morbidly obese at 6’2” in height, her voice is soft and delicate. BETH I feel stuck. I feel like they’re never going to let me out of here, because of that stuff I did yesterday. I feel like they’re treating me like a little kid. I don’t feel respected. I never get the positive feedback I need when I do something that’s um positive. I really don’t like it here. I hate it here. MARGIE The group was worried about you. I know we talked about this, Beth, but I hope it’s okay if I tell the group what happened yesterday. BETH No that’s okay I can say it. I got frustrated, I went out into the lounge and started bitching at the nurses. I said some nasty things. I wanted the headphones, but they wouldn’t give them to me. So I covered myself up in a blanket and screamed. I calmed down, then I ate some food and fell asleep. MARGIE You’ve been here a while haven’t you. BETH Almost a month now. I know they won’t let me leave. I’m afraid Poutin is going to commit me. They want to commit me. I can’t stand this place anymore. I’m not getting any better because I’m stuck in here. I don’t really know what to do next.

48.

MARGIE That’s a tough feeling, that feeling of being stuck in a rut. Stuck in one place you can’t get out of. I’m sure a lot of us here have had that feeling in our lives before. What would you do, or where would you go if-and when-you get out? BETH Um, I would like to stay at Bluefin Bay, on the north shore. I stayed there with my family once, and then another time with some friends. That’s my favorite place to visit. DIANE I’ve been to Bluefin before, it’s really nice up there. BETH Yeah I love it up there. My favorite place is Minnesota. I love Minnesota. I would never move away from here. MARGIE Would you ever think about going back to college? I know you had some thoughts about finishing your degree... BETH I don’t know. I think it’s too late. MARGIE It’s never too late to finish your degree, Beth. I know peoplewhy isn’t one of the attendants, Liz, she’s in her sixties and just finished her degree in psychology. It’s never too late to start something. BETH Yeah, maybe. MARGIE Well, I hope you find more of yourself here. I hope you can get yourself out of that stuck place you were speaking of. It’s not fun being in a place like that. (MORE)

49. MARGIE (CONT'D) I want to tell you I understand where you are coming from.

AMBER You just gotta find out what it is that you like to do, and do that to the best of your abilities. Until it pleases you, and-it gives you money, also. MARGIE Ha, ha! Money is an essential thing, Amber. We all need that to survive. But it’s a good point, find out the thing it is that you love doing, and do that. Do what you love. CARLTON Do the things which give you the passion to live, not that which makes you feel dead. Exactly. MARGIE The positive things.

BETH I really appreciate that. I’ve always wanted to be a veterinarian. I love animals. I miss my kittens Baxter and Lucy. MARGIE That sounds wonderful. You shouldn’t let anything stop you from doing that, Beth. Taking care of animals. That’s just fabulous. Thanks. now. BETH I feel a little better

MARGIE Carl, how are you feeling today? CARLTON I’m really glad to be getting out of here later today. CUT TO: 65 INT. ART STUDIO - NIGHT Marie walks into an art studio. Marie is young, dressed elegantly in black and red, beautiful in structure and in pose, her style is dark and brooding. 65

50.

Marie sips from the glass of white wine she holds in her hand. Other visitors walk through the gallery, perusing at the art, commenting to the artist - KEN GREEN (55) - who sits behind a desk in the middle of the room, he drinks a beer softly and answers questions. To Marie; KEN Do you see something you like? MARIE I really like... you know I like them all. The colors are really bursting through so that I expect to see them animated and scored with jazz and samba. KEN I try to capture what I hear when I listen to music and relate that to color, shape, form, motion, expression, landscapes. MARIE Well you do it really well. That’s for fucking sure. Thank you. KEN Do you paint?

MARIE Paint? Do I look like an artist? I try hard to look like I spend all my time cooped up in my studio. I don’t know what you call it, I call it painting, some people say it’s splatter art, finger painting, nothing as beautiful as this. KEN I accept the compliment, but, I’m sure your art isn’t that bad you shouldn’t be so hard on yourself. If it’s your painting, you should believe in it. Not one other person’s opinion should hold sway on your art. MARIE It’s difficult sometimes to continue going with what your passion is, when no one wants to view your art, then when they do they call it ‘shit.’

51.

KEN Everyone’s a critic. It’s a necessity in this business. Hate to say it but it’s true, criticism is everywhere. Girl as smart as you should know that. MARIE What makes you so certain I’m that smart? KEN You like my paintings, so you can’t be all that dumb. In fact, I think you’re more than intelligent, you got smarts. Can you name who that is? Ken points to one of his paintings. Who that? Curtis. MARIE That’s easy, it’s King

KEN Most people who look at that automatically point out that Charlie Parker looked nothing like that, and I say, Of course he didn’t, but King Curtis did. And they say, who’s King Curtis? MARIE They obviously have no taste in good music. KEN Ain’t that the truth. Ain’t it? MARIE The

Ken drinks from his beer. Marie drinks from her wine. two lock eyes over their glasses. CUT TO: 66 INT. OFFICE - AFTERNOON Scott sits at his desk in his cubicle. to Scott. MAX Morning Scottie. SCOTT Hey Max, how was your weekend?

66 MAX (20s) walks up

52.

MAX Um, it was good. I got to spend some time outside. SCOTT Oh, it was beautiful outside wasn’t it. MAX Yeah the weather was perfect. I went to the beach, rode my bike, enjoyed my time outside of prison. SCOTT Ha, that’s funny. Scott’s eyes wander back and forth from one side of the office to the next, almost on the lookout for someone; his eyesight gazes upon Max’s body frequently - Max doesn’t seem to notice this. MAX I went out drinking with a buddy of mine. We told ourselves just a couple of beers, sooner or later two turns into six, and six turns into three pitchers... we drove each other home before I jerked the car into reverse. I nearly broke his bumper but stopped when I saw this squirrel scattering across the road. I don’t know, I was pretty hammered last night. Had to console him over his girlfriend, she cheated on him. How was your weekend? SCOTT It was good... that sounds like a crazy night, I hope you are okay. MAX Oh yeah I’m fine. SCOTT Do you feel okay to work? MAX I’m not hungover or anything. I puked all over his car then fell asleep. I had a big breakfast his mom made us, so, I’m just peachy.

53.

Great.

SCOTT CUT TO:

67

EXT. COUNTRY HOUSE - NIGHT Kris has parked the van, he walks towards the house. A tall shadow looms over Kris, the full moon glows behind a shroud of mist and fog. (V.O.) KRIS I did not know where I was, or where I was going. I had lost all sense of time. There was an instinctive feeling in every step I took towards the house that where I was headed was some place familiar and foreign. Kris enters the house through the front door.

67

68

INT. COUNTRY HOUSE - NIGHT The interior of the house is smaller than its exterior imposed. Family pictures are on the mantelpiece. A fire is raging behind an iron gate. A cup of coffee exhales curls of steam. Hello? KRIS

68

Kris examines the photographs: portraits, weddings, births, elementary school, birthday parties; pictures of Kris and his family. A voice calls from another room. Hello? LISA

LISA (43) walks out from behind the kitchen door, into the living room she carries cleaning products. LISA (CONT’D) Oh, hi I didn’t know you were going to be home. KRIS I-I can leave if I’m going to be in your way...

54.

LISA No, don’t worry about it. fine here. Okay. HoneyKRIS LISA

You’re

From the other room her daughter, JANICE, calls. JANICE I’m coming. Janice (carrying the vacuum cleaner) is sixteen, skinny, but geographically well-rounded in all of the right places. She wears tight clothes. LISA You want to start upstairs in the bathroom and I’ll clean the kitchen. Uh huh. JANICE

Lisa and Janice switch cleaning items with each other. KRIS I’ll just finish my coffee. Kris picks up the cup of coffee and drinks. DISSOLVE TO: 69 INT. COUNTRY HOUSE - BATHROOM - NIGHT Janice stands on top of the sink counter, she cleans the large glass mirror. Kris enters the room. KRIS Oh I’m sorry-JANICE No that’s okay, you can come in. KRIS Um... I need to use the toilet. I can waitJANICE As long as it’s not number two, it’s fine. I’ve seen boy parts. Go. 69

55.

Down the stairs, the sound of the vacuum cleaner buzzes. Kris enters the bathroom. Kris goes pee. Janice kneels down onto the counter, she spins around so her legs dangle above the floor. Kris is still peeing. To Janice; KRIS Lot of coffee. I see. JANICE

Kris finishes then zips up, closes the lid and flushes the toilet. Kris turns around to stand face to face with Janice. Janice’s eyes move themselves up and down Kris’ body. Janice bites her lower lip. KRIS I should wash my hands. Kris’ hands brush against Janice’s thighs as he reaches for the sink. Kris washes his hands. KRIS (CONT’D) I’ll let you finish your work. Janice looks up to Kris. Thank you. Uh huh. JANICE KRIS CUT TO: BLACK TITLE: November CUT TO: 70 INT. NORTHRUP AUDITORIUM LOBBY - AFTERNOON Bilbo and Austin stand in a line of waiting people. 70

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BILBO Austin, you seem to be one of those unfortunate people who finds themselves rolling in the gutter every six months. Thanks. AUSTIN

BILBO I always watch sports when I’m feeling really depressed. AUSTIN I hate sports. BILBO So it would suit you. Baseball is the most boring fucking game on the planet. It’s on for three fucking hours, and nothing happens. Bunch of men in tights whacking balls with their large, wooden bats. It’s slow and boring. It’s one of the most overtly homosexual sports where is. American football being the other. AUSTIN Things would be much easier if I were gay. It’d be much easier to pick someone up. Hell, we could be lovers, it’s that easy. BILBO I wouldn’t date you if I were gay. We wouldn’t be lovers. No? AUSTIN Why not?

BILBO You’re too neurotic for me, I couldn’t deal with that all the time. Vera’s a relaxed girl, she smells nice, I like playing with her tits, and she knows me better than any one of my friends. AUSTIN Great. Even if I consider switching over I’d be denied entrance into my best friend. BILBO I’m not saying a menage-trois is out of the picture-

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AUSTIN No it’d have to be intimate, just me and you, no vag interference, it’d never work. BILBO Sorry, mate. Whatever happened to that barista girl? Amanda? now. AUSTIN We’re seeing each other

BILBO What? Why the fuck then are you thinking about sucking my dick when you’ve got her? AUSTIN I never considered sucking your dick. I said if I was ever gay I’d want to pair up with you because you’re the closest male friend I have, it’d be easier than picking someone up in a club. BILBO How did you meet Amanda? AUSTIN I don’t remember. her in a club. I think I met

A woman walks up to the middle of the line. TICKET LADY I’m sorry all of the tickets are sold out. BILBO Aw what the fuck is this? AUSTIN Five minutes in line and they’re sold out? Well, at least I got to see Bob twice before he kicked the bucket. BILBO Don’t say that. Take that back he ain’t dead yet. A buzz rings from Austin’s cell phone in his pocket. Austin and Bilbo begin to file out of the building. AUSTIN Got a buzz.

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BILBO I’m serious take it back. AUSTIN All right I take it all back. BILBO What? Who’s it from? That Susan girl texting you againAUSTIN Sally, it says the messages are from Sally. BILBO Do you know any Sallys? AUSTIN I might know a Sally. have to check... I’ll just

Austin checks the message: I hope you are feeling better today. CUT TO: 71 INT. TURF CLUB BAR - NIGHT Henry sits at the bar, he nurses a tall glass of Guinness. The Children’s Hour plays on the television screens behind the bar. P.J. (22), a tall, lanky fellow walks up to the bar. To Henry; P.J. Hey what’s up, Henry. HENRY P.J., you’re everywhere, man. P.J. So are you, too, man. HENRY What are you doing here? P.J. I’m managing Alice’s band. Conroy’s Caravan. Alice 71

HENRY Wow, that’s a really fucking good name. P.J. I know, right.

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HENRY I’m just here nursing my beer. Looking forward to the show. P.J. Have you ever seen them before? HENRY No this is my first time. P.J. Ah, well, prepare to be amazed, it should be a rockin’ show. HENRY And you’re not saying that because you manage the band? P.J. No, I would say that even if I wasn’t managing the band. They’re really super good. HENRY Looks like they’re setting up right now. A man and woman dressed in 1930’s era clothing set up their instruments on the stage. P.J. No, that’s the first band, The New Times. Alice goes on second, then it’s Victrola Punk third. HENRY They any good? P.J. The New Times? Yeah. Well, I should go talk to Alice. I’ll see you around. HENRY Later dude. GRETCHEN (40), a perky, small woman turns around on her stool to Henry. GRETCHEN Who was that? HENRY That was P.J., old friend. Used to go on road trips to folk festivals in the middle of nowhere, get stoned and listen to music every summer.

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GRETCHEN Cool, do you know anything about the music playing tonight? HENRY No, I know only a little about Alice Conroy’s band. GRETCHEN Is it something I can dance to? HENRY Why don’t you go ask them? Where? GRETCHEN

HENRY Right over there in the booth. Go and ask if their music is something you can dance to. I’m sure it is. GRETCHEN Right over there? HENRY Short girl, black blonde hair, mini-skirt, that’s Alice. Gretchen takes her beer, leaves her seat and stumbles over to the booth where Alice and her bandmates are. Gretchen points to Henry, Alice looks over at Henry and smiles. Henry raises his glass to the girls and drinks. CUT TO: The New Times play their set. Husband and wife duo - the husband on the guitar, the wife on the ukulele - plays tunes which pronounce their love for each other, their love for the era which they emulate: 1930’s dust-bowl America, the depression. Gretchen and Henry sit at the bar next to each other. Gretchen has her hand rubbing down Henry’s inner thigh. Henry has his hand on Gretchen’s back. Alice occasionally looks over at Henry and Gretchen. Henry glances over at Alice, for a second the two lock eyesight with each other, unable to look away until something distracts the two (someone passing through their gaze, the sound of a glass bottle breaking on the floor, etc.) CUT TO:

61.

72

EXT. TURF CLUB BAR - NIGHT Henry and Gretchen smoke cigarettes outside the bar within a group of people taking a smoke break in between bands. GRETCHEN So where are you staying tonight? HENRY I got a room at the Days Inn. Really? GRETCHEN That sounds nice.

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HENRY No, I’m staying with my parents down the block. GRETCHEN Are you kidding me? HENRY Yes. I am. Where are you staying tonight? Don’t want to drive all the way back to the ‘burbs tonight, in your condition. GRETCHEN My condition-it would make my night easier if I ha some place close to say. My sister’s out of town, though, and I don’t have a key to the place, so I really don’t have anywhere to go. HENRY Let me see what I can do, I think I might have something for you. GRETCHEN Hmmm, growl, you better big man. I’m going back inside. See you in there. Gretchen stumbles towards the front door, the door is opened from the inside unexpectedly, and Gretchen gets bonked on the head. CUT TO: 73 INT. TURF CLUB BAR - NIGHT Alice Conroy and her band set up on the stage. Gretchen stands at the bar, flirting with a tall man with goatee. Henry walks towards Gretchen. 73

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Hey babe.

HENRY Gretchen

Henry throws his arm around Gretchen’s waist. slithers out of his grip. HENRY (CONT’D) Who’s this? GRETCHEN This is Dan. I... used to date Dan in high school. DAN One night is no date. But it was the greatest night of my life, and I’ve never forgotten it. GRETCHEN Come on, we dated more than once, didn’t we? HENRY High school? DAN Senior prom is one night. We never dated before than, either. I kept a tally of how many times I asked you out, and how many of those times you rejected me. GRETCHEN And how many times was that-no wait don’t tell me, I don’t wanna know. I so awful about it. DAN That one night was enough to make up for all those lost chances, I tell ya. She was my first kiss. HENRY So you guys knew each other from high school? DAN What have you been doing lately? GRETCHEN I’m back in town for a week, under dire circumstances it seemsDAN Oh no what’s wrong?

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GRETCHEN My mother is sick in the hospital with ovarian cancer. So I... DAN Oh my god I’m so sorry to hear that, is she doing okay? GRETCHEN She’s doing good, I thinkHENRY The music’s starting, I’m going to get a better view of the band. Okay. GRETCHEN

DAN Oh the music’s starting, how long are you in town for? GRETCHEN I leave Thursday. DAN Wow, one night, huh? GRETCHEN I’ve been here a week, so... Henry leaves the scene and walks towards the front of the stage. CUT TO: ALICE Wow, looks like a good crowd out there. Thanks for coming out tonight to the Turf. Thanks to the New Times, Victrola Punk... those are some great bands. Lovin’ that banjo playing, gotta love that banjo sound. Mandolin sound, eh? Banjo? Mandolin? We’ve got enough to keep us busy for now. Anyway-we’re getting ready to play some tunes for you right now. I’m Alice Conroy. Alice Conroy’s Caravan. The music begins, Alice sings:

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ALICE (CONT’D) I’d like to walk around in your mind someday/I’d like to walk all over the things you say to me/I’d like to rearrange your attitude to me... Henry stares at Alice, as though in a trance, his gaze goes unbroken. Alice returns his glance, as though the song she is singing was meant for the two them only. CUT TO: 74 INT. GROCERY MARKET - NIGHT 74

Marie pushes a cart of food through the aisles of the grocery market. Marie reaches the end of an aisle, opens a freezer door, she searches for a frozen dinner. The door remains open. Marie stares off past the wall of frozen foods, her eyes closed. I guess I just wasn’t made for these times... music plays in the background. The carcass of a dead dog falls from the ceiling, spilling into the middle of the aisle - blood and guts splatter everywhere. All of the customers are oblivious to the hallucination. Marie glances over at the animal, then shuts her eyes again. CUT TO: 75 EXT. TURF CLUB BAR - NIGHT The smokers are out coughing up a storm. Hey P.J. HENRY 75

P.J. What’s up, Henry? the show?

Did you like

HENRY Did I? That was an amazing display of versatility. I was dancing, I was listening, I was fully enthralled in her every move, every pluck, every note she pitched was perfect. P.J. Yeah it was a good show-hey. CHRISSY (21), a petite, dark-haired girl, cuddles up to P.J.

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CHRISSY Did I miss their set? P.J. Yeah they just got finished. Where have you been? Did you bike here? CHRISSY Yeah, I didn’t plan ahead. Thought I would be here earlier. (P.J. and Chrissy kiss) I’m going inside, Alice is in there, right? P.J. Yeah she should be. CHRISSY Okay see you inside. Chrissy walks into the club. HENRY So are you only doing producing duties for Alice, or do you cut other people’s records? P.J. Um, I don’t, I’m not the producer, I’m their manager. So I book them gigs at places, promote their shows, stuff like that. Why? HENRY I’ve been writing this poem, an epic poem it’s seventeen pages so far, and I think I’d like to perform it live with music accompaniment, I’ve got an old ukulele - not a guitar, a baritone ukulele. P.J. It’s small. HENRY Yes. Do you think Alice would be interested in scoring something? P.J. Yeah most definitely she’d be into that. Sweet. HENRY

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P.J. Yeah, how long was it you said, seventeen pages? HENRY Right it’s seventeen pages. I’m not finished with it yet. It’s almost complete. I’ve been writing it for the past two months. Wow. P.J. What’s it about?

HENRY Earlier this summer. I went on a trip - couple a trips - to see the grave sites of my ancestors, and peculiar things happened along the way. P.J. Sounds creepy, dude. HENRY It was real. CUT TO: 76 INT. TURF CLUB BAR - NIGHT The New Times are playing on the stage. People are dancing. Henry talks with Alice near the back of the crowd. Alice shakes her head and smiles at Henry’s wild expressions. CUT TO: 77 MONTAGE OF EVENTS: (set to “Summer Wine” sung by Lee Hazlewood & Nancy Sinatra) -Henry and Alice make-out in the back of the club, Alice gives Henry a hand job. Henry kneels down, lifts up Alice’s skirt, his head disappears into her crotch. -Alice plays a show at a different club. the front row, singing along with Alice. Henry stands in 77 76

-At a house party a crowd of people dance in the living room. Alice and Henry dance erotically together. SPLIT SCREEN

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-Henry types away on his typewriter; he chain-smoked and drinks whiskey. -Alice writes lyrics in a journal and drinks coffee. Megan brings Alice a slice of breakfast bread. -Alice and her bandmates, Henry, and a few other people, sit on blankets on a grassy hill at an outdoor music festival. A young child sits on Alice’s lap. Henry drinks a bottle of beer. -Henry watches Alice perform on the stage. Later in the night, Alice and Henry make love in a tent. -Alice and her band rehearses. -Henry walks past a music shop, backtracks, looks inside front window. A single banjo hangs amongst the wall of guitars. -Megan, Alice and Mac watch a movie together. They eat popcorn from a giant bowl. -Henry walks along the banks of the Mississippi river alone. Henry calls Alice, Alice does not answer. -Alice ignores the phone call from Henry. Alice is drinking coffee with Mac. -Henry walks into music store speaks with tall, tattooed employee who removes the banjo from the wall. Henry plucks the strings. -Band plays at house party. -Henry is introduced to Chrissy through P.J. Henry smokes weed in back room. -Henry is lost amongst the crowd before the band. -Mac and Alice share a beer together.

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-Henry smokes a cigarette alone in front yard. -Alice and Mac are in each other’s arms, laughing and drinking among various crowds of people on front lawn. CUT TO: 78 EXT. ICE AGE TRAIL - NIGHT Archie and Jessica sit next to a fire, beneath the open, starry sky. ARCHIE The sky is so open tonight. No city lights, only star light. JESSICA There must be hundreds of thousands of them. ARCHIE Millions, honey. We’re staring at a million stars at once. JESSICA The universe is so cool. I mean, really. To think, that we’re a part of a million-year old cosmic story. Makes me feel like we’re a part of something special. ARCHIE Well that’s because we are, in the grand scheme of things. JESSICA That hike made me really tired. I wasn’t prepared for it. I hope it doesn’t rain. ARCHIE You feeling okay? You scared me back there when you were puking up my breakfast everywhere. JESSICA I’m feeling better, I haven’t felt anything coming up in about an hour. I was feeling so nauseous before. I think it was the height we were climbing, too fast for me. 78

69.

ARCHIE Just drink this water, you’ll feel better. Jessica drinks the water from Archie’s canteen. Thanks. JESSICA

ARCHIE And tomorrow, we’ll go blueberry picking, and I’ll make blueberry pancakes, with cantaloupe, whole wheat toast, fresh squeezed orange juice, warm coffee... JESSICA Mmm that sounds delicious. FADE TO BLACK. FADE IN: 79 INT. TENT - NIGHT Archie and Jessica sit up right in the tent. ARCHIE I think it’s going away. JESSICA I can’t hear anythingShh! ARCHIE Quiet. 79

The muffled snarls of a brown bear surrounds the darkness outside of the tent. Tree branches breaking, camping supplies/dishware are being searched through. JESSICA We didn’t leave any food out did we? ARCHIE I don’t think so. CUT TO: 80 INT. BEHAVIORAL HOSPITAL - LOUNGE - MORNING Sophie sits at the table with the rest of the patients. Some new ones have arrived, older patients are vacant. 80

70.

KRISTEN So the question is, what is the warmest place you would like to be? Some placeBYRON Some place I would rather be than here right now? Ha, ha! KRISTEN Yes... the warmest memory of a place you’ve been. Or it could be a place you’ve never been to but have always wanted to visit. BYRON Oh that’s easy it’d be at my grandfather’s ranch in Lubbock, Texas. KRISTEN Wait your turn, Byron. going to speak. Sophie is

Sophie sets down her cup of coffee. SOPHIE Is this decaf? KRISTEN I think it is, yes. SOPHIE That makes sense. Otherwise I’d be really jittery right now. The island of Cyprus. KRISTEN Ah that’s nice. That’s in the middle east, right? SOPHIE In the Mediterranean Sea. KRISTEN Have you ever been there before? SOPHIE My ex-girlfriend was from Cyprus. I wouldn’t be going back to herit’s just- it was the warmest place I’ve ever been to. The people are so welcoming, embracing, the sun shines much brighter when it’s reflected off the sea.

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KRISTEN That sounds very picturesque. You paint a beautiful picture, Sophie. Sophie doesn’t respond. BYRON Is it my turn? KRISTEN Okay go ahead Byron. I’d-what? No go. BYRON KRISTEN What-

BYRON Oh okay. I’d probably visit my grandfather’s ranch. KRISTEN Where’s your grandpa’s ranch? BYRON It’s in Lubbock, Texas. There’s fifty acres. Horses, cattle, sheep, but, also, it’s the warmest place I know. Always hot down there. KRISTEN Very good, Byron. Do you rope those cattle, does your grandpa live off the land, or does he sell the animalsBYRON We’re selling them. KRISTEN I’m a vegetarian, so that’s justyuckBYRON Oh you are? You’re a vegetarian. KRISTEN Yeah, I can’t stand to eat meat. It makes me sick to my stomach what they do to those animals, it’s so cruel.

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SOPHIE Plus all the chemicals they inject into their blood streams it’s so unnatural. Who knows how many infectious diseases you could catch by eating beef that’s been fed hormones. It’d be like eating Mark McGuire’s bicep for dinner. Fucking disgusting. BYRON Well I like beef. I would think Mark McGuire’s bicep to be tough. We sell the beef on our farm. SOPHIE Good for you, keep raping the animals of the earth for your own prosperity. BYRON I’m sorry... Sophie. I don’t like the way you’re talking to me, I wish you would stop it. SOPHIE I can speak my mind however I fucking want to. KRISTEN Okay, Sophie, knock it off with the language. Byron, let’s not get too protective about this. I’m sure Sophie didn’t mean anything by what she said. BYRON It offends me. SOPHIE I meant every word of what I said. You offend me, fat American slob. You’re what’s wrong with this country, cocksucking twit. Jeff! KRISTEN Jeff, can you-

JEFF, built like a brick shit house, enters the lounge. JEFF What’s the matter here? KRISTEN Um, Sophie is starting a fight with Byron.

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SOPHIE Listen I’ll shut up. I’m sorry. I shouldn’t have said all that. I wasn’t thinking positively. I was only bringing in negative energy to the group, and I’m sorry for that. Sometimes I get overworked when it comes to topics that I’m passionate about. I’m sorry. KRISTEN Don’t apologize to me. SOPHIE Byron, I’m sorry. BYRON I accept your apology, Sophie. JEFF We square here, guys? BYRON Yeah we’re square. Yeah. SOPHIE

KRISTEN Thanks, Jeff. Jeff leaves the scene. BRYAN I guess I shouldn’t say my warmest memory is on a chicken farm tour. Ha, ha! SOPHIE

KRISTEN Ha, no, well, you can if you want, if that’s your favorite place... BRYAN No I’m just kidding. turn anyway. It’s not my

Kristen turns to SUSAN. Susan (58), skinny and frail, pale skin, bright orange hair, sits in a wheelchair; she stares off into the distance. A worried crease in between her eyes disappears when her name is called.

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KRISTEN Susan? You want to share with the group? Susan looks over at Kristen. Susan speaks with difficulty, she is missing her teeth, her words are complicated to decipher because of the powerful drugs she is on. What me? Beat, then; SUSAN (CONT’D) What’s the question? KRISTEN What would be the warmest place you would like to visit? SUSAN Warmest place like to visit. Well, I used to go walking, near the lake. That was always warm in the summer. I would walks sometimes with my sons. The view of the sun on the lake was just beautiful. I walked on the trail every weekend. Then I walked there when it got cold, in the winter, and the sidewalk got slippery from the ice, and I fell, and my head hit the ground, I felt the back of my head. Blood, there was so much blood coming from the back of my head, that I-Susan cannot go on speaking, tears stream down her face, her voice becomes choked as she tries to hold back a wailing cry. Jeff wheels Susan out of the lounge and back into her room. KRISTEN Jeff, here, take the rest of her breakfast. Yeah. JEFF SUSAN Mmm okay.

KRISTEN Diane, you want to go? Sure. DIANE CUT TO:

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81

INT. GROCERY MARKET - NIGHT

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Marie walks slowly through the grocery store. A mother and her screaming, crying children zip past Marie in a hurry. A young, male clerk stocking shelves eyes her breasts as she walks past an aisle. Shoppers read the nutritional facts on boxes of food; look for an expiration date; smell bouquets of flowers; squeeze fruits; smell vegetables; wait in line at the deli; meat slices into piles on wax paper; single men stand in front of three columns of chips and salsa - they all look at Marie when she passes. Marie’s eyes flutter, she opens her eyes wide, the room expands and every person in the market moves like bacteria consuming healthy blood cells. The voice blend together, their sounds growing louder. Marie stops in the middle of the market, her hands clench onto the cart. Marie. KEN

Marie looks over to see Ken. Ken. MARIE

KEN Funny seeing you here, how’s it going? Good... MARIE

KEN Are you sure, you don’t look so good. MARIE I need to get out of here. I got to get out of here right now can you help me? KEN Sure yeah let’s go to the checkout line. CUT TO: Each checkout lane is full and busy.

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MARIE I can’t do this. I can’t stand in line. I’ve got to get out of here. KEN All right, let’s go. You wait outside, I’ll be right there. Marie manages to squeeze through all of the shoppers without touching a single one. Ken walks over to a manager, explaining the situation as he points to the two carts of food left unattended. CUT TO: 82 EXT. GROCERY MARKET - NIGHT Marie stands outside of the grocery market, her hands frozen to her sides. Ken walks out of the market. KEN I’m gonna bring my car around, you wait here. CUT TO: 83 INT. KEN’S CAR (MOVING) - NIGHT MARIE Thank you, Ken. I don’t know what happened back there, that’s never happened to me before. KEN What was it, some kind of panic attack? MARIE Yeah I think so. I was walking through the aisles, and all of a sudden I just became so... anxious. I could feel every single eye watching me, every person seemed to want to charge into mine like particles bonding. That’s never happened before. I was really scared that I was going to pass out. 83 82

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KEN I was going to order Cantonese. It’s a good thing I decided I wanted a pizza instead, else I would’ve been home. Marie and Ken laugh together. MARIE Thanks. Thanks, Ken, really. I don’t know what would’ve happened if you hadn’t been there. KEN Not a problem. You think your car is safe in the lot back there? MARIE Oh I didn’t drive, I biked. My bike is locked on to a street sign, it should be fine. Thanks for driving me to my apartment, Ken. I really appreciate thisyou know you didn’t have to do this. I could’ve gotten a cab, or I could’ve walked-KEN Marie don’t worry about it. Artists got to stick together. We’re a lot different from the rest of them. We need shelter from the animals trying to destroy our work, there’s a bond between us because we see things differently than most people do. If our collective cannot support each other there’s no hope in any of us surviving. Beat, then; KEN (CONT’D) How’s your painting coming along, by the way? MARIE I’m tired of painting. I think I’m going to give it up entirely. Why? KEN I-

MARIE I’ve gone as far as I can go with what I’ve accomplished.

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KEN You really don’t expect me to take you seriously, do you? When I was your age I was still in grad school. You’ve been in the thick of things since you left home. I know you are against post-secondary education, rightly so, and I don’t want to downplay my own education, but, you’re much further from where I was in terms of experience. What have you done lately that’s gotten you so down? MARIE No, no, grad school is for people unwilling to get on with life. Fucking students forever. They’re afraid of getting a job. I know I’ve already said this. There’s a point where I feel like I’ve done all there is to be done. I can’t add any more to my work. I can’t take away anything from what is already there, but it feels unfinished, incomplete, in some way. There’s something missing, a big gaping void that I have no idea how to fill. I feel old and useless. KEN Hmm... you’re young and aging stupid - talking like you’re my age. Here’s my card, it’s got my number on it. I want you to call me in a couple of days. I want to see what’s troubling your artwork. Ken pulls up to a brownstone apartment. MARIE You can see it now, if you want. KEN How are you feeling? dizziness gone? Yes. MARIE The

KEN I want to make sure you get in safely, okay. You think you can make it back to your place in one piece?

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Yeah, Ken. Okay.

MARIE KEN

Marie steps out of the car. Ken steps out of the driver’s side and walks over to Marie. KEN (CONT’D) You should probably order something to eat when you get inside. You forgot your groceries back there. I didn’t even think about that. Oh yeah. MARIE So did you, too?

KEN I guess I did. MARIE So we both did, lose our food. KEN Not our appetites, though. No? MARIE

KEN You go home into your apartment, Marie. Get some rest. Call me in a few days. I’ve got a show coming up. I’ll call you with the details later. Don’t stop working. Okay? Sure. MARIE

KEN I’m serious, don’t stop, I’ll call you. MARIE No, yeah I won’t. All right. KEN

Ken walks towards the driver’s side of the car. MARIE Ken. Thanks again. I don’t know how I would’ve made it without you there.

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KEN Don’t worry about it. Order a pizza or something. Take care, Marie. MARIE Ha, yeah, thanks, you too, Ken. Ken drives off down the street. MARIE (CONT’D) I’ll order a big sausage and pepperoni pizza. CUT TO: 84 INT. KEN’S CAR (MOVING) - NIGHT Ken dials a number on his cell phone. KEN That girl needs help. Hi honey, I got caught up, sorry. I’m on my way home right now... the grocery store was very busy, but, I saw someone I knew who needed help. I don’t really want to tell you this on the phone, I’m almost home, I’ll see you soon. CUT TO: 85 EXT. UNDER THE BRIDGE - NIGHT Henry curls himself in a corner, underneath a bridge, next to train tracks. Henry sips on a beer, he lights a cigarette and puffs away. Henry removes a black notebook from his coat pocket. jots down these words with a black pen. (V.O.) HENRY My close companion/Through it all/Is a friend/I’ve never met/They come at just the right moments/And I live with them/For two weeks at the most. Henry’s cell phone rings: Call from Alice. the call. Henry ignores CUT TO: He 85 84

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86

INT. APARTMENT - HALLWAY - NIGHT Scott holds two bags of groceries as he climbs the stairs of his apartment building. Down the hall a cat exits from one of the doors. A woman walks out of the doorway looking for the cat. SCOTT You got a cat loose. Excuse me? AUNTIE Cat loose!

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SCOTT Your cat, I just saw it get out, didn’t want it to escapeAUNTIE Oh, she does that some times. Scott begins to walk towards AUNTIE (53) - a rotund woman with long, silvery hair in a pony tail - adjusts her glasses to see Scott as he approaches. Auntie picks up the fat cat, Norman. SCOTT It’s a pretty cat, what’s its name? AUNTIE His name is Norman. Hi Norman. Scott pets Norman. AUNTIE Now you’re on his good side. Usually is uncertain of most people he hasn’t met before. SCOTT Well, I like cats. animals, actually. I like all SCOTT

AUNTIE That’s good. So how are things going down there? SCOTT I paid my rent on time this month.

82.

AUNTIE Yes! You need to do that, that’s what counts most. Pay your rent on time, keep making that money. SCOTT Yep. And pay my bills on time, otherwise, ten bucks turns into fifty real quick. Say hey thanks for the cookies. They were really good. AUNTIE You liked ‘em huh? SCOTT I scarfed ‘em down quick. I feel like I should make up for it somehow. AUNTIE I haven’t asked you to, so don’t worry about it. As a matter a fact baking cookies is good for, it’s one the few times I actually cook. I’ve got to keep my skills up. SCOTT Could you make me some more? AUNTIE Do you want me to? Sure! I’m tellin’ ya, it’s no problem. I enjoy cooking them... and I enjoy eatin’ ‘em. Auntie slaps her fat belly. Her large breasts jiggle underneath the torn sweatshirt. SCOTT And I enjoy eatin’ ‘em! AUNTIE It’s my pleasure cooking them for you. SCOTT I appreciate it-well I need to get these groceries in the fridge before things start melting. AUNTIE Right-don’t want things dripping all over the floor. Scott walks down the hall.

83.

AUNTIE (CONT’D) And if you want me to bake anything else, like a cake, a pie - anything - let me know. SCOTT Thanks, take care Auntie. AUNTIE Auf wiedersehen, Scott. CUT TO: 87 INT. AUSTIN’S APARTMENT - KITCHEN - NIGHT Austin reaches into his fridge and takes out an orange. Austin begins to peel the orange. A buzz sounds from Austin’s cell phone, he checks the message: CLOSE UP: Sally has sent you a new message. Austin types, “P” - Message sent. CUT TO: 88 EXT. NEIGHBORHOOD CAFE - MORNING The red-haired girl walks out of the cafe. The girl trots across the street to her car, gets in and drives off. CUT TO: CLOSE UP: A razor blade cuts the soft, white skin of the girl’s wrist. The girl slices the skin four more times - though the cuts are not deep, she pulls the torn skin apart to induce the bleeding. The girl washes the blood from her arms, pours alcohol on the wound. CUT TO: 89 EXT. ABANDONED BUILDING - AFTERNOON 89 88 Type “P” to reply. 87

The sky is overcast. Auto traffic sounds in the distance. Henry sits on a rug on the floor of sawdust, sand and dirt.

84.

Henry has a lit cigarette in his mouth, he punches away at the key to his typewriter. (V.O.) HENRY I’ve burrowed myself underground/Like a mole/Wishing I was a lizard in the spring/Winter’s a comin’/And the trees and its leaves/Have turned a shade of Autumn/In your name I continue talking. Henry’s cell phone rings: Incoming call from Sally. Henry checks the caller ID, ignores the call, and continues to type. CUT TO: The girl ends the call. CUT TO: 90 INT. GLENWOOD VAN (MOVING) - AFTERNOON Kris drives into the city. (V.O.) KRIS Only five days gone, but five days I would never forget. Five days that would serve as the beginning of my new life. There was no other way but forward for me. No turning back now. Every moment was one to cherish, to savor... to relish in every day the possibilities of happiness and joy - I saw new hope in the four o’clock sunlight. I was on my way to see an old friend. CUT TO: 91 INT. AUSTIN’S APARTMENT - BEDROOM - NIGHT 91 90

Austin wakes up short of breath. Standing above him is the red-haired girl. Austin rubs his eyes, lean forward, the girl has vanished. Amanda lays in bed next to Austin. CUT TO:

85.

92

INT. AUSTIN’S APARTMENT - KITCHEN - NIGHT Austin opens the fridge and looks inside. sounds from another room. A buzzing noise CUT TO:

92

93

INT. AUSTIN’S APARTMENT - BEDROOM - NIGHT Austin picks up his cell phone: You have received a new message from Sally. AMANDA Come back to bed. CUT TO:

93

94

INT. ART INSTITUTE - NIGHT Two galleries display artwork by a prominent African American artist. This is opening night and the gallery is crowded with onlookers, friends, critics, journalists and the like.

94

Marie walks through the gallery holding a glass of red wine in her hand. She is noticeably tipsy. EARL (30) - a short, muscular Latino - walks up to Marie. EARL Hi Marie how’s it going? MARIE Earl it’s going great. loving all of this. EARL Yeah it’s beautifulMARIE What are you doing here? I would never excepted to find you here. EARL You posted the notice on the bulletin board. Huh. MARIE I am

EARL The open bar is sweet, eh? MARIE Hmm...? hell yeah!

86.

EARL I might go over and fix myself a drink. Join me? MARIE Sure, sure. Earl leads Marie over to the open bar. drink, Marie has her glass topped off. Earl orders a

BILL (53) and BOBBIE (26) walk over to the bar. Bill is black, chubby, bald. Bobbie is black with short dreads. BILL Marie it’s good to see you how are you doing? Hi BillMARIE

BILL This is a lovely evening isn’t it? Yes. (To bartender) Double martini, please. What would you like, dear? BOBBIE Something strong, I don’t care what. BILL Put some whiskey in it. So this is a slow and dull evening isn’t it? What they need is a jazz combo to speed things up. BOBBIE Yeah, some beats would definitely liven things up - would start the conversation quicker. MARIE How have you been, Bill? BILL Oh hi Marie I didn’t see you there. Who is your friend? EARL Earl’s the name. BILL Nice to meet you, my name is Bill. EARL Nice to meet you. know Marie? How do you

87.

BILL Marie and I used to be lovers. MARIE He’s lying. Bill was my instructor. BILL I was the influential one. Ah. EARL MARIE Gave me my first job after he caught me tagging one of his buildings. EARL I didn’t know you were on the streets? MARIE I wasn’t on the streets, Earl. BILL I caught her spraying some shit on one of my studio buildings and I liked what I saw so I set her up inside. Got you your first show didn’t I? You did. Wow. MARIE EARL

BOBBIE Was that the Effrin show? BILL You weren’t with us yet, honey. MARIE I’m sorry I didn’t catch your name. I’mBOBBIE

BILL This is Bobbie she’s my adopted daughter. Bobbie this is Marie my protege.

88.

MARIE It’s nice to meet you. BOBBIE Likewise... dad... What? BILL

BOBBIE I don’t like having people look over my shoulder when I’m drawing. MARIE I know what you mean. BOBBIE See what I mean? BILL She hasn’t had enough to drink yet. I’m going to find Ken, and the two of you can get to know each other better. You: thickskinned Latino man, come follow me. Um - okay. funny. EARL This art crowd is

Earl and Bill disappear into the crowd. Marie and Bobbie share a moment of awkward silence in the absence of Bill. BOBBIE Are you the one with all the tattoos? MARIE Hmm? Ah, yes. He told you about that? BOBBIE It’s apparently a work of art. MARIE Cheesy - really fucking cheesy. Maybe you want to see them some time? CUT TO:

89.

95

EXT. GARAGE - MORNING Henry walks down an alley towards an open garage where a red truck attaches itself to a trailer full of landscaping machinery.

95

Henry guides the truck as it backs up to fall directly into place above the hitch. Henry attaches the hitch to the truck, and closes the garage door. Henry jumps into the passenger side of the truck. CUT TO: 96 INT. LAWN SERVICE TRUCK (MOVING) - MORNING The morning news is on the car radio. mug of coffee as he drives. JOE How was your weekend, Henry? HENRY Got a lot done. Oh yeah? JOE 96

JOE (48) sips from a

HENRY Yeah. I mean I did a lot, I kept myself very busy. JOE Ah I getcha. I got a lot done, too. Joe chuckles to himself. CUT TO: 97 INT. AUSTIN’S APARTMENT - DAY Austin sits at his desk, he types on his laptop, searching for jobs on craigslist. Austin writes down numbers, names; Austin e-mails his resume to some of the prospective employers. CUT TO: 97

90.

98

EXT. HOUSE LAWN - MORNING Henry and Joe work on landscaping a yard: first mowing the lawn, then whipping the edges of the yard (around trees, bushes, fences, etc.), Then blowing the excess grass off the yard/sidewalk and into the street. The sun rises above the horizon. CUT TO:

98

99

INT. BOOKSTORE - DAY Austin talks with an employee at the “Customer Service” counter. AUSTIN I would like an application, please. RITA A job application... those are... (reaching beneath the counter into a drawer) right here. AUSTIN Thank you. When should I bring this back-who should I be giving this to? RITA You can give this to Brian, our day manager, he’s actually not working today. I know for a fact we’re not hiring full-time right now, but we are looking to hire for seasonal work. If that interests you... AUSTIN Oh yeah. Okay, so, I bring this to Brian. Right. RITA

99

AUSTIN Okay, thanks. What was your name? Rita. RITA

AUSTIN (pointing to Rita’s name tag on her left breast) Oh there it is on your name tag.

91.

RITA Okay have a good day, sir. AUSTIN All right, you too. CUT TO: 100 EXT. LARGE LAWN - DAY Joe and Henry cut and trim the lawn of a mansion estate. CUT TO: 101 EXT. GAS STATION - DAY 101 100

Joe and Henry eat their lunches as they are parked outside of a gas station. CUT TO: 102 INT. OFFICE - DAY 102

Austin sits across the table from a woman whom he has just interviewed with. LEGAL WOMAN ... And so we’ll call you when we sort through our applications. AUSTIN Thank you. I’ll try and keep my balance this time. LEGAL WOMAN Yes, we want you to stay alive, Austin - I don’t want to hear that kind of story again from a person as nice as you. Thank you. AUSTIN Take care.

LEGAL WOMAN You too, mbuh bye. Austin leaves the office. CUT TO:

92.

103

INT. CITY BUS (MOVING) - AFTERNOON Henry sits at the back of the bus. Henry’s legs are stretched across the aisle. Henry listens to hip hop on his headphones. CUT TO:

103

104

INT. VINYL RECORD STORE - DAY Austin walks around a store cluttered with bins stacked with vintage vinyl albums, some pinned to the wall at prices of upwards to $300 dollars. A tiny woman sits behind the counter, near the cash register. The Cab Calloway record ends, and she puts on another LP. AUSTIN How does one get a job at a record store like this? CHELSEA I’ve got it pretty sweet, I know. Chelsea continues to put the records into a paper bag. CHELSEA (CONT’D) I know the owner, so... AUSTIN I figured that. You had to know someone to get an “in.” Yeah. CHELSEA

104

AUSTIN Well I’m jealous. I could see myself staying in here for hours, getting lost in all of it... looking through every single album. CUT TO: 105 INT. BARNES AND NOBLE - NIGHT Austin and Bilbo walk through a Barnes and Noble like mallrats. BILBO Almost all of the women I’ve been attracted to have had black hair. (MORE) 105

93. BILBO (CONT'D) Either natural black, or sometimes the blondes who dye their hair black. Blonde roots with black hair is sexy, too.

AUSTIN Vera’s got natural hair, right? BILBO Vera’s Asian. AUSTIN She could be Asian and have blonde hair, too. BILBO This Amanda, was she-did she have bleach blond hair? No. AUSTIN She has black hair.

BILBO They’re wild ones, eh? AUSTIN She’s Irish, her graduate thesis is in peace and conflict studies. Oh shit. whipped. BILBO She must have you

AUSTIN We get along nicely. BILBO Having fun? AUSTIN We’re both looking for jobs at the moment. We’re more focused on finding work than anything else. BILBO Do you fuck? Yeah... AUSTIN

BILBO I’m sorry, man. It doesn’t sound like a good relationship you got going on. What? AUSTIN

94.

BILBO You seem preoccupied with something. AUSTIN Preoccupied? I’m planning for myour future. I like Amanda. We are a good couple. There’s just a lot on our minds right now. BILBO Hey, Vera and me are having a party tomorrow at our place. We finally got the Wii fixed and it’s gonna be the bomb, boi! AUSTIN What? The Wii? I dunno, I’ll have to check with Amanda to see... we might be going to the gym. We just got a membership at Anytime Fitness and we’re gonna make the most of it. BILBO That’s cool, just let us know when you can. Oh snap! They made a graphic novel out of “TRON”? Austin’s stare is fixated on the red-haired, clear-skinned, blue-eyed woman standing in the science-fiction/horror section. BILBO (CONT’D) Dude... TRON. Hello? What time does the movie start? AUSTIN Fifteen minutes. CUT TO: 106 INT. LIQUOR STORE - NIGHT Henry carries a six-pack of Schlitz up to the front counter. A man stands near the counter shooting the shit with the clerk. DEAL ... I keep telling this boy you take my daughter out some place nice, you know, like Red Lobster or The Olive Garden. (MORE) 106

95. DEAL (CONT'D) He was gonna take her some where like J.J.’s - that’s not a first date.

HUGO Even Ruby Tuesday, or Chili’sApplebee’s. Those are nice places. DEAL Yeah, that’s what I’m saying. This boy, man I’m tellin’ you, he better not disrespect my Charlotte or I swear... HUGO He’ll be in big trouble. DEAL At the very least he’ll be in big fucking trouble. You don’t want to know what I could do to that kid if he... I don’t even want to think about it, shit. Why a daughter? God couldn’t give me a son: four girls. I mean, I love ‘em all, don’t get me wrong I love my girls... now I just realize how dirty-minded those young boys are. Why can’t they be kids forever? To Henry; Hello sir. HUGO

HENRY And can I get a pack of Marlboro reds, too. DEAL Gonna party tonight, right? Friday! It’s

HENRY Not for me tonight, man. I just got finished working forty hours this week. I’m going home and relaxing in front of the tube. A well-deserved night off. DEAL All right that’s cool. Say Hugo, think I’ll take one of these. Deal grabs a small bottle of Jagermeister.

96.

Deal pays Hugo, Henry pays Hugo. HENRY Take it easy, fellas. Thank you. HUGO

DEAL You too, man CUT TO: 107 EXT. LIQUOR STORE - NIGHT 107

Henry lights up a cigarette. Henry gets on his bicycle, he rides away holding the six-pack close to him. CUT TO: 108 INT. BEHAVIORAL HOSPITAL - ELEVATOR - DAY Sophie and her mother stand in the elevator going down. Sophie holds two paper bags with clothes and books mementos from her hospital stay. MRS. BECKETT Well that wasSOPHIE Don’t say anything until we leave. Sophie and her mother walk through the lobby of the hospital. Two nurses roll a wheelchair bound patient in through the front doors. Sophie and her mother exit the hospital. 109 EXT. BEHAVIORAL HOSPITAL - DAY The sun is just above the horizon filling the autumn sky with shades of orange and pink. The crisp, cool air brushes against Sophie’s face. SOPHIE I feel like Morgan Freeman in The Shawshank Redemption. Do you remember the name of the town? Mrs. Beckett doesn’t respond. 109 108

97.

SOPHIE (CONT’D) Zihuatanejo. I’m going to see my friend. CUT TO: 110 EXT. MISSISSIPPI RIVER BANKS - NIGHT 110

Henry drinks his booze, smokes his cigarettes in a fury. Henry smashes the banjo onto the concrete wall next to the edge of the river. CUT TO: 111 EXT. FERRY BOAT - LAKE MICHIGAN - MORNING Archie and Jessica stand on the deck of a ferry which crosses Lake Michigan. CUT TO: 112 INT. MOVIE THEATER - DAY Austin and Bilbo wait in line at the concession stand. AUSTIN We don’t do much of that, either. BILBO What? You used to have so many action figures. You had an impressive collection. What happened? AUSTIN I guess I grew out of it. Comic books, action figures, all that trivia - it’s child’s play. BILBO That’s bullshit, man. You never grew out of it. That is still a part of you. I remember when that was your obsession. When you knew everything and anything about movies, you knew the filmographies of every director and could give me a detailed review of each of their films. You knew every actor, cinematographer, writer... you could predict the weekend box office like no other, you had mad skills. (MORE) 112 111

98. BILBO (CONT'D) You knew every toy line, you were on top of the new releases every season... What the fuck happened to you, man? Is it this Amanda chick doing this to you?

AUSTIN No, and I don’t like how you’re talking about Amanda. I would appreciate it if you showed her some respect - show me some respect. I remember what you’re talking about, and I haven’t lost all of that. Aside from most of what I was obsessed with being pointless and a waste of time, I still go see movies. Amanda and I go and see movies. BILBO Like what, some gay-ass political documentary? No... AUSTIN

BILBO I don’t like the way you’re turning out, Austin. What do you want? An orange-haired woman stands behind the concession counter. Raisinets. AUSTIN Water, please.

BILBO Large popcorn, lots a butter, large coke. Okay. To Austin; Raisinets? BILBO CONCESSION GIRL

AUSTIN I’ve got to watch what I eat. It’s the healthiest choice there. BILBO This is exactly what I’m talking about. (MORE)

99. BILBO (CONT'D) That bitch is twisting your mind around. I don’t like it.

AUSTIN You’re one of my oldest pals. The strength of our friendship restricts me from bashing your fucking face in. Show some god damned respect, man. I’m sorry you don’t like Amanda. Tough titties. She’s my girl. Vera is yours. If there’s something I don’t like about Vera, something that bugs me, I tell her directly. I don’t talk behind her back and spill all my feelings about her to you. If you have a problem with Amanda, who you haven’t even met yet, say it to her face. BILBO When can I meet her? CUT TO: BLACK 113 TITLE: December CUT TO: 114 EXT. CHICAGO AVE. - NIGHT 114 113

An empty street, a few cars and taxis pass each other on the road in the middle of the night. An ambulance speeds down the street. A loud crash follows suddenly thereafter. Down the street the traffic is heavy. The ambulance has been overturned, lying in the middle of the street above a pile of mashed automobiles. Onlookers exit their cars to tend to those injured underneath the ambulance. Someone calls 911. The chaos of the scene reflects into the store front glass windows. The reflection in the windows reveals another picture: Two emergency medics emerge from the ambulance, aiding the homeless cyclist who lies on the ground, he grasps for air, clutching at his broken leg, through drunken words trying to communicate with the medics his condition.

100.

115

EXT. NOBLE ST. - NIGHT

115

On Noble st., Kris walks away from the scene through empty streets, underneath an orange-lit night below the shade of summer oak leaves. Kris walks through an alley towards his apartment door. A blaze of gunfire sounds from the opposite street. Kris turns towards the noise. A black Escalade speeds off from the scene, turns the corner onto Grand Ave. A man lies in the middle of the street in between the haze of the orange lamps. Kris tip toes into the street. The man on the ground bears a striking resemblance to Kris. Perhaps the man lying on the ground - fighting to live has thicker eyebrows, chubbier cheeks, larger hands, than Kris. There is something similar yet vacant in his appearance. The man lying on the ground bleeds from the multitude of bullet wounds in his body and face. Smoke rises from inside his body. The man reaches up to Kris - whose face is obscured by a thick, black shadow. The wounded man chokes on the blood gurgling from out of the hole in his throat. Kris looks both ways down an empty street. The corner store is closed. The building across from Kris doesn’t seem to notice the dead. Kris kneels down to the dying man, and opens the inner jacket pocket. Kris removes the man’s wallet. CUT TO: 116 INT. THERAPIST’S OFFICE - DAY Sophie sits on a couch in Dr. Klinger’s office. SOPHIE I’m feeling hopeless again. I realize how much the hospital helped me, and I learned a lot about myself in there. But that was two months ago, you know, and, things just haven’t been working the way I thought they would even though I have triedreally fucking hard I’ve tried, to stay positive. I understand the meds aren’t going to make my depression just disappear so that I’m constantly euphoric. I know I need to work with them. 116

101.

DR. KLINGER It usually takes four to six weeks to see the effects of the medication. We don’t know why, but that’s just how it is. SOPHIE Right, I remember that, but, I don’t know what to do sometimes. I’m really lonely, I don’t have a girlfriend, my school loans are piling up and- now I’m getting all of these bills from the hospital, and the ambulance, and... even though my parents said they would help me kind of cut the rope about a week ago. DR. KLINGER They’re not helping you with your loans anymore? SOPHIE No they said after this incident, and because they’re paying for these sessions I can help out... because they’re losing money, also, and, my job can’t pay for it all. I’m going to go further into debt. My debts are going to follow me to the grave. DR. KLINGER You can pay your rent, right? SOPHIE Yeah, my rent is... I have enough money for rent but I’m not sure I can afford to live anymore. DR. KLINGER Sounds like a lot of stress going on. SOPHIE No shit, doc! DR. KLINGER Well, Sophie, have you tried looking for another job that will give you a higher income? There are institutions that can help you with your loans in creating some kind of payment plan. Maybe you can pay in smaller increments? I wasn’t finished paying off my loans until I was thirty. We all go through this.

102.

SOPHIE I suppose I could see about that. Paying in smaller amounts. As far as my job goes... I really don’t have any other skills that would qualify me for any other job than barista. Having a BA in poetry doesn’t necessarily knock down the doors of six-figure careers. DR. KLINGER I understand, but is that something you really want? SOPHIE I do not want to work in corporate America, fuck that. If you find me working in an office please - shoot me with a shotgun and get it over with. Fuck that. DR. KLINGER So what is a job that you would be interested in doing? Something that would incorporate your skills - I know you say you don’t have any skills but you do, you have more skills than you give yourself credit for - then also, a job where your principles can be admired, and your thoughts, imagination, and creativity can flourish. SOPHIE What you’re talking about is an internship, a volunteer position that I need time to grow in. I need money. I don’t have time for this. DR. KLINGER I can see you’re getting irritated, do you mind if we switch subjects? How is your love life? I remember saying that you were going toSOPHIE Pretty dead, yeah, it’s pretty dead... although I do have a crush on someone from my work, but she’s straight. DR. KLINGER You know they’re straight?

103.

SOPHIE Yeah she talks about her fiance all the time. DR. KLINGER What makes you attracted to her? SOPHIE I don’t know, she’s hot for one thing-ha ha! I wouldn’t be having this crush on her if I didn’t think she was hot. She’s really easy to talk to, you know, and I feel like she could be a lesbian, but that for the sake of acting she’s playing it straight you know, getting a husband, doing all the regular, “normal” things society thinks is acceptable to fit in. DR. KLINGER So you think she’s playing you? SOPHIE No I don’t think she’s doing that, I think she’s denying something to herself. I’m not for certain, but it sometimes shows, I could be wrong, but... DR. KLINGER Have you met her fiance? Does he seem like the kind of guy she would be good with? Like can you tell if it’s a perfect match? SOPHIE I’ve never met her fiance, all I know is that he’s Welsh. She went over to Europe for a vacation, she knew some friends that lived over there. She comes back two weeks later and announces to everyone at the cafe, Hey I got engaged. Weird. DR. KLINGER

SOPHIE It kind of was weird. It was almost like she couldn’t find anyone that she could date here so that she had to travel to another country to find her “true love.”

104.

DR. KLINGER I bet you were thinking, The perfect candidate is right here in front of you! SOPHIE Yeah! I know... but it’s fine. There are other girls at work I can hit on. DR. KLINGER That’s-that’s the spirit. let it get you down. Don’t

SOPHIE I won’t. I’m so totally over it. It won’t get to me like that last bitch did. CUT TO: 117 INT. GALACTIC CAFE - DAY Sophie stands behind the counter, her arms crossed, she stares off into the distance. The front door opens, Suzie walks in. front counter. To Sophie; Hello. SUZIE Suzie walks to the 117

SOPHIE Hi. What can I get for you today? SUZIE Let me see... I’ll take a skim latte. SOPHIE Would you like that in a to-go cup? Sure. SUZIE

Sophie prepares the drink. (V.O.) SOPHIE She’s really hot. CUT TO:

105.

118

INT. USED BOOKSTORE - NIGHT Scott walks through the fiction section. Max walks down the same aisle as Scott. Max. Hey Scott. SCOTT MAX What’s up, dude?

118

SCOTT Just looking at some books, how’s it going? MAX It’s good, good. I’m looking for this book someone told me about. SCOTT What’s the name? MAX Naked Lunch? Have you ever heard of it? SCOTT William Burroughs. Burroughs fan. I am a huge

MAX Really? I never knew that. he wrote it?

So

SCOTT Yeah I’ve collected most of his major works, I’ve traveled to Europe to purchase some of his first editions... most of them were in Amsterdam. MAX Wow, that’s cool, man. read this book? So you’ve

SCOTT Oh yeah it’s one of his best. A classic. Not as good as Queer or Junky, but it ranks up there at the top. MAX Do you see it anywhere around here? Scott and Max look for the book on the shelf.

106.

SCOTT Yep, here it is. Scott removes the book, placing it in Max’s hand. MAX Cool, yeah, my aunt recommended it to me. She said this is the best place to start. SCOTT Really she said that? MAX Yeah... why? Was she wrong? CUT TO: 119 EXT. USED BOOKSTORE - NIGHT Max and Scott stand outside of the bookstore. MAX Well I should get going if I want to start reading this. Okay. SCOTT 119

MAX It was good seeing you, Scott... outside of the office every once and a while. SCOTT Yeah this is nice. MAX Okay... I’ll see you at workyou’re okay? I’m fine. SCOTT

MAX All right, it’s just... do you want to go get a drink somewhere? We could talk more about Burroughs... SCOTT Sure I don’t see why not. MAX Great. Just down the block there’s a good place.

107.

Sweet.

SCOTT CUT TO:

120

INT. FEDEX BUILDING - MEETING ROOM - MORNING Austin sits in a classroom with ten other people. MIKE (29) gives a lecture in front of the class. Mike’s voice quivers and his words shake with the end of every sentence. MIKE ... For the first two days you will be in the classroom receiving in-depth instruction as to the proper delivery methods and safety requirements for temp drivers. After this week you will attend a five-day driver’s training session, I believe it’s held at our Mahtomedi location the main hub of FedEx Ground for Minnesota - and after driver’s training you will be put out on the road to deliver packages for FedEx. Now, Ted is going to be in here in fifteen minutes, so I’ll quickly go over some of the topics we will be discussing later in the day. (writing on the white board) Proper delivery techniques... sorry my handwriting didn’t improve past fifth grade... driving routes, delivery codes, safe driving... DISSOLVE TO: TED (44) is a rotund man wearing glasses, constantly fiddling with the dry erase marker in his hand. Ed lectures to the class. TED This is the second most dangerous job in the United States, second only to mining. Now you may be thinking to yourself, How is this job dangerous? I drive, deliver the packages, if nobody’s home I leave a door sticker, no big deal. (MORE)

120

108. TED (CONT'D) Phil Ricardo, fella in our Denver branch, whose job is equivalent to mine, one night had to knock on some poor woman’s door and tell her her husband wasn’t going to make it home that night. The driver, man by the name of Frank Tasker, was rolled over by his truck. Forgot to put the emergency brake on, went in the back to get his package - truck rolled right flat over him. The house where he was delivering, nobody was home. So he sat in the driveway, bleeding to death, until they came home - five hours later. This can be a dangerous job. How do we prevent such accidents from happening? Safety. You are more important than that package in the back of the truck, you are our priority. I’d rather have Miss Moffet’s box of china glass break than see one of my drivers run over, killed, dead. Safety is the key here, it’s the number one importance in this business. We’ve had six accidents in the last quarter, I’m not too proud to say that but it’s true...

MIKE Seven, actually. TED Seven? Oh yeah that’s right. Let me tell you some of the crashes we’ve encountered. Parked cars, we’ve had drivers crash into cars that were not moving... not using their mirrors correctly they crash into parked cars - mail boxes, moving cars, someone backed into a house. Destroyed the front porch. Do you know what all these accidents have in common? CLYDE Improper driving? TED Well they were all driving improperly otherwise they wouldn’t have crashed. Something more specific.

109.

AUSTIN They were unsafe? TED Safety is a part of it, not the complete answer, though. STELLA They were intoxicated while driving? TED No, although we have had problems with that in the past, very few of our drivers are ludicrous enough to drink and drive our vehicles. No... it’s backing. Six out of the seven accidents we’ve recorded in this quarter have been backing accidents. Don’t ever back. Need to go up a driveway to deliver the package, park the vehicle on the street and walk the package. Here’s a rule I’m going to say again and again until it’s ingrained in your brain, do not back. Or unless the situation calls for it and there’s no other choice, do not back. CUT TO: 121 EXT. CITY STREET - NIGHT 121

Austin walks past a video game store. People inside sit on couches, playing Guitar Hero, Tekken, etc. In the back customers play card games, RPGs. Austin stares in through the front glass window as if into another world, distant yet familiar. CUT TO: 122 INT. AUSTIN’S APARTMENT - LIVING ROOM - NIGHT Austin dials a number on his cell phone. BILBO Hey Austin, what’s up? AUSTIN Say I just called to say you owe me ten bucks for that Bruce Campbell movie. Bilbo answers. 122

110.

BILBO Oh come on it wasn’t that bad. AUSTIN It was the worst movie I’ve ever seen. BILBO Well why didn’t you tell me then-? AUSTIN Because I knew how much of a Bruce fan you were. I didn’t want to ruin that, I’m not an asshole. BILBO Is this why you call me when I’m out to dinner with my special lady? AUSTIN Oh... sorry. I was actually calling to see if you wanted to go to a movie. BILBO Fuck off. We could hang out another time, right? VERA We missed you and Amanda at our party, Austin. BILBO Yeah we missed you. Amanda? Busy with

AUSTIN Uh huh... we broke up. BILBO That’s terrible. I knew you really liked her. You two were such a great couple. VERA What happened? BILBO I’ll tell you later. What did she want the fairy tale version? AUSTIN Something like that.

111.

BILBO Why don’t you call that Sally chick? AUSTIN Yeah I don’t even know who she is. I should let you two go. BILBO Giver me a call later, dude. “TRON” is playing at midnight this week - we should get the crew together. AUSTIN Yeah, yeah, “tron.” “tron.” Austin ends the call. Austin searches his recent text message “in-box” and “sent items” folders. CUT TO: Austin puts a roll of film into a 35mm camera. CUT TO: 123 EXT. CITY STREET - NIGHT 123 I remember

Austin walks around the city taking photographs of people, animals, buildings, lights, whatever he finds on his wanderings. CUT TO: 124 INT. LOUNGE - NIGHT The lounge is an Eastern island/Asian decor theme, with tiki mugs, a bamboo bar, tropical flower wallpaper. The waitresses are punk rock. Austin and a bevy of friends sit around a table, they drink liquor out of tiki mugs. Austin talks with JASMINE (27) - who wears a “Justice League” t-shirt. 124

112.

JASMINE The streets in DC make sense because they’re all named according to how many syllables there are - going from two syllable names to three, then they’re all alphabetical at the same time. So you know where you’re going. When I moved here I had no fucking clue how to get around. AUSTIN I think it’s from east to west streets are numbered going up, then the same from north to south. JASMINE Yeah I figured that out real quick, but there are so many fucking one way streets that just come out of nowhere it doesn’t make any sense. There’s no real system to the naming of the streets either, cause, like, in DC the streets are all named after cities or states, it’s really easy to understand that. Here, it goes from Chicago, to Bloomington, to... Park, then... it switches to fifteenth street and... I don’t know it just doesn’t make sense. AUSTIN It’s like a bunch of drunk Irishmen designed the streets. JASMINE Whoever did must have been on something, cause it don’t make no sense whatsoever. AUSTIN I used to live in Chicago, and in downtown all of the streets were named after the presidents. So, if you knew your presidents it’d be really easy to guess where you were and how far you had left to go - I’m on Washington and I need to get to Madison... uh... Washington, Adams, Jefferson, Madison - three blocks.

113.

JASMINE That’s cool. If you know your presidents, that is. AUSTIN But it makes sense, right? JASMINE No yeah it does, totally. My exboyfriend’s father lived in Chicago. Oh. AUSTIN

JASMINE S’why I moved to St. Paul! Jasmine and Austin drink their beverages. CUT TO: 125 EXT. CITY STREET - NIGHT Austin takes a snapshot of an embracing African American couple outside of a club as they wait for their valet to bring them their car. CUT TO: 126 INT. DUNN BROTHERS COFFEE SHOP - NIGHT Austin eats a chocolate chip cookie and drinks coffee. (V.O.) RADIO DJ ... This song is like your first girlfriend you never forget. No matter how much time has passed, you still wish you could make it right somehow and still be together, or, at the very lease, you have a bittersweet memory of the first love that got away from you... CUT TO: 127 INT. BAR - NIGHT Zee and Austin sit at the bar. 127 126 125

114.

ZEE These new girls, there’s a whole generation out there of girls who all they want to do is fuck. This is all they know. They go to the bar, pick up a man, he buys her drinks, she buys him a drink, they go home and fuck. This is the only way she knows how to get a man. They want one night stands, no strings attached, you know? Be friends with this girl first. Then she will gain your trust. Me, I don’t know what to do. I’m all alone in a big house in Apple Valley. All day my husband is gone, my child is taken from me by asshole judge, I’m all alone. AUSTIN Yeah, yeah I know all that. I just wish it were different. I wish I didn’t have to go out and fuck everything in sight just to get ahead in life. It’s not that I don’t want to fuck. It’s only... and I know it doesn’t take that long... at least when you’re drunk... um... Zee sips her drink through a straw. AUSTIN (CONT’D) But I think this girl is getting the wrong impression about me. I believe she thinks I’m the epitome of evil because I’m a man, and not only that, butbecause she had a terrible father. So she was raised by her mother who talked about how much of a dick asshole her husband was, and now this girl’s got a twisted and warped view of what men are, or what they should be, and... I want to help her realize that not all men are dogs out to fuck. There are some men, myself included, who were raised to treat women with respect, to treat the body with reverence and admiration... I mean where has the romance gone? Where has the love gone to? Doesn’t anyone believe in romance anymore? (MORE)

115. AUSTIN (CONT’D) I want to give flowers. I want to softly caress. I-

ZEE These girls they don’t know how to romance. They think the only way to get a man and not be lonely is to fuck them first, have sex with them, and then they’ve got it. AUSTIN Yeah you said that shit already. ZEE That’s because it’s true. this girl, your friend? She’s... AUSTIN Who is

ZEE I can be your friend. needs friends.

Everybody

AUSTIN I don’t want to see her in the gutter. I want to help her. ZEE Forget about her. She doesn’t need your help. Get over it, man. Where are your balls? I have bigger balls than you! AUSTIN Dammit you’re not a dude are you? ZEE I am the least dude in here. CUT TO: 128 INT. AUSTIN’S APARTMENT - NIGHT Austin fucks Zee on top of his wooden desk. AUSTIN You’re definitely not a dude. ZEE Shut up and fuck me! CUT TO: 128

116.

129

EXT. CITY PARK - AFTERNOON Sophie pushes Susan in her wheelchair through a city park on a warm autumn afternoon. SOPHIE Where do you want to go, Susan? SUSAN Over by the river. SOPHIE Over by the river, okay. DISSOLVE TO: Sophie sits on a park bench. Susan stares at the lake.

129

SOPHIE (CONT’D) Are you warm enough? Uh huh. SUSAN CUT TO: 130 INT. ECLIPSE RECORDS MUSIC STORE - NIGHT 130

Henry walks along the vinyl section, flipping through classics of jazz and soul music. He eyes the girl standing at the back door taking cash for the show. She looks back at Henry. Henry walks up to the lady, EMILY (27) - blond, stringy hair, skinny, flat chested, blue eyes, she speaks in a wispy tone. EMILY Hi, here for the show? HENRY How much... ? EMILY It’s five dollars. HENRY That’s just the right price-but I need to find an ATM. I’ll be back. When does the show start? EMILY Fifteen minutes. Henry walks away.

117.

Okay...

HENRY

EMILY Hurry and you can make it. HENRY Going to bike as fast as I can. EMILY Be swift like the wind! Henry laughs as he leaves the record store. CUT TO: 131 EXT. GAS STATION - NIGHT Henry bikes up to the entrance, drops the bike on the ground and goes inside. CUT TO: 132 INT. ECLIPSE RECORDS MUSIC STORE - NIGHT The store is empty except for the owner seated behind the front counter. To owner; HENRY Can I pay you for the show? OWNER Um-actually you can pay her. The owner points to Emily as she re-enters the music store from the back room. Henry slides over to Emily. I’m back. HENRY Here you go. 132 131

EMILY Okay... here you are. Emily hands Henry his change: one five, one ten. HENRY Sweet, so it’s just behind those doors? EMILY Yeah, they’ve already started. I’ll walk back there with you.

118.

133

INT. ECLIPSE RECORDS MUSIC STORE - MUSIC HALL - NIGHT Henry and Emily walk through a long, black room to the stage at the other end. Climbing the stage they walk further to enter the back garage, otherwise the storage room where bands haul their equipment from.

133

134

INT. ECLIPSE RECORDS MUSIC STORE - BACK ROOM - NIGHT

134

A small crowd is gathered around the lone musician sitting in the middle of the room. People are either seated on the concrete floor or they stand. RICHARD There’s an increasing problem within our generation, so many kinds - so many of us young adults are on prescription drugs... we’re all being put on medications for depression. I think it’s a real bad situation that so many of us are as fucked up as we are. Most of my problems stem from how terrible my father raised me. I was pretty much neglected growing up, my mother died when I was nine, I was an only child, and so it was my father who had to raise me, but he was a shitty dad. This is a song about him. I fucking hate your guts/You taught me all of the wrong things/Sometimes I wish your father taught you the wrong things/So I wouldn’t have ended up like youCUT TO: 135 INT. GALACTIC CAFE - NIGHT Sophie stands behind the counter. Hey. Hi. SOPHIE SUZIE How’s it going? SOPHIE What can I get for you? Suzie walks in. 135

Good.

SUZIE I’ll go with a vanilla chai.

119.

What size? Medium.

SOPHIE SUZIE

A sign on the counter reads: “The barista is not flirting with you.” CUT TO: 136 INT. ECLIPSE RECORDS MUSIC STORE - MUSIC HALL - NIGHT 136

Another musician stands in front of the crowd, he plays an unplugged electric ukulele. BARRY A beer before work/Gets me kind of buzzed/I think it’s okay/To be buzzed before I go to workCUT TO: 137 INT. GALACTIC CAFE - NIGHT Sophie stands next to Suzie. Suzie sits at a table littered with books and papers. The two are in midconversation. SOPHIE I think Shreck means “terror.” SUZIE Right! Do you know German or something? SOPHIE No, I-I it’s something of a hobby of mine to memorize useless trivia for such occasions. SUZIE Oh... Are you kidding? SOPHIE No. I just happen to love vampires, and so I try and memorize all I can about a subject, even the trivial facts, just so it sounds like I know what I’m talking about. SUZIE Even though you do. 137

120.

SOPHIE Even though I doSUZIE If you memorize them. SOPHIE Yeah, you’re right. SUZIE But what a weird name for someone to have who played a vampire. SOPHIE I know, terror fits perfectly. SUZIE Vampyros Lesbos. What? SOPHIE

SUZIE Have you ever seen... Vampyros Lesbos? SOPHIE It’s an awesome title, no what is it? CUT TO: 138 INT. ECLIPSE RECORDS MUSIC STORE - MUSIC HALL - NIGHT The crowd has moved into the stage arena. sets up on the stage. A one-man band 138

SEAN Hold on while I set up, sorry this is taking so long. I’m kind of nervous. The crowd responds with words of encouragement. SEAN (CONT’D) Okay. The computer’s the beat box. I’m Sean, I’ll play the guitar, sort of good I guess ha, heh, and I got some pop slash electro tunes for you. Here we go-um, this is my first time playing in front of a crowd, so... don’t be surprised if I mess up. CUT TO:

121.

139

INT. GALACTIC CAFE - DAY

139

BRIDGET - a brunette - stands with her arms folded, behind the counter. CUT TO: 140 EXT. GALACTIC CAFE - ALLEY - DAY 140

In the alley behind the cafe a few cars are parked next to the tall brick walls of the cafe and adjoining apartment complex. Sophie throws two plastic garbage bags into a dumpster. Sophie looks inside the back door window. CUT TO: POV: SOPHIE Through a muggy glass window the cafe is slow with no customers entering. CUT TO: Sophie steps down from the window, removes a pack of cigarettes from her back pocket and lights up as she sits on the door stoop. CUT TO: 141 INT. ECLIPSE RECORDS MUSIC STORE - MUSIC HALL - NIGHT Three-piece band plays on stage: COWBOY AL on vocal & guitar, PRISSY BISSY on back-up vocals, vibes, toy instruments, and BUFF JIMMY on percussion/drums. COWBOY AL/PRISSY BISSY Come home smelly/Come home smelly/Come home smelly we miss you/Come home smelly/You’ll fit right back inCUT TO: 142 INT. ECLIPSE RECORDS MUSIC STORE - ARCADE ROOM - NIGHT 142 141

Henry plays Hugh Hefner’s “Playboy” pinball machine in the arcade room. The band’s music sounds muffled through the wall. CUT TO:

122.

143

EXT. ECLIPSE RECORDS MUSIC STORE - NIGHT Henry stands outside in a blustery wind, smoking a cigarette. Henry checks his cell phone constantly. CUT TO:

143

144

INT. ECLIPSE RECORDS MUSIC STORE - MUSIC HALL - NIGHT Henry walks into the room just as Emily begins her set. Emily stands alone with her guitar, a computer beatbox behind her on the floor. EMILY Is everyone ready to rock?! This first song I’m going to sing is about something I feel strongly about right now. I’ve been through lots of relationships. Some difficult, some were better than others, some boys know how to kiss and others... oh boy! They just don’t get it! Let’s just say I’ve been through a lot. I’m old. Every one of them boys were just boys, not men, and every relationship lacked one thing - one thing which I think is lacking in general all over this place. Romance. Where did the romance go? I remember when I was a little girl, and I heard songs all about holding hands while walking through the park, and long kisses under a starlit sky, and I asked my mom what they were all singing about? She said it was romance, dear, romance is the key to happiness. Find romance, Emily. Emily finds Henry’s eyes and catches his glance directly. EMILY (CONT’D) Romance/Ro-mance/Romance/Romance/Everybody sing it with me... The audience sings along to the words: Romance/Romance/Romance/Ro-mance...

144

Henry stands up against the wall. Henry’s attention is on the ass of a young girl standing in front of him. CUT TO:

123.

145

INT. GROUPIE BAR - NIGHT Max and Scott sit at a table, they’re drinking. SCOTT Oh my god you’re into Wu-Tang? Tell me you’re kidding. MAX It’s no joke I am so into WuTang, dude. SCOTT Because I’ve just gotten back into them, “Jah Time” is such a hook. MAX What album is that from... “The W?” SCOTT Yeah. I think the entire track is a sample from a kung-fu movie. MAX Hell yeah they do that all the time. I like “Gravel Pit” the most on the at album. Definitely not their best, I don’t think anything surpasses “thirty-six chambers,” but it’s still good. SCOTT Oh yeah, no doubt. amazing. Beat, then; SCOTT (CONT’D) Wow that’s great. Wu-Tang. MAX We have much in common, dude. Yeah. SCOTT The RZA is

145

The waitress walks up to their table. LUCY Can I get any refills over here? MAX I could go for another.

124.

SCOTT I got this round, you can get next. Really? MAX Sounds good to me.

SCOTT Two more of the same. Okay. LUCY

Lucy takes their empty glasses. CUT TO: 146 INT. ECLIPSE RECORDS MUSIC STORE - MUSIC HALL - NIGHT 146

The crowd dissipates from the room as Emily’s set ends on a dour note. EMILY ... Just leave/Go/Take your tobacco breath away from me/You’re choking me/Please leave/You’re killing me/Can’t you see you’re killing me? The beat ends, the reverb from her guitar fades away. To crowd; COWBOY AL Does anyone know if Porky’s is still open? CUT TO: Henry walks up to Emily as she pulls together her instruments, finishes talking with some of the audience. HENRY That was a very interesting show you put on. EMILY Uh thank you, thank you. HENRY There was a theme throughout the piece, I could tellEMILY Ha, yeah, it’s kind of obvious.

125.

HENRY Let me tell you, I know exactly how you feelEmily laughs at Henry’s comment. EMILY Oh my god, are you serious? HENRY What? About the summer love, about not having any relationship from spring until summer, and you’re not getting anyEMILY Right... right. HENRY I thought your beats were cool. EMILY Well that’s not really my forte, exactly. HENRY And you can play the guitar really well. EMILY Heh, thanks... HENRY Well I should probably go. I’d love to stay and chat, but I’m tired, and I’ve got work early tomorrow. Sure. Thanks. EMILY HENRY

Henry backs away from the situation, moving through the crowd towards the exit. CUT TO: 147 EXT. ECLIPSE RECORDS MUSIC STORE - NIGHT Henry walks down the street laughing out loud. CUT TO: 147

126.

148

INT. SOPHIE’S APARTMENT - NIGHT Sophie and Suzie makeout on the bed.

148

Suzie leans in too far, spilling an open glass of red wine onto the carpet. Oh fuck. SUZIE

SOPHIE Don’t worry about it. Sophie and Suzie continue. A black cat lays on the other side of the room. Shoes fly off and barely miss the cat; pants come off next, provoking the cat to meow and reluctantly move out of its spot. CUT TO: 149 EXT. CITY STREET - NIGHT Scott and Max are drunk as they walk down the street. SCOTT Oh come on, man, Boston’s track record keeps them afloat when the Cubs are just an abomination. It’s a joke! They’re a shame to the game. MAX Whatever dude, I’ve got to stay true to my roots and go for my home team. Go Cubbies! Scott and Max laugh. Scott loosens his walk and stops in front of Max, staring with intensity into his eyes. SCOTT Max I like you. MAX I like you, too, Scott. Scott swaggers drunkenly. MAX (CONT’D) Can you keep your balance? SCOTT I’m on my feet, I can stay on my two feet, for the time being. 149

127.

MAX We don’t want you to fall over now. You okay? SCOTT I know I’m fine, I know you’re fine. Scott leans in for a kiss. Max backs away.

MAX I think you’re more drunk than I am, man. Scott falls onto Max’s shoulder. MAX (CONT’D) You okay, buddy? One too many of those whiskey shots, eh? SCOTT Yeah, one too many of those whiskey shots. MAX We should get you home. Max hails a taxi cab. SCOTT No I’m okay. I can make it home just fine walking. Scott walks down the street. MAX Scott, Scott! Wait up a sec. CUT TO: BLACK 150 TITLE: New Year CUT TO: 151 EXT. VIDEO GAME STORE - NIGHT 151 150 Taxi!

Snow falls outside. Many people surround the gamers inside the video game store. Austin walks past the glass window. Austin retraces his steps and looks inside. The girl with orange hair, clear skin, and blue eyes plays a “TRON” video game.

128.

Austin walks into the store. Austin walks around the store, perusing through all of the games before saying “hello” to the proprietor behind the counter; Austin turns and walks towards “the girl.” CUT TO: 152 INT. VIDEO GAME STORE - NIGHT AUSTIN I can’t believe they made a game after “TRON.” This is awesome. THE GIRL I hadn’t played this game in a while, it’s at least two years old. Oh. AUSTIN 152

THE GIRL But they’re coming out with a sequel to “TRON.” So I’m just... in a tron mood, I guess. Austin stands speechless. AUSTIN A sequel to “TRON”? Yeah. THE GIRL That’s cool, right?

AUSTIN I... does anyone have a connection here? I need to see evidence right now. THE GIRL There’s a bootleg trailer that’s been up for a while. AUSTIN I’m about to cream my pants. Computer. Internet. Anyone. THE GIRL My blackberry is in my coatAUSTIN Where, I need to see this now. CUT TO:

129.

153

INT. MADAME’S BAR - NIGHT The time is 11:59 at night. A full bar, the place is crowded, everyone celebrates the new year. People kiss and embrace each other.

153

Henry sits at the bar with a blond woman seated on his lap. Henry and the blond girl suck each other’s face, when Henry stops to whisper something into her ear. The blond girl’s face distorts into that of disgust, and she slaps him in the face, punches his crotch and leaves. Scott nudges through the thick wall of people to reach the bar. To Marie, the bartender; SCOTT Black Irish. Henry turns to Scott. HENRY Hey I’m part black Irish. SCOTT Is that a fact? HENRY Well at least fifty percent of me is. How’d you know to order my drink this time? This time? SCOTT

HENRY I’ll order apple, jack. You order black Irish. You sit down here, my man, and we’ll celebrate the coming of news years together without that whore. SCOTT I don’t know about that. I’m here with some friends. Do you want to join us? Hell yeah. friends? HENRY Where are your

SCOTT Over there-well you can’t really see them because it’s so crowdedit’s so crowded in here!

130.

HENRY I know right! It’s six. MARIE

Marie hands Scott the drink, a “black Irish.” Scott throws down a twenty, Marie goes to change the bill in lightning fast speed and returns with the change. Scott takes the money, leaves a tip. To Henry; Come on. Okay. SCOTT HENRY CUT TO: 154 EXT. MADAME’S BAR - NIGHT Behind the bar a small crowd passes the bottle around, Marie and Bobbie embrace each other through a cloud of marijuana smoke. CUT TO: CLOSE UP: A match lights the tip of an incense stick. 155 INT. CARLTON’S APARTMENT - BEDROOM - DUSK 155 154

Carlton and Veronica are seated on the floor in meditation. The smoke curls. The orange sunset peeks through the window shades. The distant sound of the city traffic fades away so there is calm silence enveloping the room. FADE TO BLACK: END CREDITS

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