FADE IN:
INT. ELEVATOR HALLWAY - DAY
Lawrence stares at the door to the Granada America offices.
LAWRENCE
One, two, three.
LAWRENCE (V.O)
Go. Go to work.
LAWRENCE
I don't wanna go to work. One,
two, three.
LAWRENCE (V.O.)
Then quit. I don't have time for
your pussy counting.
INT. CONFERENCE ROOM - DAY
LAWRENCE sits at his desk across from the door in a cramped
conference room. The walls are pee green. And like
everywhere else, he has no window to the outside world.
AMY (32), heavy-set, a terrible look on her face, sits to his
left.
WENDY (30's) J.A.P.y and loud, sits to his right
and AMBER (20's) oblivious, like a deer in the road, sits
across the room.
LAWRENCE
Fine. I'm here. I'm typing
another script again. This one's
not going to be recieved as well.
I'm doing it in defiance of how
much you liked my last one. And
it's all I can do to get through
the day.
LAWRENCE (V.O.)
Where's Hilary?
LAWRENCE
I donno. Sleeping maybe. I don't
need to bring her here. I wouldn't
subject her to this shit.
LAWRENCE (V.O.)
That email she wrote last night was
pretty cool. Made you feel good.
LAWRENCE
Yeah. Maybe I'll read it again.
AMY
Who are you talking to?
LAWRENCE
Nobody. Just mumbling.
INT. OFFICE SPACE - DAY
Lawrence sits on the floor. Desks all around him are set up
with TV's and VCR's for logging tapes. Several LOGGERS in
headphones, about his age, type as they start and stop the
playback.
A XEROX COPIER sits in the corner.
LAWRENCE
People don't want to get me. It's
not a question of who's got the
better idea about life or who's
breaking down the lies and all that
mind-control mumbo jumbo. These
people want their money. They want
their big cars and their mortgages.
And they'll kill me if I tell them
I have a better way. They've
killed better men than me.
Silence.
LAWRENCE
I've even been abandoned by my own
Voice-Over.
AMY waddles out of the conference room. She starts making
copies.
AMY
Lar, get off the floor, Jon will
see you.
LAWRENCE
No he won't it's Rash-Hashana.
He's gone.
AMY
Well then someone else will see
you. Get up!
LAWRENCE
Why? What the hell do you care who
sees me? You hate accounting! You
want to go back to school anyway.
Why in the hell are you trying to
impress anyone?
AMY
I'm not trying to impress anyone.
But sitting on the floor. You look
like a homeless person. Get up.
LAWRENCE
You've never even looked at a
homeless person. I've seen you
avert your eyes and step over them.
They are on the outside of your
world-view. Don't tell me what I
look like. I know what I look
like.
AMY
Jesus christ, Larry!
Amy huffs away.
The COPIER buzzes and blinks to life.
COPIER
Hey. Psst. Hey Turkey, it's me!
LAWRENCE
Hil?
COPIER
I snuck in. I'm the copy machine.
Check it.
The Copier shoots out a page. Lawrence catches it. A xerox
of someone's butt cheeks.
LAWRENCE
(smiles)
Thanks. I'll treasure it forever.
COPIER
That stuff she just ran through me.
That's really boring stuff.
LAWRENCE
Yeah. There's a lot more paperwork
to accounting than just petty cash
receipts.
COPIER
Help me outta here.
INT. CONFERENCE ROOM - DAY
Lawrence and Hilary stand on the ceiling. Above (but also
below) the three people working.
AMY
No one's going to be there for
another two hours in L.A. anyway.
God damnit, why couldn't they just
seperate the fringes? What a
nightmare!
WENDY
Why the hell are there fruit-flies
around my desk?
AMBER
I can't figure out how to do if
then statements in Excel. Does
anyone know Excel?
LAWRENCE
These are actual things I'm just
over-hearing as I type this.
They're not talking to anyone.
They're just taking their
frustration out on the details.
They don't want to admit that this
isn't what they wanted to do with
their lives.
Hilary raises her hand. Waves it around.
AMY
Oh, I'll admit it.
LAWRENCE
So why don't you quit?
WENDY
Same reason you don't. Same reason
no one ever quits. We're afraid of
being broke.
Hilary holds her elbow up with her other hand. Arm getting
tired.
LAWRENCE
Right. And even though I realize
that, I still won't quit.
HILARY
Hey!
LAWRENCE
Yes, Hilary.
HILARY
Can I chime in? We're standing on
the damn ceiling. You, do you see
what you're saying there? These
other people. Your coworkers.
They're steeped in the meaningless
bullshit of everyday life. But
we're seperate from them. We're
moving through the everyday too but
we're above it. You're telling
yourself to not worry about them.
You're using my character to remind
yourself to play. Just sit on this
ceiling and this page and play with
me for a while.
LAWRENCE
I want to. I have to go back down
there. I'm going to have some work
to do soon.
HILARY
I can't do anything to help you
feel better about this job. I'm
here but I'm barely even noticable
above all of this negativity. And
I'm sure the rules of this world
are that I can't talk to your
coworkers.
LAWRENCE
Yeah, that wouldn't really be fair.
I should say or do whatever it is
should be said or done.
HILARY
Should we bring Dawn or Dave back?
You seemed happier when they were
here.
LAWRENCE
No. I wrote that in the middle of
one of Amy's fits. I wasn't happy
then. I was just trying harder to
escape the reality that I've built
for myself.
HILARY
Then please quit. You have to
please quit.
LAWRENCE
Is this how it's going to be now?
Quit the job in Philly, quit the
job in New York. All these things
handed to me. Am I just incapable
of working for a living anymore?
The trio's volume gets turned up.
WENDY
(on phone)
I'm just saying, I haven't been
able to look over the cost-report
so I don't know how helpful I'll be
in this meeting.
Amy's phone rings.
AMY
Jon is going to drive me crazy. If
this is him, I'm gonna scream.
WENDY (CONT'D)
(on phone)
Just, I had computer issues
yesterday and Jasmine's out today.
So I'm a little behind.
AMY (CONT'D)
Hi Jon. No, she says she sent it.
I don't know. I'm just buried
today.
WENDY (CONT'D)
God. This freakin' Mac.
EXT. ROOFTOP, WEST VILLAGE - DAY
Hilary and Lawrence sit outside. It's gray and breezy.
LAWRENCE
I'm sorry if I caused any tension
between you and Dave.
HILARY
You--
LAWRENCE
This isn't the first time I've been
accused of having an affair of the
mind. There was this girl in high
school, my senior year, Heather.
We connected in journalism class.
We were both dating other people
but her boyfriend was long
distance. He got jealous, I donno.
She ended up marrying her guy. I
wasn't invited to the wedding. I
haven't been invited to three
weddings so far. I think they live
in California now. I was dating
Julie at the time. I think she
lives in D-C now.
HILARY
I--
LAWRENCE
All of this. This big dramatic
show of writing talent. It's all
pretty useless. It's just a ball I
can balance on my nose. I saw a
girl on the subway this morning.
She was beautiful, but
something...I didn't realize she
was beautiful at first. I don't
have that knee jerk reaction to
people anymore. I didn't say
anything to her. I looked at her
feet in sandles and she got
embarrassed, started looking at her
feet too, moving her toes around,
uncomfortable.
(beat)
Maybe I should dramatize both of
those speeches in a scene. Maybe
it's better if you see it.
INT. PARKED SEDAN, APARTMENT COMPLEX IN THE SUBURBS - DAY
HEATHER (18), a mother's dream and LARRY (18) 90's grudge
hair, a jewish mother's nightmare in flannel, sit in the
front seat.
The heater warms them. Outside there is frost on the trees.
HEATHER
I feel like I just want to be
kissed. Like I would kiss anyone
right now. You know?
LARRY
I gotta go.
Larry opens the car window. Jumps out of the car. Steps
into...
INT. SUBWAY CAR - DAY
LAWRENCE (6 years older) sits next to a BLONDE GIRL (20's).
It's too crowded. There is nowhere to look but down.
Lawrence stares at her feet.
EXT. ROOFTOP - DAY
LAWRENCE
Aw fuck that! I'm not subjecting
you to my lonin--
Hilary slugs Lawrence in the nose.
HILARY
Sorry.
(embarrassed)
I felt mute.
LAWRENCE
Yeah. I'm sorry, I'm doing a lot
of complaining today.
HILARY
If I could quit for you I would.
LAWRENCE
So would I.
FADE TO BLACK:
Hilary pulls the blackness back across the screen.
WIPE IN:
HILARY
No, not yet! We have to solve
this.
FADE TO BLACK:
HILARY (O.C)
God damnit, Lawrence. I became a
Copier for you!
Sunday, September 19, 2004
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