Episode 1: Midpoint Americana

Written By:
Joseph Alexander Simpson

Contributions By Clara Capool

Audrey Simpson
Wendy Simpson
Logan Allred
Drake Dragsaw

WGA REGISTRATION: I354322

 ACT I BEGINS
TITLE: “MIDPOINT AMERICANA”

TITLE: “EPISODE 1: MIDPOINT AMERICANA”

EXT. MIDPOINT AMERICANA

WE SEE AN OVERHEAD VIEW THE CITY OF
MIDPOINT AMERICANA. WE HEAR THE SONG
‘Late Night Sky.’ WE CONTINUE TO PAN
FOR A FEW BEATS.

WE HEAR THE VOICE OF CASS CUT THROUGH

THE SOUND.

CASS (V.O.)
This is my hometown

CASS (V.O.) (CONT’D)

This small town has a beauty to it,
with some great features!

CASS (V.O.) (CONT’D)

Restaurants, Stores, Hotels, Schools,
and beautiful murals.

BEAT.

CASS (V.O.) (CONT’D)

This was my dream.

CASS (V.O.) (CONT’D)

Everything I could have ever wanted.

EXT. CASS’ DREAM HOUSE

WE HEAR THE MUSIC FADE OUT AS WE SEE -
THROUGH A BLURRY VIEW - CASS’ DREAM
HOUSE, A YELLOW TWO-STORY HOUSE WITH
SEVERAL WINDOWS THAT HAVE CLOSED
BLINDS BEHIND THEM AND A DOOR IN THE
MIDDLE. WE NOTICE THAT ONE WINDOW IN
THE SECOND STORY, IN THE MIDDLE OF THE
HOUSE HAS AN OPEN BLIND. WE GET CLOSER
TO THE WINDOW, AND CLOSER - UNTIL WE
ARE IN THE ROOM OURSELVES.

EXT. CASS’ DREAM HOUSE - BEDROOM - MOMENTS LATER

WE SEE CASS SITTING ON HIS BED, FACING
ANNABELLE, 17, A FILIPINO-AMERICAN
GIRL WITH CURLY BROWN HAIR AND BROWN
EYES. EVERYTHING IS STILL SLIGHTLY
BLURRED.

CASS
You’re literally.

BEAT.

CASS
The best thing that has ever happened
to me.

WE SEE CASS LEAN IN TO ANNABELLE’S

FACE.

AS CASS LEANS IN, WE CUT INTO OTHER

VARIATIONS OF THE SCENE TO REVEAL
VARIOUS PEOPLE. SAMI - A WHITE BOY
WITH SHORT BLONDE HAIR AND GREEN EYES,
Luna - A TAN GIRL WITH LONG BLONDE
HAIR AND BLUE EYES, RYAN - A WHITE
AMERICAN WOMAN WITH LONG DIRTY-BLONDE
HAIR AND BROWN EYES.

WE CUT BACK TO ANNABELLE AS CASS

CONTINUES TO MAKE OUT WITH HER, NOW
WITH HIM POSITIONED ON TOP OF HER.
THEY CONTINUE TO JUST MAKE OUT.

WE CUT TO A BLACK SCREEN AS CASS’

VOICE CUTS THROUGH ONCE AGAIN.

CASS (V.O.)
But - that…

BEAT.
 CASS (V.O.) (CONT’D)
Was not the reality.

WE HEAR ‘Late Night Sky’ TURN SOUR AS

IT CROSS FADES INTO ‘Afternoon Sky’ WE
SEE VIEWS FROM THE CITY STREETS. THIS
IS A BAD PLACE.

CASS (V.O.)
This is what Midpoint is really like.

CASS (V.O.) (CONT’D)

The town in the middle of nowhere
nestled in another one of the fifty
states.

CASS (V.O.) (CONT’D)

I hated living here. Sure, there’s
beauty in even the darkest parts. It
was hard to stay motivated to do
anything when this is where I lived.

INT. Cass’s House ー Early Morning

WE CROSSFADE TO A MOLD INFESTED BRICK BUILDING WHERE
CASS IS LAYING ON A COUCH. WE HEAR THE SOUND OF CABLE
NEWS.

CASS (V.O.)
As far as my house went. This is the
best I could afford without dropping
out of school and literally working
all the time.

CASS
(Half Asleep, Groaning) What’s going
on?

WE HEAR A VOICE, BUT DO NOT SEE THE SPEAKER.

CASS’S MOM (VOCAL)

Terrorist attack in Bucket Rest.

CASS
Where at?
 CASS’S MOM (VOCAL)
(Reassuringly)Bucket Rest.

CASS
(With a weird tone) I’ve heard of
weird town names, but that one
definitely takes the cake for weird.

CASS
Where is Bucket Rest?

CASS’S MOM (VOCAL)

Romania.

CASS
(Annoyed) Mom. It’s pronounced
Bucharest.

CASS’S MOM (VOCAL)

(Annoyed) You know what I meant.

CASS
(Annoyed) Okay, Mom.

CASS’S MOM (VOCAL)

Bulgaria did it.

CASS
I thought Will said they were on the
up and up.

CASS’S MOM (VOCAL)

I don’t think Bulgaria did it. I
think it’s that damn 5G they’re
talking about.

CASS
Uh. That’s not how that works.
 CASS’S MOM (VOCAL)
(Seriously) I’m telling you. This is
it. This is going to be what kills us
all.

CASS
(Condescending) I think we will be
okay.

CASS (V.O.)
My mom is literally insane.

CASS’S MOM (VOCAL)

(Yelling, Upset) JOSHUA CASSIDY
STEVENSON! This is going to be the
death of me. You aren’t listening to
me now, but you will regret that
later!

CASS
(Annoyed) Okay Mom. I’m going to
school.

INT. Midpoint High ー Morning

WE CROSSFADE TO A SCHOOLYARD. WE SEE TEENAGERS TALKING
TO EACH OTHER. WE MOVE AROUND THE SCHOOLYARD. WE
FINALLY PAN AROUND TO CASS. HE IS LISTENING TO PEOPLE
IN A GROUP TALK. IN THE GROUP: ZACHARIAH – A TALL
BLACK BOY WITH BLACK DREADED HAIR AND GREEN EYES, LIAM
– A MEDIUM BUILT WHITE BOY WITH SHORT BLONDE HAIR,
DOMINIK - A SHORT BLACK BOY WITH SHORT CURLY BLACK
HAIR AND BROWN EYES.

CASS LOOKS ANNOYED. CASS PUT HIS HAND UP AS IF TO

PHYSICALLY TELL SOMEONE STOP.

CASS
(Condescending) I don’t want to hear
whatever nonsense you’re into today.

LIAM
(Defensive, to Cass) What? I didn’t
even say anything.
 CASS
(Stern but kind, to Liam) You’re
always doing some dumb shit. I don’t
want to hear about it.

LIAM
(Defensive) Come on.

ZACHARIAH
(Condescending, to Liam) He has a
point.

DOMINIK
(Stern but kind, to Liam) Liam, you
don’t want me to mention Megan, do
you?

LIAM
(Defensive, to Dominik) That’s not
fair, Dom.

ZACHARIAH
(Half Joking, to Liam) I think the
messes you get into are hilarious.

LIAM
(Direct, to Zachariah) Zachariah, who
the hell asked you?

DOMINIK
(Defensive, to Liam) Chill man. It’s
not that serious. Cass is right.
You’re always doing something dumb,
but Zachariah is always butting in.

WE SEE LUNA - A TAN GIRL WITH LONG BLONDE HAIR AND

BLUE EYES, WALK INTO THE GROUP.

LUNA
Hey Cass.

DOMINIK
Hi Luna.
 LUNA
I wasn’t talking to you.

ZACHARIAH
Cass isn’t responding because he
doesn’t want your diseases.

CASS
Luna, what do you want?

LUNA
Just wanted to check in.

CASS
Thanks Luna.

LUNA
How’s your dad?

DOMINIK
What the hell? How did you get there
that quick?

LIAM
Because she’s a bitch.

CASS
Hey. No. Stop.

DOMINIK
But she knows -

CASS
I obviously know that she knows.
She’s just trying to get to me. Just
ignore her.

LUNA
Just like how everyone ignores you.

CASS
 You know what Luna. You’re literally
projecting. No one likes you.

INT. Midpoint High / Mrs. Packton’s Classroom ー 9:30 AM

WE HEAR A BELL RING, AS WE FADE OUT INTO THE BLUR OF A
CLASSROOM, EVERYTHING FEELS WRONG. WE THEN CUT TO AN
AERIAL VIEW OF CASS LOOKING AT HIS PAPER, WITH HIS
TEACHER; JULIANE PACKTON, A WHITE WOMAN IN HER 40’S
WITH SHORT CUT BROWN HAIR, A SQUISHED FACE, AND GREEN
EYES STANDING OVER HIM.

MRS. PACKTON
So, now you multiply by the X from
question two, and there’s your
answer.

CASS
To answer question four? What is X
for question two?

CASS (V.O.)
To quote my grandfather

BEAT.

CASS (V.O.)(CONT’D)
When the hell did they put letters in
math?

MRS. PACKTON
You have to solve for X.

CASS (V.O.)
I am bad at math, and I hate it, so
in turn I hate this class.

INT. Midpoint High / Mr.McCauley’s Classroom ー 10:05 AM

WE HEAR A BELL RING AGAIN - PRESUMABLY FOR THE NEXT
CLASS. WE SEE MICHAEL MCCAULEY - A 43 YEAR OLD BALD
WHITE MAN WITH A ROUND OVULAR SHAPED HEAD AND GREEN
EYES. THE CAMERA IS FOCUSED ON MCCAULEY, WHO IS
LOOKING AT HIS COMPUTER, SCROLLING THROUGH EMAILS.
 MR.MCCAULEY
Annabelle, I got your email, I’m
going to fix it.

WE NOW SEE A SIDE VIEW, WHERE WE CAN SEE MCCAULEY AT

HIS DESK ANGLED IN THE TOP LEFT CORNER OF THE ROOM, WE
SEE THREE SETS OF DESKS; ONE SET IS BESIDE HIS LOOKING
TOWARDS THE CENTER OF THE ROOM AND THE LAST SET OF
DESKS, THE OTHER IS IN THE CENTER OF THE ROOM, AND THE
LAST ONE IS ON THE OTHER SIDE OF THE ROOM, LOOKING
TOWARDS THE CENTER AND FIRST SET OF DESKS. ANNABELLE
IS IN THE THIRD ROW, AND CASS IS AT THE DESK CLOSEST
TO HERS IN THE CENTER ROW.

ANNABELLE
Okay. Thank you Mr. Mc-Cal-e.

WE LOOK OVER TO CASS WHO IS WORKING ON SOME SORT OF

DOCUMENT ON A COMPUTER. WE SEE HIM OGLING AT ANABELLE.

LIAM
(WHISPERED) Cass, Stop Staring.

CASS
(WHISPERED) What?

LIAM
(WHISPERED) You were legit just
staring at Annabelle.

CASS
(WHISPERED) No I wasn’t. I was spaced
out.

LIAM
(WHISPERED) Right, because you
totally don’t have an obvious thing
for her

CASS
(A BIT LOUDER)(HIGH PITCHED) I don’t.
I’ve already told you this.

LIAM
 (WHISPERED) And exactly just like
last time, your voice did that.

CASS
(WHISPERED) What did my voice do?

LIAM
(Whispered, Grinning) It went high
pitched. It always does when you’re
lying to yourself.

CASS
(WHISPERED) Whatever. I’m too busy
and concerned with other things to
worry about relationships.

LIAM
(WHISPERED) Like what?

MR.MCCAULEY
Okay everyone. I hope you’re done. It
is time to be focused and concerned
on this class

CASS
Like that.

MR.MCCAULEY
Do we have any questions about the
bill of rights assignment from last
night?

WE SEE JOHN - A TAN BOY WITH BLACK HAIR AND BROWN

EYES, LOOK AT MR.MCCAULEY, AND RAISE HIS HAND.

JOHN
What was the whole part about the
arrows for?

MR.MCCAULEY
It was supposed to be a matching
thing, but I think it got messed up
 when it got digitized a few years
ago. I need to look into that.

WE SEE SAMI - A WHITE BOY WITH SHORT BLONDE HAIR AND

GREEN EYES, RAISE HIS HAND WHILE LOOKING AT HIS
COMPUTER SCREEN.

SAMI
What was the answer to number four?

MR.MCCAULEY
Question number four? James Madison,
but I’d also take Thomas Jefferson
too.

WE SEE ANNABELLE RAISE HER HAND.

ANNABELLE
Sorry, this is a bit off topic, but
when is our test for this unit?

WE SEE MR.MCCAULEY LOOK UP - HE’S THINKING.

MR.MCCAULEY
Not Tuesday of Next week, but the
following Tuesday.

INT. Midpoint High / Mr.McCauley’s Classroom ー 10:05 AM

WE HEAR A BELL RING ONCE MORE - AND WE CUT TO MRS.
MAAS’ BIOLOGY CLASSROOM.

CASS (V.O.)
Ah, yes, Mrs. Maas, the biology
teacher and class that everyone
loved.

CASS (V.O.) (CONT’D)

BUT NOW! It’s lunch!
INT. Midpoint High / Cafeteria ー 11:25 AM
WE CUT INTO A BROWN-BRICKED KITCHEN WITH RUSHING LUNCH
LADIES. WE HEAR THE NOISE OF THE KITCHEN AS WE CUT
INTO AN OVERHEAD SHOT OF THE CAFETERIA. WE SEE NEON
LIGHTS OVERHEAD A BUFFET STYLE LINE, WITH KIDS
STANDING OFF TO THE SIDE. THERE’S A DOOR TO THE LEFT
OF THE LUNCHLINE LEADING INTO A SMALL HALLWAY, KIDS
ARE COMING FROM THAT DOOR AND ONE BEHIND THE SHOT.

CASS (V.O.) (CONT’D)

One of the cool things about your
school being built in the south in
the 60s is that the cafeteria looks
like a southern 60s diner.

EXT. Midpoint High / Senior Circle - OVERHEAD ー 11:26 AM

WE CUT OVERHEAD INTO A SHOT OF A SENIOR CIRCLE;
THERE’S A CEMENT CIRCLE WITH AN X CROSSED BETWEEN THE
MIDDLE OF IT.

CASS (V.O.) (CONT’D)

On the other hand, the negative is
having your school structured after
the confederates.

INT. Midpoint High / Cafeteria ー 11:25 AM

WE CUT BACK INTO THE CAFETERIA. WE SEE CASS SITTING ON
A STOOL IN FRONT OF A TALL AND LONG TABLE WITH A
BOTTOM METAL DIVIDER AND TOP GLASS DIVER SPLITTING IT
FROM THE OTHER HALF OF THE TABLE. WE SEE ZACHARIAH AND
LIAM SITTING BESIDE CASS.

LIAM
But don’t you think it would turn
into green goblin mode?

ZACHARIAH
I’m sure it would be just like every
other body part.

CASS
What the hell?
 CASS (CONT’D)
IS WRONG WITH YOU?

ZACHARIAH
What would you rather us talk about?

WE PAN AND SEE ANNABELLE WALK THROUGH THE SIDE DOOR

AND HEAR UPBEAT ROCK MUSIC PLAY. WE LOOK OVER
ANNABELLE IN SLOW MOTION AS SHE FLIPS HER HAIR BACK.
WE PAN OVER HER FACE, AND PAN DOWN HER ENTIRE
APPEARANCE, WE ZOOM OUT AND BACK IN TO PAN BACK UP.

WE SEE CASS STARING AS WE BUILD SPEED BACK UP TO

REALTIME. WE ZOOM OUT AND PAN TO A SIDE SHOT. WE SEE
ANNABELLE WALK UP TO CASS.

LIAM
Maybe that?

ANNABELLE
Are you staring at me?

CASS
What?

CASS (CONT’D)
No.

ANNABELLE
You have a crush on me. I know it,
and so does everyone else.

FADE IN MUSIC: UPBEAT ROMANTIC

WE SEE ANNABELLE LEAN IN, AND CASS FOLLOWS SUIT. THEY

MAKE OUT. IT SEEMS A BIT DRAMATICALLY COMEDIC AFTER A
FEW SECONDS.

ZACHARIAH
(YELLING) CASS!

CUT MUSIC: UPBEAT ROMANTIC

SFX: RECORD SCRATCH
CASS TURNS TO LOOK AT DOMINIK. HE TURNS BACK TO WHERE
ANNABELLE WAS STANDING AND SHE IS NO LONGER THERE.

CASS (VO)
(EXPRESSIVE)DAMN IT!

CASS (VO) (CONT’D)

I

CASS (VO) (CONT’D)

Hate

CASS (VO) (CONT’D)

Daydreaming

INT. Midpoint High / Mrs.Maas’s Classroom ー 11:55 AM

WE CUT BACK TO MRS. MAAS’ BIOLOGY CLASSROOM.

CASS (V.O.)
Back to Biology of course! Usually I
was the first person back to class
after lunch

CASS (V.O.) (CONT’D)

Well... Other than Sofia

WE SEE SOFIA, A TALL, PALE WHITE GIRL, WITH LIGHT

BROWN HAIR AND GREEN EYES. SHE IS IN THE DESK TO THE
RIGHT OF CASS. CARA MAAS - A WOMAN IN HER LATE 40S
WITH BLONDE HAIR AND BLUE EYES. MRS.MAAS SITS IN THE
FRONT OF THE ROOM. AFTER A FEW SECONDS OF LOOKING AT
HER COMPUTER SCREEN, MRS. MAAS GOES TO HER SUPPLY
CLOSET AFTER SITTING DOWN FOR A FEW SECONDS FOR OUR
OBSERVATION. WE SEE CASS LEANING OVER, LOOKING AT THE
PAPERS ON THE DESK TO HIS LEFT.

SOFIA
What are you doing?

WE SEE CASS BLUSH.

CASS
Nothing.
 SOFIA
Are you looking at Annabelle’s
handwriting?

CASS (V.O.)
And like a liar I said…

CASS
No.

SOFIA
Suuure. It’s kinda adorable.

CASS
What do you mean?

SOFIA
You have a crush on Annabelle

CASS
No I don’t.

SOFIA
Just like you didn’t have a crush on
Jenny in sixth grade?

CASS
You remember that?

SOFIA
I do.

WE SEE CASS LOOK AT THE DOOR AS THE HANDLE TURNS. IT’S

ANNABELLE COMING INTO THE ROOM. SOFIA SMILES AT CASS.
OTHER STUDENTS BEGIN ENTERING THE ROOM. LUNA SITS
BEHIND CASS. SOFIA NUDGES CASS - AS A SIGN TO JUST
TELL HER THAT HE LIKES HER.

CASS
(WHISPERED) What?
 SOFIA
(WHISPERED) Are you going to tell
her?

CASS
(WHISPERED) No.

SOFIA IS OBVIOUSLY DISAPPOINTED BY THE WAY SHE LOOKS

AT CASS. SHE KNEW HOW HE FELT AND THAT HE WAS HIDING
HIS FEELINGS. WE HEAR SOMBER MUSIC AS MRS. MAAS GOES
TO THE FRONT OF THE CLASS, AND AS WE WATCH CASS SPLIT
HIS ATTENTION BETWEEN HER TEACHING AND ANNABELLE
LEARNING. WE GO THROUGH A TIME LAPSE OF MRS. MAAS’
TEACHING, ANNABELLE’S HAPPY FACE WATCHING HER, CASS
WATCHING ANNABELLE WITH A LUSTFUL, AND HOPEFUL EMOTION
IN HIS FACE, AND FINALLY SOFIA, WITH A LONG FACE
WATCHING CASS. THE MUSIC FADES OUT, AS WE START TO SEE
THINGS IN REAL TIME. MRS. MAAS IS NO LONGER AT THE
BOARD, AND THE STUDENTS ARE DOING INDEPENDENT WORK.
THE STUDENTS ARE PRESUMABLY WORKING TOGETHER, AS SETH,
A SHORT WHITE BOY WITH SHORT BLACK HAIR AND BRACES
WATCHES SITS IN ANNABELLE’S ORIGINAL SEAT, PRESUMABLY
WORKING WITH THE PERSON TO HIS LEFT. THE MUSIC CUTS
OUT.

SETH
Do you like Annabelle?

WE SEE CASS’S FACE TURN RED AS HE SINKS DOWN INTO HIS

SEAT.
CASS
Maybe.

SETH
Ask her out!

CASS
Why? Did you talk to her?

SETH
Yes.

CASS
 What did she say?

SETH
She thinks that you like her.

CASS
I’m not listening to you - I don’t
forgive you for what you did to me.

WE SEE LUNA TURN AROUND QUICK.

LUNA
Wait. You like Annabelle?

WE SEE CASS BLUSH. HE’S VULNERABLE.

CASS
(QUIETLY, AND SHYLY) Yes.

LUNA
Wait. You like Annabelle?

EXT. Midpoint High ー 3:25 PM

WE HEAR A BELL FOR THE LAST TIME OF THE DAY - AND WE
CUT TO THE EXTERIOR OF THE SCHOOL, WHERE WE SEE CASS
WALKING OFF - PRESUMABLY GOING HOME.

EXT. Picket Sock Factory ー 3:25 PM

EVERYTHING GOES BLACK, AND WE SOMEHOW SEE FROM THE
PERSPECTIVE OF CASS, WALKING UP TO A DOOR. WE SEE A
SIGN THAT SAYS “PICKET SOCKS”, AND WE SEE PEOPLE WITH
SEWING MACHINES, PLASTIC, AND COTTON PROCESSING
MACHINES. WE SEE A BIT OF LIGHT FROM OUTSIDE SHINING
IN.

INT. Picket Sock Factory

WE CONTINUE TO SEE FROM THE PERSPECTIVE OF CASS, AS
SAD MUSIC PLAYS, AS WE SEE HIM WALK BY SEVERAL OF HIS
CO-WORKERS. STANDING BY A SEWING MACHINE IS KEL, A
SHORT GIRL WITH LONG BLACK HAIR AND GREEN EYES;
STANDING BY A RINSE MACHINE IS RESE, A WOMAN WITH LONG
BRIGHT BLONDE HAIR AND GREEN EYES; THEY WAVE; STANDING
BY THE BOARDING MACHINE, WE SEE, JAKE, A PALE WHITE
MAN WITH BLACK HAIR AND BROWN EYES; STANDING BY THE
PACKAGING MACHINE, WE SEE, FRANCIS, A BLACK MAN WITH
SHORT DREADED HAIR AND BROWN EYES; WE SEE A WOMAN
TALKING TO FRANCIS, RYAN, A WHITE WOMAN WITH LONG
BLONDE HAIR AND BROWN EYES. RYAN WAVES AS THE MUSIC
FADES OUT.

RYAN
Hey, I think Robert wanted to talk to
you. He’s in the office with Pamela.

WE SEE A ROOM TO THE LEFT OF RYAN AS THE CAMERA TURNS.

CASS WALKS INSIDE. AS WE WATCH HIM WALK IN, WE SEE
PAMELA GAIL PICKET, A WOMAN IN HER LATE 60S, WITH
BLONDE HAIR, AND BROWN EYES. WE ALSO SEE HER HUSBAND,
ROBERT PICKETT, WHO IS BALD WITH A LITTLE WHITE HAIR
AROUND THE EDGES OF HIS HEAD AND BROWN EYES. THEY ARE
LOOKING AT A SCREEN, BUT WE HEAR A CREAK AS CASS
ENTERS, AND WE SEE THEM TURN AROUND.

CASS (V.O.)
My maternal grandparents, and the
only ones I ever knew, Pamela Gail
Picket, and Robert Pickett. These
sock factory owners are well known in
Midpoint Americana.

PAMELA
Hey honey, how was school?

CASS
It was good.

ROBERT
Hey. We have a bunch of socks that’ve
been dried, and steamed and we’re
ready to get them to Daleville
tomorrow.

PAMELA
Your grandfather told me to promise
fifty boxes.

ROBERT
 I actually said fifteen. I know
Francis is behind, and while we have
enough there’s no way we can get
fifty boxes out to Daleville without
you and Ryan helping him.

PAMELA
Ryan came in to help out, but I told
her to go in two hours, so you’re
going to close up the shop.

ROBERT
I’ll be here to get the socks at four
thirty. I might be able to run
another batch tomorrow if needed.

ROBERT (CONT’D)
We got twenty sock boxes, plus
whatever else we can try to get done
to get more to Daleville. I'll
explain the situation in the morning
and try to get us more time. We have
to get fifteen to Ferhay in two days.
You're not going to get there but
that’s what we have looking ahead.

CASS
Okay. Got it. I’ll try to get started
on that.

CASS WALKS OUT OF THE OFFICE, AND BACK INTO THE

FACTORY FACILITY. HE WALKS UP TO FRANCIS.

CASS
Please don’t disappear and take
breaks, I’ll be back in a few
minutes. Ryan is going home in an
hour, and everyone’s going to work on
Ferhay. We’re going to get started on
Daleville. I’m going to have it all
done tonight.
WE SEE FRANCIS LOOK OVER AT CASS, DISPLEASED. WE SEE
CASS WALK OVER TO JAKE, RESE AND KEL WHO ARE ALL
STANDING IN A GROUP. RYAN WALKS UP AFTER CASS.

CASS (CONT’D)
Jake, Rese, and Kel; I want you guys
to get thirty more boxes of socks
sewed, washed, dried, and boarded
before 8:30, when you all get to
leave. Francis and I will be working
on getting fifty boxes packaged for a
trip to Daleville tomorrow. Ryan will
be helping me and Francis for another
hour. She came in on her day off, so
she gets to leave early. Thank you,
your help is appreciated by the way.
Let’s get going!

WE SEE EVERYONE’S FACE AS THEY ALL (INCLUDING

FRANCIS), LOOK OPTIMISTIC.

WE SEE THE CAMERA ZOOM ONTO THE DIGITAL CLOCK ON THE

WALL, AND SEE THE TIME MOVE FAST. THE CAMERA PANS OUT
ONCE WE SEE THE CLOCK HIT 9PM. EVERYTHING IS SLOWED
BACK DOWN, AS WE JUST SEE FRANCIS AND CASS. WE CAN
OBSERVE A LOT OF BOXES. THERE ARE 47 BOXES. WE ALSO
SEE A STACK OF ROUGHLY TWO-THOUSAND SOCKS BY THE
BOARDING MACHINE. WE SEE FRANCIS TAPE A BOX TOGETHER.
CASS JUST FINISHED UP BOARDING MORE SOCKS. WE SEE CASS
WATCH FRANCIS.

CASS (CONT’D)
Go home Francis. I’m going to stuff
the rest of these into boxes, and
call it a night. We’ve got
two-thousand plus socks left and
45-ish boxes. That’s 23 boxes worth,
which should get us through this
order and future boxes.

WE SEE THE CAMERA ZOOM ONTO THE DIGITAL CLOCK ON THE

WALL AGAIN, THE SCREEN FADES OUT AND WE SEE THAT IT IS
NOW 2:03 A.M.
THE CAMERA PANS OUT AND WE SEE CASS LOOK UP AT THE
CLOCK. THERE ARE ONE-HUNDRED NINETY FIVE BOXES PILED
UP BESIDE CASS.

CASS (V.O.)
Almost two hundred boxes were ready
to go. This meant that we now had no
more to fulfill for the two recent
orders, and we were now ahead. I just
wondered what I’d walk into tomorrow.

WE SEE CASS WALK OUTSIDE OF THE BUILDING

EXT. Midpoint Americana ー LATE NIGHT

SFX: THE SOUND OF RAIN

WE WATCH CASS WALK DOWN THE CITY STREET. IT IS DARK

AND RAINY. AS CASS PASSES, WE HEAR SEVERAL VOICES FROM
INSIDE NEARBY HOUSES.

Man #1
(Yelling) Shut the hell up you dumb
bitch!

Woman #1
(Yelling) You asshole!

WE HEAR THE SOUND OF SOMEONE HITTING THE GROUND AS

CASS CONTINUES WALKING DOWN THE STREET.

CASS PASSES TWO SHADOWY MEN, AS SOMETHING SHADY IS

OBVIOUSLY GOING ON.

Man #2
Where’s the goods?

Man #3
Here you go.

CASS (V.O.)
These were only two of the things you
would commonly see on the street.
Domestic violence and drugs. Midpoint
was a hotbed for both of those.
INT. CASS’S HOUSE
CASS ENTERS THE DOOR TO HIS HOUSE AS WE SEE AN AD ON
THE TELEVISION - WHICH IS THE ONLY LIGHT WE SEE.

CASS (V.O.)
As always. It was the news - that’s
all she watched.

CASS YAWNS. WE SEE THE COUCH FROM THE BEGINNING OF THE

DAY, AS CASS GOES OVER TO IT AND LAYS DOWN. CASS
THROWS A COVER OVER HIMSELF AND TOSSES HIS CLOTHES
OVER THE TOP OF THE COVER, PRESUMABLY TAKING HIS
CLOTHES OFF. THE CAMERA FADES OUT.

WE HEAR THE TV GO OFF WITH BREAKING NEWS. CASS WAKES

UP FROM THE JINGLE; IT LOOKS LIKE HE GOT LESS THAN TWO
HOURS OF SLEEP. HE PROBABLY DID ONLY GET TWO HOURS OF
SLEEP.
CASS
What is it this morning?

CASS’S MOM (VOICE ONLY)

Bombings in Bulgaria.

CASS
Really? Already?

CASS’S MOM (VOICE ONLY)

The United States might get involved.

CASS
Shit. I hope they figure this out
soon.

CASS’S MOM (VOICE ONLY)

Me too! I don’t want this to get any
more sexual.

CASS
What?
 CASS’S MOM (VOICE ONLY)
The Meaty Pastor said-

CASS
The Prime Minister?

CASS’S MOM (VOICE ONLY)

Whatever… he said that they’re
bringing in the Aids. I don’t know in
what world that militaries of other
countries should be having sex.

CASS
Mom. They’re talking about bringing
in help.

CASS’S MOM (VOICE ONLY)

They are going to have sex with other
militaries?

CASS
That’s not what that means.

CASS’S MOM (VOICE ONLY)

Tell me what else that could mean
Joshua. They’re making love, and not
being safe. That’s why you need
protection.

CASS
No mom. There is not a religious man
controlling meat in a country, and
there aren’t countries that are
making love with each other. This is
absolutely ridiculous.

CASS’S MOM (VOICE ONLY)

That’s what I’m saying. It’s
ridiculous, and hard to believe. No
religious man - even if he’s
controlling meat - should be having
sex before marraige. I don’t care how
tender his meat is.
 CASS
(Laughing)That’s. Not. Nevermind.
I’ve got to get ready for school.

We see the camera turn to the TV where an ad is

playing for erectile dysfunction pills.

CASS’S MOM (VOICE ONLY)

Now the meaty man’s meat isn’t tender
enough.

CASS
That’s not who that is, or who that
is for.

We look over to see Cass walk over to cut off the

television, he now has a pair of jeans, and shoes on.
He is putting on a shirt. He turns off the television
and walks to his mom. He kisses her on the forehead.

CASS (V.O.)
I always turned off the T.V. when she
got confused. I don’t know what she
believed, why she believed it, and
had no clue how anything was
contributing to her condition.

EXT. MIDPOINT HIGH - MORNING TIME

WE SEE CASS AND HIS FRIENDS CROWDED, TALKING ONCE
AGAIN. THE CAMERA GOES BLACK.

INT. MIDPOINT HIGH - VARIOUS CLASSROOMS

WE SEE MS. PACKTON WHILE HEARING A BELL RING, THEN WE
SEE MR. MCCAULLY WHILE HEARING A BELL RING, AND
FINALLY MS. MASS AS WE HEAR THE FINAL BELL OF THE DAY.

WE CUT TO CASS WALKING OUTSIDE. LIAM WALKS UP.

LIAM
Why haven’t you asked out Annabelle
yet?

CASS
 (Ranting) Because. I don’t want to.
I’m not into the whole dating thing -
because I’d have to share my life
with someone, and that’s something I
don’t do. I also don’t do the whole
popularity thing either, because it
is stupid- and so is this
conversation by the way. Everyone
knows how I feel, so I don’t know why
you’re asking.

LIAM
Damn. Okay.
WE HEAR SLOW ROCK MUSIC AS WE WATCH CASS WALK TO HIS
GRANDPARENTS’S FACTORY AGAIN.

INT. Picket Sock Factory - MANAGER’S OFFICE

WE SEE CASS BARREL THROUGH EVERYONE AS HE ENTERS INTO
THE MANAGER’S OFFICE AND SITS DOWN. NO ONE ELSE IS IN
THE OFFICE. CASS STARTS CLICKING AND TYPING ON THE
COMPUTER. WE CUT TO SEE THE COMPUTER. WE SEE AN EMAIL
FROM HOSIER FACTORIES. THE SUBJECT READS “SUPERVISOR
OFFER”. CASS LOOKS INTRIGUED AND READS THE EMAIL; IT
READS “HELLO, WE ARE INTERESTED IN YOU BEING AN
AFTERNOON SUPERVISOR FOR TWENTY DOLLARS AN HOUR. CALL
US IF YOU’RE INTERESTED. (336) 125 1128. WE SEE CASS
LOOK AT IT FOR A MINUTE - HE’S CONTEMPLATING. HE
THINKS FOR ANOTHER MINUTE AND THEN DELETES THE EMAIL.
HE THEN LOOKS AT ALL OF HIS EMAILS. HE HAS DOZENS OF
OFFERS. HE DELETES THEM.

INT. Picket Sock Factory - BATHROOM

WE SEE THE INSIDE OF A BATHROOM. CASS IS WASHING HIS
FACE. WE LOOK OVER HIS SCARRED, AND FRECKLED FACE.
CASS LOOKS AT HIMSELF IN THE MIRROR FOR A WHILE, WHILE
OUR VISION OF HIM GETS BLURRY. HE’S STILL LOOKING AT
HIS FACE AS WE HEAR MORE SAD MUSIC. WE HEAR NOTHING
BUT THE FAUCETTE TURNING OFF. WE SEE CASS WALK OUT OF
THE BATHROOM.

CASS (V.O.)
Self reflection is great and all -
but I needed to get to work.

INT. Picket Sock Factory - LATE AFTERNOON

WE SEE CASS STROLL THROUGH THE FACTORY FACILITY. CASS
WALKS AROUND AND SEEMS TO CHECK ON EVERYONE’S
PROGRESS. CASS WALKS PAST RESE, WHO IS BOARDING SOCKS.
CASS THEN WALKS OVER TO JAKE WHO IS AT THE PACKAGING
MACHINE.
CASS
How fast is packing going today?

JAKE
Pretty slow to be honest.

CASS
Go home. I am going to take care of
packing if it gets backed up.

JAKE
Thanks Cass. Are we still on for
Tuesday afternoon?

CASS
I think so. I’ll give you a heads up
tomorrow if not.

CASS (VO)
I was one hundred percent going to
bail, but I could at least let Jake
hold on to a bit of hope.

JAKE
Awesome! Have a good night!

CASS
You too!

WE SEE CASS WALK TOWARDS THE MANAGER’S OFFICE.

INT. Picket Sock Factory - MANAGER’S OFFICE - SECONDS LATER

WE SEE RYAN SITTING IN THE OFFICE AS CASS ENTERS. CASS
HAS A MASSIVE GRIN ON HIS FACE.

CASS
Do you have everything you need
tonight?
 RYAN
Yeah. Anything specific you want to
give me notes for, for tonight or
tomorrow morning?

WE SEE CASS LOOK AT RYAN FOR 30 SECONDS. HE THEN LOOKS

UP AS HE THINKS. CASS STANDS AWKWARDLY AND RESPONDS
WITH AWKWARD BODY LANGUAGE. RYAN IS LOOKING AT CASS
VERY ADMIRABLY, BUT WITH AWKWARD BODY LANGUAGE.

CASS
Not that I can think of.

BEAT.

CASS (CONT’D)
Just make sure Francis isn’t
disappearing or flirting too much.

RYAN LAUGHS.

RYAN
I’ll try. He’s very sneaky.

BEAT. CASS AND RYAN STAY IN SILENCE FOR ABOUT A MINUTE

AND A HALF.

CASS
Cool.

CASS (V.O.)
I wish we would just -

WE CUT TO RYAN AND CASS MAKING OUT.

ACT I ENDS / ACT II BEGINS

BEAT.

WE CUT BACK TO THEM IN THEIR ORIGINAL SPOTS.

BEAT.
CASS DOES AN AWKWARD “FINGER GUNS” WITH HIS HANDS AND
SLOWLY BACKS OUT OF THE ROOM.

BEAT.

ONCE CASS HAS LEFT THE ROOM, WE FOCUS ON RYAN.

BEAT.

RYAN LAUGHS AS WE CUT AWAY.

INT. CASS’S HOUSE - NIGHT

CASS’S MOM IS SITTING ON THE COUCH. CASS WALKS THROUGH
THE FRONT DOOR WITH TWO PAPER BAGS FROM A RESTAURANT.

CASS
Hey mom. I got Skids.

CASS’S MOM (VOCAL)

Good. I’m hungry.

WE CUT TO CASS EATING.

CASS’S MOM (VOCAL) (CONT’D)

You know - I met your dad while
working at Skids as a teenager.

CASS
I haven’t - heard this story.

CASS LOOKS INTERESTED.

CASS’S MOM (VOCAL) (CONT’D)

It was a while ago.

BEAT.

CASS’S MOM (VOCAL) (CONT’D)

Where’d you get our food?

CASS
Skids, Mom. Skids.
 CASS’S MOM (VOCAL)
You know - I met your dad while
working at Skids as a teenager.

CASS
I know.

CASS’S MOM (VOCAL)

Did I tell you that?

CASS
Yep.

CASS (V.O.)
If I would’ve asked for the story she
either wouldn’t have been able to
tell me or she would’ve gone on about
something else. It wasn’t worth
trying. I gave up on having a
conversation with her five years ago.

CASS’S MOM (VOCAL)

Oh. I meant to tell you… Bulgaria is
at war with Bucket Rest!

CASS
(WITH FAKE ENTHUSIASM)Oh! Wow!

WE SEE CASS EATING, AND THINKING ABOUT SOMETHING.

CASS (V.O.)
I don’t know why, but right at this
moment I was vulnerable. I began to
reflect on life. My life sucked. Why
was I so content with what I had
going on?

BEAT.

CASS (V.O.)
Right now, the entire world has every
reason not to like me. I am a
 desperate, cold-hearted teen boy who
lives in poverty. My story (and the
story of Midpoint) gets better, but I
wanted so much, and was so greedy.

WE CUT TO BLACK AND HEAR AN ALARM GOING OFF.

CASS’ MOM
Good Morning Josh. Where are you
going?

CASS
I have to go to the factory for a few
hours.

CASS (CONT’D)
I have to make sure everything went
well for Ryan.

EXT. Midpoint Americana ー EARLY MORNING

WE WATCH CASS WALK DOWN THE CITY STREET. IT IS DARK AND
QUIET. WE HEAR NOTHING, THERE ARE NO CARS. WE WATCH CASS
WALK UP THE ROAD

A FEW MOMENTS PASS.

INT. Picket Sock Factory

WE WATCH AS CASS WALKS INTO THE FACTORY, PASSING ALL OF HIS
CO-WORKERS, EXCEPT RYAN. CASS HAS A COFFEE IN HIS HAND.

BEAT.

CASS WALKS INTO THE MANAGER’S OFFICE.

INT. Picket Sock Factory

WE CUT INTO THE MANAGER’S OFFICE, WHERE WE CASS WALK IN, AND
RYAN SITTING. CASS IS CONCEALING THE COFFEE.

CASS
Good Morning!

RYAN
Good Morning!
 CASS
I brought you something.

CASS GIVES RYAN THE COFFEE.

RYAN
(EXCITEDLY)Thank you, Cass!

RYAN HUGS CASS.

WE SEE CASS BLUSH.

CASS
You’re welcome.

ROBERT AND PAMELA WALK THROUGH THE DOOR.

RYAN
(SURPRISED)Hey guys!

PAMELA
Good Morning!

CASS
Good Morning Grandma!

ROBERT
I figured I’d come in and check on
things.

CASS
(SCOLDING) But you’re supposed to be
on vacation.

PAMELA
You guys know how Robert is.

ROBERT
There’s no such thing as a vacation
for business owners, just a few
unscheduled days.

WE SEE CASS ROLL HIS EYES.

 PAMELA
Robert, why don’t you go ahead and
send them home.

ROBERT
Yeah. You guys are free to go
whenever.

WE SEE RYAN STAND UP AND GRAB HER THINGS.

CASS SITS DOWN IN ONE OF THE CHAIRS AT THE COMPUTER. RYAN

NOTICES HIM SITTING DOWN.

RYAN
You coming, Cass?

CASS
Uh, yeah. One sec. Need a moment real
quick from walking up.

RYAN
Okay. Well, I’ll take you home if you
want.

CASS
Yeah. That’ll be cool.

ACT II ENDS / ACT III BEGINS

INT. RYAN’S CAR - MOMENTS LATER

WE SEE RYAN AND CASS SHUT THEIR DOORS AND PUT THEIR
SEATBELTS ON.

RYAN STARTS THE CAR AND BEGINS DRIVING.

RYAN
I can’t wait to finally get to my new
apartment.

CASS
When did you move out of your
parent’s place?
 RYAN
Last week I found a place. It’s
really nice but a bit too expensive.
I’m hoping to get a roommate to try
to bring the costs down a bit.

CASS
That’s awesome. I mean it sucks,
because there’s no way my grandpa’s
paying more. I need more too, and
it’s not happening.

RYAN
(IN DISBELIEF) He won’t even give you
any more?

CASS
No.

BEAT.

CASS (CONT’D)
I even have offers from other places
but I can’t leave my grandparents
like this.

BEAT.

CASS (CONT’D)
There’s no guarantee I’d get to keep
doing school and everything either.

BEAT.

CASS (CONT’D)
I’ve been dragging myself through
school, and I’m almost done.

RYAN
How has that been going?
 CASS
Pretty bad to be honest.

RYAN
How bad?

CASS
I’m failing all three of my classes,
and I keep falling asleep during
them.

RYAN
I mean…

RYAN (CONT’D)
It makes sense. You’ve been working a
lot, providing for you and your mom,
and going to school. I’d be sleeping
during school if that were the case.
You need a bit of relief.

BEAT.

RYAN (CONT’D)
Have you tried asking Robert and Pam
for help?

CASS
No, but only because he’d want to put
my mother into an assisted living
place.

BEAT.

CASS (CONT’D)
He had a falling out with my mom a
few years ago. I’ve been thinking
about reaching out to my dad though.

RYAN
 How long has it been?

CASS
Too long.

RYAN
I’m sure you could Google him. If you
give me his name I can probably look
him up for you.

CASS
That’d be great.

INT. Cass’s House ー Early Morning

WE CROSSFADE TO THE MOLD INFESTED BRICK BUILDING WHERE
CASS IS LYING FACE UP ON HIS COUCH. WE HEAR THE SOUND
OF CABLE NEWS.

CASS
Hey, mom, remember that I’m out of
school for spring break next week.

CASS’S MOM (VOCAL)

Okay. Are you going to work?

CASS
I’m off of work on Monday and
Tuesday, but I might go in if I need
to.

CASS’S MOM (VOCAL)

Okay. Do you have to work tonight?

CASS
No. Grandpa sent me home because he
decided to come in today, but I’ll
probably go in tomorrow for a few
hours.

INT. Picket Sock Factory ー THE NEXT DAY

WE CROSSFADE INTO THE PICKET SOCK FACTORY. WE SEE JAKE
WORKING ON A MACHINE AND CASS IS WALKING UP TO HIM.
 CASS
Okay. We’re on for Tuesday.

JAKE
Awesome!

CASS
I have to cut some hours, so I need
you to finish up and go home, I’ll
have Francis finish up.

WE SEE CASS WALK AWAY.

INT. Picket Sock Factory - MANAGER’S OFFICE - HOURS LATER

WE CROSSFADE TO SEE CASS SITTING AT THE COMPUTER
WORKING ON A FABRIC ORDER, AND TYPING AN EMAIL.

A FEW MOMENTS PASS.

WE SEE CASS LOOK AT THE CLOCK.

CASS SLOWLY GETS UP

BEAT.

CASS WALKS OVER TO THE DOOR, OPENS IT, AND REACHES

OVER TO TURN OFF THE LIGHTS.

CASS WALKS OUTSIDE OF THE MANAGER’S OFFICE INTO THE

FACTORY.

INT. Picket Sock Factory

WE LOOK OVER TO SEE CASS WALKING OVER TO THE MACHINE
JAKE AND FRANCIS WERE WORKING ON. NO ONE IS AT THE
MACHINE.

WE SEE CASS EXAMINE THE MACHINE.

CASS
Ugh. Francis was supposed to clean
before he left.
WE SEE CASS GRAB AN AIR HOSE FROM THE SIDE OF THE
MACHINE.
CASS EXAMINES THE MACHINE AGAIN.

BEAT.

CASS REACHES INSIDE OF THE MACHINE.

A BLADE BEGINS TO MOVE FROM THE TOP, BUT HE DOES NOT

SEE THE BLADE.

THE SCREEN GOES BLACK.

SILENCE.

BEAT.

CASS
(EXCLAIMED)OW!

CASS (V.O.) (CONT’D)

I thought Francis just forgot to turn
off the machine but it turns out he
was there, and came from around the
corner to see the bloody and gory
mess.

CASS (V.O.) (CONT’D)

Francis took me to the hospital,
because it was pretty brutal.

INT. Midpoint Regional Medical Center Emergency Room

WE SEE A WAITING ROOM WITH WHITE WALLS AND WOODEN
CHAIRS WITH BLUE CUSHIONS. CASS IS SITTING IN ONE OF
THE SEATS, WITH FRANCIS ACCOMPANYING HIM. WE SEE
FRANCIS TURN TOWARD CASS. CASS IS SERIOUSLY PISSED AND
HURT.

FRANCIS
Hey. I’m sorry.

CASS
I don’t want to hear it.
WE PAN TO THE CLOCK, AND IT’S AT 11 P.M. WE SEE THE
CLOCK QUICKLY MOVE TO 12 A.M. AS THE CAMERA PANS OUT
TO SEE THE DUO STILL THERE. WE PAN BACK IN TO WATCH
THE CLOCK MOVE TO 1:47 A.M. WE PAN OUT, CASS IS
WATCHING THE TV ON THE WALL, AND FRANCIS IS ASLEEP. WE
CUT TO A WOODEN DOOR ON THE SIDE OF THE ROOM.

NURSE
(Loudly Broadcasting to the room)
Joshua?

WE SEE CASS GET UP TO FOLLOW HER. WE WATCH AS HE, AND

THE NURSE WALK TO A HOSPITAL
THE ROOM AND SITS ON THE BED
SILENCE AS CASS CONTINUES TO
THINGS IN THE ROOM. WE SEE A
ROOM.
ROOM. CASS LOOKS AROUND
IN THE ROOM. WE HEAR
LOOK AROUND AT THE LITTLE
DOCTOR WALK INTO THE

DOCTOR
Mr. Stephenson. It’s nice to see you.
I am reading that you got cut by a
moving blade.

CASS
Yep. That’s right.

DOCTOR
Well, that sounds like it hurts.

CASS
(Rushed, and with a Hostile Tone) It
does. Can you just give me medicine?
I already know how to clean it and
make sure there’s no infection.

DOCTOR
Okay Cass. Calm down there. Do you
have any allergies?

CASS
No Allergies, No Addiction History,
or anything like that. Just give me
something, and don’t make me wait any
longer.
 DOCTOR
Yeah. I’ve already written you a
prescription for Fentanyl, and I will
be sending it to the pharmacy on
file, which is Ashe Drug Store on
Trogle Street.

CASS
Sounds Good!

DOCTOR
Same thing with the Xylocaine cream I
am prescribing.

CASS
Sounds Good!

DOCTOR
Alright, I’ve sent it already, so it
should be ready soon.

WE SEE CASS WALK OUTSIDE OF THE ROOM, AND THEN SEE HIM
BACK IN THE WAITING ROOM. HE WALKS TOWARD FRANCIS AND
TAPS HIM. FRANCIS GETS UP. WE SEE THEM WALK OUTSIDE OF
THE HOSPITAL.

EXT. ASHE DRUG STORE

WE HEAR THE HUM OF ELECTRICITY, AS WE PAN UP INTO THE
SKY, WE SEE A BRICK BUILDING WITH A METAL DOOR ON THE
OUTSIDE. THE DOOR (PRESUMABLY) HAS GUNSHOT HOLES. A
SIGN ABOVE THE DOOR SAYS ASHE DRUG STORE. WE ALSO SEE
A NEON SIGN THAT SAYS OPEN 24/7. WE CROSSFADE OUT.

INT. ASHE DRUG STORE

We continue to hear the hum of electricity, as we see
Cass inside a drug store, with white walls and a
marble counter. We see the drugs behind the counter as
Cass walks up to the counter. We see a black haired
brown girl pharmacist with light blue eyes.

CASS
 I need to pick up a prescription for
Stephanson

PHARMACIST
Fentanyl?

CASS
Yeah, and some cream too.

WE SEE THE PHARMACIST WALK TO A SHELF. WE STILL SEE

HER, BUT WE HEAR AWKWARDNESS.

CASS (CONT’D)
How’d you specifically know what my
prescription was?

PHARMACIST
We have to keep a list of people who
are doing dangerous drugs.

WE SEE THE PHARMACIST WALK BACK WITH A WHITE BAG IN

HER HANDS. WE SEE IT HAS A WHITE LABEL WITH BLACK TEXT
ON IT. SHE PULLS OUT A RED BAG FROM UNDER THE COUNTER.
WE SEE THE BAG HAS AN ORANGE LABEL WITH RED TEXT ON
IT.

CASS
Dangerous?

PHARMACIST
The addictive stuff. Serious life
ruining stuff. The hard stuff.

CASS
Is it that bad?

PHARMACIST
Yep.

CASS
That’s why the bag looks Hulk Hogan
Themed?

PHARMACIST
 Who?

CASS
Nevermind.

EXT. Midpoint Americana - Night

We crossfade out. We see Cass walking down Midpoint Americana Streets
in a time lapse as we hear Jimi Hindrix’s Purple Haze.

CASS (V.O.)
What a night. I didn’t believe the
pharmacist when she said that this
shit would be addictive, and I
definitely didn’t believe the Hulk
Hogan looking packaging. I was not
too happy about the cut, but at this
point I couldn’t feel it. I felt like
I was in an episode of Euphoria.
Maybe Annabelle would be my Jules -
maybe she’d be my Rue - because she
sure looks as good as Zendaya. Maybe
this is the drugs speaking - but
whatever I guess. This stuff numbed
me to everything, but maybe couldn’t
numb everything that was coming. Of
course Liam still had his song he was
making - which seemingly would get
us- or maybe me more specifically -
in trouble on Monday - And by trouble
I mean legitimately making out with
Annabelle, and screwing everything up
later with the drugs. Hell, I didn’t
expect childhood trauma to come up,
but it did - but maybe that’d be what
truly fucked me up with the drugs.
Maybe it was the school shooting on
Friday. I guess it was a combination
of all of these things soon to come.

ACT III ENDS

EPISODE ENDS