THE NINES
Written by
John August
FINAL SCRIPT
November 2006
READER NOTE
One thing that will be obvious to viewers, but not
to readers, is that the nine principal parts in this
film are played by only three actors:
1) Gary, Gavin, Gabriel
2) Sarah, Susan, Sierra
3) Margaret, Melissa, Mary
It'll make more sense in context. Promise.
100 100
A MAN'S HAND
unwinds a short length of green string. We're extremely
close, with a shallow, blurry focus. It's like the first
moments after a dream -- just fragments.
Scissors cut the string. The man wraps it around his left
wrist. A loop. A bracelet.
We see the man's teeth, the edge of his chin as he pulls the
knot tight.
His fingers pull against the string. Solid. It won't break
easily.
FADE OUT.
101 101
PITCH BLACK
There's no music. No sound at all, really, except for some
distant birds CHIRPING.
Then a SQUEAK. A SQUEAL as rusty springs engage.
A GARAGE DOOR LIFTS,
revealing GARY BANKS in silhouette. He's 30, effortlessly
fit, with movie-star good looks. (Although for now, he's
merely a TV star.)
Like most Laurel Canyon garages, this one has never held a
car. Instead, it's the resting place for all the detritus of
bachelordom: shitty Ikea furniture, a drum set, a styrofoam
snowman, and the Harley he always meant to get running.
Gary spots what he was looking for.
CUT TO:
102 102
EXT. BACK PATIO / LAUREL CANYON HOUSE - MAGIC HOUR (DAWN)
Gary drags a beaten Weber kettle. One of its wheels is
broken, SCRAPING against the deck.
WIDER, we see Gary's house has an incredible view of the
city. He couldn't fucking care less.
He yanks the circular grill out of the Weber and throws it
down the canyon.
2.
He empties a garbage bag into the barbecue: mostly women's
clothes, but also some stuffed animals and photos still in
their frames. There's too much to fit, so he tries stomping
it down with a flip-flopped foot.
He cracks open a container of lighter fluid and begins
drenching everything inside. He sprays until the container
is WHEEZING air. He shakes it, making sure it's really
empty.
Then he cracks open a new container and keeps spraying. And
spraying.
We follow the dripping fluid as it runs across a photo of
Gary and a BLONDE WOMAN. Her eyes are scratched out, making
her unrecognizable.
Under the grill, lighter fluid is dripping in a stream,
soaking into the wooden deck.
Finally satisfied, Gary throws the lighter fluid aside. He
takes five steps back and pulls a box of matches from his
pocket.
103 103
EXTREMELY CLOSE as the match SCRAPES, erupting in flames.
On Gary's left wrist, we see a green string bracelet.
MUSIC STARTS: a pounding, hypnotic track that will carry us
through these MAIN TITLES.
In EPIC SLOW-MOTION, we follow the burning match as it sails
through the air, tumbling end-over-end.
Just as it's about to reach its target, we...
CUT TO:
104 104
A DIGITAL METER
shoots to 100 miles per gallon. It's the display of Gary's
Prius. We are...
105 105
INT. THE PRIUS - DAY
Gary's at the wheel, driving, as he finishes a fifth of
bourbon. JUMP CUTS take us out of Hollywood, heading
downtown. Our TRAVELLING MUSIC is serving us well.
Gary stops at a light. He looks left and sees himself on the
side of a bus. It's an ad for CRIME LAB ("This fall, Mondays
are killer.") Gary watches himself drive away.
CUT TO:
3.
106 Further along, Gary spots two THUGGY TEENAGERS sitting on a 106
low wall. He calls out to them:
GARY
Hey! Do you sell crack?
The boys look wary.
GARY (CONT'D)
It's cool. I'm only a cop on TV.
QUICK CUTS:
Money changes hands.
Gary holds a small ziplock bag -- and has no idea what to do
with its lumpy beige contents.
CUT TO:
107 107
HOLLYWOOD.
Gary pulls up to a curb. He's now on Sunset Blvd. A
matronly black streetwalker (OCTAVIA, 35) approaches the
passenger window.
Gary holds up the little bag.
GARY
Is this crack?
She takes a closer look.
GARY (CONT'D)
Do you know how to do it?
CUT TO:
108 108
INT. SHITTY MOTEL ROOM - DAY
Gary and Octavia jump up and down on the bed, each trying to
bounce higher than the other, LAUGHING all the while.
Gary bounces so high that he THUNKS his head against the
ceiling. He crumples, falling off the bed. But he's still
laughing.
CUT TO:
109 109
LATER, Octavia is sleeping.
4.
110 110
INT. MOTEL BATHROOM - DAY
Gary takes a shower with his jeans on.
111 111
INT. MOTEL ROOM - CONTINUOUS
Toweling off, Gary looks at his body in the mirror. He
notices something odd. He tries to wake Octavia up, but
she's down for the count.
Looking around, he finds his cell phone. Dials 911. Pacing,
he tries to sober up while it rings. The far side answers.
GARY
Yes, hello. I'm having a medical
situation. Yes. Okay. I don't
have a belly button.
(explaining carefully)
I do not have a belly button where
I should, on my belly. And I'm
concerned, because I don't know if
that's...
He sits down on the edge of the bed.
GARY (CONT'D)
Can a person live without a belly
button? Because if you think about
it, you're born with one. So if
you don't have one, you're unborn
and it's really hazy whether you're
alive or not. I guess I'm
wondering: am I alive?
(a sudden thought)
Or what if I'm God?
A beat.
GARY (CONT'D)
No, no. I'm totally sober.
A beat.
GARY (CONT'D)
No, I don't think I need an
ambulance. I don't seem to be
dying any faster than usual. But I
should probably go to the hospital,
don't you think? Yeah, I should.
He hangs up.
CUT TO:
5.
112 112
INT. THE PRIUS - DAY
He's driving again, but most of his attention is focused on
trying to locate his missing navel.
He looks up in the rear-view mirror, where he sees two
A113 A113
VERSIONS OF HIMSELF
sitting in the back seat. All three Garys give each other
thumbs-up.
Driver-Gary looks out the driver-side window, where he sees
shoes and asphalt. Only now do we ROTATE to reveal we're
B113 B113
UPSIDE-DOWN.
Gary has rolled the car.
The music suddenly STOPS. We hear SIRENS approaching.
CUT TO BLACK.
113 113
TITLE OVER:
Part One:
THE PRISONER
FADE IN:
114 114
INT. COURTHOUSE PROCESSING AREA - DAY
MARGARET O'REILLY, 34, is speaking to herself.
MARGARET
La la la la la. Like you've never
done worse.
From a NEW ANGLE, we see she's using a cell phone earpiece.
MARGARET (CONT'D)
Okay, yes. He totalled a car. But
it was an environmentally friendly
car. Why doesn't that get
reported?
A beat.
MARGARET (CONT'D)
Please! He was heartbroken,
betrayed. You say you understand
but you don't. You can't. You're
like a big giant Vulcan.
6.
Noticing something to her right...
MARGARET (CONT'D)
He's coming. I'll call you later.
She hangs up, wrapping the earpiece around her phone. We
reveal
GARY
being escorted through glass doors by a polo-shirted PAROLE
OFFICER. Margaret moves to intercept them, offering a hand.
MARGARET (CONT'D)
Hi. Margaret. I work for Lola.
GARY
Gary.
MARGARET
I know.
(to the Parole Officer)
We need to go out the back.
CUT TO:
115 115
INT. BACK HALLWAY - DAY
Margaret leads the way. She's been here before.
GARY
Are there reporters out front?
MARGARET
A few. Not Hugh Grant level. More
like Robert Downey, Jr. when he
broke into that family's house and
slept in the kid's bed like
Goldilocks. "This bed is just
right." I handled episodes two
through four for Robert. This sort
of thing is my specialty.
GARY
What is?
MARGARET
Famous fuck-ups. Don't worry.
Mama's gonna take good care of you.
A phone RINGS.
CUT TO:
7.
116 116
INT. KITCHEN - DAY
A designer kitchen in Hancock Park -- spacious and kosher-
ready. The phone on the counter is RINGING.
PAROLE OFFICER
Answer it.
Gary picks it up.
GARY
Hello? Yes. Yes.
He looks to Margaret while the other end of the call talks at
length. Then, very deliberately...
GARY (CONT'D)
The weather in Toledo is rainy.
He says this like a sleeper agent repeating his trigger
phrase.
PAROLE OFFICER
Use your normal voice.
GARY
(to the phone)
Nine dogs ran through the field.
The koala sits in the tree.
The Parole Officer takes the phone from him, punching in a
series of numbers and jotting notes on his work sheet.
MARGARET
It's computer voice recognition.
The system can call you any time
day or night. If you don't answer
within five rings, the police come
and haul your ass off.
GARY
What if I'm not here?
Catching the officer's concerned look...
MARGARET
That's why it's called house
arrest. You stay inside your
house.
(to the officer)
He can take direction, I promise.
CUT TO:
8.
117 117
INT. MASTER BEDROOM - DAY
Margaret pulls open curtains, flooding the room with light.
Gary wanders, checking it all out.
MARGARET
Okay, just so it's said, this house
is flammable.
GARY
I didn't mean to burn down my
house.
MARGARET
Yeah, I didn't mean to eat my way
into a ten-year shame spiral, but I
did, and it's healthier to
acknowledge it.
(moving on)
This flammable house belongs to one
of Lola's other fabulous clients,
who is currently shooting a pilot
in Toronto.
GARY
Actor?
MARGARET
Writer. So for the next six weeks,
su casa es su casa. I say, feel
free to wear his clothes. He'll
probably get a sick thrill of out
it. The gays.
Noticing two crates...
GARY
He has dogs?
MARGARET
They're away at summer camp. Now,
try the bed.
He lies back on it, feeling it out.
GARY
It's fine.
MARGARET
Comfortable?
GARY
Sure.
She massages his besocked feet.
9.
MARGARET
Look, Gary, I know this has been
crazy and stressful. I want you to
feel safe. And comfortable.
GARY
I do.
MARGARET
I'm a fan of yours, you know. Your
number-one fan.
Gary looks over his toes at Margaret. From this angle, she
looks a bit like Kathy Bates from Misery.
MARGARET (CONT'D)
But if you fuck this up, I will
smash your ankles with a sledge
hammer.
A long beat.
MARGARET (CONT'D)
That wouldn't be comfortable for
either of us.
CUT TO:
118 118
INT. KITCHEN - DAY
Margaret boxes up the alcohol while Gary bounces a lime on
the island.
MARGARET
I'll be coming by twice a day to
check up on you. I'm the only
person who should be coming by. No
buddies, no pals, no heroin
dealers...
GARY
I don't do heroin.
MARGARET
Yeah, crack is classy. And I'm not
buying you porn. There's spray-per-
view on cable.
GARY
Good. I really wasn't concerned
about my career, my family or my
future. I just wanted to jack off.
Margaret is a little impressed by this show of backbone.
10.
MARGARET
Let me see your phone.
He hands over his cell phone. She drops it in the contraband
box.
GARY
C'mon! All my numbers are in that.
MARGARET
Dial ten digits at random. Whoever
answers will be better than the
people on this phone.
She picks up the liquor box, ready to go.
MARGARET (CONT'D)
You have my cell number. You have
delivery menus. You're fine.
Right?
GARY
I guess.
As she leaves, Margaret notices a long butane lighter by the
stove. She adds it to the box, just to be sure.
TIME CUT TO:
119 119
INT. HOUSE / VARIOUS - DAY
Gary paces around his new home, trying to get a feel for it.
He plays a few NOTES on the piano.
He looks up at the painting over the staircase: a cliff near
the ocean.
He opens random drawers in a Chinese herb cabinet, wondering
if there's anything hidden in one of the 46 slots. There
isn't.
He takes a long beat to consider three paintings in the
dining room, which show the same thing in three different
ways.
120 120
EXT. BACKYARD - SUMMER NIGHT
Gary swims laps, trying to exhaust himself.
He stands in the shallow end, listening to the quiet.
11.
121 121
INT. KITCHEN - SUMMER NIGHT
Wearing a fluffy white robe, he looks through the delivery
menus.
122 122
INT. FOYER / FRONT DOOR - SUMMER NIGHT
He takes a bag of food from a college-age DELIVERY GUY, who
seems to recognize him. Gary pays him, shuts the door.
As he's walking to the kitchen with the food, Gary looks back
and sees the Delivery Guy watching him from the front walk.
The guy is a little embarrassed, but Gary is pretty used to
being stared at.
123 123
INT. KITCHEN - SUMMER NIGHT
Gary unwraps the Thai food. Makes himself a plate.
He watches CRIME LAB on the plasma screen while eating
dinner.
GARY (O.S. TV DIALOGUE)
Once we get these samples back to
the Crime Lab, we'll know who the
real killer is.
124 124
INT. LIBRARY / TV ROOM - NIGHT
Gary scans the shelves, looking for something to read. There
are five times more books here than Gary has opened in his
lifetime.
He settles on a paperback of Voltaire's Candide.
He lies back on the couch, reading it.
He flips a few pages ahead to see if it gets more
interesting. A beat.
CUT TO:
125 125
GARY JACKING OFF
to soft-core pay-per-view. We're CLOSE ON Gary's straining
face, but we can hear the pleasured MOANS of the actresses as
they go down on each other.
Nearing climax, he looks for something to come on. He can't
find anything.
12.
126 126
INT. FOYER - NIGHT
His left hand cupped to hold the semen, he pads barefoot from
the TV room to the downstairs bathroom. We hear WATER
RUNNING as he washes his hands. Then it shuts off.
We hear a THUNK. Something hard was dropped on the wood
floor.
Gary hears it too.
He steps out of the bathroom, looks around. He takes a few
silent paces back in our direction, stopping just before he
reaches the two-story section of the foyer.
That's when he hears it: CLICK-CLICK-CLICK-CLICK on the
wooden floor. A JINGLE of metal.
We follow Gary's eyes up to the second-floor walkway. We can
hear the little FOOTSTEPS, toe nails CLICKING. Faint
PANTING. But there's no dog.
BACK ON Gary, increasingly unsettled. He's directly below
the walkway, and can't see up into it.
GARY
Is somebody there? Hello?
He CLAPS his hands twice. Listens.
Nothing.
He's about to venture a step forward when suddenly
THE PHONE RINGS.
He nearly jumps out of his skin. It RINGS two more times
before he ducks into the TV room to answer it.
GARY (CONT'D)
Hello?!
(relieved)
Yes. Yes.
He turns his back to the foyer, listening to the instructions
on the phone.
GARY (CONT'D)
Nine leopards run through the
jungle.
(listening)
I bought two cakes at the store.
His identity evidently confirmed, he hangs up. He looks back
into the foyer.
13.
GARY (PRE-LAP) (CONT'D)
The house is haunted. There's a
zeitgeist, or something.
127 127
EXT. UPSTAIRS DECK - DAY
Margaret's brought coffee and pastries from Susina.
MARGARET
Poltergeist, and no. Maybe they
were rats. L.A. is teaming with
rats. They live in the palm trees.
GARY
Sure. Maybe.
He's obviously not convinced.
MARGARET
Okay. You know I'm a licensed
psychotherapist.
GARY
Really?
MARGARET
No. I'm a publicist. My job is
what other people think of you, not
what you think of yourself. So
pull your shit together. I am
thisclose to getting Christine
Walsh to do your piece in Parade.
GARY
Parade? I fucking hate Parade.
MARGARET
Everyone hates Parade. But the
people who watch "Crime Lab," they
love their Marilyn Vos Savant.
Give them a woman of indeterminate
age who solves riddles and they are
in hee-haw heaven.
GARY
Okay.
MARGARET
One heartfelt act of contrition and
maybe the showrunner won't kill off
your character between seasons.
He nods. He gets it.
14.
MARGARET (CONT'D)
I swear to God, if you go batshit
on me...
GARY
I'm not crazy.
MARGARET
Exactly. Exactly.
CUT TO:
128 128
EXT. BACKYARD - DAY
Gary is lying in the sun, eyes shut. Suddenly, a golf ball
hits him on the head.
He sits up, perplexed. For a long moment, he has no idea
where the ball came from, until he hears a voice from beyond
the wall that separates the properties.
WOMAN'S VOICE
Sorry! Really sorry.
(A practiced ear notices a Canadian accent.)
WOMAN'S VOICE (CONT'D)
Over here. To your left.
(correcting)
Right. Sorry. Right.
He follows the voice to a gap in the hedges at the far corner
of the yard, finding SARAH GLEASON. Late 30's, fresh-
scrubbed and girlish, she looks more fragile than she really
is.
SARAH
I'm working on my putting, if you
can believe it.
Indeed, she's holding a putter.
GARY
Not really.
SARAH
Okay. Maybe I was just looking for
a way to meet my infamous neighbor.
You see, I'm under house arrest,
too.
GARY
What did you do?
15.
SARAH
I had sex with my husband.
GARY
That's awful.
SARAH
Nine months later, I had Jaden.
That's her over there.
She points to a small portable baby monitor.
GARY
She's cute.
SARAH
She's sleeping for another...
(checks watch)
...seventeen minutes. She keeps to
a schedule.
GARY
She sounds really boring.
SARAH
(whispers)
She is.
A beat. A smile between them.
GARY
You're rich. Shouldn't you have a
nanny from Ecuador?
SARAH
I'm Canadian.
GARY
(as if that explains it)
Ohhh...
SARAH
I can't work in the U.S. Plus, I
want to maintain this air of moral
superiority by doing everything
myself.
GARY
Very Canadian.
SARAH
Thanks.
Another pregnant pause.
16.
SARAH (CONT'D)
Listen, Jaden goes down again at
2:30. Maybe I could stop by.
GARY
I'm pretty sure I'll be here.
SARAH
It's a date.
GARY
Is it?
She picks up the baby monitor, heading back into her house.
Suddenly, she realizes...
SARAH
Oh. I'm Sarah, by the way.
GARY
Gary.
SARAH
Yeah. I know.
CUT TO:
129 129
INT. BATHROOM - DAY
Gary brushes his teeth and tongue.
130-131 130-131
OMIT
132 132
INT. KITCHEN - DAY
Gary neatens up, tossing out newspapers and delivery boxes.
He plumps pillows.
He looks up at the clock: 2:30.
He sits, trying to read Candide again. He fidgets.
He looks at the clock again: 2:49.
133 133
EXT. BACK PATIO - DAY
Under the pretense of sweeping up leaves, he peers over the
wall, looking directly into Sarah's kitchen. But there's no
one in there.
134 134
OMIT
17.
135 135
INT. UPSTAIRS WALKWAY - DAY
Gary carefully sets rat traps, staggering them every few
feet.
He pokes one with a pencil. The metal arm SNAPS back,
breaking the pencil in two.
136 136
INT. FOYER - DAY
Gary notices that the piano has an electronic device attached
to it. He turns it on.
He opens the piano bench, finding computer disks. A red disk
is labelled "Knowing." He puts it in. Hits play.
The piano begins playing by itself, a sensuous but melancholy
CLASSICAL PIECE.
Gary lies on the floor, listening to it. He stares up at the
elaborate chandelier.
137-141 137-141
OMIT
142 142
EXT. FRONT OF HOUSE - DAY
Gary is sitting on a bench by the front walk, trying to read
more of his book. He looks over to see Sarah coming up the
steps, carrying the baby monitor and a bottle of chardonnay.
She stops beside him.
SARAH
The best of all possible worlds.
GARY
(confused)
Okay.
SARAH
(pointing to his book)
Voltaire. Candide.
(off his reaction)
Are you actually reading it?
GARY
I thought I was.
He gets up.
SARAH
Sorry I bailed. Jaden had a fever.
18.
GARY
Ah! How boring of her.
She hands him the wine.
SARAH
Housewarming gift.
GARY
Demon liquor.
SARAH
The best part is, I can drink it.
I pumped before I came.
GARY
So did I.
143-144 143-144
OMIT
145 145
INT. LIVING ROOM - DAY
Sarah tops off Gary's wine glass. They're both on the couch.
The baby monitor is sitting on the table behind them.
GARY
... so it's kind of hard to prove
that I only meant to burn my ex-
girlfriend's stuff, and not the
entire house.
SARAH
Yeah. Fire's tricky that way.
GARY
How about you? Any history of
arson?
SARAH
Strangely enough...
GARY
I knew it! I could see that little
spark.
SARAH
It wasn't arson. Probably.
A long beat while she decides whether she wants to tell him
the story.
SARAH (CONT'D)
Okay. When I was a little girl,
our house caught on fire.
19.
GARY
Oh shit.
MUSIC begins, providing backing to her monologue.
SARAH
I'll never forget the look on my
father's face as he gathered me up
in his arms and raced through the
burning building, out onto the
pavement.
ON GARY, feeling bad he brought this up, but fascinated at
the same time.
SARAH (CONT'D)
I stood there shivering in my
pajamas and watched the whole world
go up in flames. And when it was
all over, I said to myself, "Is
that all there is to a fire?" Is
that all there is?
As she starts to SING, Gary realizes the story isn't hers at
all. It's Peggy Lee's "Is That All There Is."
SARAH (CONT'D)
Is that all there is, is that all there is?
If that's all there is my friends, then let's
keep dancing.
She leans closer.
SARAH (CONT'D)
Let's break out the booze and have a ball.
If that's all there is.
Standing up, Sarah takes Gary's hands, pulling him off the
couch. She leads him to an open area -- more space for
dancing.
SARAH (CONT'D)
Is that all there is, is that all there is?
If that's all there is my friends, then let's
keep dancing.
Let's break out the booze and have a ball,
If that's all there is.
CUT TO:
146-149 146-149
OMIT
20.
150 150
INT. SARAH'S BATHROOM - DAY [MONOLOGUE]
Sarah leans up to the mirror, trying to get her contacts in.
It's not going well. Her eyes are tearing up.
SARAH
Then I fell in love with the most
wonderful boy in the world. We
would take long walks by the river
or just sit for hours gazing into
each other's eyes. We were so very
much in love. Then one day he went
away and I thought I'd die. But I
didn't. And when I didn't, I said
to myself, "Is that all there is to
love?"
151 151
INT. LIVING ROOM - DAY
Sarah and Gary start to dance.
SARAH
Is that all there is?
Is that all there is?
If that's all there is my friends, then let's
keep...
152 152
INT. ANTIQUE HARDWARE STORE - DAY
Deep in the bowels of the store, Sarah is surrounded by
vintage lighting fixtures. She's (futilely) trying to match
a specific light switch plate.
TO CAMERA:
SARAH
I know what you're thinking.
If that's the way she feels about
it why doesn't she just end it all?
I'm in no hurry for that final
disappointment. I know just as
well as I'm standing here talking
to you, when that final moment
comes and I'm breathing my last
breath, I'll be saying to myself...
153 153
INT. LIVING ROOM - DAY
Sarah and Gary become more intimately acquainted on the
couch. They still haven't kissed, but hands are running up
and down over clothing. Sarah isn't singing anymore, though
her voice continues.
21.
SARAH'S VOICE
Is that all there is, is that all there is?
If that's all there is my friends, then let's
keep dancing.
Let's break out the booze and have a ball,
If that's all there...
Just as they're about to kiss,
A BABY HOWLS.
It's the monitor, HISSING and POPPING as Jaden wakes up from
her nap, cranky and hungry. Sarah pushes back. Gary tries
to close the gap, but she's already standing up.
SARAH
I need to...
GARY
Just...
SARAH
My shoes. Are here. Okay.
As she reaches for one, she knocks over a wine glass.
SARAH (CONT'D)
Crap!
GARY
Don't worry about it. Just...
SARAH
I'm going. Bye.
Carrying both her shoes, she's across the room and out the
front door before he can say anything more.
CUT TO:
154 154
INT. KITCHEN - DAY
Gary washes the wine glasses, being sure to wash off any
trace of lipstick. He dries them and puts them back in the
cabinet.
Faced with the remainder of the wine, he considers dumping it
down the sink. Instead, he chugs it from the bottle.
He wraps the empty bottle in newspaper and tucks it in the
recycling.
155 155
OMIT
22.
156 156
INT. OFFICE / GYM - SUMMER NIGHT
Gary works out hard on the elliptical trainer. He has his
iPod cranked with a POUNDING TUNE.
He does abs on a stability ball. He's spent.
157 157
INT. KITCHEN - NIGHT
Gary enters from the driveway door, gulping from a water
bottle. He starts to look through the delivery menus when he
notices an orange Post-It note by the telephone. It reads:
Look for the Nines.
He picks it up, looks at the back. Nothing. Sticks it back
down on the counter.
CUT TO:
158 158
INT. LIVING ROOM - NIGHT
Gary sits on the couch with his water bottle, listening to
the baby monitor: Sarah is singing a LULLABY. He takes off
his shoes and socks. When she's finished...
SARAH (ON MONITOR)
Goodnight, sweetheart.
GARY
Goodnight.
For a long beat, it's quiet. Then we hear RUSTLING.
A crib toy plays a short MELODY. Then a slightly-digital
voice speaks:
VOICE
The cat says meow!
The pig says oink!
Gary smiles to himself.
VOICE (CONT'D)
The cow says moo!
The cow says moo!
The cow says moo!
Evidently, Jaden loves the cow.
VOICE (CONT'D)
The dog says, nine. Nine. Nine.
Nine.
23.
Gary looks back. Did he just hear that?
The phone RINGS.
159 159
INT. KITCHEN - NIGHT [CONTINUOUS]
Gary answers it on the third ring.
GARY
Hello.
It's the parole system.
GARY (CONT'D)
Yes. Yes. Two trains run through
the forest.
Music STRIKES. We see a sudden change in Gary's expression.
He nearly drops the phone.
Forcing himself not to panic, he pushes the button for
speakerphone. He wants to make sure he's hearing it right.
MALE COMPUTER VOICE
Nine. Nine. Nine. Nine.
Gary backs away from the phone like it might sprout legs and
jump on him. Suddenly, he backs into
SOMEONE ELSE.
He spins around, startled. He only catches a glimpse of THE
MAN -- same height, same build, same everything. The Man is
gone in half an instant, vanished into thin air.
Gary bolts for the door.
Reaching the foyer, Gary steps on a
RAT TRAP,
which SNAPS down on his toes. He SCREAMS, pulling it off.
He looks around to find all eight traps are now on the main
floor, rather than the second-floor walkway.
Limping, he hops out the door. We stay behind, looking out
through the open door.
A160 A160
EXT. WILSHIRE BLVD. - NIGHT
HEADLIGHTS FLARE as cars travel down Miracle Mile, bringing
us to a Metro Bus stop -- a semi-enclosed bench with backlit
signage.
24.
The far side of the shelter has a one-sheet for Crime Lab.
("This fall, Mondays are murder.") The bench side is a promo
poster for a show called Knowing. ("Some fates are chosen
for you.")
It's here we find Gary taking a seat, gingerly checking his
toes where the rat trap snapped. He's hobbled his way here
from the house, which is probably a block away.
There's only a little blood, but his toes really hurt.
Over Gary's shoulder, we see a blonde 8-year old girl
(Noelle) watching him with concern. She BANGS on the shelter
to get his attention. Gary nearly jumps out of his skin.
GARY
Jesus! You scared the shit out
of...
She signs "What's wrong?"
GARY (CONT'D)
(confused)
What?
NOELLE
(signed, subtitled)
You're hurt.
GARY
I don't speak that. Sorry. I
don't...
She points to his toes. Getting what she must mean...
GARY (CONT'D)
I'm fine. I'll be fine.
Looking around, he realizes that the little girl is out here
by herself.
GARY (CONT'D)
Where are your parents?
She looks at him oddly, not really getting the question.
GARY (CONT'D)
Your mom, your dad. Where are
they?
NOELLE
(signed, subtitled)
Mom is at the car. Where you left
her.
Again, Gary has no idea what she's saying.
25.
NOELLE (CONT'D)
(signed, subtitled)
You're lost.
GARY
Look, you need to go back, okay?
You shouldn't be out here. It's
not safe.
Noelle glances to her left.
We hear BWOOP BWOOP as a police cruiser pulls over to the
curb.
GARY (CONT'D)
Shit.
We go to a WIDER ANGLE as TWO OFFICERS get out of the car.
Gary looks back.
Noelle is gone, though there's really nowhere she could have
disappeared.
Putting on his best face for the police...
GARY (CONT'D)
Evening, officers.
CUT TO:
B160 B160
INT./EXT. POLICE CRUISER - NIGHT
Handcuffed, Gary is placed in back. He's reserving the right
to remain silent.
MARGARET (PRE-LAP)
Once again, the idea of house
arrest is you stay inside your
house.
160 160
INT. LIVING ROOM - DAY
The same parole officer from earlier attaches a black anklet
to Gary's left leg. We see that Gary's left foot also
features bandaged toes.
MARGARET
Think of it like an electronic
leash. Basically, if you ever go
more than 100 feet from the base
station...
She points to an electronic device by the wall.
26.
MARGARET (CONT'D)
...the cops come, they throw your
ass in jail. If you ever try to
take it off, the cops come and
throw your ass in jail. And if
they ever detect drugs or alcohol
in your system...
GARY
...the cops come and throw my ass
in jail.
MARGARET
No. I kick your ass. Then the
cops come and throw your ass in
jail.
The parole officer smiles.
GARY
Do I still have to answer the
phone?
MARGARET
No, I'll be doing that from now on.
I'm moving into the guest room.
GARY
I don't need a babysitter.
MARGARET
Despite all evidence to the
contrary. Don't worry, I'm a cool
roomie. Who do you think taught
Affleck how to gamble?
The parole officer hits a test button on the anklet, which
lets out a PIERCING ALARM.
MARGARET (CONT'D)
Let's never hear that again.
CUT TO:
161 161
EXT. FRONT OF HOUSE - DAY
Margaret walks heel-to-toe, counting her steps.
MARGARET
97. 98. 99.
With a piece of chalk, she draws a line on the concrete. She
looks back to Gary, who's waiting by the front door.
27.
MARGARET (CONT'D)
Behold! The edge of your world.
In the world.
(jumps over the line)
Out of the world. In the world.
Out of the world. Look at me, I'm
dancin'!
She starts doing the running man over the line. Even Gary's
dark mood is broken.
162 162
OMIT
163 163
EXT. BACK PATIO - NIGHT
Margaret and Gary roast marshmallows over the propane grill
to make s'mores. They're giggling.
GARY
So the guy was like, "Do you know
fencing?" And I say, of course.
That's what it says on my headshot.
MARGARET
Lies!
GARY
Always. So he says, "Foil or epi?"
MARGARET
Epée.
GARY
I say, I'm about equal in both.
MARGARET
Which is true.
GARY
So he tosses me this fucking Conan
sword and goes after me. I'm just
swinging, trying to stay alive.
But I end up cutting his ear.
MARGARET
You cut his ear off?
GARY
Just a little. But I got the job.
Margaret is confused.
28.
MARGARET
Wait. You were in Pirates of the
Caribbean?
GARY
Yes. No. Not the movie, the ride.
I was like, "Gar! Keep both hands
inside the boat!"
Margaret laughs so hard she coughs.
CUT TO:
164 164
INT. UPSTAIRS WALKWAY - NIGHT
Ready for bed, Margaret leans out the guest bedroom door.
MARGARET
Goodnight, fuckface.
Gary looks out his door.
GARY
Goodnight, you filthy whore.
Both doors shut.
CUT TO:
165 165
EXT. HOUSE - DAY
Establishing.
MARGARET (PRE-LAP)
It's incredible.
166 166
EXT. BACK PATIO - DAY
Margaret and Gary sip their morning beverages, looking at
something spectacular in the yard.
MARGARET
It's incredible.
GARY
I know. Whenever I see them, and I
always feel like, damn...
MARGARET
...I was born at the wrong time.
GARY
Exactly.
29.
We REVERSE to see the object of their awe: a giant
inflatable jump-o-rama in the shape of a castle.
CUT TO:
167 167
INT. THE CASTLE - DAY
VARIOUS SHOTS: Gary and Margaret jump with all their might,
bouncing off the walls, SCREAMING all the time.
When both finally collapse, it becomes strangely tranquil.
They're safe inside an inflatable paradise.
Gary scoots over beside Margaret. She puts her head on his
arms. It's nice.
Prelap: A doorbell RINGS.
CUT TO:
168 168
INT. FOYER - DAY
Gary opens the door to find Sarah.
SARAH
Where's the warden?
GARY
Groceries.
SARAH
Quite the little missus.
She walks past him, into the house.
169 169
INT. LIVING ROOM - DAY [CONTINUOUS]
Sarah crosses to the couch, picking up the baby monitor.
GARY
How's Jaden?
SARAH
Boring. We haven't had nearly the
grand old time you two have been
having.
There's an edge to her voice.
GARY
You've been watching.
30.
SARAH
Well. I don't want to meddle in
your affairs.
GARY
My affairs?
SARAH
Everyone needs affection. I get
it.
She's headed back for the door.
GARY
I don't. Are you seriously
jealous?
SARAH
The opposite. I just want to
protect her.
GARY
From what?
SARAH
From you. Look at you. You date
models. Actresses. Tennis
players.
GARY
Yeah.
SARAH
On a scale of one to ten, you
belong with the Nines. We both
know you won't settle for less.
With that, she's gone.
CUT TO:
170 170
INT. KITCHEN - DAY
Gary is trying to load dishes into the dishwasher, but has a
hard time getting one bowl to fit.
MARGARET
What are "the Nines?"
GARY
What?
He looks over. Margaret holds up the orange sticky note by
the phone.
31.
MARGARET
"Look for the Nines."
GARY
It's not mine.
MARGARET
It's your handwriting.
GARY
I didn't write it.
MARGARET
Okay.
She puts it back down. But she doesn't believe him.
MARGARET (CONT'D)
All-ee-all-ee-all-come-free.
GARY
(perplexed)
What?
MARGARET
Nothing.
GARY
Seriously, what?
MARGARET
Nothing. I thought you
were...forget it. Done. Sorry.
171 171
EXT. BACK YARD - DAY
At the far edge of the property, Margaret and Gary play
backgammon. Their mood is significantly more subdued.
Margaret answers her RINGING cell phone.
MARGARET
Yhello? Hi. What?!
(to Gary)
I have to take this.
He nods. Margaret starts walking back to the house.
MARGARET (CONT'D)
(on phone)
Well, who thought it was a good
idea letting Courtney into a
pottery shop?
32.
Left alone, Gary rolls the dice idly. He gets a 4 and a 5.
Rolls again. 4,5. 3,6. 4,5. 3,6. 3,6. 3,6. 4,5.
He keeps rolling, the wheels in his head starting to turn.
172 172
EXT. FRONT OF HOUSE - DAY
Sarah is looking in through the living room windows, trying
to spot Gary. Giving up, she turns back to the main steps,
only to find...
MARGARET,
who doesn't look pleased.
MARGARET
I know who you are.
SARAH
Really.
MARGARET
I know what you are. And if you
come near him again...
SARAH
You'll what?
Margaret lets that go unanswered. There's obviously
something big we're not privy to.
SARAH (CONT'D)
What are you going to do, M...
She's forgotten Margaret's name -- if she ever knew it.
SARAH (CONT'D)
Sorry, what's he calling you?
MARGARET
Margaret.
SARAH
I like that. "Margaret." Classic.
MARGARET
Why can't you just leave him alone?
SARAH
Alone? He's an actor. If nobody's
watching him, he doesn't really
exist.
(approaching)
And for the record, I'm not the one
deceiving him.
(MORE)
33.
SARAH (CONT'D)
He's going to figure it out
eventually. And when he does, who
do you think he's gonna blame?
Sarah lets her warning land, then walks past Margaret,
heading back down the stairs.
REVEAL Gary watching through the hole in the door.
A173 A173
INT. FOYER - DAY
Gary heard the whole conversation. Or at least enough of it
to be deeply freaked out.
173 173
OMIT
174 174
INT. UPSTAIRS WALKWAY - NIGHT
Margaret leans out her doorway:
MARGARET
Goodnight, ratface.
GARY
Goodnight.
175 175
INT. BEDROOM - NIGHT
Gary sits in one of the upholstered chairs, staring at his
still-made bed. It's impossible to know what he's thinking,
but the wheels are turning.
176 176
EXT. SIDE PATIO - MORNING
Gary opens the newspaper to a page at random. He starts
circling things with a red Sharpie.
MACRO CLOSE UP. His pen circles the number nine every time
it appears.
As he flips the page, he spots Sarah looking in through the
rounded trellis, just a few feet away. She's holding her own
newspaper, still in the wrapper.
SARAH
Hey neighbor.
GARY
Hi.
34.
SARAH
Sorry for the psychotic episode.
I'll blame it on hormones.
GARY
Okay.
SARAH
Are you alright? You look a little
Beautiful Mind-ish.
He almost deflects it, but decides to trust her:
GARY
How many times should the number
nine come up? Probablistically?
SARAH
Probablistically?
GARY
(annoyed)
You know what I mean.
SARAH
One time out of ten.
GARY
How about every time?
He hands her the paper through the bars.
GARY (CONT'D)
But they only show up when you look
for them. Looking for them changes
things.
Trying to find an explanation...
SARAH
Some of these are prices. There's
going to be a lot of nines when...
GARY
There is something wrong with the
world.
Sarah looks up slowly. She smiles for an uncomfortably long
beat. She's stalling, thinking.
SARAH
You have an eyelash on your...
here...
She steps forward, and motions for him to lean closer to the
bars. Brushing off the non-existent eyelash, she WHISPERS:
35.
SARAH (CONT'D)
I can get you out of here. But you
have to trust me.
MARGARET [O.S.]
Morning.
MARGARET
enters, carrying her tea. She sees Gary by himself, leaning
near the bars of the trellis.
MARGARET
Everything okay?
GARY
Peachy.
MARGARET
Peachy's good. I like peaches.
WIDER,
we see that Sarah is flush back against the wall, out of
Margaret's line of sight.
MARGARET (CONT'D)
You want coffee?
GARY
Sure.
She turns and heads back into the house. Once she's out of
earshot...
GARY (CONT'D)
What do I do?
SARAH
You have to trust me.
177 177
INT. LIVING ROOM - DAY [A FEW MINUTES LATER]
CLOSE ON a white plastic device mounted in the corner of the
room, about ten feet up. It might be a smoke detector.
Gary stares up at it, intently. He steps forward.
A little red light flicks on inside the unit. After a few
seconds it turns off. It's some sort of motion detector.
Gary tests it again, trying to move his arm slowly enough
that the light never engages.
36.
Margaret enters, carrying two mugs. She watches him warily.
MARGARET
You okay?
GARY
No.
MARGARET
Oh.
GARY
Tell me about the Nines.
MARGARET
The Nines?
GARY
The Nines.
MARGARET
Sort of hard to start there...
GARY
Try. And don't tell me I'm
imagining it. They're showing up
everywhere, and I want to know why.
Trying to formulate the simplest truthful explanation:
MARGARET
Best guess? They're your
subconscious trying to remind you
who you are.
GARY
I'm a Nine?
MARGARET
Yes. It doesn't make a lot of
sense of out context.
(offering)
Coffee?
He takes the mug, then reconsiders. Maybe it's laced with
something.
GARY
Why don't you drink coffee? You're
always drinking tea.
Frustrated, she takes his coffee back and drinks it. She'd
really like to drink the whole thing to prove her point, but
it's just too hot.
37.
MARGARET
Happy?
She gestures for him to sit down. Reluctantly, he does. She
sits across from him.
MARGARET (CONT'D)
You're not going to understand this
yet, but we've known each other for
like 25 years. One day when I was
12, you called me out of the blue.
And we've been talking ever since.
GARY
Talking.
MARGARET
On the phone. Usually.
GARY
I never met you before I came here.
MARGARET
You, Gary, never met me. But
you're not always...
(lacking the words)
I can understand why you're a
little confused.
GARY
No. I'm a lot confused.
MARGARET
Theories?
GARY
This is all a dream.
MARGARET
No.
GARY
I'm in a coma.
MARGARET
(amused)
No.
GARY
Then I'm dead. This is Hell, or
Purgatorium or something.
MARGARET
Okay, a purgatorium is where Romans
vomited. But no. This is as real
as anything can be.
38.
GARY
(suspicious)
What does that mean?
She sits forward in her chair. By instinct, he sits back.
MARGARET
Everything is what it is. But
you're not who you think you are.
178 178
NEW ANGLE (TIME JUMP)
Gary gets up, headed for the front door.
MARGARET (CONT'D)
God, no! Please, Gary, don't.
But he's already outside.
180 180
EXT. FRONT WALKWAY - DAY
He's walking towards the blue chalk perimeter line, headed
for Sarah's house.
Leaves fall lazily from the trees, counter-point to the
tension.
Margaret calls out from the arched windows.
MARGARET
You don't know what you're doing.
She's almost at tears. He stops at the edge of the chalk
line.
GARY
What happens if I cross this line?
The tear in her eye falls.
MARGARET
I don't know. But it's not good.
He very deliberately steps over the line. We hear a thin
BEEPING from the house-arrest anklet. He shoots her a look
to say, is that all there is?
But the BEEPING grows louder, deeper. It starts to come from
all sides, booming, a nuclear-meltdown/self-destruct-sequence-
activated DRONE.
Gary suddenly realizes something very, very terrible is about
to happen.
39.
GARY
Oh shit.
The world ignites in white-hot atomic flames.
We see the blinding glare erupt behind Margaret, illuminating
through her skin, right to the bone.
The same flash catches a leaf in mid-air, sizzling through it
like an etched x-ray.
As the light hits Gary, we...
CUT TO BLACK.
40.
READER NOTE: Part 2 is a half-hour episode
of a Project Greenlight-style documentary
series called "Behind the Screen," which
tracks the progress of a one-hour TV drama
pilot from conception through delivery. In
keeping with the genre, it's very fast and
cutty.
INTERVIEW sequences are done to an off-
camera interviewer.
Some scenes are unscripted. The gist of
these scenes is summarized in italics.
41.
200 200
TITLES OVER:
Part Two:
REALITY TELEVISION
CUT TO:
201 201
ANIMATED TITLES
We RUSH IN on a television set, which spins around revealing
a blinding constellation of pixels.
MELISSA (V.O.)
Previously, on "Behind the Screen."
CUT TO:
202 202
EXT. STUDIO LOT - DAY
GAVIN TAYLOR (30) walks to a meeting, with his laptop bag
over his shoulder. He has a tidy, Banana Republic
sensibility and an easy smile that belies his manic schedule.
SUSAN (V.O.)
Gavin Taylor's one of the best TV
writers out there.
203 203
INT. SUSAN'S OFFICE - DAY
Cluttered and corporate, with stacks of scripts and a few
touches of arbitrary quirk. SUSAN HOWARD (35) and Gavin kiss
hello.
SUSAN (V.O.)
Every network would kill to work
with him.
204 204
INT. GAVIN'S OFFICE / GUESTHOUSE - DAY
INTERVIEW.
GAVIN
"Knowing" is a one-hour drama about
a woman whose husband disappears.
She starts to believe that her
daughter is the key to a dark
conspiracy.
42.
205 205
INT. CONFERENCE ROOM - DAY
Gavin pitches his show to the NETWORK BOSSES.
GAVIN
Basically, it's like "Rosemary's
Toddler."
206 206
EXT. STUDIO LOT - DAY
Impromptu INTERVIEW. Gavin is beaming.
GAVIN
We sold it in the room.
207 207
INT. KITCHEN - DAY
Gavin leans into the speakerphone.
GAVIN
Just tell me Roger liked the
script.
208 208
INT. SUSAN'S OFFICE - DAY
Susan is on her speakerphone.
SUSAN
You're shooting a pilot.
209 209
INT. SUSINA COFFEESHOP - DAY
Gavin has coffee with actress MELISSA McCARTHY (34), his best
friend. He's pitching her the idea.
GAVIN (V.O.)
Melissa McCarthy is my first and
only choice for the lead.
MELISSA
I love it. I'll do it.
210 210
EXT. FOREST - DAY
An EPK-style INTERVIEW, on the set of the pilot.
MELISSA
Gavin and I have been friends for
forever.
43.
211 211
EXT. WARNER BROS. LOT - DAY
Melissa hangs out with her "Gilmore Girls" CAST and CREW.
MELISSA (V.O.)
It's really hard to leave a show
like "Gilmore Girls," but I really
believe in Gavin.
212 212
INT. CONFERENCE ROOM - DAY
Gavin, Susan and a LINE PRODUCER go over the figures.
GAVIN (V.O.)
The only way we can afford to shoot
the pilot is in Canada.
213 213
INT. BEDROOM - DAY
Gavin stacks up clothes on his bed, preparing to pack.
GAVIN
It's really hard to think about
leaving for six weeks.
214 214
EXT. FOREST ROAD - DAY
Gavin YELLS:
GAVIN
Action!
A STEADICAM follows Melissa as she gets out the passenger
door of a Toyota Prius, an alarmed look on her face.
215 215
OMIT
216 216
TITLE OVER:
EPISODE 6: POST
CUT TO:
217 217
INT. LAX / BAGGAGE CLAIM - DAY
A DRIVER holds up a sign for "TAYLOR." Gavin approaches,
waves to him. He has a laptop bag over his shoulder.
TITLES identify him as:
44.
Gavin Taylor
Creator / Showrunner
218 218
INT. LAUNDRY ROOM / KITCHEN - DAY
Gavin unlocks the door, entering from the driveway. He's
hauling a massive wheeled duffle bag. (Note: This is the
same house from Part One.)
We hear the CLATTER of toenails on hardwood floors. Gavin
kneels down to greet...
GAVIN
Puggies!
Gavin's PUGS pounce all over him.
219 219
INT. KITCHEN - DAY [MINUTES LATER]
Gavin is on the cordless phone, talking with a friend as he
sorts through massive piles of mail.
On his left wrist, we notice the same green string bracelet
Gary wore in Part One.
GAVIN (ON PHONE)
It's weird being back. It doesn't
feel like my house anymore.
A220 A220
INT. FOYER - DAY
Gavin sits at the piano, pecking out a haunting melody he's
been fiddling with. He grabs a red diskette and a Sharpie.
GAVIN (V.O.)
At this stage, you have the script
you wrote, and the film you shot,
but you don't know how it's all
going to come together. You just
know how you want it to feel.
He writes "Knowing" on the diskette, and pops it into the
Disclavier unit.
220 220
INT. EDITING SUITE - DAY
Susan, Gavin and the EDITOR watch the cut. Susan is taking
notes on a legal pad.
JUMP CUT TO:
Susan flips to her next note. TITLES list her position as:
45.
Susan Howard
VP, Drama Development
SUSAN
I just don't know if you need the
cold open. People want to get
right to the story.
ANGLE ON the Editor, bristling a bit.
221 221
INT. HALLWAY - DAY [LATER]
Impromptu INTERVIEW.
GAVIN
I invited Susan to see a rough cut
because I trust her taste.
INTERCUT editing suite.
SUSAN
Could we be more clear why Mary is
so freaked out at that moment?
GAVIN
Wow. I thought it was pretty
obvious. And dramatic.
GAVIN [INTERVIEW]
More importantly, I trust her as a
barometer of Roger's taste.
SUSAN
I know. But that's Roger's big
thing this season. Never let the
audience be confused.
CUT TO:
222 222
INT. EDITING SUITE - [LATER THAT] DAY
The Editor hands Melissa a microphone. TITLES list her
simply as:
Melissa McCarthy
"Mary"
GAVIN
So we're trying to squeeze in a
wild line over this shot of Noelle.
The monitor shows a three-second clip. It's Melissa and a
eight year-old actress ("Noelle") in a car.
46.
Melissa's character looks alarmed by something the girl has
just done or said.
MELISSA
What's the line?
GAVIN
(quickly)
How could you...
MELISSA
Howkajew?
GAVIN
Yeah.
MELISSA
Howkajew. It sounds like kosher
drug paraphernalia. Like, come on
Shmuley! Have a toke on the
Howkajew.
GAVIN
I know. It's just for the test
screening.
MELISSA
They really think people won't get
it?
GAVIN
The dumb people might not.
MELISSA
I didn't think we were making the
show for dumb people.
A beat.
JUMP CUT TO:
Melissa holds a microphone.
As video footage plays back, we hear three evenly-spaced
LOOPING BEEPS. Where the fourth one would be, Melissa says
the line.
MELISSA (CONT'D)
Howkajew...
(again)
How could you...
(again)
How couldjew...
Finished, she hands the mic back to Gavin.
47.
MELISSA (CONT'D)
I feel so dirty.
GAVIN
That's how I like ya.
Melissa giggles.
223-226 223-226
OMIT
227 227
INT. TESTING SERVICE THEATRE - DAY
A MODERATOR explains how it all works to the RECRUITED AUDIENCE.
The test begins.
ANGLE ON a monitor. We see a scene of Melissa (as "Mary") on
a forest road.
228 228
INT. TESTING SERVICE / FOCUS GROUP ROOM - DAY
Through a one-way mirror, Gavin and Susan watch as the
Moderator asks a group of twelve MALE VIEWERS about the pilot
they just watched.
Their comments are mostly positive. Gavin and Susan share relieved looks. She has a
notepad, as always.
One AGITATED MAN keeps staring at the mirror, right at Gavin.
(We recognize him as the Parole Officer from Part One.)
GAVIN
That guy's looking at me.
SUSAN
He can't see you.
As a test, Gavin waves his arm. The Agitated Man's
expression changes slightly, but it's not clear whether it's
in reaction or not.
The Moderator directs her next question to the Agitated Man.
MODERATOR
How about you? Did you feel it
was...
AGITATED MAN
It's not real.
MODERATOR
And what do you mean by that?
48.
AGITATED MAN
The show's not real. Why can't you
see that? Jesus! Are you fucking
blind?
(looking at the mirror)
You think you're above it all,
don't you? You are trapped here
with the rest of them, brother.
He stands up, pushing past the other people to come right up
to the one-way glass. He stares directly at Gavin, even
though he shouldn't be able to see him.
He SHOUTS:
AGITATED MAN (CONT'D)
Get out. Get out! Oblivio
accebit!
Gavin backs away from the glass, freaked out.
CUT TO:
229 229
EXT. STREET - [LATER THAT] DAY
Impromptu INTERVIEW with Gavin, standing beside his Prius.
He's clearly still shaken by the experience.
GAVIN
The guy was crazy. Obviously. The
show is kinda twisted, and it just
flipped something in him.
Gavin sounds like he's trying to convince himself.
PRODUCER'S VOICE (O.C.)
What did he say?
GAVIN
Oblivio accebit. It's Latin.
"Oblivion approaches."
PRODUCER'S VOICE (O.C.)
What do you think it means?
GAVIN
Other than the world is coming to
an end? "Oblivio" also means
forgetting, forgetfulness.
(jump cut)
I think that's what I'm going to
do. Forget it.
CUT TO:
49.
230 230
INT. LIVING ROOM - NIGHT
Gavin hosts a game night: good friends and lots of
cocktails. The guests include Melissa and Susan, along with
SAM, TOM, BRUCE, DANA, JON, KEVIN, JEFF, DAN, and CARL. (We
don't show anyone's names.)
They're playing Celebrity. We go several rounds, keeping the best of what's said.
CUT TO:
231 231
INT. KITCHEN - NIGHT
Between rounds of Celebrity, party-goers mingle. Gavin is
making a new batch of cocktails -- he obviously has a knack
for it.
Susan pours herself another glass of chardonnay.
SUSAN
Did you have a chance to look at
the cards yet?
GAVIN
From the screening?
Melissa reaches in, grabbing the vodka.
MELISSA
Pardon me. Daddy needs his drink.
She makes a quick Cape Cod. From the other room, Sam YELLS:
SAM (O.S.)
Woman, where's my cocktail!
MELISSA
(yelling back)
I'm a-comin!
(to Gavin)
I still love you most.
She gives him a quick peck, then dashes off with Sam's drink.
SUSAN
(continuing her thought)
People write stuff on the cards
they won't say in a focus group.
They get more specific.
He SHAKES the mixer.
SUSAN (CONT'D)
Roger has this advice I always
remember.
(MORE)
50.
SUSAN (CONT'D)
Forget about anyone who scores you
in the Twos and Threes. They'll
never like your show.
Gavin pours.
SUSAN (CONT'D)
Instead, look for the Nines.
GAVIN
The Nines.
SUSAN
They're the one who think your show
is almost the best thing they've
ever seen. They get your vision.
They just want it to be even
better.
Melissa YELLS from the living room:
MELISSA
Round two is starting without you!
SUSAN
So you'll look at the cards?
GAVIN
Absolutely.
Making his way back to the living room, he stops by the
phone. Pulls out an orange Post-It and makes a note.
As he leaves, we go in CLOSE to read it:
LOOK FOR THE NINES
CUT TO:
232 232
INT. SUSAN'S OFFICE - DAY
INTERVIEW.
SUSAN
Sometimes the numbers point things
out that you don't want to admit to
yourself. In this case, Melissa.
INSERT: Comment cards.
51.
SUSAN (CONT'D)
Her overall scores were okay. But
if you look at the people who
scored the show highest, the one
consistent dip was Melissa.
CUT TO:
233 233
INT. RESTAURANT - DAY
Susan and Gavin are having lunch.
GAVIN
She doesn't have a ton to do in the
pilot. There's so much to set up,
you don't get a lot of Melissa-
time.
SUSAN
True. That's one of the challenges
with a premise pilot.
GAVIN
But the network still likes the
show?
SUSAN
Of course. Roger is your biggest
cheerleader.
GAVIN
How about above Roger?
SUSAN
Roger calls the shots.
GAVIN
After he consults with the Higher
Powers.
SUSAN
True.
GAVIN
Do they like the show?
SUSAN
They haven't seen it. They're
watching all the pilots on Friday.
A beat.
GAVIN
Why are you focusing on Melissa?
52.
SUSAN
Because she's the biggest concern.
GAVIN
She's also the biggest star in the
show.
SUSAN
No, you're the biggest star. Roger
made a huge deal with you, and he
went along with casting Melissa
when that wasn't his instinct.
GAVIN
Well, hooray for Roger. I don't
understand what you want me to do.
SUSAN
Meet with someone.
GAVIN
Who?
SUSAN
Dahlia Salem.
Gavin drops his fork so that it will CLATTER on his plate.
SUSAN (CONT'D)
The network has a holding deal with
her.
GAVIN
Yes. And you put her in Gatin's
pilot.
SUSAN
It's dead. It's dying. But the
network loves Dahlia. So if she
could jump over to your show...
GAVIN
Replace Melissa and reshoot the
pilot.
SUSAN
Roger would pay for it.
Gavin is nauseous. He has to take a drink to be able to
speak.
GAVIN
So is this even about Melissa?
53.
SUSAN
It's about getting your show on the
air. That's all that matters in
the end.
CUT TO:
234 234
EXT. SUSINA COFFEESHOP - DAY
Establishing.
235 235
INT. SUSINA COFFEESHOP - DAY
Gavin meets with Dahlia Salem. She's pretty, funny, and very cool.
They talk about the other pilot (Gatin's), the role, and how fucked up it is to be having these
double-top-secret conversations. It goes well. They seem to genuinely like each other.
236 236
INT. SUSINA - DAY [LATER]
Dahlia is gone. INTERVIEW with Gavin.
GAVIN
I see why the network loves her.
It's just, I wrote the part for
Melissa. She's one of my best
friends. And in my head, I only
see Melissa for the role.
(jump cut)
Could Dahlia do it? Absolutely.
It could work. I just don't know
if I want it to work.
237 237
OMIT
238 238
INT. PC BANG - NIGHT
A empty storefront in Koreatown, both walls lined with
computers for the CUSTOMERS playing high-end videogames. We
see Gavin playing.
His INTERVIEW is intercut with his intense focus on the
screen as he plays "Bad Day L.A."
GAVIN
When I get stressed out, I play
videogames. It's my therapy. I
can't have them on my own computer,
because then I'd never write. So I
come down to Koreatown.
(jump cut)
(MORE)
54.
GAVIN (CONT'D)
Videogames are better than real
life. When you get stuck, you can
always hit `reset.' Life needs a
reset button.
239 239
INT. KITCHEN - DAY
Gavin's on the phone.
GAVIN
If we're really going to replace
Melissa, I want to hear it from
Roger.
240 240
INT. SUSAN'S OFFICE - DAY
Susan talks to the speakerphone.
INTERCUT GAVIN
SUSAN
Roger's on a flight to London. But
I talked with him before he left.
He said yes on Dahlia.
GAVIN
What does that mean?
SUSAN
It means yes.
GAVIN
Yes, replace Melissa?
SUSAN
He wants your show on the air,
starring Dahlia. I just got off
the phone with her agents. They
love it. She loves you.
GAVIN
What about Melissa?
SUSAN
You want me to call her agents?
GAVIN
God no. I'll tell her.
Gavin hangs up. We stay on his side of the conversation.
In the background, we see the door to the driveway swing open
by itself.
55.
A beat later, it SLAMS shut.
Gavin is understandably startled.
CUT TO:
241 241
OMIT
242 242
INT. REHEARSAL STUDIO - DAY
Melissa, wearing a nun's habit, sings "As Long As He Needs
Me." A PIANIST is rehearsing with her.
MELISSA
As long as he needs me, I know where I
must be...
INTERCUT with on-camera INTERVIEW:
MELISSA (CONT'D)
In-between the pilot and the
series, I'm trying to squeeze in a
one-woman show.
(edit)
I've always been obsessed with
nuns. They're sort of like God's
fag-hags.
Melissa spots Gavin entering and sings the rest of the song
to him.
CUT TO:
243 243
EXT. WEST HOLLYWOOD BAR - NIGHT
Gavin and Melissa have martinis.
GAVIN
I think my house is haunted.
MELISSA
Your house is really old.
GAVIN
1926. Ever since I got back, I
feel like there's someone else
there. And then last night, I
thought I heard something. A woman
singing.
MELISSA
Shit. Like a ghost?
56.
GAVIN
I guess. And then I saw something.
I ran into someone.
MELISSA
The woman?
GAVIN
It was a man. I think it was me.
A beat while Melissa processes.
MELISSA
Your house is haunted by yourself?
GAVIN
Yeah.
MELISSA
Gavin, are you alright?
GAVIN
No. No.
He takes a long beat, psyching himself up. What spills out
is heartfelt but clearly rehearsed.
GAVIN (CONT'D)
The network wants to replace you.
MELISSA
Oh my God.
GAVIN
And I'm letting them, because I
really want the show on the air. I
have all these characters inside my
head, and they want to live. I'm
the only way they can. This is the
only way they can. I have five
seasons mapped out, and though it
sucks, either you go away, or the
show goes. I had to make a
decision, and that's the decision I
made. I'm sorry.
By the end of it, we can hear the emotion in his voice.
Melissa takes a beat to process.
MELISSA
So it's done. Finished. Decided.
GAVIN
Yes.
57.
MELISSA
I understand. It's not your fault.
You're morally incapable of doing
the right thing.
Gavin doesn't rise to the challenge.
MELISSA (CONT'D)
Don't get me wrong. I think you do
feel bad for me. But that's all
you feel for me. You still see me
as the fat girl you call on Friday
night when a date falls through.
Let's go to a movie! Let's go to
Fubar! And if you meet a hot piece
of ass, don't worry about Melissa,
you can apologize tomorrow. Or
don't! Same difference. It's not
like we're actually friends.
GAVIN
I don't want to do this on camera.
MELISSA
No, because you can't control it.
Your little puppets are off their
strings, running around. Saying
things you didn't write. Reality
terrifies you.
GAVIN
Reality.
MELISSA
Yes.
GAVIN
The reality is, you would not be
here without me. I gave you your
first few roles. And your career
is a result of that.
With exaggerated relief...
MELISSA
God, thank you. Thank you for
finally playing that card. I
always knew you were holding onto
it, the "I invented Melissa
McCarthy card." Congratulations,
you win. The game is over.
She gets up to go, then decides she has one more thing to
say:
58.
MELISSA (CONT'D)
Don't you ever pity me again.
She leaves him sitting at the table.
CUT TO:
244 UPFRONTS 244
TITLE OVER:
CUT TO:
245 245
INT. NETWORK CONFERENCE ROOM - DAY
New MUSIC for a change of mood: upbeat, excited.
INTERVIEW:
SUSAN
Upfronts is the week each year when
the networks present their fall
schedule to advertisers.
CUT TO:
246 246
INT. GAVIN'S OFFICE - DAY
INTERVIEW:
GAVIN
Sort of like, "Here's our new shit.
Like it?"
(edit)
Upfronts is a complete oxymoron,
because no one is remotely honest.
INTERCUT SUSAN:
SUSAN
The schedule is a secret until it's
announced, so everything is still
in play.
JUMP CUT:
GAVIN
But hey! At least you're in New
York!
CUT TO:
247 247
INT. TOWNCAR / NEW YORK / DRIVING - DAY
Gavin watches Manhattan roll by out the windows.
59.
248 248
EXT. MANHATTAN HOTEL - DAY
Gavin tips the DRIVER and wheels his luggage into a
skyscraper hotel.
249 249
INT. MANHATTAN HOTEL HALLWAY - DAY
Gavin opens the door to room 1909.
250 250
INT. MANHATTAN HOTEL ROOM - DAY
Gavin checks out the view. We go CLOSE ON a card which
reads:
Congrats!
Love Roger, Susan, and everyone at the network
It came with a fruit tray.
251 251
INT. MANHATTAN HOTEL ELEVATOR - DAY
Gavin, alone, is headed down to the lobby. Impromptu
INTERVIEW continues:
GAVIN
It's surreal being here. None of
this is how I planned it.
The elevator stops at another floor. CAMERA doesn't look as
the doors open, but Gavin spots someone he knows.
GAVIN (CONT'D)
Hey you!
WOMAN'S VOICE
God. Hi. Gavin.
TURN to find Dahlia Salem. She's hesitant to get on the
elevator.
DAHLIA
You're doing your...show.
She means the camera filming them.
GAVIN
Get on. Come join reality
television.
She steps on. Hits the button for "Lobby."
GAVIN (CONT'D)
When did you get in?
60.
DAHLIA
Just now. This whole last 24 hours
has been surreal.
GAVIN
I just said surreal.
DAHLIA
You're good? I wanted to call you.
GAVIN
Please. Call anytime. I don't
sleep.
DAHLIA
I just felt weird about what
happened.
Not sure he's following...
GAVIN
Did something happen?
CUT TO:
252 252
EXT. MANHATTAN STREET - DAY
Near the hotel, Gavin is on his cell phone.
GAVIN
So I just bumped into Dahlia Salem,
star of my show...
TITLES indicate Gavin's on the phone with his agents.
GAVIN (CONT'D)
... who tells me Gatin's show got
picked up, so no, she won't be in
my show, which makes me wonder,
does my show even exist?
As he listens to the other side, we hear a distant BOOM, and
then a RUSH, like autumn leaves blowing down a street.
Gavin reacts, though none of the PASSERSBY seem to hear it.
Back to the conversation...
GAVIN (CONT'D)
No, I've left word with Roger.
I've left word with Susan. It's
like they've dropped off the face
of the Earth.
61.
253 253
INT. MANHATTAN HOTEL SUITE - DAY
Susan is on her phone. At the same time, she's plowing
through email on her Blackberry.
SUSAN (PRE-LAP)
Right now, the whole schedule's in
flux. You get these missives from
Roger and the Higher Powers...
JUMP CUT
INTERVIEW:
SUSAN (CONT'D)
...but you're not sure what they
add up to. Right now, I can't say
for certain whether Knowing will
end up on the schedule at all.
CUT TO:
254 254
INT. HOTEL GYM - DAY
Gavin talks with JOHN GATINS (34), who's doing abs on an
exercise ball.
John Gatins
Creator/Showrunner "Paradise Fields"
GATINS
Look, I'm sorry. But I'm kind of
not. I want my show on the air.
And I think it was shitty for you
to go after Dahlia behind my back.
GAVIN
I heard your show was gone.
GATINS
I "heard" you fired Melissa
McCarthy without having a backup.
Why would they pick up your show
when you don't have a star?
GAVIN
The network wanted Dahlia.
GATINS
Yeah, in my show. We tested right
before you. Our numbers were
through the roof.
GAVIN
Really.
62.
GATINS
Really. Who's your exec?
GAVIN
Susan Howard.
GATINS
She would know. She was there.
Ask her.
CUT TO:
255 255
INT. CONFERENCE HALLWAY - DAY
Susan is on her cell phone. A cocktail party is in full
swing nearby. We can hear the DIN and MUSIC, and see the
occasional GUEST looking for the restrooms.
SUSAN
(on phone)
I'm at the UTA party. Yeah. Did
you hear about Ricky's assistant?
She literally shat herself. No, I
saw it.
In the background, we see Gavin approaching. Susan spots him
and seizes up a bit. She holds up a one-sec finger to him as
she continues her conversation.
GAVIN
I will break your fucking finger.
SUSAN
(to phone)
I'll call you back.
She hangs up. They look each other in the eye, daring each
other to go first.
SUSAN (CONT'D)
Roger wanted to talk to you
personally.
GAVIN
Bullshit.
SUSAN
They're only picking up two dramas.
GAVIN
The rest is, what, reality?
SUSAN
You can go mid-season.
63.
GAVIN
You can go to Hell.
SUSAN
Wow.
She takes a beat, trying to size him up.
SUSAN (CONT'D)
You think I deliberately sabotaged
your show.
GAVIN
Didn't you?
SUSAN
G., I'm on your side. Trust me,
I'm the only one who is trying to
protect you.
GAVIN SUSAN
Protect me from what? You? There is so much more going
You are psychotic. on than you...
GAVIN
All I want to know is why.
SUSAN
You want a motive?
GAVIN
Yes.
SUSAN
This isn't "Crime Lab." No one got
murdered.
GAVIN
My show did. So tell me why.
SUSAN
I had to get you away from her.
She was holding you back.
GAVIN
Melissa.
SUSAN
You had to give her up.
(beat)
C'mon, G. If she really mattered,
you couldn't have betrayed her so
easily.
GAVIN
I didn't.
64.
SUSAN
What, you're the victim? The big
Creator can't stand up to one
little d-girl? It was your choice.
I didn't make you do anything. I
mean, do you have any principles?
Do you believe in anything but your
own ego?
GAVIN
Fuck you.
SUSAN
Your dialogue used to be sharper.
Maybe Gatins could do a polish.
He suddenly punches her, one hit to the face. She drops
hard.
Gavin takes a step back.
Tasting blood, Susan gets to her knees. A wry smile.
SUSAN (CONT'D)
Is that all there is?
In the background, we see partygoers responding to the blow.
Susan gets to her feet. She approaches Gavin, hands open.
She's not going to hit him.
SUSAN (CONT'D)
Do you feel like a man? Because
I'll tell you a secret.
She leans in very close to his ear. There's a strange
intimacy between them.
SUSAN (CONT'D)
(whisper)
You're not.
She walks away. CLOSE ON Gavin.
256 256
EXT. MANHATTAN SIDEWALK - DAY
We move with Gavin as he walks. He's trying to get away from
the camera, but it keeps following him.
He reaches a crosswalk. He has to wait for the light.
Finally, he looks INTO CAMERA:
GAVIN
Look, I don't want to do this
anymore. My show's not going to
happen, so this show is over.
(MORE)
65.
GAVIN (CONT'D)
Done. Gone. I`m not going to be
your fucking puppet.
OFF-SCREEN VOICE
Are you alright?
Gavin looks left, where an African-American woman is waiting
for the same crosswalk. (We recognize her as Octavia, the
streetwalker from Part One.)
GAVIN
I'm fine.
OCTAVIA
Who were you talking to?
Gavin looks back towards camera, a strange expression.
MUCH WIDER
We see Gavin and the woman on the corner. There's no camera
Gavin could have been talking to. He's understandably
perplexed: Where did the documentary crew go?
Was there ever anyone there?
Our CAMERA style has changed: instead of handheld and jerky,
we're smooth and slow.
The MUSIC has completely changed, underscoring a sense of
creeping dread.
We HOLD for a long beat. The light changes. Still a little
unnerved, Octavia begins to cross the street.
Only then do we notice something unusual floating above her
head:
A SPHERE OF BLUE LIGHT.
WIDER, we see that everyone on the street has the same kind
of sphere floating a foot above their heads. No one seems to
see the lights other than Gavin.
Gavin looks around in uneasy fascination, as if he's just
landed on an alien world.
A beat, then he has an unsettling thought.
He slowly looks up. Above his own head, he sees the same
sphere of light -- only his is bright white. Pulsing.
Blinding.
GAVIN
Oh God.
66.
We PULL BACK, RISING UP to a perspective above and behind
Gavin. As we do, the edges of the frame creep in, revealing
ICONS and unintelligible STATISTICS, changing moment by
moment.
A dialog box appears in the center of the screen, reading...
Exit Now?
Unsaved changes will be lost.
[ Cancel ] [ Exit ]
An arrow slides back and forth between to the two options.
Finally it lands on `Exit.'
A CLICK.
CUT TO BLACK.
FADE IN:
x177 x177
INT. LIVING ROOM - DAY [PART ONE]
We're continuing an earlier scene from the end of Part One.
MARGARET
I can understand why you're a
little confused.
GARY
No. I'm a lot confused.
MARGARET
Theories?
GARY
This is all a dream.
MARGARET
No.
GARY
I'm in a coma.
MARGARET
(amused)
No.
GARY
Then I'm dead. This is Hell, or
Purgatorium or something.
67.
MARGARET
Okay, a purgatorium is where Romans
vomited. But no. This is as real
as anything can be.
GARY
(suspicious)
What does that mean?
She sits forward in her chair. By instinct, he sits back.
MARGARET
Everything is what it is. But
you're not who you think you are.
GARY
Okay, then. Who am I?
With practiced calm...
MARGARET
You're a multi-dimensional being of
vast, almost infinite power. You
created this world on a whim, and
decided to stick around to see how
it turned out. You, this body
you're in, is just one of your
incarnations. Avatars. Call you
what you will.
Not sure he follows...
GARY
Are you saying I'm God?
MARGARET
Technically, no. If God is a ten --
a theoretical ultimate, that-which-
no-greater-can-be-imagined --
you're more of a nine.
GARY
So what are you?
MARGARET
Humans are sevens. Monkeys are
sixes.
GARY
What are the eights?
MARGARET
Koalas. They're telepathic. Plus,
they control the weather.
She didn't mean to get on that tangent...
68.
MARGARET (CONT'D)
What's important is that you,
you're the big cheese. El Supremo.
You could destroy the world with a
single thought.
(suddenly)
Don't, incidentally. Just file
that away. But the truth is, you
hold all the cards: every church,
every candle, every sacrifice --
that's for you. When people pray,
they're not praying because they
want this thing or that thing.
They just don't want to be
forgotten.
MARGARET (CONT'D)
So you understand, I would have
told you earlier, but I didn't...
GARY
Yeah.
MARGARET
Okay.
GARY
I understand. But I don't believe
you.
He gets up to exit. (This is where we jump-cut time earlier.)
FREEZE FRAME.
FADE TO BLACK.
69.
300 300
TITLE OVER BLACK:
Part Three:
KNOWING
FADE IN:
301 301
EXT. MEADOW - DAY
In a WIDE SHOT, we see a vast field, bordered by green
mountains. Unseen BIRDS call out from the trees, while
insects CLICK and WHIRR.
In the distance, we spot swatches of bright colors moving our
way. It's a family: father GABRIEL (34), wife MARY (33) and
daughter NOELLE (8). They're returning from a short day
hike. Mary carries a small videocamera.
Seeing that Noelle is already a ways down the path...
GABRIEL
Noelle! Don't get too far ahead.
Noelle turns around. Instead of speaking, she moves her
hands in sign language. (She's mute, not deaf.)
MARY
No. You had ice cream at lunch.
Noelle begs to differ. More signing.
GABRIEL
(to Mary)
Apparently frozen yogurt doesn't
count.
MARY
I'll make note.
302 302
EXT. SMALL GRAVEL ROAD - DAY
The family walks up to their car, a blue Toyota Prius.
Gabriel sheds his daypack, trying to open the hatchback. It
won't lift.
Mary goes to open the passenger door. Locked.
MARY
Did you hit it?
GABRIEL
Shouldn't have to.
70.
He fishes the keys out of his pocket. Presses the remote
entry button repeatedly.
Gabriel tries to open the driver's side door. Locked. Even
Noelle knows something's wrong.
Gabriel pulls the small mechanical key out of the fob.
Unlocks the door and climbs in. Opens the door for Mary and
Noelle.
GABRIEL (CONT'D)
I think we left the overhead light
on.
He taps it. Moves the switch.
MARY
Shit.
Noelle signs her made-up representation of "shit."
MARY (CONT'D)
Noelle.
Gabriel slides the key into the slot. Hits "START."
Nothing.
GABRIEL
Battery is dead. Least the starter
is.
Noelle leans forward, aware that this is something serious.
MARY
How do we...?
GABRIEL
We call the service. That's all we
can do.
MARY
It's just the little battery that's
dead, right? The big one is
probably fine.
GABRIEL
I guess.
MARY
We can't jump it from one battery
to the other? Cross-over somehow?
GABRIEL
Who did you marry? MacGyver?
71.
He gets out of the car, retrieving his cell phone. Mary
follows him out. Noticing that he's not dialing...
MARY
Are you getting a signal?
GABRIEL
No. Do you?
She checks her phone. A long beat.
MARY
Yes! One bar.
They're both relieved. Finding the AAA card in his wallet,
Gabriel takes the phone and dials.
It's at this moment we notice the familiar green string
bracelet around Gabriel's wrist.
In the back seat, Noelle KNOCKS on the window. She signs,
asking if everything is okay.
MARY (CONT'D)
We're okay. Daddy's calling people
to help us.
Gabriel pulls the phone from his ear. Looks at the screen.
Hits redial. Fuck.
GABRIEL
The minute you try to place a call,
the bar goes away.
MARY
Keep trying.
GABRIEL
Okay, I'll keep trying, Mary. But
it will keep happening.
MARY
Well, what do you want to do?
GABRIEL
I don't know.
He tries redial.
MARY
Maybe if you hold it up higher.
Humoring her, he holds it at arm's length. No good.
72.
GABRIEL
The problem is we're boxed in.
It's a canyon.
A beat.
GABRIEL (CONT'D)
Where we turned off the main road,
it was more open. And higher, too.
MARY
That's at least a mile.
GABRIEL
I can run that.
MARY
So...we stay here?
GABRIEL
You okay with that?
MARY
I don't think we have a choice, so,
yeah. Go.
Half a beat, while each waits for the other to think of a
better plan. Neither does.
Gabriel leans down next to Noelle's window.
GABRIEL
Daddy's going to get a truck to
help us out. You take care of your
mom, okay?
Noelle nods.
GABRIEL (CONT'D)
I'll be right back.
Gabriel gives Mary a quick peck and starts running down the
road.
We MOVE IN on Noelle, who smiles a little.
CUT TO:
303 303
EXT. GRAVEL ROAD - DAY
Gravel CRUNCHES under Gabriel's shoes as he runs. He keeps
an easy pace.
In VARIOUS SHOTS, we get a sense of the distance he's
travelling. He passes gulches, meadows and boulder fields.
73.
He finally arrives at the junction of the dirt road and a
larger...
304 304
EXT. PAVED ROAD - DAY [CONTINUOUS]
Pulling out Mary's cell phone, Gabriel tries to get a signal.
By his reaction, it's still iffy.
He dials, but the call drops. Tries again. Just the same.
He looks left. Looks right. Looks back down the dirt road.
He decides to head off to the right, downhill.
305 305
EXT. FURTHER DOWN THE ROAD - DAY
We catch up to Gabriel as he's walking in the middle of the
road, still trying unsuccessfully to get a signal.
In the distance, he spots a patch of moving color: a female
hiker. A moment's hesitation, then he YELLS out to her:
GABRIEL
Excuse me! Hi! Hello?
She stops, turns.
Gabriel jogs to close the distance. As we approach, we
reveal SIERRA, 38. In the past 10 years, she's "made a fresh
start" 12 times. In this incarnation, she's a wilderness-
loving, Bush-hating, wildly-overeducated clerk at Trader
Joe's in Venice.
GABRIEL (CONT'D)
Excuse me. Do you have a cell
phone?
SIERRA
No, I don't. There's no service up
here.
GABRIEL
(re: his phone)
Yeah, I'm finding that out.
SIERRA
You can usually get a signal up at
the ranger station.
GABRIEL
Okay...
She points in the opposite direction -- back the way he came.
74.
SIERRA
You follow the road. It's
probably... I don't know. You have
a car?
GABRIEL
It's dead. That's why I need...
SIERRA
Oh...
She pulls a stray hair back from her mouth. Notices him
noticing her.
GABRIEL
Yeah.
A beat. She takes a subtle step closer to the center of the
road.
GABRIEL (CONT'D)
Are you headed back to your car
now? If you could give me a ride
to a gas station, wherever...
She doesn't leap to extend an invitation. It takes a beat
for Gabriel to figure out why.
GABRIEL (CONT'D)
Oh. Hey. Look, I'm not some crazy
Ted Bundy guy. I'm not going to
rape you or kill you or anything.
She doesn't seem reassured.
GABRIEL (CONT'D)
Of course, that's what Ted Bundy
would say. Look, I'm a videogame
designer.
(fishing through wallet)
My wife is an editor. My daughter
is four.
He offers her a family photo. She looks at it, but doesn't
take it.
GABRIEL (CONT'D)
They're waiting back at the car,
and I want to get some help before
it gets dark.
SIERRA
I can call somebody when I get to
town.
Trying to temper his frustration...
75.
GABRIEL
I believe you. I do. But you
don't know where the car is. And
the guy might not come. We can't
be up here all night.
Sierra backs away.
SIERRA
I'm sorry.
GABRIEL
Don't be sorry. Just help me out
here.
SIERRA
No. I can't. I'm sorry.
Once she feels she's reached a good distance, she turns and
keeps walking.
GABRIEL
Why won't you trust me?
She doesn't turn back, heading down the road.
TRANSITION TO:
306 306
EXT. ROAD / INT. PRIUS - DAY
Mary is sitting in the back seat of the Prius with Noelle,
who's getting tired of her coloring book.
Noelle signs something to Mary, who considers the request.
MARY
Okay, but you have to be careful,
understand? You have to use Big
Girl hands.
Noelle nods. Mary hands her the small video camera. Noelle
has some trouble folding out the little screen, but
eventually gets it open without any help from her mom.
MARY (CONT'D)
Do you want to see where we were
today?
Noelle nods.
Mary takes the camera back for a second, flipping it to
playback mode and rewinding. The blocky video footage zips
past.
76.
MARY (CONT'D)
Okay, now hit play. This button.
Noelle does. On the tiny screen, we see Noelle and her
father eating lunch by a waterfall. (Mary is filming.)
MARY (CONT'D)
There's you. And there's Daddy.
You're a little movie star, huh?
Noelle smiles. Signs something.
MARY (CONT'D)
He'll be back soon. Don't you
worry.
CUT TO:
307 307
EXT. PAVED ROAD - DAY
Gabriel continues walking, headed back in the direction he
came. From behind him...
SIERRA (O.S.)
Hey!
He turns, finding her a ways back. She approaches.
GABRIEL
Were you following me?
SIERRA
Once I was sure you weren't
following me. I'm sorry, it's
just...
GABRIEL
You thought I was Ted Bundy.
SIERRA
Kinda.
GABRIEL
My name's Gabriel. Bundy.
She smiles.
SIERRA
Sierra.
They shake.
SIERRA (CONT'D)
Weird that there's no cars. At
all.
77.
GABRIEL
Yeah.
SIERRA
So, listen. I'm parked that way.
She points off the road, through the forest.
SIERRA (CONT'D)
It's not that far. If you want,
I'll give you a ride to town.
GABRIEL
Really?
SIERRA
Yeah. Make up some karma.
GABRIEL
Lead the way.
She does. They cross off the pavement, descending into a
dark forest.
TRANSITION TO:
308 308
EXT. FOREST - DAY
Gabriel walks with Sierra. The trees here are taller,
creating a cathedral-like ceiling above them.
SIERRA
Okay, confession. I kind of
recognized you.
GABRIEL
Really?
SIERRA
I wasn't sure, but I think I saw a
picture of you in some videogame
magazine my boyfriend had. You're,
like, the shit.
GABRIEL
No.
SIERRA
You're like the Quentin Tarantino
of that world. A videogame God.
GABRIEL
Not really.
78.
SIERRA
Fine.
GABRIEL
You seriously recognized me off of
one photo?
SIERRA
I thought you were kinda hot.
Considering.
GABRIEL
Considering..?
SIERRA
Within the subset of videogame
people.
GABRIEL
Okay.
SIERRA
I wasn't masturbating to your
picture or anything.
GABRIEL
Well, I guess I'm flattered.
SIERRA
You should be. I'm stingy with
compliments.
GABRIEL
So your boyfriend plays videogames?
SIERRA
Ex-boyfriend. And yes. Way too
many. He used to play Evercrack
back in the day, but yours, well,
that was like...what's worse than
crack?
GABRIEL
Super-crack?
SIERRA
Sure. He was this orc witch doctor
guy.
GABRIEL
Shaman?
SIERRA
Yeah. At one point he was spending
like, 40 hours a week gathering
"thunderleaf" or whatever.
(MORE)
79.
SIERRA (CONT'D)
Then I was his mule, hauling it
around because he ran out of space.
GABRIEL
You had an account?
SIERRA
I was part of your world, and you
didn't even know it.
GABRIEL
Sorry.
SIERRA
You can make it up to me.
309 309
EXT. ROAD NEAR PRIUS - DAY
Mary is pacing -- but trying not to look like she's pacing.
She holds the other cell phone (Gabriel's), which she turns
on and off, hoping that somehow she'll get a signal.
Each time she turns it on, we hear the CHIMES.
IN THE PRIUS
Noelle is still playing with the video camera, watching
footage of the hike. She decides to wind back further.
CLOSE ON the blocky pixels rushing past.
Noelle hits "play." For now, we just hear the audio.
MAN'S VOICE
...I have five seasons mapped out,
and though it sucks, either you go
away, or the show goes. I had to
make a decision, and that's the
decision I made. I'm sorry.
We reveal the screen. We're watching the argument between
Gavin and Melissa from Part 2.
MELISSA (ON TAPE)
So it's done. Finished. Decided.
GAVIN (ON TAPE)
Yeah.
Confused, Noelle looks out at her mother, Mary, who is still
pacing with the cell phone.
MELISSA (ON TAPE)
I understand.
80.
GAVIN (ON TAPE)
You do?
MELISSA (ON TAPE)
I understand. It's not your fault.
You're morally incapable of doing
the right thing.
Noelle REWINDS further. Blocky pixels RUSH PAST as we...
CUT TO:
310 310
EXT. FOREST - DAY
Sierra continues to lead the way. She seems confident where
she's headed, even though there's no real path.
During the conversation, we notice a small tattoo on her
right shoulder blade: IX.
SIERRA
So you play a lot of characters at
once?
GABRIEL
A couple. Most people do.
SIERRA
You're not most people. You
created the world. You know all
the secret codes.
GABRIEL
What, like `God mode'?
SIERRA
That's what you call it?
GABRIEL
That's when you have all the
powers, and you can't be killed.
It's fine when you're designing,
but it's really boring to play. A
game isn't fun unless there are
rules.
SIERRA
And you make the rules.
GABRIEL
Yes I do. I mean, you want to give
everyone freedom, but they can't
handle it. Half your players are
teenage boys, and it's like they're
programmed to be destructive.
(MORE)
81.
GABRIEL (CONT'D)
They deliberately crash the world
servers. They'd ruin everything
just to prove they could.
A311 A311
INT. FOREST VALE - DAY
Sarah offers Gary her water bottle, which he gladly takes.
Out of nowhere...
SIERRA
Do you think I'm pretty?
She stops, turning to face him.
GABRIEL
What?
SIERRA
Do you think I'm hot? On a purely
physical level.
GABRIEL
Sure.
He drinks.
SIERRA
That's a rave.
GABRIEL
Well, I don't know why you're
asking.
SIERRA
My ex-boyfriend, the orc, he says,
"What I like about you is that
you're not so hot that I'm afraid
of losing you."
GABRIEL
So where's the orc now?
SIERRA
He's dead. I spiked his water
bottle with a massive quantity of
GHB. He hallucinated, went into
convulsions and died.
He screws the cap back on the water bottle and hands it back.
GABRIEL
Remind me not to piss you off,
Sarah.
82.
SIERRA
Sierra.
He's surprised. He could have sworn her name was Sarah.
GABRIEL
Sorry.
SIERRA
And what makes you think you
haven't pissed me off already?
She smiles, keeps walking.
311 311
EXT. ROAD / INT. PRIUS - DAY
Mary sits down in the front passenger seat of the car.
Noelle is still in back, watching footage on the video
camera.
MARY
How are you doing, kiddo?
Noelle doesn't look up.
MARY (CONT'D)
I was thinking we could all go to
El Cholo for dinner. How would you
feel about some blue corn
enchiladas? Should we ask Daddy
when he gets back?
Without looking up...
NOELLE
He's not coming back.
Mary is stunned. For her part, Noelle seems to have no idea
she just spoke her first words.
We hear three evenly-spaced BEEPS. After the third one, Mary
says:
MARY
How could you...
Mary flinches. It's like someone walked over her grave.
Noelle hands her the camera. The footage is cued to earlier
in Part 2, where Gavin is having Melissa loop in a wild line:
MELISSA (ON TAPE)
Howkajew. How could you. How
could you.
(MORE)
83.
MELISSA (ON TAPE) (CONT'D)
(beat)
I feel so dirty.
GAVIN (ON TAPE)
That's how I like ya.
Mary backs out of the car, as if trying to get away from the
video camera. But she's still holding it.
She hits STOP. Tries to collect herself.
Noelle gets out of the car, but doesn't approach. She signs,
"Mommy?"
Mary backs away.
CUT TO:
312 312
EXT. FOREST VALE - DAY
Gabriel and Sierra stop for a moment, so he can pull off his
outer shirt. For the first time, we see that Gabriel has a
large tattoo on his back which looks like this:
IX
He's sweating a lot.
GABRIEL
Am I crazy, or is it getting
hotter?
SIERRA
Oh, you're crazy.
She hands him back the water bottle. He gladly drinks.
When she takes the bottle back, she steps forward. The
motion leaves them face-to-face. She pauses for a moment,
just long enough for him to turn away.
He doesn't.
She kisses him. He doesn't really kiss back -- but he
doesn't fight it, either.
She puts a hand on his thigh, sliding up the inside. Only
when she reaches his crotch does he pull back.
GABRIEL
I have a wife. And a daughter.
They're waiting for me.
SIERRA
Where are they?
84.
GABRIEL
Back at the car.
SIERRA
I mean, which direction?
GABRIEL
They're back...
Gabriel turns, trying to get his bearing. The trees BLUR.
He nearly falls over.
He manages to steady himself.
SIERRA
Face it, G.: You don't know where
they are. You don't know where you
are. We've been walking in circles
for an hour.
GABRIEL
Where's your car?
SIERRA
There is no car. That was all a...
(what's the word)
"pretense," I guess. An excuse to
get you alone.
Wobbling, Gabriel sits down on a stump. Sierra kneels down
in front of him.
SIERRA (CONT'D)
Dizzy, huh? It's probably just the
GHB. In the water.
She holds up the water bottle.
FLASH TO:
QUICK FLASHBACKS FROM PARTS ONE AND TWO
313 313
EXT. FOREST - DAY
Gabriel experienced the flashbacks. He felt time move.
GABRIEL
What's happening?
SIERRA
I'm sorry it had to come this, G.
But it'll all be over soon.
85.
GABRIEL
You're trying to kill me.
SIERRA
No! No. This isn't a murder.
It's an intervention.
CUT TO:
FLASHBACK SEQUENCE.
Images to accompany previous dialogue...
SUSAN
I had to get you away from her. She
was holding you back. You had to
give her up.
GAVIN
Melissa?
SARAH
I can you out of here. But you
have to trust me.
SUSAN
Do you feel like a man? You're
not.
315 315
EXT. FOREST - DAY
Gabriel dry-heaves. Sierra rubs his shoulders.
SIERRA
That's right. Just let it go. Let
it go.
She's genuinely empathetic -- she doesn't enjoy his
suffering.
GABRIEL
Why are you doing this?
SIERRA
You did it to yourself. Admitting
that is the first step.
She comes around to face him. And now we see they're not
alone. Two other familiar faces approach:
THE PAROLE OFFICER/AGITATED MAN, and
OCTAVIA.
86.
They're Nines as well.
SIERRA (CONT'D)
You're a crack-head, G. The thing
is, this planet, these people,
they're your drug of choice.
CUT TO:
99 99
INT./EXT. VARIOUS LOCATIONS - DAY
[The next sequence bridges multiple earlier scenes from Parts
One and Two. Gary/Gavin/Gabriel has one conversation with
Sarah/Susan/Sierra, but it's broken up among previous scenes
and locations, sometimes for just a line.]
S.
It's not that hard to make a
universe. At first, you just
checked in every once in a while.
See how the Neanderthals were
doing. Move some continents
around. But then you got more into
it. Starting playing a couple of
characters of your own. Kings.
Slaves. Messiahs. Pretty soon,
you were playing 24/7.
G.
How long have I..?
S.
You've been gone for four thousand
years. Not that time means the
same for us, but...
G.
You came looking for me.
S.
That's what a girl does.
G.
Why now?
x107 x107
EXT. STREET - DAY [PART ONE]
Streetwalker Octavia leans in Gary's car window.
OCTAVIA
Because you forgot who you were.
87.
x228 x228
INT. TESTING ROOM - DAY [PART TWO]
The Agitated Man leans up to the one-way glass.
AGITATED MAN
You forgot this wasn't real.
99 99
INT./EXT. VARIOUS LOCATIONS - DAY
S.
We couldn't just storm in on a
fiery chariot. It's your universe.
We had to play by your rules. We
had to make you see how limited and
corrupt your little world was.
Don't get me wrong, this world is
nice. It's cozy. But do you
remember where you came from?
A few beats while it comes back to him. Tears start to build
in his eyes. What he's picturing is unspeakably beautiful.
G.
It was warm. And white. Like...
x160 x160
INT. LIVING ROOM - DAY [PART ONE]
The Agitated Man/Parole Officer attaches Gary's anklet.
AGITATED MAN
You can't describe it with human
words.
x108 x108
INT. MOTEL ROOM - DAY [PART ONE]
Octavia leans over Gary, who has fallen off the bed.
OCTAVIA
You can't think it with human
thoughts.
99 99
INT./EXT. VARIOUS LOCATIONS - DAY
S.
That's why you have to come back.
Come back with us. With me.
x256 x256
OMIT
88.
316 316
EXT. GRAVEL ROAD / NEAR THE PRIUS - DAY
Mary is sitting on the road. Noelle has her chin on her
mother's shoulder, watching the videotape with her.
ON SCREEN, with tinny audio: (from scene 177)
MARGARET
You could destroy the world with a
single thought.
(suddenly)
Don't, incidentally. Just file
that away. But the truth is, you
hold all the cards: every church,
every candle, every sacrifice --
that's for you. When people pray,
they're not praying because they
want this thing or that thing.
They just don't want to be
forgotten.
BACK TO:
A317 A317
EXT. ROAD / PRIUS - DAY
Mary is still watching the tape. She realizes Noelle isn't
watching over her shoulder anymore.
Mary looks around. Her daughter is nowhere to be seen.
MARY
Noelle? Noelle!
CUT TO:
317 317
EXT. FOREST CROSSROADS - DAY
Gabriel and Sierra are back at the junction where the paved
road meets the gravel road.
GABRIEL
Maybe if I just cut back, didn't
get so involved...
SIERRA
We both know that'll never work.
Next week, you'll be back here
redesigning the pinecones. You
have to quit cold-turkey.
GABRIEL
I can't.
89.
SIERRA
You can. But I can't force you to
leave. You have to want it.
She takes his hand, running a finger through the green string
bracelet around his wrist.
She kisses him. And then she's gone.
Gabriel stands there for a long beat, considering his
decision.
x103 x103
OMIT
318 318
EXT. GRAVEL ROAD / NEAR THE PRIUS - DAY
Panicking, Mary calls out for --
MARY
Noelle! Noelle!
She's nowhere to be found. Then, from behind her...
GABRIEL
She's here.
Gabriel is walking up the gravel road, with Noelle holding
his hand.
GABRIEL (CONT'D)
I didn't forget you guys.
Mary regards him as a familiar stranger, a beloved imposter.
MARY
Everything okay?
GABRIEL
Absolutely. Let's go home.
MUSIC BEGINS, a song that will carry us through the next
sequence.
319 319
INT. PRIUS - DAY
Gabriel climbs into the driver's seat. Both Mary and Noelle
watch with interest as he pushes the "START" button. The car
BEEPS and engages without any problem.
Everyone fastens their seatbelts.
90.
320 320
EXT. FOREST ROAD - DAY
The Prius drives down the gravel road. Mary tries to keep
her eyes on the scenery, but they keep drifting over to
Gabriel, trying to read what he's thinking.
321 321
EXT. CROSSROADS - DAY
The Prius turns on to the paved road. Headlights switch on.
322 322
OMIT
323 323
OMIT
324 324
OMIT
325 325
EXT. HOUSE - NIGHT
The metal gate at the top of the driveway swings open,
SQUEALING on its rusty hinges.
326 326
EXT. DRIVEWAY - NIGHT
Gabriel lifts the sleeping Noelle out of the car. Carries
her into the house. Mary shuts the door behind them.
327 327
INT. NOELLE'S ROOM - NIGHT
Taking off her shoes, Gabriel tucks Noelle into bed. Turns
on a nightlight for her.
328 328
INT. MASTER BATHROOM - NIGHT
Gabriel brushes his teeth with an electric toothbrush while
Mary reads a magazine on the toilet.
329 329
INT. BEDROOM - NIGHT
Gabriel switches off the light. He spoons Mary, who kisses
his hand. On both Mary and Gabriel's faces, we see anxiety.
Things left unsaid.
330 330
INT. BEDROOM - NIGHT [LATER]
Gabriel lies awake, staring at the ceiling.
91.
331 331
INT. STAIRWELL - NIGHT
Gabriel's bare feet walk down the carpeted stairs.
332 332
INT. DINING ROOM - NIGHT
Gabriel stares at the three paintings on the wall.
333 333
INT. KITCHEN / EXT. BACK YARD - DAWN
Gabriel stands in the doorway, looking out at the inky-blue
sky. His eyes are red, tired. He hasn't slept at all.
It's very quiet, except for the occasional precocious BIRD
CALL.
Mary enters from the living room, still in her pajamas. He
knows she's there. Neither wants to speak.
MARY
You need to go, don't you?
GABRIEL
No. I can stay.
MARY
How long? Forever? Every day,
you'd know what you were missing.
He smiles, a little.
MARY (CONT'D)
What happens? If you go.
GABRIEL
Worst-case scenario? Spontaneous
disintegration into a fiery void.
Oblivio accebit. The end of
everything.
MARY
That's all?
Both smile.
GABRIEL
That probably wouldn't happen. The
basic structure of the universe
should hold. I guess I'm just
worried about the human factor.
You guys kill each other a lot.
92.
MARY
In fairness, that's usually in your
name. Plus we've gotten much more
efficient at it.
A beat.
GABRIEL
I like this world. I like my life,
here, with you and Noelle...
MARY
But it's not real. I'm not really
your wife, you're not really my
husband. On some level, it's all
pretend.
GABRIEL
It's not pretend. There's a reason
you were there, in every version.
You were my sister, my wife, my
best friend...
MARY
That's a little creepy.
GABRIEL
I wanted you close. In one
version, I even told you. I warned
you that some day they might come
for me, and...
MARY
...You'd have to leave. How many
versions were there?
GABRIEL
Ninety. This is the last one.
MARY
Wow.
GABRIEL
I've destroyed billions of people
with a thought. Obliterated them.
And you'd like to think it's
painless...
MARY
Stop. You don't have to explain, or
apologize. Everything that is, is
because of you. If that's all,
that's enough.
With that, there's really nothing more to say.
93.
MARY (CONT'D)
So.
GABRIEL
So.
MARY
Guess you don't really need to pack
anything.
GABRIEL
I'm good.
MARY
You're great. It's been a
pleasure.
GABRIEL
Likewise. I love you.
MARY
Love you, too. Ya big lug.
He kisses her. It's not a big, passionate, movie-ending
kiss, but rather a fond kiss farewell. At the end of it, he
WHISPERS into her ear:
GABRIEL
You're my favorite.
She smiles.
With two fingers, Gabriel BREAKS the green string bracelet
around his left wrist.
And in that moment, a film passes over him, like the boundary
between water and air.
He's stepped out of this dimension.
Mary is frozen with the same smile on her face, but we notice
that she and the kitchen around her have flattened out to two-
dimensional images.
She and everything around her has become like wallpaper,
slowly curling away, revealing emptiness beneath.
Gabriel collapses into a single, spiky sphere of light.
The light moves through the kitchen, creating waves that
ripple through the tissue-thin walls.
Picking up speed, the sphere rushes through the window,
heading west.
94.
334 334
EXT. LOS ANGELES - DAY
As the light flies out over Hancock Park, the mansions and
skyscrapers seem unreal, like models.
Reaching Santa Monica, we pass over the ferris wheel at the
end of the pier.
We dive into the blue ocean beneath us, which becomes only a
swirling gray fog with a viscous thickness.
We see three lights in the distance. We join them, moving
with them.
Further ahead, more lights, circling. It's a loose spiral
made of stars, resembling nothing so much as the number 9.
As we get closer and closer, we...
MATCH CUT TO:
A PALE EYE,
opening. We are...
335 335
INT. KITCHEN - MORNING
Hands reach up, expecting to find glasses, but there are
none.
As we PULL OUT, we reveal it's not Mary, Melissa or Margaret,
but a fourth person -- just slightly different from any of
them. We'll call her M.
She looks first to the spot where Gabriel was standing.
Empty.
MAN'S VOICE (O.S.)
Honey, do we have nutmeg?
M looks over at husband Ben, who is busy making pancakes,
reading from a recipe.
M
We should.
Coming around from behind Ben, Noelle checks through the
spice drawer. M watches her with cautious fascination.
BEN
Cinnamon, too.
95.
M catches her reflection in the toaster. Notices she looks
different than she expected.
NOELLE
(to Ben)
If I had a horse...
Noelle turns back with the spices, handing them to Ben one at
a time.
NOELLE (CONT'D)
I would name her Cinnamon.
BEN
Really.
NOELLE
And if I had another horse...
BEN
Nutmeg?
NOELLE
No, Flash.
M
Sweetie?
She beckons Noelle over. Tucks back the little girl's hair.
Keeping her voice low enough so Ben can't hear:
M (CONT'D)
This is going to sound really
strange, but...what's my name?
Noelle only gives her a half-crazy look.
NOELLE
Mmmmmmmmmm-Mommy.
Noelle smiles. M smiles too, a little embarrassed.
M
Right. Exactly.
Noelle looks her right in the eye.
NOELLE
He's not coming back. But it's
gonna be okay. He put the pieces
together, it's like...
M
The best of all possible worlds.
Noelle taps her nose.
96.
BEN
Honey? Is it supposed to stick
like this?
Sharing a look...
M
We should help him.
Noelle agrees. They head over to assist.
We MOVE ACROSS the family as they work on the pancakes,
Noelle directing how big the ears on hers should be.
We leave them in the middle of a messy kitchen, gooey
pancakes, and a good life.
FADE OUT.
THE END
97.
ADDITIONAL MATERIAL
The following scene (Scene 99) is the conversation between S
and G that plays near the end of Part Three. The plan is to
shoot this scene in almost every setup of the film that
involves both characters -- be it in Part One, Two or Three.
So we'll be shooting this scene a lot. We'll then be
intercutting the best of all these moments to create one
sequence.
99 99
INT./EXT. VARIOUS LOCATIONS
S.
It's not that hard to make a
universe. At first, you just
checked in every once in a while.
See how the Neanderthals were
doing. Move some continents
around. But then you got more into
it. Starting playing a couple of
characters of your own. Kings.
Slaves. Messiahs. Pretty soon,
you were playing 24/7.
G.
How long have I..?
S.
You've been gone for four thousand
years. Not that time means the
same for us, but...
G.
You came looking for me.
S.
That's what a girl does.
G.
Why now?
S.
We couldn't just storm in on a
fiery chariot. It's your universe.
We had to play by your rules. We
had to make you see how limited and
corrupt your little world was.
Don't get me wrong, this world is
nice. It's cozy. But do you
remember where you came from?
A few beats while it comes back to him. Tears start to build
in his eyes. What he's picturing is unspeakably beautiful.
98.
G.
It was warm. And white. Like...
S.
You can't describe it with human
words. You can't think it with
human thoughts.
(beat)
That's why you have to come back.
Come back with us. With me.
|
