(Name of Project)

by
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Revisions by
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FADE IN

TITLE

LUCRETIA'S CAT

EXT. PALACE GROUNDS - NIGHT

Under a full moon, a domestic, but curious cat,

"Conquistador", sits perched on a palace ledge, viewing the
countryside.

CUT TO:

CONQUISTADOR'S P.O.V.

In the horizon, passed the garden, a forest lives.

BACK TO

Conquistador lifts his nose, sniffs the air. He crouches,

preparing to launch. He leaps from the ledge, a long stretch
to the garden grounds. He lands on the grass with incredible
grace, races with magnificent speed, away, into the dark
forest.

CUT TO:

EXT. OPERA HOUSE - ENGLAND 1754 - NIGHT

Horse drawn carriages arrive at the steps outside. Elegantly

dressed couples are entering the hall.

CUT TO:

INT. OPERA HOUSE - NIGHT

The orchestra is tuning up as the hall fills with people.

Entering a Mezzanine Booth, Sir Reginald Manning and his two

female Courtesans, Elise and Nora. They giggle at their
escort, Sir Manning, a very large man in red velvet, puffed
white wig. His jaw line is flab that hangs down unshaven.
He maneuvers over and waits at his chair. The Courtesans by
his side, assist Manning into his seat. His large bottom
fills the chair to the rim. He lets out a large belch as he
lands.

(CONTINUED)
 2.
CONTINUED:

PATRONS on the mezzanine level turn and give a look of

disapproval.

Sir Manning waves and grumbles.

MANNING
Damn Indonesian food.

Manning gets comfortable. The Courtesans roll their eyes at

each other, fanning him lightly, at his service. The lights
go down and the orchestra begins.

PATRONS below Sir Manning's balcony are captivated by the

sound.

Sir Manning releases a fart. He smiles.

ELISE
Do you need anything Sire?

MANNING
(Twitching)
No...No.

Nora's face freezes getting a whiff of Sir Manning's

flatulence. She begins to fan the air around her. Sir Manning
moans. Elise is then stricken with the odor and holds her
breath, pretending to enjoy the music.

Manning squirms, unties his pants. He leans back and releases

a groan and a loud fart during the height of the epilog.

PATRONS are distracted by his groaning.

The Courtesans look in silent horror as Manning clutches them

to his side, enjoying the Opera. Nora fans emphatically,
stretching her neck away from him. Elise turns away. Manning,
mesmerized by the music, farting louder.

PATRONS looks over disgusted.

Nora has tears rolling down her cheek. Elise fans wider and
faster. Manning smiles.

CUT TO:

TITLE:

IN THE WAKE OF AN HOUR

 3.

EST. LOS ANGELES, CALIFORNIA - 2004 - MORNING

Smoggy skies, tall sky scrapers, busy freeways.

CUT TO:

INT. DEBRA FOLEY'S JUNK CAR - MORNING

Debra, the young who actress plays NORA in the previous

scene, reacts as her car stalls on the 405 Freeway in heavy
traffic.

DEBRA
Goddam mother fucker!

CUT TO:

TITLE:

SAY WHAT YOU MEAN

FADE IN

INT. PENTHOUSE OFFICE - MORNING

The office is bright, stylish with marble floors. Michael

Donovan's shiny black shoes reflect the light as he walks
across to answer the ringing phone. He pushes the speaker
on.

MICHAEL
Talk to me.

His SECRETARY'S voice is heard over the speaker.

SECRETARY (V.O.)
Gayle Sessions for you Mr. Donovan.

MICHAEL
Gayle Sessions... Yes.

Gayle Sessions' VOICE catches Michael's ears.

GAYLE
Mr. Donovan?

MICHAEL
Yes.

(CONTINUED)
 4.
CONTINUED:

GAYLE
This is Gayle Sessions. I've just
been looking over my new contract
with your agency.

MICHAEL
Oh you have. Well that's wonderful.
I believe it was "Nevin's Warning"
we were looking at, wasn't it?

GAYLE
Yes.

MICHAEL
That's a best seller I think.

GAYLE
Oh?

MICHAEL
Oh yes. I was stunned. We are so
thrilled to be publishing your
book. Whatever can I do for you?

GAYLE
Well, I'm calling from my
attorney's office. We think there
are some changes that need to be
made in my contract.

Michael's happy stride is broken.

MICHAEL
Really. What kind of changes?...

GAYLE
Why don't we meet as soon as
possible. Say lunch, your office?

Michael turns, concerned.

CUT TO:
 5.

TITLE:

THE PERFECT ACTRESS

FADE IN

INT. NIGHT CLUB - NIGHT

MISS ABLE sits at the bar with a shot of whisky, attractive

at the age of 57. She looks up to SEE an ATTRACTIVE LATINO
MALE standing next to her ordering a drink. She smiles. He
immediately looks her over.

ATTRACTIVE LATINO MALE

Ah! Eeezzza jewel?

MISS ABLE
Hi. I'm Miss Able.

He cups her shoulders into his arm and admires her face. She
smiles.

ATTRACTIVE LATINO MALE

What are you doing tonight, my
little piece of heaven?

MISS ABLE
Watching the world go by from the
bottom of a glass lens.

ATTRACTIVE LATINO MALE

Can you come with me to my
apartment and allow me to
massage all of your body parts?

MISS ABLE
Oh that sounds lovely. I would
be delighted.

ATTRACTIVE LATINO MALE

Your beauty. I cannot help myself.

MISS ABLE
Alas. My wheelchair is over there.

He SEES the empty wheelchair. Miss Able tries to keep his

attention.

MISS ABLE (CONT'D)

You shall either have to wheel me
or carry me away.

(CONTINUED)
 6.
CONTINUED:

He holds his eyes on the wheelchair dropping his arms away.

IN THE CROWD Trilia is walking past and bumps into JANUS

KELLY. He turns around, surprised.

JANUS
Hi.

TRILIA
Oh. Oh hi.

JANUS
How have you been?

TRILIA
How have I been? Fine. I think I'm
adjusting rather well, since my
lover left me and gave away my cat.

Janus, embarrassed as she raises her voice.

JANUS
You know, you told me you didn't
want anything back.

TRILIA
I never told you, you could take
anything either. Where's my cat
Janus?

Janus is distracted, no reply, changes the subject.

JANUS
How's Miss Able?

TRILIA
Oh, you mean Mis-e-r-Able? She's
fine. She's making out with some
Mexican at the bar.

JANUS
You know you don't have to be her
caretaker. She doesn't actually
need you.

TRILIA
Okay, why do you bring that up
so quickly? Jesus, you only walked
out, what, three weeks...a month
ago... It's just like you never
left.

(CONTINUED)
 7.
CONTINUED: (2)

JANUS
(interrupting)
You threw me out!...Because I think
it can all be worked out.

TRILIA
Yeah? Like you know anything about
it. Obviously it didn't work out,
did it? No. You don't understand.

JANUS
(Yelling over)
I think I do. You just don't want
it to work. You want to be angry
and blame someone. There are no
compromises with you. (Pause) If
you would give in just a little.
That's all you need to do. You're
just to controlling. You want to
control everything.

He tips his empty beer, shrugs his shoulders. She stares at

him in a confused gaze then shakes her head and walks away.
As she gets past him in the crowd she HEARS.

JANUS (V.O.) (CONT'D)

(Echoes)
You want to be angry...There are no
compromises... You're too
controlling...

ON THE DANCE FLOOR Miss Able's Latino Man is dancing like

crazy with another woman to the loud music and pulsing
lights. Behind him MISS ABLE sits at the bar looking on,
smiling all the while.

AT A TABLE in the back, Taggart, is waiting, drinking a

cocktail. He glances at his watch and stands up, looking
over the crowd. He sits back down, smiling at a woman
walking by. She ignores him.

BACK TO:

INT. OPERA HOUSE - NIGHT

The concert music continues. Manning and the Courtesans seem

to be content. A small rumble in Manning's seat brings Elise
to fanning again. Nora stretches, growing tired. Manning
smiles, fancying Elise. He nudges her, halting her fanning,
leans to her with a whisper. Elise hesitates, listens.

(CONTINUED)
 8.
CONTINUED:
Her eyes widen with agony as she hides her face with the fan.
Nearly gagging, she holds her breath as her head goes down
below the balcony ledge. Nora reacts to the sight below with
restrained disgust.

CUT TO:

INT. AUDITION ROOM - DAY

Debra holds her face steady with a smile for Rex Sanderson,
casting agent. He adjusts the video camera to focus up on her
and explains...

REX
Now I'm going to describe someone
that sits next to you on a bus.
I'm looking for genuine reactions.

DEBRA
Okay.

Her face goes blank.

MONTAGE

Numerous Actresses react.

REX
This man weighs 350 pounds and is
squeezing his way toward you. He
moves his butt in front of you're
face. He sits down and you realize
he hasn't showered or bathed in a
week.

Debra's face shows distorted signs of disgust. Actress #2's

face almost spits up. Actress #3 has some wonderful
expressions.

REX (CONT'D)
Now you're very polite and try to
hide that. The bus is going to be
stuck there for hours.

Actress #4 Closes her eyes and opens them slowly and then
lets out her breath.

REX (CONT'D)
That's nice. Thank you.

(CONTINUED)
 9.
CONTINUED:

Debra holds her head very still and her eyes straight ahead
for several seconds. Rex is struck laughing.

REX (CONT'D)
Now he opens up his lunch and it's
a Limburger cheese sandwich. He
unwraps it from the plastic wrap,
where its been perspiring for hours
in the sun.

She keeps her head very still and locks a stare on him. Rex
laughs uncontrollably.

REX (CONT'D)
Oh, I really like that. Debra?
He looks down at her resume.

CUT TO:

EXT. STREET - DOWNTOWN HOLLYWOOD - DAY

The crossing light turns red. Debra crosses a busy

intersection. She approaches her car, parked at the curb.
She notices the parking meter has expired and there is a
parking ticket attached to her windshield. She grabs the
ticket and throws a little fit.

DEBRA
What the... Come on. Give me a
break... God!

CUT TO:

INT. SUPER MARKET - DAY

DEBRA is strolling a cart down the canned vegetable isle,

biting her nails. On the shelf, a SIGN posted, reads: 5 Cans
for $2.00. Debra throws 1 can of peas into her cart.

IN THE REFRIGERATOR/FREEZER SECTION, DEBRA IS debating with

herself over a carton of milk or a carton of ice cream. She
picks up the milk and holds it, puts it back and strolls away
with the ice cream.

AT THE CHECKOUT, DEBRA is opening her small change purse and

the grocery bill registers on the cash machine. $4.71, $5.96,
7.98. Debra pulls out a few dollars and counts. Embarrassed
she looks at her selection.

(CONTINUED)
 10.
CONTINUED:

DEBRA
Forget the peas and the bread.

CUT TO:

EXT. SUPER MARKET - PARKING LOT DAY

DEBRA exits, walks to her car with her small bag of

groceries. She SEES across the lot.

DEBRA'S P.O.V.

TWO STRANGE MALES standing, staring in her direction. Dressed

in plain white and dark sunglasses. Oddly positioned in the
middle of the parking lot, they do not move or turn away.

DEBRA stares back and gets in her car, hurriedly and drives
away.

CUT TO:

EST. COLUMBIA UNIVERSITY - RESEARCH LAB 1932 DAY

The room is expansive with long rectangular tables angling

the walls and set in rows. Each table houses a microbiology
kit and there are specimen samples in a secured, sanctioned
ice box. Two Polio researchers hurry out the door with their
jackets on, leaving young Dr. Albert Sabin as he is examining
a blood specimen. He turns the knob of his microscope and
studies. As he pulls his eyes away, he looks down at his
notes.

IN THE HALLWAY Dr. Sabin moves through and steps before

Professor Connelly walking toward the lab.

SABIN
I've discovered a virus.

PROFESSOR CONNELLY
Where?

SABIN
In Parker's autopsy sample.

BACK IN THE LAB, Professor Connelly is looking into the

microscope.

PROFESSOR CONNELLY
Yes. Yes, this is a virus.
(to Sabin)

(CONTINUED)
 11.
CONTINUED: PROFESSOR CONNELLY(CONT'D)
It's a common herpes virus carried
by the chimpanzee. Parker probably
contracted it when he was bit.

SABIN
Herpes! It can't be. It killed
him. Herpes doesn't kill you.

PROFESSOR CONNOLLY
It can when it transfers from
species to species. It's mutated
for one, even slightly and second,
the new host cells are bound to
react differently.

Sabin is shocked and stares, moving to the microscope.

Professor Connelly pats his shoulder and leaves the lab.

PROFESSOR CONNELLY
Make sure to document this in
detail. We'll have to notify the
board.

CUT TO:

INT. TRILIA'S CAR - NIGHT

Miss Able sits comfortably in the back seat, enjoying the

ride home. The car rides past the lights of the city. Trilia
drives, but does not speak to her mother.

CUT TO:

INT. TRILIA'S HOME - DAY

Taggart is coming through the side door, following Trilia

into the kitchen. He seems ambiguous to her lack of
enthusiasm.

TAGGART
What happened to you last night?

TRILIA
Oh, my mother.

She waves her hand in the air, avoiding.

TAGGART
Well, you could have called.

(CONTINUED)
 12.
CONTINUED:

TRILIA
I'm sorry, I bumped into my old
boyfriend... And...

She shakes her head, more avoiding. She is setting plates on

the counter, preparing lunch.

TAGGART
You lied to me. You told me you
were never going to see him again.
Now you tell me he still comes
around?

Trilia is staring into the refrigerator, grabbing the mustard

and relish.

TRILIA
He's not coming around, I said I
bumped into him.

TAGGART
Here in the bed?

TRILIA
Are you making that up? Taggart,
I'm not cheating on you. I barely
know you.

She's putting bread on the counter and grabs a knife.

TAGGART
But you know him, you lived with
him? Right?

TRILIA
Alright. I know him. But we broke
up and he stole my cat and then he
gave it away. I was really upset
after I saw him...

There is a pause as she looks compassionately into his eyes.

Then she holds up the knife.

TRILIA (CONT'D)
You want a sandwich?

CUT TO:
 13.

INT. CASTING OFFICE - DAY

An ADMINISTRATIVE ASSISTANT is reading the script. She looks

up at a CO-WORKER making photocopies.

ADMINISTRATIVE ASSISTANT
I don't understand this script.
I mean there are some really
funny scenes, but it's just
so...

CO-WORKER
It's funny, it's scary, it's sad.

ADMINISTRATIVE ASSISTANT
It's all mixed up.

The CO-WORKER handles a stack of paper and smacks the edges

on the counter.

CO-WORKER
It's all about life.

CUT TO:

INT. PALACE-LUCRETIA'S CHAMBERS - MORNING

Lucretia's head pops up from the heavy covers and SEES the
sunrise from her window. She brushes the hair from her face
and scurries off the bed.

LUCRETIA (V.O.)
I have awaken to the brisk scent of
loneliness, as if it was just about
to bloom under my windowsill. My
cat has not returned.

Lucretia is searching the hall of the palace for

Conquistador.

LUCRETIA (CONT'D)
Quista.

She calls out and checks under chairs, in boxes, drawers and
cupboards, under beds, behind curtains and in closets while
she narrates her thoughts.

LUCRETIA (V.O.) (CONT'D)

It's been over twenty four hours
now and Quista has not returned.

(CONTINUED)
 14.
CONTINUED: LUCRETIA(CONT'D)
I do not remember him ever
departing this long before... Of
course this is a new home to him,
he would be curious... Perhaps he
is stuck, trapped in the servants
caddy, or...

She looks out the window as far as she can see and feels
exasperated. She moves away from the window slumping over on
her bed, crying.

LUCRETIA (V.O.) (CONT'D)

But maybe I am just blocking that
out. I hope I do not find him
lifeless or torn up. If I do not
find him chances are he is still
alive. But if not for my lack of
faith, I am preparing my heart to
be broken.

CUT TO:

INT. PALACE-DINNING HALL - MORNING

PRINCESS ISABELLA is ringing her bell, sitting at the long

walnut table. She holds a pair of spectacles to her eyes and
reads. Her butler, WILEY enters with a tray prepared with a
tea service. He sets it down on the table in front of her.

ISABELLA
Thank you Wiley. Where is that
wonderfully charming niece of mine?

Wiley pours a cup of tea for her.

WILEY
I'm afraid she has taken ill
Madame.

ISABELLA
What?

WILEY
It is her cat I think. It's gone
missing.

ISABELLA
Well tell the poor dear to come
visit with an old lady.

(CONTINUED)
 15.
CONTINUED:

WILEY
Right away Madame.

Wiley exits. Isabella looks out the window.

CUT TO:

EXT. PALACE GROUNDS - DAY

LUCRETIA is laying on her stomach down slope of a hill,

watching the trees in the distance.

LUCRETIA'S P.O.V.

Active birds prance about the forest trees.

BACK TO

LUCRETIA watches and listens carefully to every movement.

LUCRETIA (V.O.)
The thoughts that are running
through my mind are horrible. My
aunt has warned me about the owls.
The nasty claws swooping down under
a winged cloak. Swallowing my
beloved whole, devouring him.
Spitting up an orange fur ball and
dropping it in the fields. The
savage beak that pierces and shreds
through tough skin and fur while
carrying him off to the talons. I
can't stand the thought of Quista
dying that way. I should try to
imagine him as well happy and
talkative, living peacefully with
the mountaineers...

From the other side of the courtyard two guards are crossing
over the bend. They do not see Lucretia in the grass and
walk passed her talking.

GUARD #1
My heart pounds so rapidly in her
presence.

GUARD #2
You mustn't attempt or it will be
your life.

The Guards walk toward the tower. Lucretia watches them

leave, hiding in the grass.

(CONTINUED)
 16.
CONTINUED:
She finds it hard to breath and she rolls over after they are
gone. She looks up into the blue sky and cries.

LUCRETIA (V.O.)
Oh my Quista. He's been snatched
up. He couldn't have found a new
home and left me so ardently. He
was too loyal to me, he followed me
into every room in the house and
stayed close even under the covers.

She looks off toward the trees HEARING a CRACKLE. She sees
movement and gets up from the ground, walking toward the
trees curiously.

CUT TO

EXT THE CONGO 1956 - DAY

The drums call. The villagers come. Slowly but steadily,

Congolese Africans, mostly women and their children, line the
tents set up by researchers. They file in one by one and
open their mouths for an oral inoculation ADMINISTRATIVE
ASSISTANT by a clinician. The clinician sprays small squirts
from a vial into the mouths of babies and on down the line,
men and women of the village each receive a dose. The
clinicians smile and laugh at the babies. Dr. Hilary
Koprowski, polish born American physician, administering
doses out to another line of villagers.

CUT TO

INT CONFERENCE ROOM - PRESENT DAY - DAY

Around a large table several key players are present. Gayle

Sessions a strict and sharply dressed woman in her forties.
Her attorney, Nelson Albright, a precise legal mind with
papers prepared and in his hands, passes them to Michael
Donavon. Michael holds them briefly and sets them on the
table in front of Kessler Oden, the firms top corporate
attorney. Kessler reads the document and checks its phrasing.
He questions Albright.

KESSLER
Your idea here is to break off
parts of the profits from the book
into a charitable functions
bankroll.

ALBRIGHT
Yes. The organization is
completely disclosed of within the
contract and we have all the forms.

(CONTINUED)
 17.
CONTINUED:

KESSLER
This raises a lot of eyebrows for
us you know, since nine eleven.

ALBRIGHT
We understand.

DONOVAN
Well, there are still some finer
points that need to be clarified.

ALBRIGHT
What are those?

KESSLER
Do you intend for the charity to
endorse your book?

ABRIGHT
No, that won't be necessary.

Albright makes a note and then points out a clause on the

sheet. For a moment, Michael and Gayle share a glance, and
immediately Gayle turns away.

ALBRIGHT
That's carried out here.

KESSLER
I see. And when does the
merchandising become the property
of the organization?

ALBRIGHT
Immediately.

KESSLER
Well we definitely have a problem
with that. There must be a split?

GAYLE
No. There won't be any split. Your
agency will profit none from any
merchandising at all, if you had
read the contract briefing
accurately...

GAYLE (CONT'D)
I'm sure you would agree that my
contribution to the promotion of
this book will surpass any of your
feeble attempts.

(CONTINUED)
 18.
CONTINUED: (2)

KESSLER
Yes, certainly. But what you are
asking is basically a personal
preference and that is somewhat
cumbersome in legal terms.

GAYLE
It won't be after the book is
released.

Gayle is confident, resenting their nervousness. Kessler

looks the papers over again.

CUT TO

Later Michael Donovan is alone with Kessler in another

office, discussing Gayle's manuscript on the bureau where
Kessler pours himself a drink.

KESSLER
She's right you know? This book
under her plan will not only
increase the sales, but also
increase our profit share.

Michael sighs and sits down, agrees with Kessler, but there
is still something bothering him.

MICHAEL
I know. I know... I know.

KESSLER
We are free and clear. We win.

MICHAEL
Win what? By the same token this
book destroys our motives as being
right...

Kessler turns with his drink, no comment. Michael restrains

his dismay watching Kessler's glee.

MICHAEL (CONT'D)
What are we celebrating?

CUT TO

EXT DEBRA'S APARTMENT COMPLEX - PARKING LOT - DAY

Debra is getting out of her car and carrying her bag toward
the steps. As she turns the corner to the stairs she SEES

(CONTINUED)
 19.
CONTINUED:

Debra's P.O.V.

The Two Male Strangers standing on guard by the dumpsters,

watching her.

Debra gasps and turns onto the stairs quickly, running up.

CUT TO

INT OPERA HOUSE - NIGHT

In the booth down in the gutter lies Nora between old

Manning's legs. Her hair is bobbing up and down in Manning's
lap. Manning moans out loud. The audience is annoyed by the
noise.

ON THE FLOOR Nora slings her head back and gagging. She gets
up, yelling.

NORA
You putrid, horrible goat.

She rushes out from the booth behind the curtain. Manning is
appalled, grumbling in his seat, quickly hiding his lap. He
looks at Elise and pushes her off her chair onto the floor.

CUT TO

EXT DEBRA'S APARTMENT COMPLEX - DAY

Debra is rushing with her bag, up the steps to her second

floor apartment. As she reaches the top of the stairs she
SEES the same TWO Male Strangers standing on the other side
of the balcony, staring at her.

She rushes, frightened, opens the door to her apartment and

moves inside quickly, slamming the door.

CUT TO:

INT DEBRA'S APARTMENT DAY

Debra throws the bag away and opens the ice cream. She grabs
a spoon and takes a spoonful from the carton and relaxes as
the sensation touches her tongue. She moves to the window
and peeks out of the blinds.

DEBRA'S P.O.V.

The Two Male Strangers are still standing opposite her

apartment staring at her windows.

(CONTINUED)
 20.
CONTINUED:

Debra mumbles to herself while going to the phone and dialing

911.

DEBRA
Oh my God...Who are these guys.
(Beat, speaking into the phone)
Yes, I'd like to report two
suspicious characters in the
area of my home.

As she turns around to go back to the window, she immediately

throws up everything in her hands, screams.

The Two Male Strangers are standing inside her apartment, in

front of the window.

The phone crashes to the floor, the ice cream and the spoon
land nearby.

CUT TO

INT TRILIA'S HOME DAY

Miss Able is sitting up in her bed with her breakfast tray on

the roller table. She pushes it away and pushes the remote
to turn the TV on. She clicks the remote and stares at the
screen. She leaves it on a station broadcasting "Singing In
the Rain".

Outside her room, in the hallway, an elderly electrical

contractor, Alphonso, is working on a switch. Miss Able
pauses and then picks her remote control off the bed and
drops it on the floor. She waits to see if someone will
come. She groans loudly, then calls out.

MISS ABLE
Hello?...

A moment later Alphonso enters Miss Able's room hesitantly.

He is a shorter, stouter size man and barely speaks English.

ALPHONSO
Yes, Miss Able.

MISS ABLE
I'm sorry. Can you help me. I've
dropped my remote control.

He nods and moves toward the bed, bends to the floor to

picking up the remote control.

(CONTINUED)
 21.
CONTINUED:
Miss Able leans her body over and lets her gown fall so he
can see her bare breasts hanging under her gown. He stares
for a moment then brings the remote to her hand.

MISS ABLE (CONT'D)

Thank you. Thank you...

He nods. She grabs his hand along with the remote and pulls
him to her bed.

ALPHONSO
Ah...

MISS ABLE
Alphonso.

She lays back pulling him on top of her.

MISS ABLE (CONT'D)

Watch television with me.

She kisses his neck. He pulls back, trying to excuse himself

from her side. Her grip strengthens.

ALPHONSO
I have to go. I have to go.

MISS ABLE
No. Don't go.

Trilia enters.

TRILIA
Alphonso? What are you doing?
Mother!

MISS ABLE
Oh Dammit!

Alphonso looks up from Miss Able's bosom.

TRILIA
You can go now Alphonso.

ALPHONSO
I am sorry. I am sorry...

He fixes his hair and excuses himself from the room. Trilia
walks around the bed, irritated.

(CONTINUED)
 22.
CONTINUED: (2)

TRILIA
Mother what are you doing? You
can't just go around asking for sex
from just anyone.

MISS ABLE
Oh, I just want to be loved.

TRILIA
You are loved.

MISS ABLE
Not that kind of love...

TRILIA
Mother, you don't get that kind
of love from the electrician. I
seriously don't know where to get
that kind of love. And if I can't
get it, you(MORE)
certainly can't.

MISS ABLE
Oh stop telling me what I can and
cannot do. I'll call an escort
service.

TRILIA
Do you have the money for that
Mom? Cause I don't have the money
for that. I don't know why you call
yourself Miss Able. We should call
you Miss Guided, or Miss Informed.
Miss Hap. But you are not Able to
afford a personal love slave. Get
that through your head Miss
Understood?

Trilia opens the drawer and pulls out a tangled mess of

vibrators.

TRILIA (CONT'D)
You've got a whole drawer full of
mechanical devices that will
accomplish the same task...See! Oh,
here's your curling iron.

She drops them back in the drawer, hot with frustration. Miss
Able lies there moaning.

MISS ABLE
You know, you were such a beautiful
child growing up.

(CONTINUED)
 23.
CONTINUED: (3) MISS ABLE(CONT'D)
It horrifies me that you are here,
taking care of me, when you should
be out living your life and leaving
me the luck alone.

CUT TO:

EXT. FOREST - DAY

Lucretia has footed deeper into the crest of the trees. She
calls out unto the hollow trails.

LUCRETIA
Quista!

She whistles like a bird a couple of times. She travels

further under the branches and down past the roots into the
mouth of the forest.

LUCRETIA (CONT'D)
Oh Quista where are you?

AT THE TOP OF THE HILL THE TWO GUARDS are walking up. Guard
#1 SEES LUCRETIA in the distance. He nudges Guard #2 to look.
Guard #2 turns SEEING LUCRETIA, he knees weaken. They WATCH
Lucretia descend into the trees then run after her.

CUT TO:

INT. GAYLE'S LIMOUSINE - DAY

Gayle and Albright are traveling through the city.

GAYLE
So you'll call me as soon
as you know.

ALBRIGHT
Yes. (Pausing) I'd like it if
you would at least consider
his offer though, as a back
up plan.

Gayle looks at him and laughs.

GAYLE
That's very funny. I like that.

The Limousine slows, stopping at the curb.

(CONTINUED)
 24.
CONTINUED:

ALBRIGHT
Thanks for the ride.

She smiles confidently as he gets out of the car. The door

closes. The limousine drives on.

CUT TO:

EXT. STREET - DAY

Albright watches Gayle's limousine drive on. He turns and

heads into his offices.

ACROSS THE STREET, TAGGART is sitting in his car, watching

the office with binoculars.

TAGGART'S P.O.V.

He SEES ALBRIGHT walking into the building complex for The

Law Offices of Lincoln, Kelly, Dolan & Parks.

CUT TO:

INT. LAW OFFICES OF LINCOLN KELLY DOLAN & PARKS - DAY

In one of the front offices, Janus Kelly is on the phone,

quietly talking while checking out the blinds of his window.

JANUS
What do you mean?

TRILIA (V.O.)
I mean why are you calling me? I
told you, I'm seeing somebody.

Janus turns toward his desk chair.

JANUS
Well... I wanted to tell you...
Well... I thought maybe we
could talk.

TRILIA (V.O.)
You thought wrong. (hangs up)

Janus hears nothing on the line. He hangs up, disappointed.

Albright passes his office and Janus rushes after him.
doorway.

IN THE HALLWAY, Janus catches Albright.

(CONTINUED)
 25.
CONTINUED:

JANUS
Hey, how did it go?

ALBRIGHT
So-so.

JANUS
Oh yeah... Ah, about that cat I
gave to you?

Albright gasps and suddenly pulls out his pen.

ALBRIGHT
I almost forgot. I may need
to make arrangements and if
you are interested in taking
the cat back.

Janus gets excited and relieved. Albright is getting his note

pad ready.

JANUS
Yes. You see it was my ex-
girlfriends' cat really and
I gave it away when I was
angry. Well, she wants it back.

ALBRIGHT
It may not be right away, but
I assure you I will return the
cat to you soon.

Albright writes some information on the note pad and closes

it.

JANUS
Great! Great! All right, that's
great. Thanks.

CUT TO:

INT. RESEARCHER'S TENT - THE CONGO - 1959 - DAY

Sabin is in one of the tents established in the middle of the

jungle. He lifts the flap calling to Koprowski whom is
standing outside with several volunteers from the village.
Koprowski turns and dismisses himself from the crowd, enters
the tent. Sabin moves toward the rack of vaccine vials
already prepared.

SABIN
We can't use these tomorrow.

(CONTINUED)
 26.
CONTINUED:

KOPROWSKI
Another virus?

Koprowski is angry and exhausted, sitting in on a rickety

chair.

SABIN
One of the seed lots is
contaminated with a cell killing
virus.

KOPROWSKI
It can't be. The monkey tissues.
Danmmit. We have to use human lined
tissues.

SABIN
We'll never get approval for that.

Sabin turns away as Koprowski is devastated.

CUT TO:

INT. DEBRA'S APARTMENT - DAY

The ice cream is melting on the floor next to the spoon. The
phone is sounding off a loud beep. The apartment is empty.

CUT TO:

INT. ALIEN SPACESHIP - EXAM ROOM - TIMELESS

Debra is passed out on the exam table. She begins to open her
eyes, groggy and limp, she tries to sit up.

DEBRA'S P.O.V.

Looking up from the table the TWO MALE STRANGERS slowly come
into focus, transforming into TWO ALIEN CREATURES with every
blink.

Debra is stricken with fear and opens her mouth to scream,

but hears only a strange humming in her ears. Through the hum
she hears a calm voice the affects her immediately.

CALM VOICE (V.O.)

It's all right. You can relax.

Debra relaxes her shoulders and faces Creature #1.

(CONTINUED)
 27.
CONTINUED:

DEBRA'S P.O.V.

The Creature's face radiantly smiles at her.

CALM VOICE (V.O.) (CONT'D)

We love you.

Debra passes out again.

CUT TO:

INT. TRILIA'S OFFICE - DAY

Trilia is alone. She sits at her desk with her legs all
wrapped up in the seat, then later changes position and puts
her bare feet on the desk. Trilia stares at her toes for a
moment. She pulls her drawer open and loads a small one
hitter from a clear bag of weed laying open in the drawer.
She flicks the lighter and inhales the smoke from the hitter.
She watches the daylight outside her window and freezes back
into her chair. She blows smoke into the light.

DALLAS (V.O.)
The carelessness of a man makes me
angry. The selfishness of a drug
addict makes me even angrier...
There are those that face adversity
with great positive connotations.
And there are others who fault
adversity with their ignorance and
laziness.

Downstairs Miss Able takes her pills and lies back down in
her bed basking in the radiation from the television. Her
white lace curtains are never fully shut and never completely
open. They remain tied back at all times.

DALLAS (CONT'D)
An addict doesn't see
immediately what is happening to
him. Sometimes there is something
buried deep within them that brings
on the need to abuse. That
something must be identified and
confronted...

Night falls outside the white lace curtains.

INT. Alphonso's Home - Evening

(CONTINUED)
 28.
CONTINUED:

Alphonso moves into the kitchen. His elderly, sturdy wife is

preparing tamales. He slowly approaches her from behind and
touches her hip. She seems startled, chattering nervously.

MRS. ALPHONSO
(in Spanish)
Ah. There you are, you are late.
We are having guests soon. You
must...

But he doesn't let her finish, he grabs her and kisses her.
Mrs. Alphonso laughs and shoves him away smiling. He is
realizing how grateful he is to have her and he kisses her
again.

MRS. ALPHONSO (CONT'D)

Stop it. Go. Go and wash. Go.

CUT TO

EXT. FOREST - EVENING

Lucretia has traveled far into the forest. She is finding

herself caught as the light is dimming. She leans against a
tree and looks back at her path. It is too dark to see out
from the trees. She sits on a log and cries for her cat.

LUCRETIA
What has happened to you?
He has such a voice, a powerful
voice, if he were injured and
needed help he would get it
by his wailing voice. If he
were close by I would hear him
calling. I know he loves me for
more than food. I can't help but
miss him. At every turn I wish to
see him or hear him. I can't
understand where he has gone or
why he cannot come back.

Suddenly she hears a branch break and a strange voice.

GUARD #1
M'Lady are you alright?

She is startled, turning. She then sees him and relaxes a

little. Then Guard #2 appears beside him.

(CONTINUED)
 29.
CONTINUED:

GUARD #1 (CONT'D)
What are you doing out here?

LUCRETIA
I'm looking for my cat. Quista.
Have you seen him? He's an orange
tabby.

GUARD #2
No, we haven't seen it.

GUARD #1
You know it can get quite dangerous
out here.

LUCRETIA
And that's why... I was afraid he
might have (MORE)
gotten lost. He's been
gone for days now, I'm so afraid
for him. He's a brave little cat.

GUARD #2
Brave can make one dead.

She stutters as the Guards come closer. She starts to cry.

Guard #2 gives a gruff look to Guard #1.

GUARD #1
Heaven only knows where a cat
goes, but rest assured M'Lady
he'll come back. Have you had
him long? How old is he?

LUCRETIA
I've had him since he was a kitten.
He's five years old.

GUARD #1
Well, but you have not lived
here long. He's curious and needs
to explore new territory.

GUARD #2
Curiosity, can make one...

GUARD #1
(Interrupts)
He'll come back. He knows where
you are. He's probably watching
you right now, crouched under a

(CONTINUED)
 30.
CONTINUED: (2) GUARD #1(CONT'D)
root so you cannot find him,
because he needs his independence,
he must earn his kingdom. He is a
cat. He is watching after you
M'Lady.

She nods hesitantly as Guard #1 is giving her hope.

GUARD #1 (CONT'D)
Please, your highness, let us
escort you back.

LUCRETIA
He would not come back even if I
called?

GUARD #1
I am afraid not. Only when he is
ready. It is his right of passage.
But you, he will always treasure
and keep dear in his heart.

Guard #2 gives a look to Guard #1. Lucretia seems hopeful now

and turns, then stops, looking at Guard #1.

GUARD #1 (CONT'D)
Sometimes, they have to go. And you
can not stop them. But it is he who
is watching out for you.

She smiles at him. She takes his hand.

GUARD #2
It is also said that a cat has nine
lives.

Lucretia and Guard #1 look into each other's eyes, not

hearing him. The Guards walk her out of the forest.

CUT TO

INT. MEETING ROOM - EVENING

The room is filled with adults, young and old. They all have
their eyes toward the front where Dallas Wayne, an energetic,
powerful, yet peaceful man stands, looking over them with a
solemn look. He speaks openly to everyone.

DALLAS
Well I'd like to begin this
evenings session by excusing
all of you.

(CONTINUED)
 31.
CONTINUED:

He looks down at the service table in front of him and

shuffles some papers around and throws them off the podium.

DALLAS (CONT'D)
Yeah I just don't feel like
talking tonight and I'd like
you all to leave.

The audience stirs semi-confused. Dallas stops in the center

of the stage.

DALLAS (CONT'D)
Yeah, you know I'd rather be
home smoking crack than here
talking to you. Go home, I
know you'd rather be toking
up too. Isn't that right?

He gets a positive response from the audience.

DALLAS (CONT'D)
All right then go. Get out of
here...
(Pause)
Or did you pay for this session
yourself? Nobody made you come
here? You decided for yourself
somehow that drugs and alcohol
are destroying your life and you
want to hear what I have to say?...

None of the audience leaves while Dallas waits.

DALLAS (CONT'D)
Okay.

Dallas walks from center to the very front row and asks a
woman seated on the isle.

DALLAS (CONT'D)
You want to know why I'm a drug
addict?

Intercut

INT Trilia's Home Eve

At the Attic stairs Taggart leaves a tray of food outside

Trilia's office door. He turns to climb back down the stairs.

Dallas

(CONTINUED)
 32.
CONTINUED: (2)

(V.O.)
Cause I'm worthless. Cause you're
worthless. Cause there's no use to
any of this anyhow. That's why.
Fuck, you think I want to work all
of my life to suit some social laws
and graces. Fuck that!

Taggart enters the kitchen and grabs his beer off the counter
and walks slowly into the family room to watch television
with Miss Able.

DALLAS
Are you kidding? We kill each
other on the street. We build
machines and warheads to travel
across the planet to kill people...
The monetary system has us all held
hostage. We're all slaves now.
Isn't that right?

Taggart sits down on the couch next to Miss Able and drinks
his beer. Miss Able stares into the television screen,
mesmerized.

INT Trilia's Office Eve

Trilia loads her one hitter again and takes another hit in
the dark. She coughs and cringes back into her seat. She
finally reaches up touching the lamp but does not turn it on.

DALLAS (CONT'D)
My life isn't worth anything.
(Beat)
My God. Who is my God?
Drugs. Drugs are my God.
I worship all day, everyday
and I would give up my daughter,
my wife, myself anything for
those drugs and as long as
I'm getting high I don't
care what happens. (Pause)
My kids could end up on the
street and my wife selling
her goodies around so we
can stay steady. We let a
guy come in for fifty bucks
once to take pictures
of our little boy...

A man in the audience lowers his head. A teenage girl starts

to cry.

(CONTINUED)
 33.
CONTINUED: (3)

DALLAS (CONT'D)
Fifty bucks. We would sell
out short just to get a
little high.

Dallas shakes his head and walks to the far side of the
stage.

DALLAS (CONT'D)
God, I hate doing the moral
thing... I don't know how to
be protective, I only know
how to be exploitative now.
I just want to get fucked up.

CUT TO

INT. Suffolks Complex - Eve

Gayle is walking down the long white corridor with some

pretty fancy stiletto heels and a power suit to match. She
opens large double doors in the middle of the hall.

She enters her office. She does she closes both doors behind
her and moves to the bureau where she takes off her earrings
and shoes. She moves to her desk. Her cat jumps up onto her
desk and walks gracefully over the dust free, clutter free
surface. She smiles at him and reaches her index finger out
to touch his nose. The phone rings.

GAYLE
(whispers to Quista)
What's that?

She answers the phone with the speaker.

GAYLE (CONT'D)
Yes?

KESSLER (V.O.)
They signed.

GAYLE
Ah, you see. All of my angels are
With me.

She pets the cat affectionately.

CUT TO

(CONTINUED)
 34.
CONTINUED: (4)

INT. PROFESSOR KOPROWSKI'S UNIVERSITY OFFICE-EVENING

Koprowski is alone, distraught sitting over a bottle of

Whisky and a letter. He has apparently read the letter
already and washes down regret with a gulp of whisky he has
poured into a glass. He reads the letter again to himself.

KOPROWSKI (V.O.)
Dear Professor, we regret to inform
you that the oral vaccine you
developed in association with
Lederle Laboratories for the fight
against polio will not be awarded
approval from the Food and Drug
Administration of the United States
due to the findings of various
viruses discovered in recent
studies. One most recently
submitted to the American Medical
Journal and(MORE)
Association by Dr.
Albert Sabin of Cornell University
is most alarming. Please reference
his report issued ______ ID
_______________, enclosed with this
letter.

The letter drops from his fingertips and the report lays in
shambles on the coffee table already. Koprowski raises his
glass.

KOPROWSKI (CONT'D)
On with science.

DISSOLVE TO:

INT. AUDITION ROOM - DAY

The crew is reviewing some tapes on a conference table.

Engineer #1 pops another tape in and presses play.

ON THE VIDEO

A Black Actor/Performer stands before the camera and issues a

monologue. His delivery is captivating and real. He spits out
characters flawlessly. He is funny and strong.

BLACK ACTOR
The days can go by so fast. If
you let them. Even if you buy
an extra large supply of dope,
those weeks become yours and
you huddle around the stuff like

(CONTINUED)
 35.
CONTINUED: BLACK ACTOR(CONT'D)
a bee does to honey. Buzzing
around. Now I sit in my chair and
cough until I piss my pants. Starve
myself until my stomach cramps up.
I let things go for weeks. "Until I
feel like it." I say. But I never
feel like it. (Laughing)
Don't you laugh at drug addicts.
"Why is anyone required to have
anything you need?" (Imitating)
Oh I gotta have this. Can I take
this, please man? Oh hell I'm
scamming it. Oh you gotta have
some matches man? Do you have some
sleeping pills or something?
(Laughing) Who's going to pay these
bills? Well I don't have any money.
The Point of View of the Parents
(Pointing)
We hate to do it, but we do it.
(MORE)
We give them the keys to our car
and they wreck it, we give them
our money and they burn it. We
give them our attention and they
just distract us from the truth
with their long winded
stories of how some guy butted
in front of them at the AM PM.
(Beat)
Jesus, I'm sitting there shivering.
I'm freezing cold and I know its
cause I haven't moved all fucking
day and I can't afford heat.
Suddenly some guy comes in
and says "You gotta go to jail."
Well that ain't happening. Suddenly
you're a mess. They got you all
wired up and you go in and face the
serpents, ready with your sword.
Go in there and try to fight drugs.
You crazy man. You can't fight
drugs. Warning! Don't try to cut
them down Honey. You will Lose...
(Beat)
You know the drug trade is an
interesting mechanism in this
country. It's the one killer
product that these third world
countries could get rich quick on
if we voted to legalize and
merchandise it. And further, its
product that anyone can manufacture
themselves.

(CONTINUED)
 36.
CONTINUED: (2) BLACK ACTOR(CONT'D)
So it won't be legalized because it
cannot be properly taxed. But right
now, what is happening is that a
good seven to ten percent of our
nations gross income is being
funneled
out of the system while the
American drug addict doesn't care.

The scene ends and the screen goes blue.

There are several crew members with their eyes glued to the
set.

CREW MEMBER #2
Where his res?

Crew Member #3 passes her the resume. She puts a star on his
resume and puts it by the phone.

CREW MEMBER #4
Did he write that stuff himself?

CREW MEMBER #5
Was that comedy? That was weird.

CREW MEMBER #2
I think he would make a perfect
Dallas.

They all agree.

CUT TO

EXT. FOREST - EVENING

Lucretia travels down the side of the hill escorted by the

two guards. Guard #2 nudges the other until he gets the
nerve up and opens his mouth.

GUARD #1
Forgive me for asking M'lady,
but its been rumored that you
have been betrothed.

LUCRETIA
Betrothed? Why I'm merely
fifteen.

GUARD #1
Forgive me, I say I have heard it
rumored.

(CONTINUED)
 37.
CONTINUED:

Lucretia walks with a bit of a quicker step and starts

thinking.

LUCRETIA
To whom? To whom have I been
betrothed that you have heard
rumored? And who has rumored it?

She looks at his eyes briefly.

GUARD #2
Sir Manning of Else, M'Lady,
that is what I have heard from the
servants.

LUCRETIA
I shall have to confirm this
myself.

GUARD #1
Forgive me, M'Lady but its
rumored as well that the
King plans to announce it
on the morrow's eve.

Lucretia stops dead in her tracks and turns to look the

Guards straight on.

LUCRETIA
During the opening ceremonies?

She is angered now and rushes down the green slope. The
Guards follow quickly behind.

GUARD #1
M'Lady, wait for your escorts.

She ignores them, running down the hill.

CUT TO

INT. TRILIA'S HOME - NIGHT

Taggart comes quietly up the stairs and slowly sits and

knocks softly on Trilia's office door.

TAGGART
Tril?

CUT TO:
 38.

INT. TRILIA'S OFFICE - NIGHT

Trilia has fallen asleep on her desk with her lighter still
in her hand. Her pipe by her head. Her computer screen
displaying a blank white document. She wakes up at the sound
of Taggart knocking again. He speaks from the other side of
the door.

TAGGART
Trilia, are you coming out?

TRILIA
No.

She gets up from her desk and moves over to her couch against
the wall, further back in the dark.

TAGGART
I put Miss Able to bed.

Trilia lays down and pulls a cover over her. She then extends
her hand and lays the lighter down on the night stand.

TAGGART (CONT'D)
Why won't you come out?

TRILIA
I'm thinking.

At the door outside her office he lays his head.

TAGGART
You can do that out here.

TRILIA
I'm going to sleep now Taggart,
leave me alone.

Taggart accepts that right now.

TAGGART
Good night.

CUT TO

EXT. SURREALISTIC CAVERN LANDSCAPE - TWILIGHT

Jack is kneeling at the base of an organic, majestic pipe

organ that is growing out of the ground. In his loin cloth
and with dirty hands, Jack begins to climb. As he climbs his
toes step on the organ keys and loud notes burst from the
hollow end of the pipes over his head.

(CONTINUED)
 39.
CONTINUED:
Jack looks up in the midst of his climb and the organ seems
to be growing. As he looks down at the base, the rocks are
rumbling up from the ground and sprouting more on top of each
other, spilling down from the mouth. Jack is feeling dizzy
from the height and HEARING the low, thunderous sounds of the
organ and the rumbling rocks.

DISSOLVE TO:

INT. SEMI TRUCK - MORNING

Jack is waking up to the sounds of trucks starting up and

driving over harsh gravel. He is slapping his face and
looking out his front windshield and growling as he
stretches.

CUT TO

EXT. TRUCK YARD - MORNING

Several big rigs are starting up and pulling out of the yard.
Jack starts his up and pulls out.

CUT TO:

EXT. MALL - MORNING

Jack parks his rig and leaves it. He crosses the lot and
enters a restaurant.

INT. Restaurant - Morning

Jack waits to be seated. A waitress approaches him, grabbing

a menu.

JACK
Can I get this to go?

WAITRESS
Sure.

She hands him the menu and takes his order. The cafe is
jammed with patrons. The waitresses are in it. Jack moves and
sits at the counter while he is waiting. The waitress pours
him a cup of coffee. His cell phone rings. He answers it
with a smile.

JACK
Hi!

His wife's V.O. is heard while he stirs cream and sugar into
his coffee.

(CONTINUED)
 40.
CONTINUED:

AGNES (V.O.)
What ya doing?

JACK
Having some coffee, just ordered
some lunch.

AGNES (V.O.)
Oh really? Where?

JACK
I'm in Abilene, Texas.

AGNES (V.O.)
No, I mean where are you exactly
right now?

JACK
I'm sitting in a Cafe.

AGNES (V.O.)
What Cafe, where?

Jack looks around slightly irritated.

JACK
Woman what are you getting at?

AGNES (V.O.)
Just give me the address of where
you are.

JACK
Oh Christ. What the hell are you
doing now?

AGNES (V.O.)
I'm sending you a very special
package.

JACK
Oh don't send it here Honey, send
it to the yard.

He is already pulling the address out of his pocket and

putting on his reading glasses.

AGNES (V.O.)
Well where is the yard?

(CONTINUED)
 41.
CONTINUED: (2)

He is ready to give her the address.

JACK
It's 97102 Landier in Abaline,
Texas. Yep. I got a load of books
and I got seventeen stops in three
states I gotta hit by Thursday.

AGNES (V.O.)
Seventeen?

JACK
Yep, all book suppliers.

CUT TO

EXT. TRUCK YARD - DAY

Jack exits the truck yard store with a package. He takes it

and climbs back into (MORE)
his truck.

CUT TO:

EXT. TRILIA'S HOME - MORNING

Trilia leaves the house and gets in the car, driving away.

CUT TO

INT. Dr. Banks Office - Morning

Dr. Banks, psychologist in her own private practice, sits

with Trilia.

DR. BANKS
No. No. No. Now what are you
doing? You can't stop your
medication and start abusing
again. This has got to stop.
Now you know that, right?

Trilia sits back and ignores her.

TRILIA
Everything I do is for her.
Everything. I don't have my
own life or my own house or
my own children, she just has

(CONTINUED)
 42.
CONTINUED: TRILIA(CONT'D)
no idea the sacrifices that I
have made for her. She just
thinks that she can manipulate
everyone, especially me to get
whatever she wants, no matter
what.

DR. BANKS
Trilia, do you mean you don't
know how to get what you want?
You've been watching your
mother for years and you can't
get what you want?

TRILIA
Are you telling me to be more
manipulative?

DR. BANKS
(MORE)
(stands)
I'm saying that you are
manipulative...

Trilia is shocked, almost angry. Dr. Banks gets blunt and

walks around away from their enclosed session.

DR. BANKS (CONT'D)

You've manipulated everyone into
thinking that its your mother's
fault that you still live with
her. It's not. You made that
choice. Remember?(Pause) Now do you
remember why you made that choice?

Trilia is at a loss, holding out her hands.

TRILIA
Do you?

DR. BANKS
Yes, I do.

Trilia suddenly is curious.

TRILIA
What was it?

DR. BANKS
To write. You said you were
going to write, remember? Have
you written anything yet. I bet
you haven't cause your smoking

(CONTINUED)
 43.
CONTINUED: (2) DR. BANKS(CONT'D)
dope. That's really all you're
doing. Isn't it? You're depressed.

Trilia takes a deep sigh, then starts balling.

TRILIA
I miss him. I want him back.

DR. BANKS
Janus?

TRILIA
No. Cus Cus.

DR. BANKS
Come on, you have no feelings
for Janus at all?

Trilia shakes her head, no, coldly. Dr. Banks is exasperated,

disbelieving her.

DR. BANKS (CONT'D)

You need to stop smoking that
stuff. Immediately.

Dr. Banks is done with the session.

TRILIA
Let me ask you something. Do you
think God is perfect?

DR. BANKS
Maybe to some people.

TRILIA
Well if we were created in God's
image, how come there are so many
freaks of nature in the world?
Obviously God is a fucking mess.

Dr. Banks holds back a laugh and covers her face.

CUT TO

INT. TRUCK - NIGHT

Jack opens the package and an inflatable doll begins to

expand. Jack is sort of embarrassed and laughing at the same
time. He laughs at the doll as it becomes full size. He
notices the note attached to the doll's left wrist.

(CONTINUED)
 44.
CONTINUED:

JACK
(Reading)
Pull my string.

Jack looks at the doll and finds the string and pulls it. The
doll has a female voice.

DOLL
I'm just a pin cushion to you.

Jack laughs.

JACK
Oh Agnes.

Cut to

INT. Spaceship - Timeless

(MORE)
Debra's eyes are open again as she is being transported down
a corridor of sleek blue columns lining the entrance to the
inner depth of the ship. Although her lips do not speak, we
HEAR her VOICE

DEBRA (V.O.)
Where am I? Who are you?

The creatures stop and turn, presenting their home to her.

Debra is brought to the helm and she looks in amazement down
at the gully of the ship.

Debra's P.O.V.

The intricate patterns of octagons piled on top of one

another lights up as a simulated planetary event rises over
the structure. Slender flickers of light emerge like tiny
ants working their way through the hive.

DEBRA (V.O.) (CONT'D)

What is this?

Debra hears another VOICE, it is the VOICE of Dallas as she

watches the patterns slowly change shape and morph into
rectangles, then triangles, then spheres.

DALLAS (V.O)
Why isn't everything perfect? If
God is so glorious, why isn't
everything perfect?
(Beat)

(CONTINUED)
 45.
CONTINUED: (2) DALLAS(CONT'D)
Do we even have a clue what
perfection is? Why are we still
praising him, why? Did anyone ever
see him really create anything? Who
is he?

Cut to

INT. Meeting Room - Night

Dallas talking into the microphone, on a stage under a spot

light.

DALLAS (CONT'D)
(Pauses, shaking his head)
He's a scapegoat. He's what man
came up with because he couldn't
explain anything himself. We
created the great all and knowing
because we didn't understand,
and I'll tell you what, people
have believed in God for thousands
of years and we still don't
understand. Why? Because we left it
all to God and let him decide what
to do. Because we are not trying,
we are not present in our own
lives.

Cut to

INT. Gayle's Home - Night

She opens the front door and Michael Donovan is standing

there, trying to look down on her.

GAYLE
Why Mr. Donovan, what brings you
into this part of town?

MICHAEL
Your answering service said that
you weren't taking any calls from
me. They wouldn't even take my name
down. Why don't you have a cell
phone?

She smiles at him.

Cut to

(CONTINUED)
 46.
CONTINUED: (3)

Later

Gayle is seated with Michael in a large sitting room sharing

some wine. Donovan is a dark figure in her realm. She beams
with assurance and a smile.

MICHAEL
What's the big secret? So you wrote
a book.

GAYLE
It's not just a book Mr. Donovan,
it's a movement. And I don't know
why you feel a need to get so
worked up about it.

MICHAEL
I'm not worked up.

GAYLE
Then why are you here?

Michael is struck dumb. He shakes his head.

MICHAEL
I guess, I'm just really curious,
as to why you would go to such
lengths to...

Gayle sincerely listens and then cracks a laugh.

GAYLE
That's not why your here.

MICHAEL
It isn't? Well then...

Michael seems confused as Gayle moves in to kiss him. He

responds softly. Their passions ignite and they envelope each
other in a long luxurious kiss. As she breaks off, he is
captivated and confused.

GAYLE
I'm not naive Donovan. I know
your only here to save your bosses
deal. (laughs) Not to save my life.
She falls into him for another
kiss.

Dissolve to

(CONTINUED)
 47.
CONTINUED: (4)

Gayle and Michael make love slowly, admiring every inch of

each other. There is a sensitive and calm silent knowing
between them. They sense some familiarity about one another
as they look into each others eyes.

Dissolve to

INT. Truck - Night

Jack is laid back in his sleeper with the doll watching a

movie. He turns nonchalantly and pulls her string.

DOLL
You don't love me anymore. (Cries)

Jack cracks up.

JACK
Christ, what did I do to
deserve this?

He continues watching the movie.

Cut to

INT. Gayle's Home - Morning

Quista is talking up a storm with repeated "Meow's" while

pacing the counter waiting. Gayle places a plate of food down
and he runs to it.

In the Bedroom

Michael is up and putting on his shirt in front of the

mirror. Gayle appears behind him in a bathrobe and towel
wrapped firmly around her hair. He looks at her reflection.

MICHAEL
It's all true isn't it?

GAYLE
Yes. Polio vaccines in Africa
were tainted with a virus not
contaminated by one.
(Beat)
Our country has been
terrorizing other nations for
years. It's all coming back to
us now.

(CONTINUED)
 48.
CONTINUED: (5)

MICHAEL
You know its not the end of the
world.

GAYLE
It isn't? Not yet? So should
we continue to use the same
practices that would inevitably
bring it about?

MICHAEL
Do you really think that you can
change the system?

GAYLE
Not all of it. Not completely.
Not at once. But, yes.

She walks past him toward the bathroom. He puts on his pants.
She takes her hair out of the towel. Now he is behind her
looking at her reflection in the bathroom mirror. Her hair is
falling wet around her face.

MICHAEL
This could mean anarchy.

GAYLE
I hope it means something.

Cut to

INT. Trilia's Home - Dawn

Miss Able HEARS a rustling in the kitchen from her bedroom.

She begins sliding herself out of bed. Her legs flap down off
the bed. She moves to lift herself into her chair. The chair
slips out from under her grip and she falls to the floor. The
chair rolls away from her reach. She is left stranded on the
floor, only able to drag herself and call out.

MISS ABLE
Help!

She struggles until Taggart comes rushing in. He bends and

grips her with both hands, hurdling over her.

TAGGART
What happened? Alright...

(CONTINUED)
 49.
CONTINUED: (6)

She pulls at him and puts her hands on his groin. He is

startled and taken to his knees.

TAGGART (CONT'D)
Wait, Oh....

MISS ABLE
Oh there now, I now that feels
better. Oh doesn't that feel so
much better?

He can barely resist with any fervor as she is massaging the

parts of his body that have been neglected for some time. He
lays still and complies but looks away and aches with
pleasure.

Cut to

EXT. Palace Grounds - Day

Leaning over the ledge of a balcony is Lucretia's servant

watching as a horse and carriage are driven up the path
toward the Palace. She rushes inside.

INT. Palace - Lucretia's Chambers - Morning

The servant girl runs through announcing to Lucretia.

SERVANT
He's coming M'Lady. Hurry.

Lucretia drops what she is doing and follows the servant

excitedly.

LUCRETIA
Quista!? He's come back?

INT. Palace Hallway - Day

The servant leads Lucretia running down and turning into

another room. Lucretia almost slips on the slick floor as
she turns into the room.

INT. Palace Vestibule - Day

The servant slides to a halt at the window and opens the

shutters. Lucretia stops suddenly behind her and looks out
the window.

LUCRETIA (CONT'D)
Where is Quista?

(CONTINUED)
 50.
CONTINUED: (7)

The servant points.

SERVANT
No, it's Sir Manning of Else,
M'Lady, to whom you are betrothed.

Lucretia looks curiously perplexed.

Lucretia's P.O.V.

The coach has stopped and is attended by several horseman.

They have laid out the red carpet and set the foot stool.
Sir Manning sticks out his fat foot and places it on the
stool. He grumbles while maneuvering his portly torso out of
the carriage. As he grips the horseman for balance but slips
and falls on the horseman.

INT. Palace Vestibule - Day

Lucretia appears horrified. She turns bursting into tears.

LUCRETIA
No. No.

The servant consoles her and takes her away from the window.
They leave the vestibule.

LUCRETIA (CONT'D)
There, there now child. You
musn't cry. (under her breath)
No, no... You must escape.

Lucretia is now interested.

LUCRETIA (CONT'D)
What?

SERVANT
Never mind M'Lady

Cut to

INT. Casting Office - Day

Rex walks up to the reception desk with his eyes on a box.

The receptionist is on the phone in the b.g. Rex finds her
letter opener and opens the box. He pulls out the top
composite shot and reads the resume on the back.

REX
Okay.

(CONTINUED)
 51.
CONTINUED: (8)

The receptionist closes the conversation, hangs up the phone

and looks at the box.

REX (CONT'D)
The comps of cats.

He checks inside the box, looking through some of the

composite shots. As he looks he realizes, they are all of
the same cat, Quista.
(Rex)
What is this? Who sent this?

The receptionist looks on the box. Reading...

RECEPTIONIST
Oh its a foreign agency. Royal
Talent, LTD. From Britain.

REX
These are all of the same cat.

He lays down several composite shots. They are all of

Conquistador in different poses and costumes, eyeglasses for
that executive look. A wet t-shirt for that sexy look. Rex
pulls out some from the bottom of the stack. He shows her.

REX (CONT'D)
See. What the hell is this?

Cut to

INT. Trilia's Office - Day

Trilia is smoking a joint and rolling up another. She hears

whispers and strange moaning coming from downstairs. She is
aroused to the door to listen more closely. She begins to
open the door leaving the joint in the ashtray.

Cut to

INT. Trilia's Home, Staircase - Day

Trilia is quietly coming down the stairs. She turns to view

down the hall to her mother's room where the sounds are
coming from. As she rounds the corner she is shocked by the
sight of Miss Able with her legs naked and spread out with
Taggart's bare bottom in between. They are engaged in
intercourse. Trilia screams out...

(CONTINUED)
 52.
CONTINUED: (9)

TRILIA
I hate you! I hate you!

Taggart turns to see Trilia pick up statue. Trilia heaves the

statue at them. Miss Able looks up and the statue hits her in
the head. Taggart jumps off Miss Able's body and tries to get
up and chase after Trilia with his pants cinched around his
hips.

TAGGART
Trilia. Oh my God! Trilia!
Wait!

EXT. Trilia's Home - Day

Trilia escapes out the front door. She is running to the car
with the keys and she frantically tries to get in. Her hands
are trembling. Her keys rattle and clang but won't go into
the lock. She throws the keys on the ground and storms back
toward the house.

INT. Trilia's Home - Day

As Trilia enters, Taggart is there in a panic, zipping up his

pants.

TAGGART (CONT'D)
Trilia listen me. I'm sorry,
I just lost control.

She moves directly past him to the stairs, infuriated.

TRILIA
You did, didn't you. Fuck you!
She moves up the stairs and he
follows her.

TAGGART
God I know I deserve that.

Trilia's Office

Trilia enters and starts throwing her books and pillows

around. She cannot decide what she wants to take. Then she
moves to her drugs and looks at them. Taggart is hiking up
the stairs and rushes in, he is breathless and she is fuming.

TRILIA
Get out! Get out of my house
Taggart!

(CONTINUED)
 53.
CONTINUED: (10)

TAGGART
Now you wait a fucking minute...

He storms over to her table where he sees her bag of weed out
and a pipe and a lighter all spread out. He is suddenly
stern.

TAGGART (CONT'D)
I have been carting Miss Able
around for two months now why you
have decided to call it quits and
go on a stinking drug binge and
lock me out.

He is suddenly loosing his temper and his heart pounds with

frustration. He is leaning into yell at her.

TAGGART (CONT'D)
(MORE)
Oh you're goddamn right, I'm
leaving. I should have left a month
ago. I'm just the boyfriend who got
sucked into feeling sorry for you!
While the whole time, you wallowed
in self pity. If you had truly felt
anything for me at all, this never
would have happened.

He exits and Trilia is left standing in shock against the

wall.

Cut to

INT. Audition Room - Day

Rex is delighted to shake Malcolm Bear's hand. The black

actor appears the same as he did on the tape with fat, baggy
pants and extra large hockey jersey. Malcolm seems calm and
happy to be there as he sits down with Rex.

REX
Your tape was just excellent.

MALCOLM
Thank you.

REX
Our next project here is called
Nevin's Warning. It's based on
a book that's about to be released
and it's really powerful stuff.

(CONTINUED)
 54.
CONTINUED: (11) REX(CONT'D)
I'm sorry we weren't able to
provide you with a script, it's
still confidential according to
the producers. But we have
extracted a couple of monologues
for you.

Cut to

INT. Gayle's Limousine - Day

Gayle is perfectly ready for the day. She hears a ringing

coming from around her purse. She looks around and then opens
her purse and finds it. She looks at the screen to SEE on
screen caller ID: Donovan, Michael 555-555-6978.

She smiles, rolls down the window and throws the phone out.

INT. Michael's Office - Day

Michael is listening to the ringing on the other end of the

phone. He finally hangs up disappointed.

Another Angle

Trilia is walking through the hall, down to Janus' office.

INT. Janus' Office - Day

Janus is reviewing a file when Trilia enters. He looks up.

TRILIA
I'm sorry. I made a mistake.
I made a lot of mistakes.

She lets out her breath. Janus slowly puts the file down on
his desk.

Cut to

EXT. Rockefeller Foundation Head Quarters - Day

A Limousine arrives in front of the tall glass structured

high-rise building in the middle of the downtown area. The
Driver parks the Limo in the loading zone and gets out. He
walks around to the other side and opens the rear door.
Gayle Sessions emerges dressed in an all white dress suit
from shoes up.

She looks elegant walking with a purpose up the steps. Her

emotionless face does not turn her focus away from her
objective, the center of the lobby.

(CONTINUED)
 55.
CONTINUED: (12)
She opens the large glass door of the prestigious, spacious,
near empty office building and walks straight in and stops in
the center. She turns all the way around to see where the
security cameras are. She makes sure she is the center of
all. The Security Guards at the desk dressed in dark jackets
are only slightly acknowledging her presence when she takes a
sleek gun out of her purse and let's her purse drop to her
side. She then holds the gun up to her own head. The guards
take notice and freeze up, standing there, unable to think or
do anything before the gun goes off.

FEMALE GUARD
(screams)
Oh my God!

The Male Guard starts to run around the security desk and
screams out in horror. The Female Guard starts to cry and
shiver.

MALE GUARD
No! Holy Shit! What the fuck?

Gayle's body is lifeless on the floor. Her fair white is

clean from the shoes up to the breast where a few drops of
blood are on her lapel, but the head is completely red and
torn up all over the other side of the expansive marble
floor.

The room is spinning and the guards seem to be moving in slow

motion in the background.

Dissolve to

INT. Bookstore Window - Day

Gayle Sessions' book is being put out on the display. The

artwork on the cover of Gayle's eye looking through a
spinning prism reflects the telling doomsday story inside,
entitled "Nevin's Warning".

Dissolve to

INT. Rockefeller Foundation Building Lobby - Day

A police special investigation unit is analyzing the scene

around Gayle's body. Photos are being taken of her body as
it lies crystallizing on the marble floor. They examine her
purse which appears to be brand new and meant only to carry
the gun into the building.

EXT. Rockefeller Foundation Building - Day

(CONTINUED)
 56.
CONTINUED: (13)

A mass of official vehicles are parked out front. Police and

fire department officers are attending the scene. Paramedics
are wheeling out the gurney with a body wrapped in a bag.
Police detectives question the Guards at the entrance.

A Newscaster's Voice is heard over live video feed:

NEWSCASTER V.O.
Acclaimed author Gayle Sessions
took her life today in a terrifying
display in front of security guards
inside the lobby of the Rockefeller
Foundation Building. Police said
(MORE)
Ms. Sessions shot one 45 caliber
bullet into her head and the
coroner has pronounced her death a
suicide.

Dissolve to

EXT. Pentagon - Day

Six FBI Agents march toward a set of offices assigned,

"Chemical Warfare".

One agent shows his credentials and speaks softly to the Lead
Executive while the remaining agents enter each office and
usher the staff out.

FBI AGENT
We have to seize these offices
immediately. All records, discs
and hard drives. Please instruct
your staff of their immediate
leave.

The Lead Executive turns slowly. To SEE the office being

dismantled one piece of equipment at a time. The staff is in
a state of disorientation as they wonder around their
offices. Dallas VOICE is heard OVER.

DALLAS (V.O.)
You think you live in a free
country. The great US of A. Until
you hit a snag and all of a sudden
you realize that you were wrong.

(CONTINUED)
 57.
CONTINUED: (14) DALLAS(CONT'D)
In the 1960's American
anthropologist, Professor, James
Neel, working for US bio-research
was instructed, to carry out
injections of a virulent strain of
measles into native Indians in
Venenzuela. He recorded the data as
thousands died. That data was
turned over to Epidemic
Intelligence Services.
Viral cancer was said to be our
main medical objective, however
polio was conquered here in the
states, Koprowski's vaccine was
thwarted by the US Drug
Administration after his
competitor, Dr. Sabin isolated a
cell killing virus in the monkey
kidneys being used to produce his
vaccine. He was phased out of the
running for the cure. That's what's
called killing over
8 million people worldwide in less
than a decade with one stone...
And no one is responsible for it?
No. There are quite a few
responsible for it as a matter of
fact.

Cut to

INT. Large Estate Home - Day

FBI Agents are at the door with a writ for Mitchell Klausen,
retired from congress. Mr. Klausen is stunned standing in his
bathrobe.

(CONT'D)

DALLAS

And years later we discover

that region of Africa infected with
a brand new virus. HIV, AIDS.
Meanwhile, the objectives of
The Illuminati are slowly being
met. We've accomplished the
assassination of Patrice Lumbaba by
other means. The virus attack got
flubbed up somehow there.

(CONTINUED)
 58.
CONTINUED: (15)

Dissolve to

EST. The White House - Day

W.P. REPORTER (V.O.)

The American people have not been
given a clear picture of our
nations operations. We thought we
were there to help.

CUT TO

INT. Press Room - White House - Day

Camera flashes are going off, taking shots at Press Secretary

Jason Diesch at the podium.

DIESCH
I cannot comment on that.
N.Y. Times Editor
Why are we using foreign countries
as guinea pigs?

W.P. REPORTER
Who are the candidates for
commission?

DIESCH
There will be several commissions
being formulated and we have a very
small list of candidates right now.

N.Y.T. REPORTER
(Blurting out)
When or who will finally admit
that they are responsible for the
extermination of millions?

Diesch is speechless and leans on the podium.

ANOTHER REPORTER
(Yells out)
Will you try to blame it on the
American voter?

ANOTHER REPORTER (CONT'D)

Or the journalist?

Diesch is obviously too pressured.

(CONTINUED)
 59.
CONTINUED: (16)

DIESCH
We can not...

He cannot continue over the angry shouts and questions.

Massive camera flashes go off when he leaves the podium.

REPORTER #3
The American people can read
between the lines.

Dissolve to

INT. Trilia's Home - Day

Miss Able clicks the remote control and SEES the news
broadcast
(MORE)
ANCHOR
Five wrongful deaths suits were
filed in the State of California
today after the shocking suicide
of author Gayle Sessions. The law
suits were filed in Federal Court
against March of Dimes and Wilstar
Institute for the mismanagement of
inoculation production which caused
the deaths of hundreds of thousands
of people in American and abroad.
There were no comments available to
us from either corporation
regarding the suits. A full report
from Jan Davies.

Cut to

Jan Davies is reporting from the Federal Courts Building.

JAN
Gayle Sessions attorneys filed
five wrongful death suits against
conglomerates Rockefeller
Foundation,
Wilstar and the March of Dimes
based on the evidence she uncovered
and reported in her new book,
"Nevin's Warning" Sources have
informed me that the book
includes exclusive classified
government documents specifically

(CONTINUED)
 60.
CONTINUED: (17) JAN(CONT'D)
implicating these and other
nations, companies and particular
international banks working with
the US war department to advance
their biological weapons branch by
developing a new virus and
introducing it through inoculation
methods as they did in Africa.

Miss Able watches intently. Then clicks the remote.

Cut to

INT. Soundstage - Day

During a taping of Oprah. Oprah interviews Gayle's attorney

Kessler and literary agent, Lars Sullivan.

OPRAH
These are some incredible facts.
(Holding up(MORE)
the book)
How many indictments have there
been?

KESSLER
I believe fifteen so far. Mostly
execs and ex-executives from
Rockefeller Foundation and a five
members of Congress, the Secretary
General and a few on his audit
team. There will be more.

OPRAH
How orchestrated was Gayle's
suicide?

KESSLER
This was the most elaborately
planned suicide I have ever heard
of.

OPRAH
And you knew she was going to do
it?

KESSLER
I didn't know when she was going
to do it. I had only been told it
was going to be done. Legally my
hands were tied. She was my client
and she began the investigation
into Rockefeller Foundation's
collaborations with US covert

(CONTINUED)
 61.
CONTINUED: (18) KESSLER(CONT'D)
operations and made sure all
petitions were filed at the time of
the book release. But I was shocked
by her death that day.

OPRAH
(to the audience)
The response to the book has been
phenomenal. And she made sure that
all the profits that she would have
received are now funding a
community life center in
Massachusetts which she founded,
funded and died for.
(Applause)
The details of the criminal
underbelly in our nations capitol
and other officers, such as Bayer
and Kiaser Wilhelm are astonishing.
Wait until you hear... We'll be
right back (MORE)
with Philip Kessler and
Lars Sullivan of Harvard Books.

More applause

Dissolve to

INT. Starbucks - Day

Michael Donovan is sitting at a bistro table with coffee and

a news paper. He reads the headlines: "Legal Chaos Surrounds
Literary Diva's Death" Then he overhears two woman walking
past, exiting the cafe. One of them holds Gayle's book.

WOMAN #1
It's horrifying, no wonder
the whole world wants us
dead.

Michael looks away from the paper and sighs.

Dissolve to

EXT. Michael Donovan's Home - Evening

A Radio Personality's Voice Over Michael arriving home in his

Lexus. As he drives into the alcove beyond the gate he SEES
two Men waiting and another car in the port. Michael parks
and gets out and the Men approach him offering their ID.

RADIO PERSONALITY
Author Gayle Session's articulate
investigation thoroughly describes

(CONTINUED)
 62.
CONTINUED: (19) RADIO PERSONALITY(CONT'D)
how marketing schemes are just the
surface of our nations greed and
pilferage of moral values. This
manifesto written in non legal
terms lays out the crimes of
Americans in plain English.
Already they are making it into a
movie. I believe Oliver Stone will
direct it.
(fades)

FBI AGENT #1
Mr. Donovan, sorry to interrupt
your
evening.

MICHAEL
What can I do for you?
We just came across some evidence
that you were in Ms. Session's
home the night before she committed
suicide. We just wanted to confirm
that with you.

MICHAEL (CONT'D)
(sadly)
Yes. I was there.

FBI AGENT #2
Can you explain the nature of your
visit with her to us?

DONOVAN
No, and you have no legal right to
expect an answer. If you harass
me in any way over my connection
with Ms. Sessions I will undo you,
like I have never undone anyone
before. Do you understand? So
please leave and do not enter my
gate again unless you are properly
prepared to arrest me.
(turning toward the front
door)
Thank you gentlemen and good night.

Michael enters his house. The FBI Agents enter their vehicle
and drive off.

Cut to

INT. Restaurant - Night

(CONTINUED)
 63.
CONTINUED: (20)

Rex is seated with a couple of his crew with menus getting

ready to order.

CREW #1
I think it's too confusing,
too many characters. I mean
it's great, it's a challenge
for us, but I can't imagine
how anyone would be able to
watch and follow it.

CREW #2
Actually the scene lengths are
perfect. The average viewer now
can barely wait a full minute
before using the remote. So...
And the characters are great, I
can relate to all of them.

Rex SEES across the room.

REX
Oh my God.

At another table

The Man weighs about 300 pounds and is in the slow process of
eating a five course meal. He dines with his wife who is
also 300 pounds. They are well dressed for their weight and
are not skimping when it comes to the food. Their table is
covered with entrées and they are perfectly mannered.

Back to

Rex is stuck staring.

REX (CONT'D)
No wait. Oh my God. It's Manning.

Crew #1 smacks his arm while laughing.

CREW MEMBER #1
Stop that. We have agents for
that.

REX
I just want to give him my card.

Rex gets up from the table and strolls over to the man and
his wife.

(CONTINUED)
 64.
CONTINUED: (21)
The man takes notices as Rex is staring and smiling all the
way over. The man swallows his food and wipes dabs his chin
with his napkin.

REX (CONT'D)
Excuse me, are you an actor?

MAN
No, I'm an investment banker.

Rex is staring at him with a far off look of wonder.

REX
Perfect.

MAN
What?

Cut to

EXT. Palace - Day

Lucretia runs from the Palace towards the forest. She weakens
with tears when Guard #1 rushes up from behind calling.

GUARD #1
M'Lady! What upsets you?

She tires and slows her pace and stops. Tears stream from
her face and she tries to calm herself. She appears as if she
might fall down and Guard #1 gathers her from behind and
stops them to rest on a tree in the shade.

LUCRETIA
You musn't see me. I cannot...

She tries to pull away but rather caves her head into his
chest as she turns. She is sobbing.

LUCRETIA (CONT'D)
I cannot bare it anymore...
I must find Conquistador He's
my best friend. He was always
there, it comforted me. Its the
seventh day now, I feel that I
am lost. (cries) Oh I wish to be
lost. I wish I could just
disappear so they cannot find
me.

The Guard holds her with restrain, he feels her trembling

shoulders and racing heart against his chest. He looks out
from the Palace to the trees.

(CONTINUED)
 65.
CONTINUED: (22)

GUARD #1
We shall search for him together.

Suddenly the tears stop and Lucretia looks up at him and he

turns to face her.

LUCRETIA
Yes. Let's go and find him. We'll
go deep into the forest. We'll
search day into night if we have
to. We will not come back until we
have found him.

She is excited again and jumps up, grabbing his hand and
pulling him into a charge toward the forest.

LUCRETIA (CONT'D)
Come. We must hurry.

They run together into the trees.

Cut to

INT. Audition Room - Day

Rex is sitting with Malcolm going over the script for

"Nevin's Warning."

REX
The part of Dallas is actually the
authoritative voice of the author.
Yes, this is a very important part.
So take it from page forty three.
His reply to the commission. Its a
long speech, take it slow and I
want to hear it all the way
through.

BLACK MALE
Those who die are just as important
as those who live. And you cannot
change a creatures' true self.

REX
No, page forty three.

BLACK MALE
Oh, sorry. (Turns the page)

Cut to

INT. Spaceship - Timeless

(CONTINUED)
 66.
CONTINUED: (23)

The creatures are communicating with Debra via mental

telepathy. She can see straight into their eyes and see
images in their faces. She HEARS their Calm Voices.

CALM VOICE
We are your defendants. We are
evolved from the wars you have
not seen yet.

Images of catastrophe and famine appear in the Creature's

shining face. Debra sits calmly watching, releasing the
tears.

CALM VOICE (CONT'D)

But life will continue, growing
stronger, smarter, kinder over
time.

Her sight is thrown from the images on his face into a deep
abyss. Inside the abyss the images of transformation glide
all around her. A butterfly hatches from it's cocoon and
spreads it's wings. A dinosaur morphs into a bird. An
avalanche falls down a mountainside.

DALLAS (V.O.)
And trust God. Trust God to do
what? The right thing? Or whatever
he fucking pleases, for his own
purpose, and at everyone else's
expense? Personally speaking, I
don't believe in God. Everything
that happens is just a matter of
our nature and until we admit to
our responsibilities we will always
use God as a scapegoat. In the
abyss

Images of volcanos, earth quacks, floods. Families in

shambles, homeless, hungry.

DALLAS (V.O.)
There is nothing more divine than a
volcano erupting, demolishing whole
villages in its midst. The
geological society knows why the
mountain fell down, and it has
nothing to do with God and
everything to do with the center of
the earth.

(CONTINUED)
 67.
CONTINUED: (24)

Images of the apple, being cut open to the core, revealing

the seeds within. The baby inside the womb, it's tiny heart
throbbing.

DALLAS (V.O.) (CONT'D)

All the answers to our questions
can often be found within. There
is no use making something up about
it unless you don't understand it.
So I believe Christ was an
extraordinary man with an advanced
understanding of the human race at
that time.

In the abyss

From birth to old age a human body is generated and ages very
quickly. Returning to the abyss where the body undergoes
evolution from the elements around him. First, catastrophe
(MORE)
and utter darkness, as the body reappears it is frail and
white with longer fingers. Underground machine operators
rarely move in their small quarters. Their fingers are all
that access the light and the power for their nano-nuematic
plungers to restructure the interior of the earth.

DALLAS (V.O.) (CONT'D)

He felt an undying need to set
people free of their ideologic
boundaries. As a species, we're
brutal to our very own. Using
bodies as slaves, intimidating with
great power the enslaved masses.
This scenario plays out again and
again in history.

To make room for the growing inhabitants. Females eggs are

extracted and saved for planned parenting. All children
receive the same nutrition, education and exercise. All
children grow to immense intelligence. Learning and operating
the hull of the spaceship. They travel and inspect the
cosmos. They play and design computer programs. Heads grow
larger, eyes grow bigger. Loss of hair. Softer more
translucent skin. Suddenly the synthesized sun appears and
shines straight through them. A high pitched hum energizes
and fills all bodies with a perfect stream of energy and
light. In the blink of an eye the creatures transform into
human form.

DALLAS (CONT'D)(V.O.)
And yet most of us feel helpless as
if we have no recourse from the
evil that keeps popping up.

(CONTINUED)
 68.
CONTINUED: (25) DALLAS(CONT'D)
We shrug our shoulders and can't
understand it. We choose not to see
the truth, we have become enslaved
by media moguls, marketing and
money and can't recognize the true
value of our own human life. It is
imperative that we seek the truth
in order to make the right
decisions.
Evidence suggests that
we are still passively allowing
profit and power to control us.
We are not really trusting God's
Plan. So we better have our own.

Debra is drawn back in the abyss to witness masses of

creatures emerging from west to east from present day into
the past.

Debra's P.O.V.

Soon Debra recognizes her apartment as she is brought back

into it and all the creatures and images evaporate.

INT. Debra's Apartment - Day

Debra looks up and around, checking her face and body with
her hands. She is still and HEARS the Calm Voice.

CALM VOICE
We will return to life on
earth. We are closer now
with our research.

Then the hum fades and Debra breathes in amazement. She

passes out suddenly.

Cut to

INT. Trilia's Home - Day

Trilia is sitting at her kitchen table having some coffee.

Miss Able enters in her motorized wheelchair and goes to the
counter, smiling and happy with a bandage on her head.

MISS ABLE
Good Morning. A fine day isn't it?

Trilia looks at her mother.

(CONTINUED)
 69.
CONTINUED: (26)

TRILIA
Yes Miss Able, it's a fine day.

Cut to

EXT. Trilia's Home - Day

Janus Kelly is walking up to Trilia's front door with Quista

in a pet crate. He places the case on the step and rings the
bell. Soon the door opens. Trilia welcomes them in.

TRILIA (CONT'D)
Hi. Hi Cus Cus. Come on in.

JANUS
The owner past away.

TRILIA
Oh really? Who?

Their conversation inside the house fades out.

JANUS
Gayle Sessions.

TRILIA
(amazed)
Gayle Sessions had my cat?
Are you kidding? Cus Cus is
famous?!

JANUS
Well yeah, he's an actor, he
just finished a movie.

FADE OUT