THE CIRCLE

Written by

James Ponsoldt

Based on the novel

by

Dave Eggers

February 22, 2015

FADE IN:

INT. UTILITY BUILDING - OFFICE - DAY

FINGERS

type on a computer keyboard. Lightning fast. Sitting in an

ugly burlap-lined cubicle, focused on her work, is:

MAE HOLLAND, 24. A stack of SELF-HELP and TIME-MANAGEMENT

BOOKS sits on her desk. With her wavy dark hair and brown
eyes, Mae is striking, but slightly aloof, as though she’s
thinking about everything -- or perhaps nothing at all.

In this sickly green, cinderblock-walled office, Mae stands

out. The other bored, mostly middle-aged CUBICLE-DWELLERS
seem to be counting the minutes until five o’ clock.

But Mae is focused. Intense.

What the hell is she doing here?

MALE VOICE (O.S.)

Mae?

Mae looks up. Her supervisor, KEVIN (a short-sleeved, 40 year

old career IT guy with an IT guy’s personality), flanks her.

KEVIN
Can I speak with you? Privately?

INT. UTILITY BUILDING - KEVIN’S OFFICE - LATER

An anxious Mae sits across the desk from Kevin.

MAE
You’ve been...”watching” me?

KEVIN
Honestly, you’re not like the other
temps. They’re just in it for a
check. But you really “get” it.

MAE
Thank you. I try.

KEVIN
(leans in)
Listen, there’s gonna be a
permanent position opening here
soon. I’d like to offer it to you.
 2.

Mae isn’t thrilled by the news, but she’s able to fake it.

MAE
Wow...I don’t know what to say.

KEVIN
You could have a bright future
here, Mae. Just don’t go taking my
job!

Kevin LAUGHS, amused with himself. Mae chuckles too.

INT. UTILITY BUILDING - OFFICE - MOMENTS LATER

As Mae walks back to her desk, her smile vanishes. She

doesn’t belong here -- and she knows it.

INT./EXT. MAE’S CAR (MOVING) - LONGFIELD, CALIFORNIA - DAY

Mae drives an OLD CHEVY through LONGFIELD: a small, dusty,

Central Valley town. Near Fresno. Working class. Farmers,
truckers, factory workers. Not exactly where a bright young
recent college grad would go to make a name for herself.

EXT. SIDE OF THE ROAD - DAY

Mae sits on the bumper of her broken down car, waving as --

-- a worn PICKUP TRUCK pulls up. Grinning widely is the

driver: MERCER (25), unruly hair, large frame, zero vanity.

NOTE: We won’t see Mercer again for a while. Remember him.

MERCER
(heavy on charm)
Missed me, huh?

Mae rolls her eyes and LAUGHS. They clearly have a history.

MAE
No one else answered their phone.

LATER

Mae watches Mercer, covered in sweat and oil, slam the hood.

MAE (CONT’D)
Thank you so much.

MERCER
No sweat. Where ya headed now?
 3.

MAE
(thinks about it)
Anywhere but here.

MERCER
You wanna maybe hang out, or...?

MAE
I should actually get home. My
parents, you know?

He nods slightly. He clearly wants more. It’s a hair awkward.

MAE (CONT’D)
It’s just like high school!

Mae lightheartedly punches Mercer in the shoulder.

MAE (CONT’D)
Except I’m 24. And...I still live
with my parents.
(mock enthusiasm)
Yay for a college degree -- in art
history.

MERCER
And all that fun debt.

MAE
Exactly.

MERCER
(shakes his head,
sarcastic)
It’s a hard life, huh?

Mae forces a knowing smile.

MAE
I’ll text you tomorrow or
something. Maybe we’ll make a plan.

MERCER
(dry)
Or we could make a plan now, since
we’re both here in person.

She misses this, already climbing into her car. Mercer half-
smiles, turns to leave. As Mae starts the engine he says:

MERCER (CONT’D)
See ya ‘round, Mae.
 4.

INT. MAE’S CAR (MOVING)/EXT. MAE’S PARENTS’ HOME - DUSK

Mae arrives at a modest one-story brick ranch house.

INT. MAE’S PARENTS’ HOME - KITCHEN - NIGHT

Mae eats at the table with her MOTHER (50s) and FATHER (50s) -
- who’re clearly still very much in love. The kitchen is
nice, but not too nice. Solidly lower middle class.

NOTE: Mae’s father has slightly slurred speech as well as

other symptoms associated with Multiple Sclerosis (MS).

MAE’S FATHER
Nice of Mercer to help with the
car.

MAE’S MOTHER
So glad you two stayed friends aft--

MAE
(clearly a charged topic)
Yup. Sure is.

Silence.

MAE (CONT’D)
Sorry.
(changing the subject)
So...any word on the insurance
situation?

MAE’S MOTHER
They’re still being jerks. Won’t
cover his Copaxone -- it’s not on
their “list.” I mean...can’t they
just be human about it?

Mae glances at her father. He hates being pitied.

INT. MAE’S PARENTS’ HOME - MAE’S BEDROOM - NIGHT

Mae sits on the bed in her drab bedroom, checking her TRUYOU
(think Facebook, but better) account on her LAPTOP.

CLOSE ON: PAGES of some of Mae’s FRIENDS, including ANNIE

ALLERTON (NOTE: We’ll meet Annie soon enough), who seem to be
having a great time at fabulous parties, on the beach, in
Tokyo, Dubai, etc.

Mae checks for new messages: none.

 5.

INT. UTILITY BUILDING - OFFICE - DAY

Mae is at her desk, focused on her computer screen, studying:

Various WEBSITES for MS MEDICATION/PAIN MANAGEMENT

Mae’s cell RINGS. On the ID? -- ANNIE. She answers.

ANNIE (V.O.)
What’re you doing?

MAE
I’m at work. I come here each day
and in return I receive money to
buy goods and services.

ANNIE (V.O.)
Listen, there’s officially a job
waiting for you here at the Circle!
Unless of course you don’t want to
leave your current position...?

EXT. UTILITY BUILDING - PARKING LOT - DAY

Mae hurries to her car with a BOX of her belongings, a wide

smile on her face. Ex-supervisor Kevin and a few EMPLOYEES
watch her depart from the front walk.

MAE
(calling back to them)
It’s not you, it’s me!

Kevin nods, waves glumly.

EXT. THE CIRCLE - DAY

Mae stares down at the word -- Dream -- carved into a TILE on

a WALKWAY. As she walks, she reads other inspirational words
and phrases: Participate. Find community. Innovate. Imagine.

Mae is on the Bay Area campus of the CIRCLE: 400 acres of

green hills, tennis and volleyball courts, a Calatrava
fountain, blue sky overhead, and the brushed steel and glass
headquarters of the world’s most influential tech company.

Mae stops in front of the MAIN ENTRANCE, the CIRCLE’S LOGO

etched into the glass above, takes a deep breath, and enters.
 6.

INT. THE CIRCLE - ATRIUM - CONTINUOUS

The front hall seems endless: offices everywhere above, four

stories high on either side, the walls made of GLASS.

Mae looks down and sees HER OWN FACE reflected in the
immaculate glossy floor. Worried.

FEMALE VOICE (O.S.)

You must be Mae!

Mae musters up a wide smile, turning to see: RENATA (mid-20s)

beautiful in a white silk blouse and scarf. Very high energy.

RENATA
I’m Renata.

MAE
Hi, I’m looking for --

RENATA
Annie -- I know. She’s such a
rockstar. I wish I was old friends
with her...

A SOUND comes from Renata’s tiny EARPIECE.

RENATA (CONT’D)
(listens)
She’s actually...

Renata looks at Mae, but sees something else -- a RETINAL

INTERFACE (many Circlers have this). The effect is one of
perpetual semi-distraction.

RENATA (CONT’D)
...in the Old West -- but she’ll be
here soon.
(off Mae’s confusion)
All the buildings are named after
historical eras.

MAE
(a nod, deadpan)
I hope she’s got some hardtack and
a sturdy horse.

Renata smiles politely but doesn’t quite get the joke.

ANNIE (O.S.)
You’re here!

Mae turns to see: ANNIE ALLERTON, 26, warm, cute, goofy, old-
money confident, and fiercely intelligent. They share a hug.
 7.

ANNIE (CONT’D)
We’re gonna have so much fun. It’ll
be like we’re back in college.

MAE
Does that make me a freshman and
you a junior again?

ANNIE
No way -- you’re with me, so you
get to skip a couple grades.

EXT. THE CIRCLE - LAWN - DAY

Mae follows Annie across the lawn, passing a PAIR OF CIRCLERS

sitting on a man-made hill, gesturing to a CLEAR TABLET,
talking with great intensity.

ANNIE
You’ll be in the Renaissance.

Annie gestures to: a BUILDING OF GLASS AND OXIDIZED COPPER.

ANNIE (CONT’D)
This is where all the Customer
Experience people are.

They pass YOUNG PEOPLE, dressed professionally and splayed

about like sunbathers.

Annie waves her hand toward a BLUE PARALLELOGRAM and the

angular GYM rising behind it.

ANNIE (CONT’D)
You’ll have total access to the
pool, gym, yoga studio, crossfit,
Pilates, spinning, the dorms...

Annie gestures to the DORMS -- part college dorms, part

hipster glass apartments.

ANNIE (CONT’D)
And...here we are.

They arrive at: THE RENAISSANCE, another building with a

forty-foot atrium, a CALDER MOBILE turning slowly above.

MAE
Oh, I love Calder.
 8.

ANNIE
I know. This one used to hang in
the French parliament. Or something
like that.

Mae is entranced by the beauty of the mobile, the building,

everything. It’s overwhelming.

INT. THE CIRCLE - RENAISSANCE - ELEVATOR - MOMENTS LATER

Annie and Mae enter a GLASS ELEVATOR, tinted faintly orange.

LIGHTS flicker on and, on the walls, appears MAE’S YEARBOOK
PHOTO along with the MESSAGE: WELCOME MAE HOLLAND

Mae actually GASPS. Annie smiles, charmed.

ANNIE
It’s all on sensors. The elevator
reads your ID and says hello. We do
that for visitors, mostly. They’re
usually impressed.

INT. THE CIRCLE - RENAISSANCE - CATWALK - MOMENTS LATER

The elevator opens. They exit onto a steel catwalk. Mae looks
down, sees all the way to the lobby, four stories below.

MAE
(under her breath)
Hello, vertigo...

INT. THE CIRCLE - RENAISSANCE - MAIN FLOOR - MOMENTS LATER

Annie and Mae walk through the main floor, wide and windowed
and bisected by a long hallway.

On either side, the OFFICES are floor-to-ceiling glass, each

office tastefully, specifically decorated (sailing
paraphernalia, bonsai trees, etc.)

They finally stop at: a CUBICLE, dull grey, small, and lined
with BURLAP -- exactly like Mae’s previous office.

ANNIE
Here you are. This okay?

Mae silently nods, trying to hide her dissatisfaction.

Mae takes in her dismal workspace: an ANCIENT COMPUTER

(unlike anything else in the building), a chair with a half-
broken back, the aforementioned burlap. She forces a smile.
 9.

MAE
It’s...great.

Annie bursts into LAUGHTER. Mae exhales, smiles.

MAE (CONT’D)
Success hasn’t changed you one bit.

ANNIE
(satisfied sigh)
I had to actually buy that cubicle
from Staples. Took me ages to find
the computer online. Thought we
might have that stuff in the
basement or something, but honestly
there’s nothing on our campus ugly
and old enough.
(off Mae)
Your face was priceless!

MAE
You’re such a sicko, Annie.

ANNIE
(salesman’s wink)
You know you love me.

MAE
Of course I do! But how am I ever
gonna keep up with you?

Annie flashes a devilish grin.

ANNIE
Don’t even try, freshman.

INT. THE CIRCLE - AQUARIUM - DAY

Annie and Mae stand in front of a tall display where

JELLYFISH, ghostly and slow, rise and fall.

ANNIE
I’ll be watching -- every time you
do something great I’ll make sure
everyone knows. You won’t have to
stay in Customer Experience too
long.
(off Mae)
C.E. sounds shitty, but half our
senior people started there.
 10.

MAE
I’m happy to be anywhere here.
Thank you.
(off Annie)
Oh -- are we working at all today?

ANNIE
Working? This is working. Your task
today is to get to know the place,
the people, get acclimated.
(beat)
You know how you put new wood
floors into your house?

MAE
No, I don’t.

ANNIE
You have to let them sit there for
ten days, to let the wood adjust.
Then you do the installation.

MAE
So...I’m the wood?

ANNIE
(quick)
Yep, you’re my...birch bitch.

They share a LAUGH. Annie leads Mae further.

INT./EXT. THE CIRCLE - DAY

Annie and Mae explore the: KENNEL; OUTDOOR AMPHITHEATER;

NIGHTCLUB; BORROW ROOM (a shop where fun items, from bikes to
telescopes to hang gliders are loaned to Circlers for free)

INT. THE CIRCLE - CAFETERIA/”GLASS EATERY” - DAY

A nine-story cafeteria, walls and floors made of glass --

creating the illusion of floating -- Mae and Annie listen to:

An ICONIC SINGER-SONGWRITER (think Paul Simon, Neil Young,

James Taylor, etc.) PLAYS on a small stage in the corner --
while DINERS barely pay attention.

MAE
(starstruck)
Is that...?
 11.

ANNIE
There’s someone every day --
musicians, comedians, writers. We
book ‘em a year ahead -- we have to
fight them off.

MAE
I can’t imagine the budget.

ANNIE
(scoffs)
Oh God, we don’t pay them!

INT. THE CIRCLE - HALLWAY - DAY

Mae follows Annie down a hallway, appointed in deep cherry

and walnut, compact chandeliers emitting calm, amber light.

ANNIE
Has anyone given you the “Three
Wise Men” spiel yet?

MAE
Um, no...

Annie gestures to: an ugly, strangely amateurish PAINTING

hanging on the wall.

ANNIE
Hideous, right?

In the painting, the “THREE WISE MEN” -- the three founders

of the Circle -- are arranged in a pyramid, wearing
expressions that cartoonishly represent their personalities.

CLOSE ON: TY GOSPODINOV, mid-20s, the Circle’s boy-wonder

visionary, wearing nondescript glasses, his face shadowed and
obscured by an enormous hoodie, smiling off to the left.

ANNIE (O.S.) (CONT’D)

Ty looks checked out, right? But
none of us would be here if it
wasn’t for him.

CLOSE ON: EAMON BAILEY, youthful 50s, twinkly-eyed, earnest,

a charming and relatable everyman face for the Circle.

ANNIE (O.S.) (CONT’D)

Six months before our IPO, he hired
Eamon Bailey. Everyone loves Eamon.
(beat)
And then there’s Tom Stenton...
 12.

CLOSE ON: TOM STENTON, 40s, tight-lipped grin in an Italian

suit -- a tough-dealing throwback to 1980s Wall Street.

ANNIE (O.S.) (CONT’D)

Tom doesn’t look so good here. He’s
not quite that sharky. But I hear
he loves this picture.

Mae studies the men’s images, hangs on Annie’s every word.

ANNIE (CONT’D)
Ty programmed the Unified Operating
System, combined user profiles,
payment systems, e-mail, passwords,
preferences. Tom and Eamon figured
out the marketing. TruYou was born.
(beat)
One account, one online identity --
for everything. For the rest of
your life.

Mae hesitates, then says:

MAE
If they’re so brilliant and
wealthy, why’d they hire a middle-
schooler to paint their portrait?

Annie LAUGHS.

INT. THE CIRCLE - OCHRE LIBRARY - LATER

Annie and Mae arrive at an enormous, medieval DOOR. A pair of

giant GARGOYLE KNOCKERS protrude at chest level.

MAE
Nice knockers.

Annie SNORTS and waves her hand over a BLUE PAD on the wall.
The door opens. Mae’s eye’s widen in disbelief.

ANNIE
Holy shit, right?

The library is three-stories high, fashioned in wood, copper

and silver. Easily TEN-THOUSAND LEATHER-BOUND BOOKS, between
them BUSTS of notable people (Joan of Arc, MLK, Jefferson).

Mae is stunned, speechless. This is easily the most jaw-

droppingly impressive private library she’s ever seen.

Mae looks up: the ceiling is STAINED GLASS, a fevered

rendering of countless angels arranged in rings.
 13.

ANNIE (CONT’D)
It’s from some old church in Rome.

INT. THE CIRCLE - OCHRE LIBRARY - TOP FLOOR - LATER

Annie leads Mae through narrow corridors of ancient, round-

spined books, some as tall as Mae.

ANNIE
Before I show you this, you have to
give me a verbal non-disclosure
agreement, okay?

MAE
Fine.

ANNIE
Seriously.

MAE
I’m serious!

Annie removes a large VOLUME titled “The Best Years of Our

Lives.” The WALL begins to slowly MOVE INWARD, revealing a

SECRET CHAMBER.

ANNIE
That’s High Nerd, right?

Then, the sound of a DROPLET emits from Annie’s earpiece.

ANNIE (CONT’D)
(to the person on the
other end)
Okay.
(to Mae)
Time to go.

INT. THE CIRCLE - GREAT HALL - DAY

Annie and Mae sit on a BALCONY in the GREAT HALL -- 3,500

seats of warm wood and brushed steel. The place is PACKED.

Down below, people begin to APPLAUD as

ON STAGE

EAMON BAILEY (seen earlier in the the Wise Men painting), in

jeans and a V-neck sweater, walks to the podium. He has no
visible mic, but when he speaks, his voice is amplified and
clear. He is perhaps the most likable person. Ever.
 14.

BAILEY
Hello, my name is Eamon Bailey.

More APPLAUSE. Eamon shakes it off.

BAILEY (CONT’D)
Thank you. I’m so glad to see you
all here. A bunch of you are new to
the company since I last spoke. Can
the newbies stand up?

ANNIE AND MAE

Annie nudges Mae, who nervously stands. Around 60 OTHER

PEOPLE stand around the room -- young, diverse, shy, and
quietly stylish. The APPLAUSE swells. Even some WHOOPS.

ANNIE
You’re so cute when you blush.

ON STAGE

BAILEY
Newbies, you’re in for a treat.
This is Dream Friday, when we
present something we’re working on.
Often it’s one of our engineers,
designers or visionaries. Today,
unfortunately, it’s just me.
(beat)
For that, I apologize in advance.

VOICE (O.S.)
We love you Eamon!

LAUGHTER from the audience.

BAILEY
Well, thank you. I love you back. I
love you as the grass loves the
dew, as the birds love a bough.
(beat)
It’s been a whole month since I’ve
gotten up on this stage, and I know
a lot of you have been wondering
just where the heck I’ve been.

VOICE (O.S.)
Surfing!

More LAUGHTER.
 15.

BAILEY
That’s right. I’ve been surfing,
and that’s part of what I’m here to
talk about. I love to surf. In the
past you’d wake and call the local
surf shop to ask about the breaks.
And pretty soon they stopped
answering their phones.

Knowing LAUGHTER.

BAILEY (CONT’D)
Then we got cellphones and you
could call your buddies who
might’ve gotten out to the beach
before you. They, too, stopped
answering their phones.

Big LAUGH.

BAILEY (CONT’D)
So then the internet happened, and
some geniuses set up cameras on the
beaches. We could log on and get
some crude images of the waves at
Stinson Beach. It was almost worse
than calling the surf shop! Here’s
how it used to look.

A SCREEN descends, shows: a standard BROWSER display. An

unseen hand types in the URL for a WEBSITE called SURFSIGHT.
A poorly designed SITE appears, with a tiny, pixilated,
comically slow image of a COASTLINE streaming in the middle.

BAILEY (CONT’D)
Almost useless, right? Let’s
refresh that page to show the site
with our new video delivery.

The page refreshes, and now the image is FULL-SCREEN with

PERFECT RESOLUTION. Sounds of AWE from the audience.

BAILEY (CONT’D)
Looks pretty good, right? Maybe I
should be out there right now!

Bailey steps forward. He’s got the entire room captivated.

BAILEY (CONT’D)
Would it surprise you to know this
isn’t coming from a big camera, but
actually just one of these?

He holds a SMALL DEVICE, the shape and size of a lollipop.

 16.

BAILEY (CONT’D)
This camera needs no wires. It
transmits this image via satellite.
I set up that camera this morning.
I taped it to a stake, stuck that
stake in the sand, in the dunes,
with no permit, nothing. In fact,
no one knows it’s there.
(beat)
Actually, I was pretty busy this
morning...

The image of Stinson Beach shrinks, moves to the corner of

the screen. ANOTHER BOX emerges, showing RODEO BEACH.

BAILEY (CONT’D)
Here’s Rodeo Beach. And now
Montara. Ocean Beach. Fort Point.

With each beach Bailey mentions, another LIVE IMAGE appears,

now SIX BEACHES in a grid -- in perfect clarity and color.

BAILEY (CONT’D)
My friends, we’re looking at
retailing these in just a few
months, at fifty-nine dollars each.

Bailey tosses the camera to a WOMAN in front. She catches it,

holds it aloft, and turns to the audience, smiling gleefully.

BAILEY (CONT’D)
You can buy ten of them for
Christmas and suddenly you have
constant access to everywhere you
want to be -- home, work, traffic
conditions. Anyone can install
them. It takes five minutes tops.

The screen behind Bailey clears. A NEW GRID appears.

BAILEY (CONT’D)
Here’s the view from my back yard.

A live FEED of a tidy, modest BACK YARD appears.

BAILEY (CONT’D)
Here’s my front yard. My garage.
Here’s one on a hill overlooking
the 101 where it gets bad during
rush hour. Here’s one near my
parking space to make sure no one
parks there. Here’s my mom’s house.
 17.

A live FEED of a bright HALLWAY -- with BAILEY’S MOTHER

walking in nothing but a TOWEL. A roar of LAUGHTER erupts.

BAILEY (CONT’D)
Oops, let’s drop that one.

The screen now has SIXTEEN discrete, live IMAGES.

BAILEY (CONT’D)
Now, these are just my cameras. I
access them all by simply typing in
Camera 1, 2, 3, 12, whatever. Easy.
(beat)
But what about sharing? What if a
pal gives me access to his cameras?

The screen multiplies from SIXTEEN BOXES to THIRTY-TWO.

BAILEY (CONT’D)
Here’s my friend Lionel’s screens.
He skis, so he’s got cameras at
twelve locations all over Tahoe.

TWELVE IMAGES of SNOW-COVERED MOUNTAINS and VALLEYS appear.

BAILEY (CONT’D)
If you have a thousand friends with
ten cameras each, you now have ten
thousand options for live footage.

The screen atomizes to a THOUSAND MINI-SCREENS. Beaches,

mountains, lakes, cities, offices, and living rooms appear.

The audience APPLAUDS wildly.

ON MAE, who looks a bit skeptical.

MAE
(to Annie)
Great. Even more cameras in our
lives...

ANNIE
Shhhh...it gets better.

ON STAGE

The screen goes to BLACK. A WHITE PEACE SIGN emerges.

BAILEY
Now imagine the human rights
implications. Protesters no longer
have to hold up a camera, hoping to
catch a human rights violation.
(MORE)
 18.

BAILEY (CONT'D)
Now it’s as easy as gluing a camera
to a wall. Actually, we’ve done
just that.

A stunned HUSH comes over the audience as, ON SCREEN: A live

shot of PROTESTS in THE MIDDLE EAST. BANNERS lie in the
street, POLICE IN RIOT GEAR in the distance.

BAILEY (CONT’D)
They don’t know we see them, but we
do. The world is watching. All is
quiet now, but can you imagine if
something happened? There would be
instant accountability.
(beat)
Well, we’re calling it SeeChange.

The word appears on the screen behind Bailey: SeeChange

A quick burst of APPLAUSE, which grows as the audience gets

the double-meaning of the name SeeChange.

BAILEY (CONT’D)
I agree with The Hague, with human
rights activists the world over.
There needs to be accountability.
Tyrants can no longer hide. There
needs to be, and will be
documentation and accountability,
and we need to bear witness.
(beat)
To this end, I insist that all that
happens should be known.

The words appear behind him: ALL THAT HAPPENS MUST BE KNOWN.

BAILEY (CONT’D)
Folks, we’re at the dawn of the
Second Enlightenment.
(beat)
Knowledge is good. Knowing is good,
right?

The audience CHEERS in agreement. He turns, reads the screen.

BAILEY (CONT’D)
“All that happens must be known.”
(turns back)
Now, do these cameras have to be
stationary? Of course not. I have a
dozen helpers all over the world
right now, wearing the cameras
around their necks.
 19.

ON SCREEN: An image of MACHU PICCHU appears. It looks like a

postcard. Then the image begins moving down towards the site.

BAILEY (CONT’D)
See, this opens up the possibility
of visual surrogates.

A live image of PARIS. Then KUALA LUMPUR. Then a LONDON PUB.

BAILEY (CONT’D)
Imagine I’m at home. I log on and
want to get a sense of the world.
(off the screen)
Show me the 101. Streets of
Jakarta. Surfing at Bolinas. Show
me the webcams of everyone I went
to high school with.

At each command, a new IMAGE appears, until there are at

least a HUNDRED live streaming IMAGES, all at once.

BAILEY (CONT’D)
We will become all-seeing, all-
knowing. Because knowing is good.
(proud smile)
But knowing everything is even
better.

The audience is now standing. Thunderous APPLAUSE.

ON MAE, who leans toward Annie in a state of awe.

ANNIE
So?

MAE
So, it’s kind of...incredible.

EXT. THE CIRCLE - LAWN - BUFFET - NIGHT

A MASSIVE PARTY. Tiki torches everywhere. CIRCLERS limbo,

play kickball, Electric Slide. Tons of booze. A hip, famous
MUSICIAN (Danger Mouse, Grimes, etc.) performs on a STAGE.

Mae follows Annie down a forty-foot BUFFET.

MAE
Good thing you guys like to keep
things modest.

They LAUGH as they load their plates.

 20.

EXT. THE CIRCLE - LAWN - LATER

Wine glass in hand, Mae drifts by herself through the buzzed

crowd, tipsily watching: PEOPLE on a BOCCE COURT roll
CANTELOUPES into bowling pins.

EXT. THE CIRCLE - LAWN - LATER

Mae lies on the grass next to TWO DOZEN CIRCLERS, their eyes
closed and their arms or legs slightly overlapping. When one
person says “Ha,” the person next to them says “Ha.” And on.
And on. LAUGHTER. The game, not surprisingly, is called “Ha.”

EXT. THE CIRCLE - LAWN - LATER

Mae stumbles through the thinning crowd, a VODKA/RED BULL in

hand. She’s clearly had one too many. Mae turns to see:

KALDEN, late-20s, skinny, jeans and a tight long-sleeve

jersey, and grey, almost white hair. He stands off on his
own, typing something on his PHONE, seemingly disinterested
in the party.

MAE
I heard a rumor there’s a party
here tonight.

Kalden looks up, confused.

MAE (CONT’D)
If, ya know, that’s your kind of
thing.

Kalden smiles.

KALDEN
Maybe I’ll check it out.

MAE
Probably not as exciting as
whatever’s on your phone.

KALDEN
No, probably not.
(off Mae)
I’m gonna get a drink.

Kalden begins to turn to leave.

MAE
Am I supposed to follow you...?
 21.

KALDEN
(over his shoulder)
You should if you want some wine.

Mae eyes Kalden.

MAE
So I’m just supposed to follow you?
What are you, the wino Pied Piper?

Kalden smiles, amused.

KALDEN
Uh-huh.

Mae shrugs -- what the hell?

EXT. THE CIRCLE - LAWN - CANOPY OF TREES - MOMENTS LATER

Kalden leads Mae down to the bottom of a MAN-MADE WATERFALL.

KALDEN
I hid a few bottles here.

Kalden submerges his arm to the shoulder, finally retrieving

TWO GREEN WINE BOTTLES. He shows them off to Mae, proud.

MAE
Wow. That’s really...weird. Does
this impress most girls?

KALDEN
Can’t say. I don’t talk to most
girls.

EXT. THE CIRCLE - LAWN - STEPS - NIGHT

Mae and Kalden sit on high steps overlooking the party, each
drinking from a wine bottle. Mae is more than a bit buzzed.

KALDEN
So, do you work here...?

MAE
I do -- in C.E.

KALDEN
C.E.?

MAE
Customer Experience.
 22.

KALDEN
Oh, right. We used to just call it
Customer Service.

MAE
So I take it you’re not new?

KALDEN
Me? No. Been here a little while.
(off Mae)
Sorry, I’m Kalden.

MAE
Mae.

They shake hands.

MAE (CONT’D)
This is actually my first day.

KALDEN
No way.

MAE
I fuck you not.
(definitely not what she
meant to say)
I meant --

KALDEN
You fuck me not? That sounds very
conclusive. You’ve made a decision
with very little information. You
fuck me not...wow.

MAE
What I was trying to say was, “I
shit you not,” but, well, maybe
I’ve had a few, and...

Kalden LAUGHS. Not at Mae. With her. It’s charming.

KALDEN
You excited to work at the Circle?

Mae glances at Kalden, hesitates, then says:

MAE
(achingly sincere)
It feels kinda like...a dream.

Kalden nods. He seems strangely touched by Mae’s sincerity.

 23.

MAE (CONT’D)
(suddenly self-conscious)
I mean, yes, there are some things
about this place that are a bit
much -- like, a lot much -- like,
“Here, try the delicious Kool-Aid
we’re all drinking”...much.

Kalden smiles and LAUGHS.

MAE (CONT’D)
But after my last job, I’m just
grateful to be here.

KALDEN
Can I see what you do sometime? I
could stop by and say hello. Unless
it makes you uncomfortable.

MAE
Sure. It’s not so exciting, though.

KALDEN
Maybe, maybe not.

Kalden eyes Mae intensely, as though he might kiss her. Mae

stares back at Kalden, their eyes locked.

KALDEN (CONT’D)
See you around campus, I’m sure.

He leaves. Mae nods to herself, confused. So, that happened.

ANNIE (O.S.)
Drinking alone?

Mae turns to see a grinning Annie behind her. She sits next
to Mae, reaches to her feet, and lifts up the BOTTLE.

ANNIE (CONT’D)
I thought we ran out hours ago.

MAE
There was some wine in the
waterfall by the Industrial
Revolution.
(beat)
Did I really just say that?

Annie LAUGHS and takes a swig.

 24.

INT. SHUTTLE (MOVING) - NIGHT

PEOPLE on the shuttle drunkenly talk, laugh, keep drinking.

In the back, Mae is slouched low in her seat, grinning.

EXT. MAE’S APARTMENT BUILDING - TENDERLOIN, SAN FRANCISCO -

NIGHT

Mae stumbles past a few HOMELESS PEOPLE into the entrance of

her new apartment building -- a former low-rent hotel, still
rough-around-the-edges.

INT. MAE’S APARTMENT - BEDROOM - NIGHT

Mae has fallen asleep on her FUTON watching TV. Her grungy
bedroom is barely larger than the futon. City lights bleed in
through her window, as does NOISE from the street outside.

ON TV

Surrounded by AIDES and AMERICAN FLAGS, a SENATOR WILLIAMSON

(50s) gives a press conference. The TICKER below her reads:

SENATOR WILLIAMSON SEEKS TO BREAK UP THE CIRCLE

SENATOR WILLIAMSON
I call upon the Senate antitrust
subcommittee and the Department of
Justice to investigate the Circle.
We cannot rely on them to say,
“Trust us, we’re not breaking anti-
trust laws.” If true, I’m sure the
Circle will be glad to cooperate.

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - MORNING

Mae sits at her desk. The area is the size of a basketball

court, with TWENTY DESKS separated by glass dividers,
arranged in groups of five. CIRCLERS are busy at work. On
the wall is written: LET’S DO THIS. LET’S DO ALL OF THIS.

DAN (early-30s, handsome, wears a brown hoodie) stands in

front of Mae, holding a gleaming, translucent TABLET.

DAN
I have the honor of giving you your
new tablet, Mae.

Dan turns the tablet over to reveal an inscription:

MAEBELLINE RENNER HOLLAND

 25.

Dan hands it to Mae. She seems surprised by how light it is.

CUT TO:

In addition to the tablet and laptop, Dan has a sleek NEW

PHONE in front of him -- right next to Mae’s OLDER PHONE.

DAN (CONT’D)
Everything you had on your other
phone and on your hard drive is
accessible here on the tablet and
here on your new phone, but it’s
also backed up on the cloud and on
our servers. It can never be lost.

MAE
Great, thank you.

DAN
No sweat.
(begins to leave)
Oh, and it’s crucial that all
company devices are password
protected. Yours is written here.

Dan hands Mae a SLIP OF PAPER with a series of digits,

numerals, and obscure typographical symbols.

DAN (CONT’D)
I hope you can memorize it today
and then throw this away. Deal?

MAE
Deal.

DAN
(deeply contented smile)
Care to take a walk with me?

EXT. THE CIRCLE - ROOFDECK - DAY

Dan and Mae survey the Circle campus from high up, as well as
the surrounding city of SAN VINCENZO, and the BAY beyond.

DAN
We’re the best minds of our
generation. Making sure this is a
place where our humanity is
respected, our opinions dignified,
and our voices heard. This is as
crucial as any revenue, any stock
price, any endeavor we undertake.
(MORE)
 26.

DAN (CONT'D)
(off Mae)
Does that sound corny?

MAE
Not at all. That’s why I’m here. I
love the “community first” idea.

Dan turns to look into the hills to the east.

DAN
If we don’t give customers a human
and humane experience, we have no
customers. It’s pretty elemental.
(dramatic)
We’re proof that this company is
human.

Mae grins, overwhelmed with her good fortune.

DAN (CONT’D)
I know you’ll be great here.

Dan extends his arm towards Mae, as if he wants to put his

palm on her shoulder, but thinks against it, his hand
awkwardly falling to his side.

DAN (CONT’D)
Jared will show you the ropes now.

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - MAE’S DESK - DAY

Mae sits in front of her computer next to: JARED, 20s, fuzzy-
haired, serene in his khakis. He shows Mae the interface.

JARED
...The big 99 is the last
customer’s rating. Customers rate
you on a scale of 1 to 100. The
most recent rating pops up here,
and that’ll be averaged with the
rest of the day’s scores here. If
your daily customer rating dips
below 95, then you might step back
and see what you can do better.
(beat)
If it’s consistently slumping, you
may meet with Dan to go over some
best practices. Sound good?
 27.

MAE
Absolutely -- I’m used to being in
the dark about where I stand at
work until, like, quarterly
evaluations. It’s nerve-wracking.

JARED
(grins)
Then I think you’ll love this job.

LATER

Mae types furiously. A bit overwhelmed, but laser-focused. To

her right is now a SMALLER SECOND SCREEN. A MESSAGE appears:

JARED: Great so far! Let’s see if we can get that up to 97.

MAE types a reply: I will!

JARED: And send follow-ups to the sub-100s.

LATER

Mae is in the zone. Fingers moving a mile a minute. A MESSAGE

appears on the second screen -- this one from Dan:

DAN: Fantastic work, Mae! How you feeling?

Mae seems surprised to hear from her team leader. She types:

MAE: Fine. Thanks!

Mae goes back to work. Another MESSAGE pops up:

JARED: Anything I can do? Questions I can answer?

MAE: No thanks! I’m all set for now. Thanks, Jared!

Mae returns to work. But then, on the second screen, appears:

JARED: Remember that I can only help if you tell me how.

MAE: Thanks again!

MAE
(under her breath, Tiny
Tim voice)
More messages, please, sir...

She goes back to work.

MUCH LATER

Mae is lost in her work. A MESSAGE appears from Dan:

 28.

DAN: Great work, Mae!

Mae smiles. Seconds later, another message appears.

ANNIE: Dan says you’re kicking ass. That’s my girl!

Mae grins. A MESSAGE appears on her screen, alerting her that

she’s been mentioned on ZING (Think: Twitter). She clicks
over to her Zing account to read it.

ANNIE (on Zing): Newbie Mae is kicking ass!

Annie’s zing goes out to the entire Circle campus -- 10,041

people. She quickly sends another zing:

ANNIE (on Zing): The highest score of any CE newb ever of all
time suck it.

Mae smiles to herself. Goes back to work. Even more focused.

MAE’S FATHER (PRE-LAP)

We’re so proud of you, Mae-flower.

INT. THE CIRCLE - SECOND FLOOR CAFETERIA/”GLASS EATERY” - DAY

Mae sits across from her parents, the remains of their MEAL
on the table.

MAE’S MOTHER
We really are. You have a glow.

MAE’S FATHER
You do.

MAE
I do not have a glow.

MAE’S MOTHER
Like you’re with child.

Mom grins. Mae LAUGHS.

MAE’S MOTHER (CONT’D)

So? It’s been great?

MAE
I never want to work anywhere else.

MAE’S MOTHER
I told Karolina’s mom. She looked
like someone stuck a sharp stick up
her behind. Boiling with envy.
 29.

MAE
Mom...

MAE’S MOTHER
I let your salary slip.

MAE
Mom.

MAE’S MOTHER
What? It’s been fun to casually
slip it into conversations: My
daughter’s at the hottest company
on the planet and has full dental.

MAE
Please don’t. I just got lucky. And
if it wasn’t for Annie --

MAE’S FATHER
How is Annie?

MAE
Good.

MAE’S MOTHER
What does she do exactly...?

MAE
She’s in the Gang of 40.
(off their confusion)
She’s in on all the big decisions.
I think she deals with regulatory
issues in other countries.

MAE’S MOTHER
Sounds important!

MAE’S FATHER
(off-handed)
Oh, we saw Mercer the other day...

Mae hesitates, then says:

MAE
That’s good.
(amused)
How’s the antler-chandelier
business?

MAE’S FATHER
Apparently his business is
thriving. Sounds like he is too.
 30.

MAE
(changing the subject)
I’ve averaged 97 so far. They say
that’s a record for a newbie.

They have no clue what she’s talking about. Awkward silence.

MAE’S MOTHER
We brought you a surprise. You have
it, Vinnie?

Mae’s father reaches under his chair, retrieves a small

WRAPPED BOX, and gives it to Mae.

MAE
Aw, you guys...

Mae opens the box, revealing a SILVER PEN.

MAE’S FATHER
Are we the best or what?

Mae and her mother LAUGH. Mae’s father stands.

MAE’S FATHER (CONT’D)

I’m going to the car to recline for
a few. You ladies enjoy yourselves.

He leaves. Mae begins to get up, but her mother puts her hand
on her shoulder. They both watch as Mae’s father leaves.

MAE’S MOTHER
He gets tired. It’s fine. He rests.
He does things, he walks and eats,
then he rests again.

Mae silently nods. This is really painful for her.

INT./EXT. MAE’S CAR (MOVING) - DAY

Mae drives along the sunny coast. Music BLARES.

EXT. MAIDEN’S VOYAGES - PARKING LOT - LATER

Mae’s car pulls into the lot next to a marina.

EXT. MAIDEN’S VOYAGES - BEACH - LATER

Mae walks down to the beach, where there’s a small WOODEN

BUILDING with KAYAKS and PADDLE BOARDS lined up outside.
 31.

FEMALE VOICE (O.S.)

Mae!

Mae turns to find: MARION (50s), the bowlegged, frizzy-

haired, perpetually sunny, owner of Maiden’s Voyages.

MARION
My favorite customer.

A FEW MOMENTS LATER

Marion helps Mae pull a KAYAK across the sand and rocks and
into the tiny waves.

MARION (CONT’D)
(motherly)
You be safe out there, okay?

MAE
(grins)
I will.

EXT. BAY - DUSK

Mae, wearing a LIFE JACKET, paddles out past the boats. Past
the breakers. Past the PADDLE-BOARDERS. Past the mouth of the
bay. And then past that. Mae hears a BARK, turns and sees:

A HARBOR SEAL, staring right at her. It doesn’t move. And

then, suddenly, it ducks underwater.

EXT. ISLAND - DUSK

Mae jumps out of her kayak onto a ROCKY SHORE. She pulls the
kayak up onto the beach. Mae sits on the beach, picks up a
STICK and mindlessly draws in the sand. Tiny unearthed CRABS
scurry off. Mae looks out at the water. And then...

...Mae begins to suddenly, uncontrollably SOB. This feels

like it’s been a long time coming.

FADE TO BLACK.

FADE IN:

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - MAE’S DESK - DAY

Mae is at work. The SILVER PEN her parents gave her is on her
desk. So is a THIRD COMPUTER SCREEN. Mae glances at the
additional screen, laughs to herself, and turns it slightly
away from her, as if she doesn’t want it looking at her.
 32.

EXT. THE CIRCLE - LAWN - DAY

Annie and Mae sit in a CROWD. There’s a BUZZ of excitement.

An OUTDOOR STAGE has been set up. People begin to APPLAUD as

ON STAGE

TOM STENTON (seen earlier in the painting of the Three Wise

Men) takes the stage without an introduction. He commands
respect. In a flawless black suit, no tie, he walks to the
center of the stage and, without even saying hello, begins:

STENTON
Transparency is something we
advocate at the Circle. People like
Stewart are an inspiration -- a man
willing to open up his life to
further our collective knowledge.
(off the audience)
He’s been filming, recording, every
minute of his workday now for five
years, and it’s been an invaluable
asset to the Circle, and soon, I
bet, to all of humankind. Stewart?

Stenton looks out to the audience and finds: STEWART (60,

bald) standing with what looks like a small TELEPHOTO LENS
around his neck. WARM APPLAUSE -- then Stuart sits down.

STENTON (CONT’D)
Meanwhile, there’s another area of
public life where we want and
expect transparency: democracy.
(beat)
Yet every day, our republic’s
leaders find themselves embroiled
in some scandal or another, usually
involving them doing something
secretive, illegal, against the
best interests of the nation.
(beat)
No wonder public support for
Congress is only at 11 percent.

A wave of MURMURS from the audience. He grins slightly.

STENTON (CONT’D)
As you know, a certain senator was
just revealed to be involved in
some very unsavory business.

The crowd LAUGHS, CHEERS, TITTERS.

Mae leans to Annie and whispers:

 33.

MAE
Wait, what senator?

ANNIE
Williamson. It was on the news this
morning. She’s under investigation
for all kinds of ethical
violations. They found a hundred
weird searches and downloads on her
computer -- very creepy stuff.

ON STAGE

On the SCREEN behind Stenton, an IMAGE appears of: Senator

Williamson avoiding reporters as she walks to her car.

STENTON
Your occupation could be dropping
human feces on the heads of senior
citizens and your job approval
would be higher than 11 percent.
(waits for laughter)
I’m happy to say there’s a woman
who’s taking all this very
seriously, and she’s doing
something to address the issue.
(smiles)
Let me introduce Olivia Santos,
representative from District 14.

CONGRESSWOMAN SANTOS, a stout woman of about fifty, wearing a

red suit and a yellow floral scarf, strides from the wings,
both arms waving high over her head.

Scattered and polite APPLAUSE. It’s clear that few in the

Great Hall know who she is.

Stenton gives Santos a stiff hug, and as she stands beside

him, her hands clasped in front of her, he continues:

STENTON (CONT’D)
Congresswoman Santos is here to
announce an important development
in the history of government.
(to Santos)
Congresswoman?

Stenton steps back, sits. Santos moves to the front of the

stage, gazing across the room, her hands entwined behind her.
 34.

CONGRESSWOMAN SANTOS
That’s right, Tom. I’m as concerned
as you are about the need for
citizens to know what their elected
leaders are doing. Is it not your
right to know what they’re doing on
the taxpayer’s dime.
(off the audience)
I intend to show how democracy can
and should be: entirely open,
entirely transparent.

The audience APPLAUDS with vigor. WHISPERS of anticipation.

CONGRESSWOMAN SANTOS (CONT’D)

(excited smile)
Starting today, I’ll be wearing the
same device that Stewart wears. My
every meeting, movement, my every
word, will be available to all my
constituents -- and to the world.

APPLAUSE. Stenton stands and makes his way to Santos.

STENTON
Can we give Congresswoman Santos a
bigger round of applause?

The APPLAUSE grows. Followed by WHOOPS. WHISTLES.

A TECHNICIAN emerges from the wings and hangs a NECKLACE

around Santos’s head (a small version of the camera Stewart
wears). Santos holds the LENS to her lips and kisses it.

The audiences CHEERS. Stenton raises his hands for silence.

STENTON (CONT’D)
So you’re saying that every
conversation, every meeting, every
part of your workday will be
broadcast?

CONGRESSWOMAN SANTOS
It will all be on my Circle page.

APPLAUSE drowns her out. Santos puts her palms together in a

posture of prayer. Santos pushes a BUTTON on the device
around her neck, and there it is:

ON THE GIANT SCREEN behind her. The audience sees itself and
ROARS with approval.
 35.

INT. THE CIRCLE - THE COLONY - NIGHT

A crowded RECEPTION for Congresswoman Santos, who has a large

group of Circlers waiting to congratulate her.

Mae wanders the room.

A huge WALLSCREEN comes to life, and on it is: TY (the third

“Wise Man” from the portrait), wearing his customary
oversized face-obscuring hoodie and glasses.

Everyone turns to listen as Ty says:

TY
Hey, everyone. Sorry I can’t be
there. I’m working on some very
interesting new projects that are
keeping me away from activities
like the one you’re enjoying. But I
wanted to congratulate you all on
this phenomenal new development --
I think it’s a crucial new step for
the Circle and will mean a great
deal to our overall awesomeness.
(beat)
Thank you all for your hard work on
it, and let the party truly begin!

Ty’s image disappears, replaced by a DIGITAL SUNSET.

SABINE (O.S.)
Can we meet the newbie?

Mae turns to see -- Annie, as well as: SABINE (Late 20s,

blonde, sturdy) and JOSEF (mid 20s, thin, pale, British).

ANNIE
‘Course.
(jabs her fork at them)
Mae, this is Josef and Sabine.
Josef here is in Educational
Access. He’s trying to get tablets
into schools that can’t afford
them. He’s a do-gooder.

JOSEF
Saw you’re doing good work in C.E.

ANNIE
Good? She’s got a 97 so far. That’s
insane. I didn’t get above a 95 the
first week. Mae’s a star!

Mae blushes.
 36.

SABINE
I started in C.E. too.

ANNIE
And Sabine’s a biochemist.

SABINE
Biometrics. Iris scanning. Facial
recognition. Right now I’m working
on ChildTrack.

Mae nods, her curiosity piqued.

SABINE (CONT’D)
Chipping children to protect them
from predators. The second a kid’s
not where they’re supposed to be an
alert goes off, and the kid can be
tracked down within 90 seconds.

Mae is silent. Stunned. Impressed.

MAE
Where do you put the chip?

Sabine hesitates, glances at Annie and Josef, then says:

SABINE
The bone.

MAE
(eyes wide)
You put chips in children’s bones?

Mae LAUGHS, thinks she’s being joked with. Except nobody else
laughs.

MAE (CONT’D)
(disbelief)
Oh, you’re serious?

Sabine clearly gets this question a lot.

SABINE
And we immediately reduce
kidnapping, rape and murder by 99
percent.
(off Mae)
Would you rather have a living kid
with a chip in his ankle, a kid who
you know will grow up safe, a kid
who can run down to the park, ride
his bike to school, all that...?
 37.

MAE
You’re about to say “or.”

SABINE
Right. Or...do you want a dead kid?

Mae is silent. Annie leans over and proudly whispers:

ANNIE
Just started trials in Reno. Bailey
and Stenton think we could have
every child on it within a year.

INT. THE CIRCLE - THE COLONY - LATER

Mae picks up a GLASS OF WINE from the BAR. Walks through the
crowd. Through an open DOORWAY she notices...

...KALDEN -- last seen at the party her first day at the

Circle -- sitting alone in a stairwell.

INT. THE CIRCLE - STAIRWELL - MOMENTS LATER

Kalden looks up to see Mae. His face brightens.

KALDEN
Hey...

MAE
You don’t remember my name.

KALDEN
No, but I know you, and I wanted to
see you.

MAE
Mae.

KALDEN
Right. I’m Kalden.

MAE
I know -- I remember names.

KALDEN
I looked for you one day but...you
looked busy.

MAE
(surprised)
You came to CE? And you couldn’t
leave a message somehow?
 38.

KALDEN
I didn’t know your last name.

MAE
I don’t know your last name,
either. And there’s no Kalden
listed anywhere.

Mae steps back to take Kalden in with a hint of wariness.

MAE (CONT’D)
You do work here, right?

KALDEN
Of course. How else could I get in
with all the security here?
Especially on a day like today,
with our luminous guest.

MAE
How long have you worked here
again?

KALDEN
Me? Um...
(scratches the back of his
head)
Wow, I don’t know. A while now.

MAE
One month? A year? Six years?

KALDEN
Six? That’d be the beginning. Do I
look old enough to have been here
six years? Is it the grey hair?

Mae smiles, nods.

MAE
Should we get a drink?

KALDEN
You go ahead. Feeling less social.

INT. THE CIRCLE - THE COLONY - MOMENTS LATER

Mae makes her way to a table where a few hundred GLASSES OF

WINE have been poured and are waiting.
 39.

INT. THE CIRCLE - STAIRWELL - LATER

Mae returns to Kalden’s stairwell with TWO GLASSES OF WINE.

Kalden is in the same place -- with TWO GLASSES of his own.

KALDEN
Someone came by with a tray.

They stand briefly, then CLINK all four glasses together.

KALDEN (CONT’D)
So, did you like the speech?

MAE
The whole Santos thing? Very
exciting. I think this will be a
momentous, uh, moment in
the history of demo --

Mae hesitates, noticing Kalden’s growing smile.

KALDEN
You don’t have to give me a speech.
I heard what Stenton said. You
really think this is a good idea?

Mae thinks about the question.

MAE
In the right circumstances, sure.
You don’t?

Kalden shrugs.

KALDEN
That guy just concerns me
sometimes.

Kalden notices the surprise on Mae’s face.

KALDEN (CONT’D)
(quick)
He’s just so...certain about
everything.
(changes the subject)
So, you really think I look old?

MAE
You don’t look that old.

KALDEN
I don’t believe you. I know I do.
 40.

Awkward silence. Nearby, a group of CIRCLERS flank Santos,

watching the FEED FROM HER CAMERA, projected onto the WALL.

MAE
So where does all that footage go?
Is it stored somewhere? The cloud?

KALDEN
Yes. But it’s in a physical place,
too. The stuff from Stewart’s
camera...wait --
(excited)
-- you want to see something?

Kalden starts to go down the steps.

MAE
I don’t know...

MOMENTS LATER

Mae takes the last few steps to a BLUE DOOR. Kalden passes
his fingers over a WALL-MOUNTED PAD. It opens.

INT. THE CIRCLE - UNDERGROUND HALLWAY - NIGHT

Mae follows Kalden through a tunnel. They arrive at another

DOOR -- and again, Kalden unlocks it with his fingertips.

MAE
(dry)
Gotta be honest: this feels a hair
rapey.

Kalden LAUGHS.

INT. THE CIRCLE - DIMLY LIT CORRIDOR - NIGHT

Mae follows Kalden down a dimly lit corridor that slopes

downwards and has no apparent end.

MAE
I still don’t know what you do.

KALDEN
I go to meetings. I provide
feedback. Nothing very important.

They arrive at yet another door. Kalden opens it, takes Mae’s
hand and guides her through. She smiles.
 41.

INT. THE CIRCLE - UNDERGROUND ROOM - CONTINUOUS

They enter a room the size of a basketball court, dimly lit

except for a DOZEN SPOTLIGHTS trained on: an enormous, bus-
sized RED METAL BOX, surrounded by GLEAMING SILVER PIPES.

KALDEN
This is Stewart. His entire life.

MAE
Why have it here, as opposed to the
cloud or in the desert somewhere?

KALDEN
Well, some people like to scatter
their ashes and some like to have a
plot close to home, right?

Mae stares at the box in silent awe.

INT. THE CIRCLE - UNDERGROUND ROOM #2 - MOMENTS LATER

Kalden and Mae enter another, identical room, with another

great RED BOX dominating the space.

KALDEN
Santos. This was supposed to be for
someone else, but when she stepped
up, it was assigned to her.

INT. THE CIRCLE - UNDERGROUND ROOM - MOMENTS LATER

Kalden and Mae stand, still holding hands, and listen to the
HUM of the machines.

KALDEN
Something’s about to happen.

MAE
What is? What’s happening? Has it
happened? Did I miss it happening?

Kalden raises his eyebrows, telling her to wait. A loud RUSH

comes from the pipes overhead -- the sound of water.

KALDEN
Such a pretty sound, don’t you
think?

MAE
Beautiful.
 42.

Their eyes meet. Awkward silence.

INT. THE CIRCLE - NARROW CORRIDOR - MOMENTS LATER

Kalden leads Mae by the hand down an unlit corridor.

MAE
Now I’m scared.

KALDEN
Almost there.

They arrive at a steel DOOR that CREAKS as it opens.

MAE
I swear, your door budget...

INT. THE CIRCLE - UNDERGROUND CHAMBER - CONTINUOUS

They enter an enormous chamber that resembles a CAVE, with a

BARREL-VAULTED CEILING, lit by weak BLUE LIGHT.

MAE
What. Is. This...?

KALDEN
It was supposed to be part of the
subway. But they abandoned it.

She eyes A TUNNEL, lined by STALAGMITES and STALACTITES.

MAE
Where’s it go?

KALDEN
It connects to the one under the
bay. I’ve gone about a half-mile
into it, but then it gets too wet.

Kalden gestures to the BLACK WATER on the floor.

KALDEN (CONT’D)
My guess is that this is where the
future Stewarts will go.

They gaze down the tunnel in silence.

KALDEN (CONT’D)
You can’t tell anyone I took you
here.
 43.

MAE
I won’t.

Kalden eyes Mae, hesitates, then says:

KALDEN
Oh, there’s one other thing.

Kalden reaches into his pocket, takes out his DRIVER’S

LICENSE, and hands it to Mae. It reads:

TYSON MATTHEW GOSPODINOV

In the PHOTO, Kalden/Ty is clean-shaven, dark -- not grey --

haired, wears glasses, and looks like he did in the painting.

MAE
(shocked)
You’re...Ty?

NOTE: From here forward, Kalden will be called Ty.

TY
I change my look, the way I move. I
get rid of the glasses, the
hoodies...and, of course --
(stating the obvious)
-- my hair went grey.

MAE
What kind of name is Kalden? You
get it off some baby-name site?

TY
(smiles)
I did. You like it?

MAE
Do Bailey and Stenton know you’re
going around with some other name?

TY
Of course. As Kalden I can move
around unnoticed, keep my finger on
the pulse of what’s going on here.

MAE
Kind of ironic, right? Having
secrets like that at a place so
excited about “transparency”?

Ty shrugs.
 44.

TY
The irony isn’t lost on me.

MAE
Does Annie know?

TY
She can’t know. Nobody else can.
I’m trusting you.

MAE
Why?

TY
Because, well...I really like you.

MAE
You barely know me.

TY
I’m a decent judge of character.
And the moment I met you, I
thought: this girl doesn’t have a
cynical bone in her body. It
reminded me of...

Mae’s eyes meet Ty’s.

TY (CONT’D)
...maybe how I used to be.

A hint of a smile from Mae as she takes Ty’s face in her

hands and KISSES him. Ty’s hands rise to her waist. He
tentatively holds her. It’s very romantic.

INT. MAE’S APARTMENT - BEDROOM - DAWN

Mae wakes up to her phone RINGING. She looks around, dazed.

Did last night actually happen? Mae answers the phone.

MAE’S MOTHER (V.O.)

(crying)
Sweetheart, please come home! We’re
at the hospital now. They think
your father’s had a seizure.

EXT./INT. MAE’S CAR (MOVING) - DAY

Mae speeds on a barren highway through central California.

 45.

EXT. MAE’S PARENTS’ HOME - DAY

Mae arrives. A familiar PICKUP is parked in the driveway.

INT. MAE’S PARENTS’ HOME - FOYER - DAY

Mae hurries in to see: MERCER -- last seen picking up Mae

from the side of the highway -- munching on a pear.

MERCER
They called me to help.

Mercer reads the fear on Mae’s face, tightly embraces her.

INT. MAE’S PARENTS’ HOME - LIVING ROOM - MOMENTS LATER

Mae finds her father resting on the couch, watching baseball.

MAE’S FATHER
Hey, Mae-flower. Heard you out
there.

Mae sits on the coffee table and takes her father’s hand.

MAE
You okay?

MAE’S FATHER
Just a scare, really. It started
strong but petered out.

Mae’s father cranes his head around her.

MAE’S FATHER (CONT’D)

Ninth inning.

Mae gets up and her mother enters the room.

MAE’S MOTHER
We called Mercer to help get your
father into the car.

MAE’S FATHER
I didn’t want the ambulance.

MAE
So was it a seizure?

MERCER (O.S.)
They’re not sure.

Mae turns to see Mercer in the doorway.

 46.

MAE’S FATHER
Mercer was a lifesaver.

EXT. MAE’S PARENTS’ HOME - BACKYARD - NIGHT

Mercer and Mae sit on a bench in the backyard.

MAE
Thanks for helping.

MERCER
It was easy. Vinnie’s lighter than
he used to be.

MAE
How’s business?

MERCER
Good. Had to take on an apprentice
last week. Isn’t that cool? An
apprentice? How’s your job?

MAE
It’s great, yeah.

MERCER
(genuinely happy for her)
Good to hear. I was hoping it’d
work out. What do you do there?

MAE
I’m in CE.
(off Mercer’s confusion)
Customer Experience. I deal with
advertisers right now.

Mercer nods, seems a bit surprised -- maybe disappointed?

MAE (CONT’D)
(suddenly remembers)
Wait, I saw something about your
stuff the other day -- there was
this comment about someone getting
something shipped damaged? They
were pissed. I assume you saw that.

Mercer exhales, his face going slightly sour.

MERCER
Actually, I didn’t...
 47.

MAE
There were other comments. Mostly
nice. And one really funny one.

Mae begins scrolling through her phone.

MAE (CONT’D)
Here it is: “All those poor deer
antlers died for this shit?”
(off an unamused Mercer)
What? It’s funny!

Their conversation has the tone of people with a complicated

romantic history -- a little flirty, a little annoyed with
each other, with the genuine care of a first love beneath it.

MERCER
Mae, I have to ask you to --

MAE
I know, you want me to stop reading
you customer comments. Fine.

MERCER
No, that’s not what I was --

MAE
You want me to read them to you?

MERCER
Mae, how about you just let me
finish my sentence?

MAE
But you talk so slow.

MERCER
No, you just seem more...
(off Mae)
...impatient.

Mae goes silent.

MERCER (CONT’D)
You know I adore you, but we’re
sitting here face-to-face and
you’re telling me what some
stranger thinks of me.
(whispers in a jokey
“paranoid” voice)
It’s like we’re not alone.
 48.

MAE
These are your customers. This is
how they express themselves -- and
how you know if you’re succeeding.

Mercer LAUGHS.

MERCER
Don’t tell me you actually believe
that.

Mae clearly does.

MERCER (CONT’D)
It’s just not true, Mae. I know I’m
successful if I sell chandeliers.
(matter-of-fact)
If people order them, I make them,
and they pay me money for them. If
they have something to say they can
call or write.

Mae looks unconvinced.

MERCER (CONT’D)
(sarcastic)
Twenty years ago, “likes” and
“dislikes” and “smiles” and
“frowns” were for junior high.
Someone would write a note and it
would say, “Do you like unicorns
and stickers?” and you’d say,
“Yeah, I like unicorns and
stickers. Smile!” Now it’s
everyone.

Mae half-laughs.

MERCER (CONT’D)
(sincere)
I miss just talking to you, Mae.
Like we’re doing right now.

MAE
Listen, I can’t help it if you’re
not...social.

MERCER
I’m social enough. But nobody needs
the level of fake contact purveyed
by the Circle.

Mae stands up, tired of being lectured --

 49.

MAE
Thanks for helping my dad.

-- and walks back to the house.

INT. MAE’S PARENTS’ HOME - MAE’S BEDROOM - NIGHT

Mae sits in bed in her former bedroom, typing away on her

laptop. The computer’s cool BLUE GLOW seems to soothe her.

INT. MAE’S PARENTS’ HOME - LIVING ROOM - DAY

Mae and her father watch a WNBA game. Looks like a typical
lazy Saturday. Mae’s father tries to get up, his fists buried
deep in the couch, but he can’t lift himself.

MAE’S FATHER
Can you help me up, Mae-flower?

When Mae gets up and reaches for his hand, she notices a
growing STAIN on her father’s pants.

MAE’S FATHER (CONT’D)

Mother-bastard...

Mae’s father sits down, embarrassed, closes his eyes.

MAE’S FATHER (CONT’D)

Can you get your mother?

MAE
I’m right here. Let me help.

Mae reaches for her father’s hand, but he swats it away.

MAE’S FATHER
(soft, ashamed)
Please, dear. Get Mom.

EXT. MAE’S PARENTS’ HOME - BACKYARD - MOMENTS LATER

Mae enters the backyard. Her mother kneels in the GARDEN.

MAE
I think Dad had an...accident.

MAE’S MOTHER
Is he okay?

MAE
Yeah, he just...
 50.

Mae’s mother gets it.

MAE’S MOTHER
I think you better head back now.
He won’t want you to see this.

MAE
I can help.

MAE’S MOTHER
Honey, grant him some dignity.

Mae’s mother takes Mae’s hands in her own.

MAE’S MOTHER (CONT’D)

Mae, sweetie, we’ll see you in a
few weeks, okay?

EXT. BAY - DAY

Mae paddles out into the bay in a KAYAK. For this all-too
brief, private moment, she seems: peaceful.

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - MAE’S DESK - DAY

A coffee by her side, Mae logs onto her computer. She now has
FOUR SCREENS. Hundreds of second-screen MESSAGES pop up:

ANNIE: We missed you Friday night!

JARED: You missed a great bash.

DAN: Bummed you weren’t at the Sunday Celebration!

INT. THE CIRCLE - ANNIE’S OFFICE - DAY

Mae sits on a couch across from a concerned Annie.

ANNIE
Why didn’t you tell me about this
insurance nightmare sooner?

MAE
I...didn’t see how my dad’s health
would overlap with the Circle.

ANNIE
I’ll get on it.

Annie quickly types something on her phone.

 51.

ANNIE (CONT’D)
I’m running into a meeting now --
it’s endless. I’ll be lucky to
sleep tonight.
(off a concerned Mae)
Dealing with Russian tax stuff.
Those guys don’t screw around...

Annie’s phone CHIMES. She checks it.

ANNIE (CONT’D)
Good news sooner than expected.
Your dad’s insured.

Mae is speechless.

MAE
(barely a whisper)
You’re...serious?

ANNIE
We have eleven thousand people on
the plan. We get to dictate terms.
(a thought)
Want your mom on the plan, too? Of
course you do. She’s healthier, so
it’s easy. We’ll put them both on.

Tears form in Mae’s eyes.

MAE
When?

ANNIE
(smiles)
Immediately.

EXT. THE CIRCLE - LAWN - DAY

With a spring in her step, Mae talks on the PHONE.

MAE’S MOTHER (V.O.)

(emotional)
Mae, this is...you’ve saved our
lives! Thank you. Thank Annie, too.

MAE
Okay, Mom, I will. I gotta go now.

Mae hangs up, sees a TEXT MESSAGE that reads:

DAN: Can you see me asap?

 52.

INT. THE CIRCLE - DAN’S OFFICE - DAY

Mae sits in a leather chair. In one corner is Dan, who sits

at his desk, and opposite Mae is:

JOSIAH (Late-20s) and DENISE (30s), both smiling, level-eyed

sincerity, simple button-down shirts, TABLETS in their laps.

DENISE
This is just a regular check-in HR
does with newcomers. But we’re
especially glad to see you, Mae.

JOSIAH
You’re such an enigma.

MAE
I am?

DENISE
It’s been years since someone so
shrouded in mystery started here.

Mae looks curiously at Denise.

DENISE (CONT’D)
Everyone really likes you.

JOSIAH
You’re a super-cool member of the
team. Everyone thinks so.

DENISE
Your work’s been exemplary. Strong
ratings for your first month.
(beat)
Are you satisfied with your
performance?

MAE
(thinks about it)
I know I can do better.

DENISE
Good. But it’s not all about work.

JOSIAH
We consider you a full, knowable
person of unlimited potential. And
a crucial member of the community.

MAE
Thank you.
 53.

DENISE
But you’ve had a blip or two when
it comes to meshing with the
community. Like your absence at
several weekend and evening events -
- which are of course optional.

MAE
I...I’m sorry?

Denise and Josiah smile.

DENISE
Let’s start with this weekend. You
left campus at 5:42 p.m. on Friday,
and got back 8:46 a.m. Monday.

MAE
Was there work on the weekend?

DENISE
No, no, no. There wasn’t, you know,
mandatory work here on the weekend.
(beat)
But there were thousands of people
here, participating in a hundred
different activities.

JOSIAH
(leans forward)
This is when someone like you --
with a low Participation Rank --
might be able to improve that.
Yours dropped two-thousand points.
(off his tablet)
Not to get all number geeky, but
you were at 8,625 on Friday and by
late Sunday you were at 10,288.

MAE
My dad was sick. I went home to
help out.

JOSIAH
I’m sorry to hear that. Was this
related to his MS?

Mae is taken by surprise -- is this really their business?

MAE
...Yes.
 54.

DENISE
We didn’t know anything about this
episode. Did you reach out to any
Circlers during this crisis?

Mae shakes her head “no”.

DENISE (CONT’D)
Mae, there are four groups here for
staffers dealing with MS, two of
them for children of MS patients.
Have you sought out a group?

MAE
No, not yet. I was upset and
worried. I wasn’t very present.

They eye her. She eyes them. Lots of eyeing.

DENISE
Your dad recover okay?

MAE
He did. It was a false alarm.

DENISE
(smiles)
Fantastic. Can you talk about what
you did the rest of the weekend?

MAE
Nothing, really. I just drove back
and...well, I kayaked in the bay.

Josiah and Denise register dual looks of surprise.

JOSIAH
You kayaked? With who?

MAE
Nobody. Just alone.

JOSIAH
(strangely hurt)
But...I kayak too.

Denise types something on her tablet.

DENISE
Nothing on your profile about
kayaking. No smiles, no ratings, no
posts.
(MORE)
 55.

DENISE (CONT'D)
I’m no psychologist, but this
behavior sometimes stems from low
self-worth. Don’t you think what
you have to say is important?

Mae hesitates, then says:

MAE
Sometimes.

Denise and Josiah exchange a glance.

JOSIAH
Your opinions are important, Mae.
You want to be heard, don’t you?

Mae looks at their expectant faces, and then silently nods.

DENISE (O.S.)
We’d love it if you could
participate in a special program.
Does that sound appealing?

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - MAE’S DESK - DAY

Mae wears tiny HEADPHONES and a MICROPHONE on a hair-thin

arm. (NOTE: Mae always wears these headphones at her desk
now.)

A new screen -- her FIFTH SCREEN -- sits on Mae’s desk.

A bell RINGS and Mae nods. And then, from her earpiece, comes
a MALE NEWSCASTER VOICE that asks:

VOICE FROM EARPIECE

For vacations, do you want
relaxation, like a beach, or
adventure, like white-water
rafting?

MAE
Adventure.

A tiny bell RINGS.

VOICE FROM EARPIECE

Thank you. What sort of adventure?

MAE
White-water rafting.

Another RING. Mae nods.

 56.

VOICE FROM EARPIECE

Do you prefer multi-day trips, with
overnight camping, or day trips?

Mae looks up to find the room filling with the rest of the
pod, returning from lunch.

MAE
Multi-day.

RING. Mae looks up to see Jared, standing on his chair.

JARED
The chute is open!

Almost immediately, twelve CUSTOMER QUERIES appear on Mae’s

screen. Mae begins to answer the first query. But then she
hears, in a voice identical to her own:

VOICE FROM EARPIECE

(sounds like Mae)
Mae.

Mae looks around, confused.

VOICE FROM EARPIECE (CONT’D)

(sounds like Mae)
Mae.

Then she realizes the voice came from the earpiece. Mae turns
DOWN the volume slightly.

VOICE FROM EARPIECE (CONT’D)

(sounds like Mae)
Mae.

Too soft. Mae turns the volume back up.

VOICE FROM EARPIECE (CONT’D)

(sounds like Mae)
Mae.

Finally, Mae replies:

MAE
Yes?

Nothing happens. So Mae nods.

VOICE FROM EARPIECE

(sounds like Mae)
Thank you, Mae.

The bell RINGS. The first voice returns.

 57.

VOICE FROM EARPIECE (CONT’D)

(male newscaster voice)
Would you pay 1,200 dollars for a
week-long trip at the Grand Canyon?

MAE
Yes.

The bell RINGS. Mae smiles, pleased with herself.

CUT TO BLACK.

VOICE FROM EARPIECE (PRE-LAP)

What is your favorite yogurt?

FADE IN:

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - DAY

The office is busy. Full. But something is different:

SEECHANGE CAMERAS are on the ceiling, the walls, everywhere.

Nobody pays attention to them. Or at least pretends not to.

MAE (O.S.)
Greek.

A RING.

INT. THE CIRCLE - C.E. AREA - MAE’S DESK - CONTINUOUS

Mae is busy at her computer.

VOICE FROM EARPIECE

Plain or with fruit or honey?

She glances up. Across the room, resting against a doorjamb:

Is Ty.

Mae waves -- and Ty gives a subtle wave back. Just then:

VOICE FROM EARPIECE (CONT’D)

(sounds like Mae)
Mae.

Ty spins away and disappears.

VOICE FROM EARPIECE (CONT’D)

(sounds like Mae)
Mae.
 58.

Mae rips off the headphones, jogs to where she saw Ty...

...but he’s gone.

INT. THE CIRCLE - BATHROOM - DAY

Mae splashes water on her face. Her phone RINGS. She glances
at the number: blocked.

MAE
Hello?

TY (V.O.)
It’s me.

MAE
Where’ve you been?

TY (V.O.)
It’s complicated. All the cameras.
(beat)
I want to see you.

MAE
I’m in the bathroom.

TY (V.O.)
I know.

MAE
(surprised)
You know?

TY (V.O.)
CircleSearch, SeeChange...you’re
not hard to find.

MAE
And where are you?

TY (V.O.)
I’m coming.

Mae’s eyes widen.

TY (V.O.)
Stay right there.

MAE
Ty --

But he’s hung up. Mae looks around at the STALLS.

 59.

INT. THE CIRCLE - BATHROOM - STALL - A FEW MOMENTS LATER

Mae sits on the toilet. She hears a door OPEN. A lock CLICK.
The sound of FOOTSTEPS, stopping near the stalls. A beat. Mae
looks up and sees that Ty has climbed over the stalls walls --

-- and he deftly drops down next to a wide-eyed Mae.

MAE
What are you doing?

Ty pulls Mae close to him, whispers:

TY
Mae, stop thinking.

...and begins kissing her neck. Mae hesitates, then says:

MAE
Okay.

TY
And close your eyes.

Mae does exactly that.

TY (CONT’D)
Picture what I’m doing to you.

Ty continues kissing her while his hands are busy with her
skirt and panties. He pulls her even closer.

TY (CONT’D)
(breathless)
Mae...

Mae holds the walls on either side of them.

TY (CONT’D)
...Mae...

LATER

Mae and Ty LAUGH, straighten out their clothes. Ty kisses her

on the mouth. It’s surprisingly sweet.

TY (CONT’D)
Bye.

INT./EXT. MAE’S CAR (MOVING) - DAY

Mae drives inland, through farm country.

 60.

MAE’S FATHER (V.O.)

Everything’s different now.

EXT. MAE’S PARENTS’ HOME - KITCHEN - NIGHT

Mae and her parents prepare dinner. Mae’s mother joyfully

dices vegetables. Mae’s father holds his WRIST MONITOR up to
Mae’s WRIST MONITOR.

MAE’S FATHER
Look at us -- we match!

Mae smiles.

MAE’S FATHER (CONT’D)

Your mother has whole swaths of
extra time now. It’s all so simple.
I see the doctor and the Circle
takes care of the rest.

Mae glances above the KITCHEN TABLE and sees: a CHANDELIER

with SILVER PAINTED ANTLERS.

MAE
Is that what I think it is?

MAE’S MOTHER
It is.

MAE
Not bad.

MAE’S FATHER
Not bad? It’s Mercer’s best work.
This thing would go for five grand
in one of those San Francisco
boutiques. Gave it to us for free.

MAE
Why for free?

MAE’S MOTHER
Because he’s our friend! Because
he’s a nice young man. And wait
before you roll your eyes or come
back with some witty comment.

MAE
(bites her tongue)
It’s really nice.
 61.

MAE’S MOTHER
Glad you think so. You can tell him
yourself in a few minutes.

INT. MAE’S PARENTS’ HOME - KITCHEN - DINING AREA - NIGHT

Mae sets the table while nursing a glass of wine.

MERCER (O.S.)
Hey, Mae.

Mae looks up to see Mercer; he’s dressed up (well, by his

standards). Mercer gives Mae a tentative hug.

MAE
Your chandelier thing is really
beautiful.

MERCER
Thanks.

Mae takes out her PHONE and snaps a picture.

MERCER (CONT’D)
What’re you doing?

MAE
I just wanted to take a picture.

She shows it to him. Mercer takes a long look.

MERCER
It looks good.

MAE
It looks incredible.
(beat)
I’m gonna run upstairs and change.

INT. MAE’S PARENTS’ HOME - MAE’S BEDROOM - MOMENTS LATER

Mae sits on her bed, clicking away on her phone.

MAE’S FATHER (O.S.)

Mae!

INT. MAE’S PARENTS’ HOME - KITCHEN - DINING AREA - NIGHT

Mae walks back in to find: Mercer and her parents waiting at

the table, which is crowded with steaming food.
 62.

MAE’S MOTHER
We like to eat when it’s hot.

MAE
Sorry. I was -- Wow, this looks
good.

MAE’S MOTHER
I want to raise a toast --

Mae’s phone BEEPS.

MAE
(grins)
Sorry.

MAE’S MOTHER
I was just saying that I wanted to
toast having us --

Mercer’s phone RINGS. He maneuverers his hand outside his

pants, finds the off button.

MAE’S MOTHER (CONT’D)

Everyone done?

MERCER
Sorry, Mrs. Holland. Go on.

But at that moment, Mae’s phone BUZZES loudly again. When Mae
glances at the screen, she sees: 37 new ZINGS and MESSAGES.

MAE’S FATHER
Something you have to attend to?

MAE
Okay, I posted that photo of your
chandelier, Mercer. People love it!
(raises her glass)
That’s what we should toast.

Mercer doesn’t look amused.

MAE’S FATHER
That’s great, Mercer.

MERCER
Where’d you post them, Mae?

MAE
Everywhere relevant. And the
comments are amazing.
(searches her screen)
(MORE)
 63.

MAE (CONT'D)
“Wow, that is gorgeous.” That’s
from a well-known industrial
designer in Stockholm. “Very cool.
Really moving story about the
artist’s father.”

Mercer’s eyes widen.

MAE (CONT’D)
(focused on her phone)
That’s from a designer in Santa Fe
with a shop. I bet you could sell
them there if you wanted. Here’s
another --

MERCER
You posted something about my dad?

Beat.

MAE
Yeah, I just wrote about how the
two of you used to go deer hunting
together before he...

Mae stops, sees that Mercer looks furious.

MERCER
(flat)
I can’t believe you wrote about my
dad.

MAE
I’m sorry, I should’ve asked, but
you haven’t even heard the best
part: on DesignMind, you already
have 122 smiles!

MERCER
(staring right at Mae)
I don’t want to get loud here, in
your parents’ home, but either you
stop or I have to walk out.

MAE
Just hold on a sec!

Mae scrolls through her messages.

MAE’S MOTHER
Mae.

But Mae is focused on her phone.

 64.

MAE’S FATHER
Mae.

Mae finally looks up to see her parents staring at her and...

...Mercer gone.

MAE’S MOTHER
It’s nice you want to support
Mercer, but we were trying to enjoy
a nice dinner.

Mae stares at her mother, absorbing all the disappointment

and bewilderment she can stand, then runs off.

EXT. MAE’S PARENTS’ HOME - DRIVEWAY - NIGHT

As MERCER’S TRUCK backs out of the driveway, Mae runs out in

front of the truck.

MAE
Stop!

Mercer SLAMS on the brakes. Mae runs to his window.

MAE (CONT’D)
What’s your problem? I was just
trying to help you because I
believe in what you do.

MERCER
Mae, you sit at a desk twelve hours
a day and you have nothing to show
for it except for some numbers that
won’t be remembered in a week.

MAE
(hurt)
Thanks.

MERCER
Do you even go outside anymore?

Mae angrily glares at Mercer. He stares back

uncomprehendingly -- then drives off. Mae stands alone.

EXT/INT. MAE’S CAR (MOVING) - NIGHT

Mae speeds furiously along the moonlit coastline. She passes

the SIGN for Maiden’s Voyages. Mae looks in her rearview
mirror. Thinks about it. Pulls a U-turn.
 65.

EXT. MAIDEN’S VOYAGES - PARKING LOT - NIGHT

Mae peers through the chain-link fence, sees nobody -- only

the closed and shuttered RENTAL KIOSK.

EXT. BEACH - NIGHT

Mae drags a KAYAK to the water’s edge.

EXT. BAY - NIGHT

Mae rows out in the water. The fog is thick. Far away a
foghorn BLARES from the mouth of the GOLDEN GATE BRIDGE.

LATER

Mae walks the perimeter of the island. She comes upon:

A cluster of large rocks with a DOZEN SEALS lying about,

sleeping. Looming above is...

...a BRIDGE (not the Golden Gate) with passing CARS.

Mae sits, peacefully watches seals and streaming HEADLIGHTS.

EXT. MAIDEN’S VOYAGES - BEACH - NIGHT

Mae jumps out of the kayak onto the shore, dragging the kayak
onto the beach. Suddenly, she’s blinded by a BRIGHT LIGHT!

INT./EXT. SQUAD CAR - NIGHT

Mae sits in the back seat of a SQUAD CAR, handcuffed. A few

POLICE OFFICERS stand nearby. Mae watches as:

A PICKUP TRUCK pulls up and Marion gets out. Marion’s eyes

widen as she sees Mae.

MARION
Oh, Jesus Christ -- is she okay?!

Marion rushes over to Mae.

INT. THE CIRCLE - DAN’S OFFICE - DAY

HD FOOTAGE OF: Mae appears on the beach. Finds the kayak. The
logline at the bottom of screen reads: 10:14 p.m.
 66.

DAN (O.S.)
Did you know a Circle member had
placed a camera at that beach?

Mae looks terrible, like she hasn’t slept. She sits in a

chair next to Dan -- who stands. They watch the WALLSCREEN.

MAE
No, I didn’t.

DAN
Obviously you knew you were doing
something wrong. I mean, I’m happy
you two colluded on your story and
you weren’t arrested. That would’ve
made your working here impossible.

Mae is silent. She couldn’t feel more ashamed.

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - MAE’S DESK - DAY

Mae works quietly at her desk. Very distracted. She glances

at one of her SCREENS, where there’s a live feed to:

A SEECHANGE CAMERA that says “MOM & DAD.” With the sound
turned off, Mae’s parents talk at their kitchen table.

MALE VOICE (O.S.)

Mae Holland?

Mae quickly turns to see: DONTAE (30, preppy).

DONTAE
I work with Eamon -- he’d like to
see you.

Her eyes widen.

INT. THE CIRCLE - HALLWAY - DAY

As Dontae and Mae stop at a DOOR, Dontae says:

DONTAE
Here’s a funny portrait of the
Three Wise Men.

Dontae gestures to an all-too-familiar PAINTING. Mae pretends

to be surprised by it, delighted by its innocence.

DONTAE (CONT’D)
Bailey’s niece did it.
 67.

Dontae RAPS the door with the large GARGOYLE KNOCKER.

INT. THE CIRCLE - OCHRE LIBRARY - DAY

Mae watches Bailey carefully pour hot water into a TEA CUP.

BAILEY
So tell me, Mae: how’re you feeling
about what happened last night?

MAE
I barely slept. I’m ashamed...

Bailey hands Mae the saucer and cup and gestures for her to
sit down. There are TWO CHAIRS, both leather and overstuffed.
Bailey drops into a chair with a loud SIGH.

BAILEY
Would you say you behave
differently when you know you’re
being watched?

MAE
Of course.

BAILEY
And when there’ll be video of your
behavior, that will exist forever.

MAE
Mr. Bailey, I want you to know how
much I value my position here. I --

BAILEY
(amused grin)
Mae, your job isn’t in jeopardy.
You’re here for good. We don’t want
you to ever leave.

Mae breathes a sigh of relief.

MAE
That’s so good to hear. Thank you.

Bailey puts down his cup and rests his hand on his lap.

BAILEY
It’s no secret the Circle is itself
trying to become complete, trying
to close the circle at the Circle.
(smiles at his wordplay)
Look at our logo.
 68.

He points to: a WALLSCREEN. On cue, the CIRCLE LOGO appears.

BAILEY (CONT’D)
See how that “c” in the middle is
open? For years it’s bothered me,
and it’s become symbolic of what’s
left to do here...

The “c” on screen closes and becomes a perfect circle.

BAILEY (CONT’D)
A circle is the strongest shape in
the universe. It’s perfect. And
that’s what we want to be: perfect.
Any information that eludes us,
prevents us from being perfect.

MAE
(nodding to herself)
It must be closed...

Bailey leans forward. Locks eyes with Mae.

BAILEY
Mae, is there anything you’d like
to tell me before we wrap up?

Mae’s eyes widen. He must know. She can’t lie.

MAE
That...I’ve been here before? Annie
brought me -- she said it was some
kind of secret.

BAILEY
(smiles extravagantly)
Only lies get us in trouble. Only
the things we hide.
(off Mae)
Of course I knew you’d been here,
Mae! Give me some credit.
(beat)
Now that I know your secret, do you
feel better or worse?

Mae thinks about it. Wants to be honest. Nothing but honest.

MAE
Better...relieved.

BAILEY
(nods)
Mae, I’m a believer in the
perfectibility of human beings.
(MORE)
 69.

BAILEY (CONT'D)
(gains momentum)
And when we become our best selves,
the possibilities are endless. We
can solve any problem. We can cure
any disease, end hunger. Without
our secrets, our hoarding of
information and knowledge, we will
finally realize our potential.

Mae nods. Yes. Yes. This is what she’s been looking for.

INT. THE CIRCLE - GREAT HALL - STAGE/AUDIENCE - DAY

Eamon graces one of TWO CHAIRS in front of a packed audience.

BAILEY
This is a special Dream Friday. I
thought we’d change it up a bit
today and have not a speech, but an
interview. I had a conversation
with a young Circler the other day
that I wanted to share with you.

Bailey glances at Mae -- who waits offstage -- and smiles.

BAILEY (CONT’D)
I’ve asked Mae Holland, who some of
you might know as one of our
newbies in Customer Experience, to
join me today. Mae’s only been with
us for a few months, but she’s made
quite an impression. Mae?

Mae steps onto the stage, overwhelmed by all the faces in the
audience. She nervously makes her way to her chair.

BAILEY (CONT’D)
Hello, Mae. How are you?

MAE
Terrified.

The audience LAUGHS.

BAILEY
Don’t be nervous.

MAE
Easy for you to say.

More LAUGHTER. Mae seems reassured. She looks out into the
audience, sees: rows and rows of SMILING FACES.
 70.

BAILEY
Mae, many people here already know
the broad outlines of the events of
last Sunday, with SeeChange and
all. But give us a summary.

Mae glances at her hand in her lap, ashamed.

MAE
I committed a crime. I borrowed a
kayak without the owner’s
knowledge, and paddled to an island
in the middle of the bay.
(even deeper shame)
And I risked my life. I wasn’t
wearing a life preserver.

A loud MURMUR.

BAILEY
So you not only committed a crime,
you risked your own life.
(beat)
Mae, do you think you behave better
or worse when you’re being watched?

MAE
Better, without a doubt.

BAILEY
What happens when you’re alone?

MAE
Well, for starters, I steal kayaks.

The audience bursts into LAUGHTER.

MAE (CONT’D)
Seriously. I do things I don’t want
to do. I...lie.

BAILEY
When we spoke last week, you had a
way of putting it that I thought
was very interesting and succinct.
Can you tell us all what you said?

MAE
I said that secrets are lies.

BAILEY
“Secrets are lies.” Go on.
 71.

MAE
Secrets make crimes possible. We
behave worse when we’re not
accountable. Secrets inspire
speculation. When we don’t know
what’s being hidden, we guess, we
make up answers.

Mae glances at the audience, her eyes catching --

-- ANNIE, who stares back at her, unblinking, questioning.

She looks like she hasn’t slept in days.

BAILEY
(smiles, pleased)
Can we get that on the screen?

On a SCREEN behind Mae appear the words: SECRETS ARE LIES

BAILEY (CONT’D)
So, what’d you see on this last
trip, Mae? Was it beautiful?

MAE
It was, Eamon. There was an almost-
full moon, and the water was very
calm, and I felt like I was
paddling through liquid silver.

BAILEY
Sounds incredible. But there’s no
record of any of it?

MAE
No, not outside my own memory.

Audible GROANS from the audience. Bailey turns to the

audience and shakes his head, indulging them.

BAILEY
Okay, now this is where we get into
something personal. As you all
know, I have a son, Gunner, who was
born with cerebral palsy. Though
he’s living a very full life, and
we’re trying, always, to improve
his opportunities, he is confined
to a wheelchair. He can’t walk. He
can’t run. He can’t...go kayaking.
(beat)
So what does he do if he wants to
experience something like this?
Well, he watches video. He looks at
pictures.
(MORE)
 72.

BAILEY (CONT'D)
Much of his experiences of the
world come through the experiences
of others.
(beat)
When he experiences the SeeChange
view of a Circler climbing Mount
Kenya, he feels like he’s climbed
Mount Kenya. When he sees firsthand
video from an America’s Cup crew
member, he feels, in some way, that
he’s sailed in the America’s Cup,
too. These experiences were
facilitated by generous humans who
shared what they saw with the world
-- my son included. And there are
many others out there like Gunner.
(to Mae)
Does it feel right to have deprived
them of seeing what you saw, Mae?

Mae tries to hide her emotion.

MAE
It doesn’t. It feels very...wrong.

The crowd MURMURS. Bailey nods.

MAE (CONT’D)
It was just selfish, Eamon. When
you deprive your friends, or
someone like your son Gunner, of
experiences like I had, you’re
basically stealing from them.
(beat)
Knowledge is a basic human right.
Equal access to all possible human
experiences is a basic human right.

Mae seems surprised with her own eloquence, and the audience
answers with thunderous APPLAUSE.

Bailey winks at Mae, then turns to the audience.

BAILEY
Let’s thank Mae for her candor and
consummate humanity, can we please?

The audience APPLAUDS, rises to their feet. Mae, not sure

what to do, awkwardly stands, then sits down again and waves
from her seat.
 73.

BAILEY (CONT’D)
Now the best part: in the interest
of sharing everything she can with
the world, Mae has some news.

Bailey gestures to Mae, who takes a deep, nervous breath.

MAE
I’m going fully transparent.
Immediately!

The crowd ROARS. In the BACK, unseen by Mae, stands --

-- TY, who shakes his head in disbelief. The APPLAUSE is

deafening.

ON STAGE

Mae’s uncertainty vanishes, slowly replaced by a wide smile.

BAILEY
(over the crowd)
That’s right -- Mae will be the
first Circler to share every single
second of her work and personal
life with the public!
(applauds)
Let’s give her an even bigger hand!

FADE TO BLACK.

ADDITIONAL GUIDANCE (PRE-LAP)

Feeding moved back to 1:02.

FADE IN:

INT. THE CIRCLE - AQUARIUM - DAY

A SHARK swims through an aquarium. This shark is unique in

two regards: it is BLIND, and it is TRANSLUCENT.

Mae stands in front of the aquarium -- wearing a NECKLACE

with a tiny LENS over her heart. She glances down the hallway
at: more aquariums, each smaller than the one before it.

NOTE: When Mae hears “Additional Guidance,” it comes from a

small EARPIECE she wears. The voice is calm and sometimes
male, sometimes female.

ADDITIONAL GUIDANCE
Let’s move to the octopus for now.
 74.

NOTE: When Mae speaks, it’s for all the viewers watching
through her small lens. She’s now the Circle’s ambassador.

MAE
Let’s see the octopus.

Mae moves to a round GLASS STRUCTURE sixteen feet high and

twelve feet in diameter. Inside, a pale OCTOPUS floats in the
water, inflating and then shrinking.

MAE (CONT’D)
This is a relative of the telescope
octopus. But this one has never
been captured alive before.

The octopus’ tentacles extend to the coral below.

MAE (CONT’D)
Tom Stenton found this one first.
It came from behind a submersible
and shot in front, as if it were
asking him to follow.

Mae checks her right wrist. She wears BANDS on both wrists.
They provide SCREENS that gives a REAL-TIME VIEW from her
lens, also providing the most recent and popular COMMENTS, as
well as her current WATCHER NUMBERS. At this exact moment...

...441,762 people are watching exactly what Mae sees.

MAE (CONT’D)
Let’s see the seahorses.

Mae goes to the NEXT AQUARIUM. Inside, HUNDREDS OF SEAHORSES,

no larger than a child’s fingers, hide and cling to foliage.

MAE (CONT’D)
Not particularly friendly fish.
Wait, are they even fish?

Mae glances at her wrist, and sees a message appear:

Indeed a fish! Class Actinopterygii. Same as cod and tuna.

MAE (CONT’D)
Thank you, Pam Win from Greensboro!
(off the aquarium)
Now let’s see if we can find the
daddy of all these baby seahorses.

Mae walks around the aquarium and finds the FATHER SEAHORSE --
the size of a hand, resting at the bottom of the tank.
 75.

MAE (CONT’D)
He’s hiding. But he doesn’t seem to
know we’re on the other side of the
glass here, and can see everything.

Mae adjusts the angle of her lens to get a better shot of the
seahorse. She glances at her wrist, reads a ZING and laughs.

MAE (CONT’D)
My favorite Zing of the day calls
seahorses “the croissants of the
animal kingdom.”
(amused)
I like that.

VOICE FROM EARPIECE

Shark feeding ready.

Mae glances at her wrist.

MAE
Okay, I see a bunch of requests to
get back to the shark. Let’s go.

Mae goes back to the

FIRST AQUARIUM -- which is also the largest. Standing above

the aquarium on a sleek red ladder is: GEORGIA (30s, curly
black hair and cuffed jeans).

MAE (CONT’D)
Hey, I’m Mae.

GEORGIA
Hello, Mae. I’m Georgia. I’ll be
feeding Mr. Stenton’s shark now.

The shark seems to sense that food is coming. It begins to

turn violently, rising closer to the surface.

Mae glances at her wristband: her watchers have risen to over

500,000 people.

MAE
Someone’s hungry.

Georgia tries her best to appear confident, but there’s a

hint of fear in her eyes.

GEORGIA
Okay, I’m going to feed the shark
something new.
(MORE)
 76.

GEORGIA (CONT'D)
As you know, he’s been fed all
kinds of stuff, from salmon to
jellyfish. He’s devoured everything
with equal enthusiasm.

Georgia lifts a lucite bucket holding a LIVE LOBSTER.

GEORGIA (CONT’D)
Here we have a regular Maine
lobster, which we’re not sure if
this shark is equipped to eat.

Georgia dangles the lobster just over the surface of the

water, working the shark into a frenzy.

Mae watches with increasing anxiety as the shark gets closer.

GEORGIA (CONT’D)
So I’ll just drop this little gu --

Before Georgia can finish her sentence, the shark rises up

and SNATCHES the lobster from her hand!

Georgia SQUEALS and grabs her fingers.

MAE
(terrified)
Did he get you?!

GEORGIA
(holding back tears)
Almost...

Georgia rubs her hand as if she’s been burned. Mae glances up

to see -- a SILHOUETTE on the other side of the glass, beyond
the aquarium’s far wall. His face is visible for a moment:

Ty.

Mae wants to call out, but considers her camera, decides

against it.

INT. THE CIRCLE - NEWSROOM - MOMENTS LATER

Mae crosses the quaintly retro newsroom, looking for Ty. No

luck. She waves to EVERYONE. They wave back, pretend not to
be self-conscious of her camera.

A MESSAGE on the wall says: THINK COMPLETION

On another wall it says: THE CIRCLE MUST BE WHOLE

NOTE: These slogans are on walls throughout the Circle now.

 77.

Mae goes to the far DOOR, opening it to the bright daylight.

EXT. THE CIRCLE - LAWN - CONTINUOUS

Mae steps out as: Ty disappears across the wide green lawn.
He glances back for a second and his eyes meet Mae’s eyes.

ADDITIONAL GUIDANCE
Where are you headed?

MAE
No place. I just...never mind.

Mae’s phone RINGS. She checks her wrist -- no caller ID --

and answers the call.

MAE (CONT’D)
Hello?

TY (V.O.)
We have to meet.

Mae glances around, notices other CIRCLERS on the lawn.

TY (V.O.)
Your watchers can’t hear me. They
only hear you. Right now your
engineers are wondering why the
incoming audio isn’t working.
They’ll fix it in a few minutes.
(beat)
This has to stop. When can we meet?

Mae hangs up.

ADDITIONAL GUIDANCE
Sorry about that. Somehow the
incoming audio wasn’t working.
We’re working on it. Who was it?

Mae considers her reply, unsure if anyone heard.

MAE
Some lunatic. Babbling about the
end of the world.

Mae checks her wrist. ZINGS pour in. The most popular is:

Tech problems at Circle HQ? Next: Santa forgets Christmas?

ADDITIONAL GUIDANCE
Tell them the truth, as always.
 78.

MAE
I have no idea what just happened.
When I do, I’ll let you all know.

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - DAY

Mae walks into her old pod, where, dominating an entire wall
and cast in steel are the WORDS:

SECRETS ARE LIES; SHARING IS CARING; PRIVACY IS THEFT

MAE
This is where I worked when I first
arrived at the Circle. And yes, for
those of you wondering, I still
clock in to work here!

The area is bursting with NEWBIES, thrilled to see Mae there.

She’s a celebrity. Mae waves and gives a faux-curtsey.

MAE (CONT’D)
Why wouldn’t I? I love it here.
(nostalgic)
I can’t tell you how much it means
to me to have my opinion heard.
(surveys her work station)
Everything that’s great in my life
started right here.

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - MAE’S DESK - DAY

Mae sits at her old desk, wearing a survey HEADSET.

VOICE FROM EARPIECE

Are you happy with the state of
airport security?

MAE
Smile.

INT. THE CIRCLE - GLASS EATERY - DUSK

Mae is at dinner with Renata, Denise, and Josiah. It’s

crowded, and we can’t hear what they say -- but it’s clear
that they’re all trying hard not to acknowledge Mae’s camera.
 79.

EXT. THE CIRCLE - LAWN - NIGHT

Mae LAUGHS at an IMPROV COMEDY TROUPE performing before an

audience of CIRCLERS. Mae turns around so her camera can get
a good shot of everyone laughing.

EXT. THE CIRCLE - DORMS - NIGHT

Mae approaches the dorms, where she now resides.

INT. THE CIRCLE - MAE’S DORM ROOM - BATHROOM - NIGHT

Mae washes her face and brushes her teeth -- her camera
recording it all.

INT. THE CIRCLE - MAE’S DORM ROOM - LATER

Mae sits in bed in her modern, white dorm. Smart appliances,

wallscreens and shades, everything centrally monitored.
SEECHANGE CAMERAS dot the room.

MAE
Night, everyone. See you tomorrow.

Mae glances down at her wristband: Only 98,027 people are

watching now. A few thousand send her good-night MESSAGES.

Mae lifts the LENS over her head, places it in a CASE. She
stares at the lens, lost in thought. Unable to sleep. She
turns on her WALLSCREEN with a remote and clicks to:

A SeeChange CAMERA that says “MOM & DAD.” But the image is
BLACK. Mae clicks to another camera. BLACK. And another.

Mae grabs her phone, sends a ZING (”Hi!”) to her PARENTS. No

reply. She sends a zing to ANNIE. Mae waits. Nothing.

INT. THE CIRCLE - MAE’S DORM ROOM - KITCHEN - LATER

Mae drinks SAKE and, on her laptop, looks up MERCER’S WEBSITE

-- it’s been taken down. Mae hits REFRESH. Still down.

INT. THE CIRCLE - MAE’S DORM ROOM - LATER

Mae turns off her SeeChange cameras, one-by-one. Turns off

the light. She gets in bed. Her face is a blank. No joy. No
sadness. Nothing.

MORNING
 80.

Mae’s alarm BEEPS. The shades automatically open. Mae wakes

up, immediately putting on her camera and turning it on.

MAE
Good morning, everyone. This is a
day like every other day, in that
it’s unlike any other day!

Mae glances at her wrist. MESSAGES (”Top ‘o the morning!”

etc.) begin pouring in. Instant gratification. Mae smiles.

EXT. THE CIRCLE - LAWN - MORNING

Mae walks across the lawn, coffee in hand, while overhead:

Several HELICOPTERS landing on a rooftop HELIPORT.

Mae glances at her wristband, sees a MESSAGE from:

DR. VILLALOBOS: Hey, can you stop by the clinic? Nothing

urgent, but it should be today.

Mae types back: Sure!

EXT. THE CIRCLE - LAWN - LATER

Mae stands next to a large modern SCULPTURE. CIRCLERS pass

by, glancing at Mae.

MAE
This was done by a renowned Chinese
artist who’s been in frequent
trouble with authorities there...

Mae hesitates, unable to remember the artist’s name.

MAE (CONT’D)
I want to thank all the watchers
who sent frowns to the government
there, both for their persecution
of this artist, and for their
restrictions on internet freedoms.
(beat)
We’ve sent over 180 million frowns
from the U.S. alone. You can bet
that has an effect on the regime.

At that moment, Mae sees, across the quad -- Annie, walking

in the opposite direction.

MAE (CONT’D)
Annie!
 81.

Annie continues to walk away. Mae hurries after her, trying

to seem casual. Annie turns a corner.

MOMENTS LATER

Mae sees a DOOR to a stairway close and rushes to it.

INT. THE CIRCLE - STAIRWAY - MOMENTS LATER

Mae enters the stairway, looks up and sees Annie -- who has
bags under her eyes and is shockingly disheveled.

MAE
Annie!

Annie stops, turns, and slowly makes her way down the steps.
She smiles a practiced, exhausted smile, and hugs Mae.

MAE (CONT’D)
(pretty convincing)
You look...great!
(to her audience)
Everyone, this is Annie. You’ve
heard about her -- Gang of 40
member, beautiful colossus and
close friend. Say hi, Annie.

ANNIE
Hi.

Annie qlances at the camera and smiles, though it’s clear, in

the briefest of grimaces, that she doesn’t enjoy this.

MAE
Anything you’d like to share? How
was the trip to Geneva?

ANNIE
It was great. I saw the Von Trapps,
and they’ve gotten some new
clothes. Also made of drapes.

Mae forces a LAUGH.

MAE
Anything else you’d like to talk
about?

Awkward silence. Annie takes Mae’s hand and digs her

fingernails into her palm just enough to get her attention.
 82.

ANNIE
...I actually have to use the
bathroom. Come with?

INT. THE CIRCLE - BATHROOM - DAY

Mae sits down in a stall and LOCKS the door behind her. Annie
sits in the stall next to her.

ANNIE
Um...are we alone?

MAE
I get three minutes to use the
bathroom. Then they turn the audio
back on.

Mae glances down and see the edge of Annie’s foot.

MAE (CONT’D)
(concerned)
So, how are you?

ANNIE
(clear that she isn’t)
Great, great. You?

MAE
I’m good, but --

ANNIE
(forced)
Well, you should be good. You’re
killing it!

MAE
You think?

ANNIE
C’mon, false modesty won’t work
here. You should be psyched.

MAE
Okay...
(laughs)
...I am.

ANNIE
I mean, you’re a meteor. It’s
insane. People are coming to me
trying to get to you. It’s crazy.
 83.

MAE
So...how’re you really doing?
You’ve been traveling non-stop. You
look wiped out.

Beat.

ANNIE
Thanks, Mae. You know how much I
like to be told right after I
appear in front of your millions
that I look terrible. Thank you.
You’re sweet.

MAE
I’m just concerned. Is there
anything I can do? Let me take you
out to eat!

ANNIE
With your camera and me looking so
terrible? That sounds fantastic,
but no.

MAE
They’re just working you so hard
with all the regulatory stuff,
Annie. I worry.

ANNIE
Don’t worry. I’ve been doing this
for a while.

MAE
I don’t mean I was worried in that
way.

ANNIE
Well, don’t worry in any way.

MAE
I know you can handle it.

Annie shakes her head, wears a tired smile.

ANNIE
Thank you! Mae, your confidence in
me will be the wind beneath my
wings.

Silence. Mae seems determined not to respond defensively.

MAE
So...when do I get to see you?
 84.

ANNIE
Soon. We’ll make something happen.

MAE
Tonight? Please?

ANNIE
Sorry, I have to pull another all-
nighter. I have no idea how I’m
gonna finish everything. I can’t
remember being this stressed. All
the new work on Completion.
(beat)
I assume Bailey told you about it.

Mae goes silent. She hates that Annie might know more about
Completion than her -- and the mention of Bailey makes her
slightly...jealous?

MAE
I’ll see you tomorrow anyway. At
the Concept Kingdom meeting.

ANNIE
(quick)
What?

MAE
There’s a Concept King --

ANNIE
I know what it is.
(slight edge)
You’re going?

MAE
(with pleasure)
Bailey thought I should go.

ANNIE
And broadcast it?

MAE
Of course. Is that a problem?

ANNIE
No, I’m just...surprised. Those
meetings are sensitive. Maybe he’s
planning to have you attend just
the beginning or something.
(under her breath)
I can’t imagine...

Mae listens as Annie’s toilet FLUSHES.

 85.

MAE
You leaving?

ANNIE
Yeah, I’m really so far behind on
everything...I could just die.

MAE
(trying to lighten the
mood)
Hey, don’t die!

Annie hurries to the door without replying.

MAE (CONT’D)
Annie?

Mae quickly stands and opens her door. As she and Annie lock
eyes --

-- there’s a tiny BEEP. Mae sighs and points to her ear --

the sound turned back on. Annie forces a smile, silently
waves at Mae, and leaves. Mae stands alone in silence.

A MOMENT LATER

Mae hurries back into the stall and silences her audio. She
takes a deep breath, and...

...begins to cry.

INT. THE CIRCLE - CLINIC - EXAMINATION ROOM - DAY

DR. VILLALOBOS (30s, brilliant, shockingly gorgeous) stands

in front of Mae, who sits on an exam table.

The doctor examines Mae’s wristband.

DR. VILLALOBOS
(mile a minute)
I see your heart rate is normal,
and I imagine with your jog over
here, all your viewers are getting
some interesting data, too. Your
vitals have been looking good.

Mae glances at her wrist, checking the IMAGE from her camera.

DR. VILLALOBOS (CONT’D)

Your step count could be better.

Dr. Villalobos gestures to the WALLSCREEN, where a few

hundred data points are displayed.
 86.

MAE
I know, it’s just been busy lately.

DR. VILLALOBOS
Okay, but let’s bring those steps
up. As a promise to me?

Mae nods.

DR. VILLALOBOS (CONT’D)

Mae, I had a concern about your
parents.
(off Mae)
They’re fine, but I want to show
you something.

Dr. Villalobos brings up: the SEECHANGE CAMERA FEEDS from

Mae’s parents’ house.

DR. VILLALOBOS (CONT’D)

See anything wrong?

Mae scans the screen. Where a grid of SIXTEEN IMAGES should

be visible, twelve are blank.

MAE
Um...there are only four working.
Has tech been there to check?

DR. VILLALOBOS
We saw your parents put covers over
them.

Mae looks horrified. Instinctively, she checks her wrist for

her current viewership: 1,298,001!

DR. VILLALOBOS (CONT’D)

Have you heard from them recently?
Our records say you haven’t. But --

MAE
It’s been a little while.

DR. VILLALOBOS
Would you be willing to go visit?
As you know, good medical care is
hard to provide when...
(smiles)
...well, when we’re in the dark.

INT./EXT. MAE’S CAR (MOVING) - DAY

Mae speeds along the highway.

 87.

INT. MAE’S PARENTS’ HOME - KITCHEN - DAY

Mae enters to find her parents chopping vegetables.

MAE
How are you guys?

Mae embraces her parents in a three-way hug.

MAE’S FATHER
You’re affectionate tonight, Mae!

Mae rolls back her eyelids, indicating they shouldn’t imply

that she’s not affectionate.

Mae’s parents glance at each other and, as if remembering

that they’re on camera and their daughter is a more visible
and important person, they adjust their behavior.

INT. MAE’S PARENTS’ HOME - DINING ROOM - NIGHT

Mae and her parents enjoy dinner. She tries to keep it light.

MAE
So, there’s a slight concern from
the health folks that some of your
cameras aren’t working.

MAE’S FATHER
Maybe we should check the
batteries?

He winks at Mae’s mother.

MAE
How can anyone provide you with the
best health care when you don’t
allow them to see how you’re doing?
It’s like going to a doctor and not
allowing them to take your pulse.

MAE’S FATHER
That’s a very good point. I think
we should eat.

MAE’S MOTHER
(glances at her husband)
We’ll get them fixed right away.

Mae smiles and raises her glass.

 88.

MAE
A toast to you two. And while we’re
at it, a toast to the thousands of
people who reached out to you guys
after the last time I was here.

Mae’s parents stiffly raise glasses. They eat in silence.

Mae’s mother carefully swallows a bite, then turns to Mae.

MAE’S MOTHER
(right into Mae’s camera)
We sure did get a lot of messages.

Mae’s father also looks directly into the lens.

MAE’S FATHER
But, from now on, please send your
best wishes through the air. Or if
you pray, just pray for us. Just --
(closes his eyes)
-- send your good wishes, your good
vibes, our way. No need to e-mail
or zing or anything.

MAE
I think you just mean...
(holding back her anger)
...it’ll just take you a while to
answer all the messages, but you’ll
get to them eventually. Right?

Mae’s parents glance at each other.

INT. MAE’S PARENTS’ HOME - FOYER - NIGHT

Mae puts on her coat. Her mother meets her at the door.

MAE’S MOTHER
Mercer asked us to give you this.

Mae’s mother hands Mae an ENVELOPE. Mae curiously eyes it --

no name or address -- and kisses her mother on the cheek.

INT./EXT. MAE’S CAR (MOVING) - NIGHT

Mae pulls out of the driveway. She can’t stop glancing at the
envelope on her lap. Mae PULLS OVER, rips it open, and reads:

Dear Mae,

You can and should read this on camera. I expected you would,
so I’m writing this not only to you, but your “audience.”
 89.

As Mae reads the note, we hear:

MERCER (V.O.)
I can’t see you anymore, Mae. I
can’t be your friend and also
part of your experiment. I’ll be
sad to lose you, as you’ve been
important in my life. But we’ve
taken very different paths.

Mae glances at her wristband. COMMENTS pour in:

Mae, were you ever so young and dumb? How did you end up
dating a zero like this?

Mae checks how many pages are left: four. Double-sided.

Upset, Mae tosses the letter on the floor, opens the car
door, and storms back into the house.

INT. MAE’S PARENTS’ HOME - LIVING ROOM - NIGHT

Mae storms into the living room. Empty.

INT. MAE’S PARENTS’ HOME - KITCHEN - MOMENTS LATER

Mae walks into the kitchen. A POT boils on the stove. But
Mae’s parents are nowhere to be found. She eyes the STAIRS.

INT. MAE’S PARENTS’ HOME - PARENTS’ BEDROOM - MOMENTS LATER

Mae turns into her parents’ bedroom to see:

Her father sitting on the bed, and her mother kneeling on the
floor, his penis in her hand.

Mae quickly turns away, aiming the camera toward a dresser.

Her parents fumble to cover themselves. Nobody says a word.

EXT. MAE’S PARENTS’ HOME - DRIVEWAY - NIGHT

Mae fumbles to dial her phone. It goes straight to voicemail.

MERCER (V.O.)
(recording)
You’re hearing this message ‘cause
I’m not using this phone anymore...
 90.

INT. MAE’S CAR (MOVING) - NIGHT

Mae’s cell phone goes through her car speakers.

MAE
Is there anything we can do?

BAILEY (V.O.)
(empathetic, fatherly)
Mae, what would transparency be if
we could delete anything we felt
was embarrassing? For the Circle,
to work, it has to be pure and
complete. I know this will be
painful for a few days, but soon
nothing like this will be the least
bit interesting to anyone.
(beat)
So for the time being, we need you
to be a role model, okay?

Mae silently shakes her head. But she knows, in her

heart...that Bailey is right. He’s always right.

INT. THE CIRCLE - ELEVATOR - NIGHT

Mae rises up in the elevator.

INT. THE CIRCLE - C.E. AREA - MAE’S DESK - NIGHT

Mae works at her computer in the empty C.E. area. She

forwards a ZING to her father that reads:

Beautiful that an older couple, dealing with MS no less, can

be sexually active. Inspiring to us all!

A moment later, Mae’s phone RINGS. She answers it.

MAE’S FATHER (V.O.)

Please stop.

MAE
But dad --

A RUSTLE, then Mae’s mother gets on and says:

MAE’S MOTHER (V.O.)

(desperate)
We love you, dear. But we need our
privacy.

Mae nods, finally understanding. She knows what she must do.
 91.

MAE
You’re right. I’m sorry. I don’t
want to hurt you.

MAE’S MOTHER (V.O.)

We know.

MAE
But my being transparent is really
important to a lot of people.
(beat)
So I think it’s better if we don’t
see each other.

MAE’S MOTHER (V.O.)

Mae...

MAE
I love you both.

Mae hangs up.

LATER

Mae wears a SURVEY HEADSET while fighting back TEARS.

VOICE FROM EARPIECE

Are you a regular user of
conditioner?

MAE
Yes.

VOICE FROM EARPIECE

Thank you. What do you think about
organic hair products?

MAE
Smile.

INT. THE CIRCLE - VICTORIAN ERA - TOP FLOOR - DAY

Epic views. A glass ceiling. The GANG OF 40 is assembled. All

power-players are there, including Stenton, Mae -- sitting in
the middle of the table, thrilled to be there -- and...

...Ty, whose hooded image is visible on a WALLSCREEN.

BAILEY (O.S.)
Hello, Mae!

Bailey arrives and takes a place at the opposite end of the

long room, smiling and waving to Mae and her audience.
 92.

BAILEY (CONT’D)
Okay, I think we should just dig
in, given we’re all present.

Mae sits in the middle of the table. She glances at her

wrist: 1,982,992 viewers. Then she scans the room, and sees,
by the door, behind two rows of Circlers --

-- Annie, who doesn’t return the look. Annie looks terrible --

bloodshot eyes, hair a mess. It’s disturbing.

BAILEY (CONT’D)
Hi, gang. Pun intended.
(smiles)
You might have seen that as of
today, over twenty thousand other
leaders and legislators around the
world have followed Congresswoman
Santos’ lead and taken the pledge
to make their lives as public
servants completely transparent.

APPLAUSE. Mae’s camera is trained on Bailey and the SCREEN

behind him. She checks the view on her wrist -- COMMENTS pour
in (one person compares this event to the Manhattan Project;
another to “Edison’s Menlo Park Lab, circa 1879”).

Behind Bailey, a PHOTO appears: an EMPTY POLLING PLACE, in a

school gym somewhere. It dissolves into an array of NUMBERS.

BAILEY (CONT’D)
Now, here’s how many people voted
in the last national election.

The screen behind him reads: 140 million

BAILEY (CONT’D)
Here’s how many were eligible to
vote.

The screen reads: 244 million

BAILEY (CONT’D)
And here’s how many Americans are
registered with the Circle.

The screen reads: 241 million

Behind Bailey, the familiar IMAGE of: UNCLE SAM pointing.

Then another IMAGE appears -- of Bailey wearing the SAME
OUTFIT, in the same pose, next to Uncle Sam.
 93.

BAILEY (CONT’D)
So now we get to the meat of
today’s session: What if your
Circle profile automatically
registered you to vote?

Bailey sweeps his eyes across the room, hesitating at Mae and
her watchers -- Mae checks her wrist. One viewer writes:
Goosebumps!

BAILEY (CONT’D)
With TruYou, to set up a profile,
you have to be a real person, with
a real address, complete personal
info, a real Social Security
number, a verifiable date of birth.
All the information the government
wants when you register to vote.
(beat)
So why wouldn’t state governments
just consider you registered once
you set up a TruYou profile?

People in the room nod, some out of acknowledgement that it’s

a sensible idea, a notion long discussed.

BAILEY (CONT’D)
There’s no reason.
(smiles)
‘Course, it wasn’t too long ago
that increasing voter registration
wasn’t at the top of every
politician’s list. But, with the
support of the Circle, that’s no
longer true.
(his smile widens)
I have verbal commitments from
governors and legislators
representing almost every state.
They’ve agreed to push legislation
to make your TruYou profile your
automatic path to registration.

A brief round of APPLAUSE.

BAILEY (CONT’D)
Imagine...full participation in all
elections.

APPLAUSE ripples through the room.

Bailey smiles broadly. Stenton rises to his feet. It seems to

be the end of the presentation. But just then...
 94.

...Mae tentatively raises her hand.

BAILEY (CONT’D)
Yes, Mae?

MAE
I wonder if we could take this one
step further. I mean...well,
actually, I don’t think it --

BAILEY
Go on, Mae. You started well. I
like the words one step further.
That’s how this company was built.

Mae glances around the room: the faces a mix of encouraging

and concerned. This includes Annie, who watches sternly.

MAE
(gathers herself)
Okay...why couldn’t we just work
backwards from that goal, using all
the steps you outlined? All the
tools we already have.

Mae looks around the room, ready to quit at the first pair of
skeptical eyes, but she sees only curiosity.

BAILEY
Go on...

MAE
Well, we all agree that we’d like
100 percent participation, and that
everyone would agree that 100
percent participation is the ideal.

BAILEY
It’s certainly the idealist’s
ideal.

MAE
And we currently have 83 percent of
the voting-age Americans registered
on the Circle?

BAILEY
Yes.

MAE
And it seems that we’re on our way
to voters being able to register,
and maybe even to actually vote,
through the Circle.
 95.

Bailey’s head bobs side to side, some indication of mild

doubt, but he’s smiling, his eyes encouraging.

BAILEY
A small leap, but okay. Go on.

MAE
Why not require every voting- age
citizen to have a Circle account?

There’s a SHUFFLING in the room, some intake of breath,

mostly from the older Circlers.

STENTON
Let her finish.

Mae glances over to find Stenton near the door, his arms
crossed, his eyes staring at the floor. He looks briefly up
at Mae and nods brusquely.

MAE
(gaining confidence)
Okay, I know the initial reaction
will be resistance. I mean, how can
we require anyone to use our
services? But there are all kinds
of things that are mandatory for
citizens of this country.

Stenton steps forward and says:

STENTON
We require people to pay taxes. And
to pay into Social Security. To
serve on juries.

MAE
Right, and to pee indoors, not on
the streets. I mean, we have ten
thousand laws. We require so many
legitimate things of citizens. So
why can’t we require them to vote?
They do in dozens of countries.

An OLDER CIRCLER says:

OLDER CIRCLER
It’s been proposed here.

STENTON
Not by us.
 96.

MAE
And that’s my point.
(nods to Stenton)
The technology has never been there
before. Now we can register them
automatically, and then when
election day comes around, you make
sure they vote.

ANNIE (O.S.)
(loud, sarcastic)
How do we do that?

Mae looks over and realizes it was Annie who spoke up. Their
eyes meet. Mae looks hurt. It’s a tense moment. And then:

MAE
(building in confidence)
A hundred ways. That’s an easy
part. Remind them ten times that
day. Maybe their accounts don’t
work ‘til they vote.

Annie seems surprised by Mae’s quick response.

MAE (CONT’D)
That’s what I’d favor, anyway.

Bailey, who’s been curiously listening, looks at Annie with

disappointment and says:

BAILEY
It could something like: “Hello,
Annie! Take five minutes to vote.”
Whatever it is. We do that for our
own surveys.

Annie seems to shrink.

BAILEY (CONT’D)
You know that, Annie.
(to Mae, bright)
And the stragglers?

Mae smiles. She has an answer. She glances at her bracelet:

7,202,821 people are watching.

MAE
Well, everyone has to pay taxes,
right? How many people do it online
now? Last year, maybe 80 percent.
What if we all stopped duplicating
services and made it all part of
one unified system?
(MORE)
 97.

MAE (CONT'D)
(beat)
You use your Circle account to pay
taxes, register to vote, pay your
parking tickets, to do anything.
(excited)
I mean, we would save each user
hundreds of hours of inconvenience,
and collectively, the country would
save billions!

STENTON
Hundreds of billions.

Annie steps forward and asks:

ANNIE
(directly to Mae)
But why wouldn’t the government
just build a similar service? Why
do they need us?

A few SNICKERS. Mae, confused and surprised that Annie is

still challenging her, glances at Bailey and Stenton, then
says:

MAE
Well, it would cost too much and
they don’t have the expertise. We
already have the infrastructure,
and most of the electorate.

Stenton proudly nods.

STENTON
That’s absolutely right.
(glares coldly at Annie)
Does that make sense to you, Annie?

Annie nods grimly, her eyes showing fear and regret. Stenton
looks at her, as if assessing her anew. He turns to Mae,
urging her to continue, then moves to the head of the table.

INT. THE CIRCLE - MAE’S DORM ROOM - MORNING

Mae’s alarm BEEPS, shades open, and she wakes up. She
groggily checks her phone: 322 new MESSAGES. Suddenly, the
phone RINGS. Blocked caller ID. Mae lets it go to voicemail.

INT. THE CIRCLE - MAE’S DORM ROOM - BATHROOM - LATER

Mae showers. Her phone RINGS over and over.

 98.

EXT. THE CIRCLE - LAWN - MORNING

Mae walks across the quad, reading zings on her phone:

BAILEY: We’re calling it Demoxie. It’s democracy with YOUR

voice and YOUR moxie. And it’s coming soon.

CIRCLERS wave to Mae, call her name, and some CHEER. She’s
like a rock star. A YOUNG CIRCLER approaches Mae and says:

YOUNG CIRCLER
(nervous)
I just wanted to tell you that I’ve
never voted before -- in fact, I’ve
never really felt like I had a
voice that our government was
interested in listening to. But now
I feel like I can actually be
involved. Like I can be heard.
Thank you, Mae.

MAE
(smiles awkwardly)
You’re welcome.

INT. THE CIRCLE - DEVELOPERS’ POD - DAY

Mae walks into the Developers’ Pod to find:

TWO DOZEN ENGINEERS and DESIGNERS -- who look like they

haven’t slept. When they see Mae, they erupt in CHEERS.
Lights dim, and a SINGLE LIGHT shines on:

SHARMA, a dark-haired woman with a face of barely contained

joy.

SHARMA
Hello Mae, hello Mae’s watchers.
(bowing briefly)
I’m so glad, and so honored, to be
with you today.

The WALLSCREEN comes to life. The word “Demoxie” appears,

rendered in a spirited font and set inside an American flag.

SHARMA (CONT’D)
(motions to the
wallscreen)
The goal is to make sure that
everyone who works at the Circle
can weigh in on issues that affect
their lives.
 99.

On the SCREEN, below the Demoxie logo, a question appears:

Should we have more veggie options at lunch?

It is book-ended by BUTTONS on either side -- “Yes” and “No.”

MAE
Very impressive, guys!

SHARMA
Thank you. Now, if you’ll indulge
us. You have to answer, too.

MAE
Oh, okay.

Mae walks up to the screen and pushes “Yes.” On the screen a

HAPPY FACE appears with the words “You are heard!” arcing
above. The question disappears, replaced by the words:

Demoxie result: 75% of respondents want more veggie options.

More veggie options will be provided.

The engineers and developers CHEER.

MAE (CONT’D)
Incredible.

SHARMA
Imagine this rolled out nationwide.
Worldwide!

MAE
It’s beyond my capability to
imagine.

SHARMA
(laughs)
But you came up with this!

EXT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - MAE’S DESK - DAY

Mae sits at her desk, excitedly reading zings like:

We’re on the verge of actual change and Change at the speed

our hearts demand!

Mae’s phone RINGS. Blocked number. Mae sends it to voicemail.

 100.

EXT. THE CIRCLE - LAWN - DAY

Mae walks through the middle of HUNDREDS OF CIRCLERS eating

lunch. The BUZZ of excitement is palpable.

MAE
(to her viewers)
Can you feel that energy? Everyone
is talking about Demoxie.

Mae’s phone RINGS -- a blocked number. Mae sighs, finally

answering the phone.

MAE (CONT’D)
Hello?

TY (V.O.)
(terse)
Mae, this is Ty. Don’t say my name.
The incoming audio isn’t working.

Mae warily glances around.

INT. THE CIRCLE - BATHROOM - DAY

Mae sits in the stall, her audio off. Her phone RINGS and she
quickly answers it.

MAE
I’m sure someone is tracing this.

TY (V.O.)
You can’t do this. Your mandatory
thing, and the positive reaction
it’s gotten -- this is the last
step toward closing the Circle, and
that can’t happen.

MAE
What are you talking about? You
know more than anyone that that’s
been the goal of the Circle since
the beginning. It’s a circle. It’s
supposed to be complete.

TY (V.O.)
You know this isn’t right.

Mae doesn’t answer.

TY (V.O.)
You’re in a position to influence
historical events here.
(MORE)
 101.

TY (V.O.) (CONT'D)
No one entity should have this much
power.
(beat)
Do you understand?

MAE
I have to go...

TY (V.O.)
You think it’s just random that
from the thousands of people that
work at the Circle, Bailey chose
you -- right after you started
hanging out with me?

Mae’s eyes widen.

TY (V.O.)
You have no idea what you’re
dealing with here, Mae.
(beat)
When was the last time you had a
real conversation with your friends
or your parents?

Mae hangs up.

INT. THE CIRCLE - OCHRE LIBRARY - DAY

Mae and Bailey sit by the fireplace.

BAILEY
I’m glad you came to talk with me,
Mae. Can I tell you a story?

Mae nods.

BAILEY (CONT’D)
A few years ago I had the idea that
I would endeavor, in my lifetime,
to know every person on Earth. To
shake their hand or say hello.
(off Mae)
Can you feel the appeal of a notion
like that?

MAE
Absolutely.

BAILEY
But there are seven-odd billion
people on the planet!
(MORE)
 102.

BAILEY (CONT'D)
The best I could come up with was
this: if I spent three seconds with
each person, that’s twenty people a
minute! Pretty good, right?

Mae nods.

BAILEY (CONT’D)
But even at that pace, after a
year, I would have known only
10,512,000 people. It would take me
665 years to meet everyone at that
pace!
(beat)
Depressing, right?

MAE
It is...

BAILEY
So we have to content ourselves
with the people we do know and can
know. There are so many, and we
have many to choose from.

Mae nods.

BAILEY (CONT’D)
But you, Mae, are special. Because
of your generosity and openness,
the entire world gets to know you.
What a unique, wonderful thing!
(warm smile)
You’re the face of the Circle.

Mae, moved by Bailey’s validation, warmly hugs him.

MAE
Thank you.

BAILEY
I’m so proud of you.

INT. THE CIRCLE - GREAT HALL - DAY

Mae finds a seat in the back of the CROWDED, raucous hall.

ON THE SCREEN

The DEMOXIE LOGO appears. Then the first question:

1. Should Take Your Daughter to Work Day happen twice a year,

instead of just once?
 103.

The crowd LAUGHS. Mae votes “Yes” on her wristband.

ON THE SCREEN

Notes can be seen adding up, and within eleven seconds the
entire campus has voted and the results are tallied: 45% of
the Circle says “Yes.”

Bailey ZINGS: Looks like once is enough for now.

The Great Hall shakes with APPLAUSE.

ON THE SCREEN

2. John or Paul or...Ringo?

LAUGHTER from the audience.

CUT TO:

Ringo wins with 64%. John receives 20% and 16% for Paul.

This response receives surprised CHEERS.

ON THE SCREEN

are the INSTRUCTIONS: Imagine the White House wanted the

unfiltered opinion of its constituents. Imagine you had the
direct and immediate ability to influence U.S. foreign
policy.

The instructions vanish, replaced by the QUESTION:

3. Intelligence agencies have located terrorist mastermind

Mohammed Khalil al-Hamed in a lightly populated area of rural
Pakistan. Should we send a drone to kill him, considering the
likelihood of moderate collateral damage?

WHISPERS across the room. Mae catches her breath. Considers

the question. She votes “Yes.”

CUT TO:

ON THE SCREEN

71% of Circlers favor a drone strike.

A sobering HUSH falls over the audience.

CUT TO:

ON THE SCREEN

4. Is Mae Holland awesome or what?

 104.

Mae LAUGHS -- as does everyone else. Mae blushes. Doesn’t

want to vote on this question. But the QUESTION on her
wristband BLINKS urgently:

All Circlers must vote.

Mae, self-conscious about calling herself awesome, pushes

“Frown.”

CUT TO:

ON THE SCREEN

97% of Circlers think Mae is awesome (Only 3% do not).

The Great Room erupts in WHOOPS and CHEERS.

MAE

looks up at the SCREEN, her eyes drifting over...to the 3%.

Mae does the calculation in her mind: 3% out of almost ten-

thousand Circlers means...hundreds of people don’t think Mae
is awesome. A dark cloud passes over Mae’s face.

EXT. THE CIRCLE - LAWN - DAY

As everyone exits the Great Hall, CIRCLERS pat Mae’s back,

smile at her, say “We love you.” Mae wears a tight smile and
glances at everyone with a hint of suspicion.

FADE TO BLACK.

FADE IN:

INT. THE CIRCLE - MAE’S DORM ROOM - NIGHT

Mae sits up in bed, holding an ENVELOPE mailed to her from:

MERCER. No return address. Mae rips open the envelope, holds
up the letter to her CAMERA, and begins to read it aloud.

MAE
“Mae, I know I said I wouldn’t
write again. But I wanted to let
you know that I’m moving north, off
the grid, to the densest and most
uninteresting forest I can find.”

Mae’s wristband is popping with MESSAGES like:

Why do you bother, Mae? and I’m already bored.

 105.

MAE (CONT’D)
“And when the cameras come, I’ll
keep going north -- with all the
other hermits...or refugees.”

Mae glances down at another MESSAGE: Good riddance, Bigfoot.

MAE (CONT’D)
“I wish you the best, Mercer.”

LATER

Lights out. But Mae can’t sleep. She goes through ZINGS on
her TABLET. She sends a Zing to Annie. No reply. Sends
another. Still nothing. Mae glances at the screen and sees:

Annie -- represented as a pulsing RED DOT, in her office. The

dot does not move.

Mae calls Annie. It RINGS. And RINGS. But no answer.

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - DAY

Mae stands in the doorway, watching various CIRCLERS work.

Some of the employees glance up at Mae and smile or wave at

her camera. One WILD-HAIRED MAN (early-20s) wears a headset,
answering survey questions as he types intensely.

WILD-HAIRED MAN
(nodding)
No, no, smile, frown, yes, yes, no,
Cancun, deep-sea diving, upscale
resort, breakaway weekend, January,
January, meh, three, two, smile,
smile, meh, yes, Prada, Converse,
no, frown, frown, smile, Paris.

INT. THE CIRCLE - CUSTOMER EXPERIENCE AREA - MAE’S DESK - DAY

Mae sends another zing to Annie. Waits. No response.

INT. THE CIRCLE - GREAT ROOM - BACKSTAGE - DAY

A STYLIST orbits around Mae, applying powder to her nose and

forehead, Vaseline to her lips. Bailey sits nearby.

BAILEY
(admiring smile)
Make us proud out there.
 106.

INT. THE CIRCLE - GREAT HALL - STAGE - MOMENTS LATER

Mae steps on stage into a bright single SPOTLIGHT and is

greeted by a wall of APPLAUSE.

MAE
Hello everyone, I’m Mae Holland.

The APPLAUSE starts again.

MAE (CONT’D)
Okay, okay...
(raises her hands)
You’ve probably heard about
SoulSearch, maybe a rumor here and
there. Today we’re putting it to
the test, in front of the entire
Circle audience here and globally.
Do you feel ready?

The audience CHEERS its answer.

ON SCREEN behind Mae: a giant DIGITAL GLOBE spins.

A BLIP from Mae’s earpiece:

ADDITIONAL GUIDANCE
(Stenton)
Fine job so far.

NOTE: Stenton will provide AG throughout this scene.

ON SCREEN: a SILHOUETTE appears, the shape of a human, torso

and up, with the familiar mug-shot measurements.

MAE
In seconds, the computer will
select, at random, a fugitive from
justice, a proven menace to our
global community. Our assertion is
that whoever he or she is,
SoulSearch will locate them within
twenty minutes.

MURMURS fill the room, followed by scattered APPLAUSE.

MAE (CONT’D)
Let’s select that fugitive.

Standing against the wall near the back of the audience is --

-- ANNIE, who watches skeptically, her arms crossed.

 107.

Pixel by pixel, the silhouette slowly becomes an actual

person. When the selection is finished, squinting into a
police camera is the hard-looking face of a WOMAN.

MAE (CONT’D)
(scans the info on-screen)
Okay, this is Fiona Highbridge.
Forty-four years old. Born in
Manchester, England. She was
convicted of triple murder in 2004.
She locked her three children in a
closet and went to Spain for a
month. They all starved. She was
sent to prison in England but
escaped, with the help of a guard
who she apparently seduced.

Mae turns to see a COUNTER tick up to: 1,109,001,887.

MAE (CONT’D)
Over a billion people are watching.
Let’s see how many are in the UK.

A SECOND COUNTER spins, landing on: 14,028,981.

MAE (CONT’D)
The information we have says her
passport was revoked years ago, so
Fiona is probably still in the UK.
Do you all think fourteen million
Brits and a billion global
participants can find Fiona
Highbridge in twenty minutes?

The audience ROARS.

MAE (CONT’D)
Okay, everyone ready? Let’s bring
up the clock.

A giant six-digit TIMER appears, indicating hours, minutes,

and seconds.

MAE (CONT’D)
Let me show you some of the groups
we have working together on this --
like the University of East Anglia.

A FEED shows: hundreds of CHEERING STUDENTS in an auditorium.

MAE (CONT’D)
Let’s see the city of Leeds.
 108.

A FEED shows: a public square, packed with waving PEOPLE,

bundled up for cold and blustery weather.

MAE (CONT’D)
Everyone ready?

The two crowds CHEER.

MAE (CONT’D)
Good. Now on your mark, get set...
(draws her hand down)
...GO!

Next to the PHOTO of Fiona Highbridge is the COMMENT FEED --

the most popular comment reads:

Are we sure we want to find this hag? She looks like the
Scarecrow from Wizard of Oz.

LAUGHS throughout the auditorium.

MAE (CONT’D)
Okay, time to get serious.

CUT TO:

ON SCREEN: 201 PHOTOS are posted -- most of them close to

Fiona’s face. VOTES are being tallied.

CUT TO:

ON SCREEN: Only FIVE PHOTOS from around the world left. Two
of the photos are from the same town -- Carmathen, Wales. The
images look exactly like Fiona Highbridge.

CUT TO:

THE AUDIENCE watches, riveted, as

ON SCREEN: a woman (GRETCHEN, 20s) using the VIDEO FUNCTION

on her phone goes through a COMMERCIAL LAUNDRY.

MAE (O.S.) (CONT’D)

Be careful, Gretchen.

GRETCHEN
(Welch accent)
I will.

ON SCREEN: Gretchen weaves between enormous steaming

machines. CO-WORKERS glance curiously at the camera. Across
the room, a THIN WOMAN feeds a bedsheet between two wheels.

MAE
 109.

checks the clock: 6 minutes, 33 seconds.

ON SCREEN: The thin woman notices the camera -- and runs!

Gretchen hesitates, filming as the woman disappears.

MAE (O.S.)
Follow her!

The camera jostles as Gretchen chases up the stairs, through

a hallway, and through a door, revealing...

...FIONA HIGHBRIDGE, trapped against a wall, surrounded by a

DOZEN PEOPLE -- most of them aiming their PHONES at her!

PERSON FROM THE CROWD

Gotcha, kid-killer!

Fiona collapses to the ground, covering her face.

ADDITIONAL GUIDANCE (O.S.)

She must be kept safe.

MAE (O.S.)
Keep her safe! Has someone called
the police?

As if on cue, the sound of SIRENS.

CUT TO:

ON SCREEN: FOUR OFFICERS handcuff Fiona.

MAE

checks the clock in the Great Hall: 10 minutes, 26 seconds.

MAE (CONT’D)
I guess that’s it.

Mae stops the clock -- as the audience explodes with CHEERS.

VOICE FROM AUDIENCE (O.S.)

Let’s do another!

MAE
Well, we could...

Mae glances at Bailey, standing in the wings. He shrugs.

ADDITIONAL GUIDANCE
Maybe not another fugitive. Let’s
try a regular civilian.

Mae thinks for a moment, has an idea, smiles, then says:

 110.

MAE
Okay, everyone.

Mae looks on her TABLET, finds a photo, and quickly transfers

it to the screen behind her.

ON SCREEN: A PHOTO of Mae and Mercer, standing near the

entrance of a coastal hiking trail.

MAE (CONT’D)
Okay, our second target today is
not a fugitive from justice, but
you might say he’s a fugitive from,
well...friendship.

Mae grins, acknowledging the LAUGHTER in the room.

MAE (CONT’D)
This is Mercer Medeiros. I haven’t
seen him in a few months, and I’d
love to see him again. Like Fiona
though, he’s someone who’s trying
not to be found. Let’s see if we
can break our previous record.

The clock begins. PHOTOS begin to appear on screen.

CUT TO:

ON SCREEN: HUNDREDS OF PHOTOS of people that look similar to

Mercer. Some are Mercer. Some include Mae (which amuses the
audience). A ZING appears from Jasper, Oregon:

I’ve seen this guy at our local grocery. Let me check.

TWO ADDRESSES show up -- both in Jasper, Oregon.

CUT TO:

ON CAMERA

a CAR races up a winding driveway to a CABIN. The camera work

is more professional and clear this time. Someone films a
participant -- a grinning YOUNG WOMAN -- as she hurries over
to the front door of the cabin and KNOCKS.

YOUNG WOMAN
(overly familiar)
Mercer? Mercer, you in there? You
in there making some chandeliers?

No answer.
 111.

YOUNG WOMAN (CONT’D)

Mercer! I know you’re in there. We
see your car.

The camera pans to the driveway, revealing: MERCER’S PICKUP

TRUCK -- as well as a DOZEN PEOPLE, decked out in baseball
hats and some in camouflage, all holding their PHONES.

CROWD
Mercer! Mercer! Mercer!

YOUNG WOMAN
Go around.

Another FEED goes to the back porch, peers in the windows.

Inside are a pile of antlers, books, dusty chairs, and on the
mantel: a PHOTO of a TEENAGE MERCER with his FAMILY.

CROWD (O.S.)
Mercer! Mercer! Mercer!

YOUNG WOMAN
(eyes wide)
There he is! Driveway!

Both cameras begin to move and shake as they run from the
PORCH to the DRIVEWAY, just as:

Mercer speeds backwards down the driveway in his truck!

A YOUNG MAN runs alongside the truck and attaches a SEECHANGE

CAMERA on the passenger-side window of Mercer’s truck.

CUT TO:

MAE

and the audience watch, riveted, while

ON SCREEN

Mercer speeds along the road. He glances furiously into the

eye of the camera.

MERCER
FUCK YOU!

MAE

glances at a clock: 11:51.

 112.

MAE
(joking “villain” voice)
Okay -- release the drones!

CUT TO:

ON SCREEN

The view from ELEVEN DRONES flying through the air! They
swoop down through the trees, surrounding Mercer’s truck. A
smaller drone attaches itself to the driver-side window.

MAE

MAE (CONT’D)
Can someone get me on audio for the
drone called ReconMan10?

ON SCREEN

Mercer drives as fast as he can. Then he hears:

MAE (O.S.) (CONT’D)

It’s me, Mae! Can you hear me?

There’s some faint recognition on Mercer’s face. He squints,

glances at the drone in disbelief.

MAE (O.S.) (CONT’D)

Mercer, stop driving. It’s just me!
(almost laughing)
I just wanted to say hi!

The audience ROARS.

But Mercer doesn’t smile. He doesn’t stop. He looks straight

ahead, determined.

MAE

MAE (CONT’D)
(mock authoritative voice)
Mercer! Stop the car and surrender.
You’re surrounded.
(smiles)
You’re surrounded...by friends!

LAUGHTER. But Mercer doesn’t acknowledge the drone.

ON SCREEN

No longer woods. It’s opened up. All blue. Mercer drives over
a NARROW BRIDGE, connecting a MOUNTAIN to another MOUNTAIN,
hundreds of feet over a gorge.
 113.

MAE

MAE (CONT’D)
Can we turn the microphone up?

An ICON appears, indicating that the volume had been at half-

power, and is now at full.

MAE (CONT’D)
(jokey ominous voice)
MERCER!

ON SCREEN

Mercer’s head jerks towards the drone, shocked by the volume.

MAE (O.S.) (CONT’D)

Mercer! It’s me, Mae!

Mercer doesn’t smile. He just slowly shakes his head, as if

profoundly disappointed. Suddenly -- TWO NEW DRONES appear at
the passenger side window.

MALE VOICE FROM DRONE

Mercer, stop driving!

Mercer’s head swings towards the voice, and when he turns

back to the road, his face shows real panic.

GREAT HALL

On the screen behind Mae, two SEECHANGE CAMERAS on the bridge

are added to the grid. A THIRD CAMERA comes alive seconds
later, offering a view of the span from the riverbank below.

FEMALE VOICE FROM DRONE

(laughing)
Mercer, submit to us! Submit to our
will! Be our friend!

ON SCREEN

Mercer turns his truck towards the drone, as if intending to

ram it, but the drone adjusts its trajectory automatically
and mimics his movement.

FEMALE VOICE FROM DRONE (CONT’D)

You can’t escape, Mercer! Never,
ever, ever. It’s over. Now give up.
(laughing)
Be our friend!

GREAT HALL
 114.

The audience CHEERS.

COMMENTS pile up on the screen, saying things like:

Greatest viewing experience of my life!

The cheers GROW...

ON SCREEN

an expression comes over Mercer’s face, something like

determination, something like serenity. His right arm spins
the steering wheel --

-- and then he disappears from the view of the drones!

When the cameras regain their lock on Mercer, his truck is

crossing the highway, speeding towards a CONCRETE BARRIER --

-- then the truck BREAKS THROUGH! Leaps into the gorge! Flies
through the air! And then...

...the truck vanishes from view.

GREAT HALL

Mae SCREAMS at the top of her lungs. The audience GASPS.

ANNIE, who was leaning against the wall, collapses limply to

the floor.

Mae turns to the CAMERA FEED on the riverbed and sees:

A tiny OBJECT dropping from the bridge and landing, like a

tin toy, on the rocks below!

MAE

looks hysterically to the views from the other drones,

hovering above, as though expecting to see Mercer standing on
the bridge.

But the bridge is empty.

CUT TO BLACK.

Long silence. And then, finally:

BAILEY (PRE-LAP)
You doing okay?

FADE IN:
 115.

INT. THE CIRCLE - OCHRE LIBRARY - DAY

CLOSE ON: MAE’S WRISTBAND. 28,554,201 people are watching.

Mae and Bailey are alone in the library -- except for Mae’s
millions of viewers.

NOTE: When Mae speaks now, it’s measured, as though searching

for the correct balance between raw emotion, quiet dignity,
and practiced composure -- her idea of “presidential.”

MAE
Yes, thanks. Not sure it’s hit me
yet.

BAILEY
It might not, not for a while. But
I don’t want you to blame yourself.

MAE
Well, it’s sort of hard not to...

BAILEY
Mae, you were trying to help a
disturbed, antisocial young man.
You and the other participants
tried to bring him into the embrace
of humanity. He rejected that.
(beat)
I think it’s self-evident that you
were, if anything, his only hope.

MAE
Thank you for saying so.

BAILEY
And your parents? They’re okay?

Mae doesn’t answer. Conspicuous silence.

BAILEY (CONT’D)
(knowing)
It must have been...very nice to
see them at the service.

Mae nods.

BAILEY (CONT’D)
I know there’s still some distance
between you all, but it’ll collapse
with time.

Bailey paces, deep in thought.

 116.

BAILEY (CONT’D)
In your troubled Mercer, we’ve lost
one of the world’s many, many
people, which reminds us of both
life’s preciousness and its
abundance. Am I right?

Mae considers the question for a long beat, then replies:

MAE
You are.

Bailey, satisfied, changes the subject.

BAILEY
Speaking of people we care about
and don’t want to lose, I know you
visited Annie yesterday. How’s she
doing? Her condition the same?

Mae hesitates, full of emotion.

MAE
It’s the same. But you know Annie.
She’s strong.

BAILEY
She is strong. And she’s so
important to us. Just as you are.
(right into Mae’s eyes)
I know you both know it, but I want
to say it again: you’ll never be
without the Circle, okay?

MAE
(on the verge of tears)
Okay.

INT. THE CIRCLE - AQUARIUM - DAY

Mae walks in a daze by herself, passing different TANKS with

SEAHORSES, an OCTOPUS, and a SHARK. Her phone RINGS. The
number is blocked. She answers it.

TY (V.O.)
Mae, we need to talk.

She doesn’t reply.

TY (V.O.)
Please.
 117.

INT. THE CIRCLE - UNDERGROUND ROOM - DAY

Mae walks into the underground room to find Ty waiting for

her, next to the red box.

MAE
What do you want from me?

TY
You have great influence here. You
have to help. You’re the only one
who can slow all this down.

MAE
Slow what down? The company you
created?

TY
I didn’t create all this. I was a
24 year old who built a clever
operating system. This --

Ty points to the red box.

TY (CONT’D)
-- is not my idea.

MAE
I’m leaving.
(turns to go)
And I don’t see why you just don’t
leave, too. Leave everything. If
you don’t believe in all this, then
leave. Go to the woods.

TY
Didn’t work for Mercer, did it?

Mae stops in her tracks, her eyes wide.

TY (CONT’D)
Sorry. But he’s why I contacted you
now. There are going to be more
Mercers -- people who want no part
of the Circle. There used to be the
option of opting out. That’s over.
(off Mae)
Completion is the end. It’s a
totalitarian nightmare.

MAE
And it’s my fault?
 118.

TY
No, but now you’re the ambassador.
You’re the face of it. The benign,
friendly face of it all.
(off Mae)
Mae, 90 percent of the world’s
searches go through the Circle. We
have no serious competitors.
(beat)
How can anyone rise up against the
Circle if they control all the
information and access to it?

MAE
But there’s a thousand protections
to prevent this. It’s not possible.
Governments will make sure --

TY
Governments who are transparent?
Legislators who owe their
reputations to the Circle? Who
could be ruined the moment they
speak out?
(beat)
Demoxie, whatever it is, good God.
Under the guise of having every
voice heard, you create mob rule.
(off Mae)
It’s brilliant. You’re brilliant.
You’re what Stenton and Bailey have
been hoping for from the start.

Mae shakes her head.

MAE
If everyone has equal access to
services, to information, we
finally have a chance at equality.
Who doesn’t want that?

TY
So you think everyone should be
tracked, should be watched?

MAE
I think everything and everyone
should be seen. And to be seen, we
need to be watched. The two go hand
in hand.

TY
But who wants to be watched all the
time?
 119.

Mae hesitates, replies honestly:

MAE
I do. I want to be seen. I want
proof I existed.

TY
Mae...

MAE
We all know we die. We all know the
world is too big for us to be
significant. So all we have is the
hope of being seen, or heard, even
for a moment.

TY
Mae, please...Annie understood. You
know she did.

Mae hesitates.

MAE
What do you want from me?

TY
When you have the maximum amount of
viewers, read this statement.

Ty hands Mae a piece of PAPER with the message:

THE RIGHTS OF HUMANS IN A DIGITAL AGE

Mae scans it, catching a couple passages like:

NOT EVERY HUMAN ACTIVITY CAN BE MEASURED and WE MUST ALL HAVE
THE RIGHT TO ANONYMITY

And at the bottom of the page, written in red ink:

WE MUST ALL HAVE THE RIGHT TO DISAPPEAR

Mae looks up at Ty, barely hiding her shock.

MAE
You want me to read all this to the
watchers?

TY
Yes.

MAE
And then what?
 120.

TY
I have a series of steps that we
can take together that can begin to
take all this apart.
(beat)
I’m the only one who can do it, but
I need your help.

MAE
And then what?

Ty takes Mae’s hands, looks deep into her eyes.

TY
(achingly sincere)
Then you and I go somewhere. I have
so many ideas. We’ll vanish. We can
hike through Tibet. We can bike
through the Mongolian steppe. We
can sail around the world in a boat
we built ourselves.

Mae nods, fully grasping Ty’s epic, romantic plan.

MAE
Are you sure we’re not being heard?

TY
Of course not.

Mae nods.

MAE
Okay, good. I see everything
clearly now.

INT. THE CIRCLE - STAIRS - DAY

Mae slowly walks up the steps.

EXT. THE CIRCLE - LAWN - DAY

Mae crosses the lawn, glancing at:

CIRCLERS eating in the grass, tossing frisbees, reading

tablets. Some of them glance up at Mae and wave to her.

Mae stops in her tracks, lost in thought, the weight of the

world on her shoulders. She sits down on a BENCH and takes
out her PHONE. A new ZING appears on her screen:
 121.

STENTON: 16,188 elected officials, from Lincoln to Lahore,

have now gone completely clear.

This zing is quickly followed by another:

BAILEY: And the waiting list is growing!

Mae gazes across the campus, taking in the buildings, the

PEOPLE, all of it. A look of deep calm appears on Mae’s face.

INT. THE CIRCLE - HALLWAY - DAY

Mae strides down a familiar wood-lined hallway.

INT. THE CIRCLE - OCHRE LIBRARY - MOMENTS LATER

Mae walks into the library and sees:

Bailey and Stenton sitting across from each other. They both
look up at Mae, who reaches into her pocket --

-- and reveals the paper given to her by Ty.

CUT TO BLACK.

The sound of water LAPPING. And then electronic BEEPS.

FADE IN:

INT. THE CIRCLE - CLINIC - PRIVATE ROOM - DAY

A HIGH-DEFINITION IMAGE OF: The BAY where Mae kayaks. We CUT

to another angle. And another. And another.

MAE (O.S.)
Isn’t it beautiful?

Mae, holding a TABLET that displays the image of the bay,

sits next to...

...Annie -- who is in a COMA.

Annie lies in bed with a BREATHING TUBE coming out of her

mouth. An EKG MACHINE is next to her -- as well as a DIGITAL
SCREEN with a growing list of supportive MESSAGES.

MAE (CONT’D)
(off the tablet)
It’s so calm out there. So quiet.
If you close your eyes, you feel
like you’re the only person alive.
 122.

Mae stares at Annie. Annie’s face is blank. Reveals nothing.

Mae lowers the tablet. She glances over at --

-- another MONITOR. Periodically, there are BURSTS OF COLOR.

It is a real-time picture of Annie’s brain activity.

MAE (O.S.) (CONT’D)

What are you thinking?

Mae reaches out and touches Annie’s forehead.

MAE (CONT’D)
What’s going on in that head of
yours, Annie?
(An idea occurs)
We need to know. We deserve to. All
of us.

Mae leans down to Annie’s ear...

MAE (CONT’D)
(whispers)
You can’t hide.

...and smiles.

CUT TO BLACK.

THE END