The Nines Movie Script
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 Ep�e. 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.