INT. BEDROOM - MORNING
Lawrence and Cecily lay awake.
CECILY
How did you sleep?
LAWRENCE
Really bad. I don't think I slept a
whole lot last night.
CECILY
Really?
LAWRENCE
Yeah, I had this dream. I was...
INT. BASKETBALL COURT - DAY
Everything is the color of yogurt and cardboard. Two
ACTORS stand in front of a camera on a tripod.
There's half a crane sitting off to the side with a GRIP
crawling on top of it.
The actor's clothes match their skin match the paint on
the walls. Lawrence stands in the middle.
Someone yells.
SOMEONE
This lav is broken, we need another
microphone.
LAWRENCE
I'll get it. Where is it?
SOMEONE
Other room.
Lawrence looks over and there's a doorway, the basketball
court seems much smaller than it used to.
Lawrence runs to the other room.
INT. OTHER ROOM - DAY
Lawrence runs around. Past the craft services that is
surely straight from the last film he worked on. From
the jar of pretzels to the tray of raw vegetables.
ASHLEY and GERA (20's) pop up. They do makeup.
ASHLEY
What are you looking for?
LAWRENCE
Another lav, they said it was in this
room.
GERA
Aren't you directing this thing?
LAWRENCE
Yeah. I guess I am.
LAWRENCE (V.O.) (CONT'D)
And then it dawned on me.
Lawrence runs back into the other room.
LAWRENCE (V.O.) (CONT'D)
I ran back into the other room. Looked
around.
The actors are all people he's never met. They look back.
The Grip on the Crane tries desperately to assemble the
crane pieces but fumbles around.
John from the shoot in Idaho pops his head up from behind
the camera.
LAWRENCE (V.O.) (CONT'D)
And John of all people was in the damn
thing. For some reason, it felt like he
was he only one on set with any
competence.
CECILY (V.O.)
Was Tony there?
LAWRENCE (V.O.)
No. But I didn't know anyone else. And I
hadn't chosen them.
INT. BEDROOM - MORNING
LAWRENCE
Somehow I'd written a Basketball short
and it has come together without my
knowledge or input.
CECILY
That's weird that you were the one
running around looking for something.
LAWRENCE
Yeah. I guess I need to remember how to
direct and not just crew. But the roots
of the dream are very apparent. You
know?
CECILY
Yeah. You need to be in New York.
FADE OUT:
FADE IN:
INT. APARTMENT, LIVING ROOM - DAY
Lawrence sits in the middle of the rug. His script is
next to him. He draws, or tries to draw storyboards.
He refers to his computer. His unfinished shot list.
LAWRENCE (V.O.)
I'm not really sure what I'm doing.
Living this far away from where my
project is being produced. This may be my
new way of fucking myself. If, for
instance, this movie got made and it
sucked. And it was because of my absence
from the most important part of
production. I will have learned nothing.
I will have known the problem the entire
time and done nothing to solve it. For
once, I don't think the problem is my
script.
There's a knock at the door. Lawrence opens it, slowly.
It's the MAILMAN. Shoves a package in his hand.
LAWRENCE (CONT'D)
Thanks.
MAILMAN
Just wanted to know if next time I should
come by la--
Lawrence shuts the door on him.
LAWRENCE (V.O.)
Sometimes I feel like I'm in Mr. Roger's
neighborhood.
Rips open the package. Another envelope.
Knock, knock.
LAWRENCE (CONT'D)
Fucking mailman.
(opens the door)
Look, I don't care when--
A YOUNG MAN stands in the doorway. Wiping his feet on
the mat.
The man is thin and pale, dark bushy hair over his
forehead and ears. His Adam's apple sticks out
prominently, he wears a thick leather jacket and shorts
with a wallet chain. His shoes look like shit.
But his face cannot be focused upon. It's not really
there when you look at it but it seems to be when you
look at something else.
Lawrence is surprised. He can only say one word.
LAWRENCE (CONT'D)
Lucas.
LUCAS
Hey man. It's cold in Washington. You
got anything to drink?
LAWRENCE
Yeah. Come on in.
LUCAS
Where's your woman?
Lucas walks inside. Heads for the kitchen.
LAWRENCE
Hey. Listen. You're a figment of my
imagination and as so, I have to insist
you don't drink up all my booze.
INT. KITCHEN - CONTINUOUS
Lucas's head's in the freezer.
LUCAS
One shot of kettle and a bottle of
alcoholic chocolate milk.
LAWRENCE
Yeah, Cecily likes Bailey's.
Removes the Bailey's.
LUCAS
Mind?
LAWRENCE
No.
(closes the freezer)
Dude, what are you doing in my house?
Lucas pours himself a glass, walks back to the living
room.
Lawrence looks down. He's still holding the envelope.
He opens it, pulls out a stack of head shots. Fans them.
Photos of young men, all about Lucas's height and build.
INT. LIVING ROOM - DAY
Lucas hovers over the sketches.
LUCAS
You think you're missing out on the fun?
LAWRENCE
What's that?
LUCAS
Yeah, making your movie. I mean shit,
the only thing that kept you from filming
my story when you lived in that old city
was never finding time to finish the
story.
Lawrence walks up to Lucas and holds a head shot in front
of his face. A young smiling boob with a big nose and
stranger side-burns. The head shot starts to move and
talk with Lucas.
LUCAS (CONT'D)
That was the only thing that kept you
from making any movie. Script wain't
done.
LAWRENCE
That wasn't the only thing. Women
prevent it too. There was no way I
could've done anything like this. Even
written this journal when I was with
Lora.
He switches head shots. Another guy, frosted blonde
hair, eyebrows like they're keeping his brain warm.
LUCAS
Perfect man. Blame the girl for the
downfall. Sounds real familiar.
LAWRENCE
How is your woman by the way?
Tears down the head shot.
LUCAS
Fuck you. I'm fucking leaving.
LAWRENCE
Where you gonna go? It's a leap by any
to believe we're one and the same. Both
forced out of New York. Neither want
back in. So don't give me shit about
missing out.
LUCAS
I'm not. You dreamt it, like it was
happening. You don't even know what I
look like!
LAWRENCE
I know exactly what you look like. You
look like me, except prettier and easier
to photograph.
Lucas chugs his Bailey's. Wipes his mouth with the back
of his sleeve like a little kid.
LUCAS
Okay, I'm out.
LAWRENCE
No.
Lawrence picks up his laptop. Types quickly.
Lucas reaches for the door. His hand is gone.
Lawrence's laptop screen reads:
LUCAS HAS STUMPS WERE HIS HANDS SHOULD BE.
LUCAS
Oh, super clever. Real magic show. Give
a man his hands back and get back to
work. We've all got business to finish
today.
LAWRENCE
No. You not going anywhere.
LUCAS
Why the hell not?
LAWRENCE
Because. You're me. I thought I knew
everything about you, I could control
your character but it turns out, you also
know everything about me. And I've been
writing you for two years. We've been
through a lot together. So you're
staying right here until we figure this
out.
LUCAS
This what?
LAWRENCE
Me.
Lawrence types into his laptop.
LUCAS HAS HANDS, BUT THEY'RE TIED UP BEHIND HIS BACK
AND HE'S TIED TO THE RECLINER.
Lawrence looks up. His bidding has been done.
LUCAS
I'm gonna be late.
FADE OUT:
FADE IN:
INT. CAR - NIGHT
Lawrence's hair is much shorter. He drives an old maroon
Buick Skylark down a dark old country road. Beside him
sits LORA and behind him sits DIANE, Lora's mom.
LAWRENCE (V.O.)
Now. Lets start at the beginning.
LUCAS (V.O.)
Sorry, bro I'm no use to you. I wasn't
here for none of this.
LAWRENCE (V.O.)
Yes you were. I wrote the first scene
the second draft in Lora's grandma's
basement.
LUCAS (V.O.)
Yeah and nothing else for a year, least.
LAWRENCE (V.O.)
I'm looking for something. Something
about the journey.
LUCAS (V.O.)
Okay fine. What were you doing? Why
were you in that car sitting around those
women?
LAWRENCE (V.O.)
I'd come to save Lora. Bring her home.
We were driving from the bus station and
her mom couldn't drive too well cause she
had some neck surgery.
LUCAS (V.O.)
Where were you?
LAWRENCE (V.O.)
Thief River Falls, Minnesota. August
thirty-first two-thousand and five.
LUCAS (V.O.)
But that wasn't the beginning of the
story. There was more. Right?
INT. APARTMENT, LIVING ROOM - DAY
Lawrence sticks his face in Lucas's blurry face.
LAWRENCE
I'm not here to answer your questions,
Character. You're here to answer mine.
LUCAS
Don't wanna talk about it?
LAWRENCE
You know what it's like. Falling in love
with an alcoholic. You wanna talk much?
Lucas doesn't say a word.
The door opens. Cecily walks in.
CECILY
Hey baby. What's up?
Lawrence and Lucas turn.
CECILY (CONT'D)
Why's there a man tied up in our
apartment?
LAWRENCE
This is my character. Lucas this is
Cecily.
LUCAS
Dude, I know who your fucking lady is.
Cecily walks up.
CECILY
You're kidding.
LAWRENCE
No. Check it.
CECILY
What's with his face?
Lucas leans in to Lawrence's ear.
LUCAS
Yo. She looks exactly like my boy's
chica in Nueva York.
LAWRENCE
It's likely.
(to Cecily)
So I tied him up and we're trying to
figure out my problem with making this
movie. I'm going somewhere in the
directions of distance. Like why I
always have to travel to get anything
done.
LUCAS
And why sometimes he fails to travel.
And things fail.
CECILY
But does he need to be tied up?
LUCAS
Yeah, do I?
CUT TO:
INT. KITCHEN - NIGHT
They sit around the table. The boy's scarf down dinner
much the same way. Cecily gets much enjoyment watching
this.
LAWRENCE
(mouth full)
So. What about when I didn't go? I mean,
went to Minnesota, got the girl, came to
Washington, got the girl. Didn't go to
Arizona, didn't get shit. There's a
pattern man.
LUCAS
Indubitably.
(to Cecily)
Is there anymore, potatoes?
CECILY
What does your failure with women have to
do with this movie?
LAWRENCE
I donno. It just feels the same. It feels
like I need to be there. Proximity is a
killer.
CECILY
I think it's all bullshit. It has nothing
to do with a journey. It's about taking
control of the situation and timing.
Maybe that involves a journey usually but
it doesn't have to.
LUCAS
I don't mother fucking want to be in New
York anymore.
Cecily pauses, wine in hand, for a second.
CECILY
Hey. Lawrence, have you ever noticed that
you too are interchangeable.
LAWRENCE
Yeah, I was just saying. That's why I
tied him up. He knows me.
ZOOM IN as she talks.
CECILY
No but more than that. Like he will talk
for you or you for him, but never at the
same time. It's like he's not separate
at all. You're just talking to yourself.
ZOOM OUT. Lucas is gone.
LAWRENCE
Great. Well thanks babe. He's imaginary
and I just ate two plates worth of food.
CECILY
(takes his hand)
What's wrong?
LAWRENCE
There's barely a month and a half left,
we don't have a breakdown, there's no
lists, so nothing to check off and know
we're getting closer. No choices for cast
even though there's a million actors in
New York. Nothing. We have nothing and
I can only blame my own leadership. But
I will not spend thousands of dollars I
don't have to make a movie that could've
been good given proper, dedicated pre-
production. I saw what happened when we
had no choices on Nate's film. Fuck
that. I don't have money to burn.
CECILY
Then there's only one thing you can do.
Lawrence waits for a long moment. Thinking. He sits back.
LAWRENCE CECILY
I have to cancel the shoot. You have to go to New York.
FADE TO BLACK:
Tuesday, November 21, 2006
Wednesday, November 01, 2006
EXT. STATE AVE, OLYMPIA, WASHIINGTON - MORNING
Lawrence steps out of Cecily's car. The city has changed
color. The trees are read and yellow.
Lawrence runs across the street with an envelope in his
hand. Cecily drives off.
LAWRENCE (V.O.)
Fall is the time when people start
putting Vaseline in their noses. They
remember they don't own enough socks.
They get sick and then give everyone
advice.
INT. MAIL BOXES ETC - MORNING
Lawrence walks in. Slaps a big envelope on the scale.
LAWRENCE
Gonna need some stamps.
EMPLOYEE
Alright. It's a dollar twenty-five.
EXT. DOWNTOWN OLYMPIA - MORNING
Lawrence walks through town. Stops at a theatre. Looks
inside. It's being painted. A sign reads.
"OLY FILM FESTIVAL NOVEMBER 3rd THROUGH 11th."
He walks on.
INT. APARTMENT - MORNING
Lawrence eats Captain Crunch. Works on his computer.
LAWRENCE (V.O.)
I've got it down. It seems. At least
for the last 2 weeks. I've been working
on a lot of stuff, which I suppose is why
I haven't updated this thing much. Every
other day I write. All day long. Every
other day I do web page work, all day
long. Sometimes I get up and take out
the trash or rent a movie or look around
a bookstore. This is what I do.
Lawrence prints out a script in Cecily's printer.
Lawrence does a pull up on a bar.
LAWRENCE (CONT'D)
One.
LAWRENCE (V.O.) (CONT'D)
And it's made my life so much simpler.
My head no longer worries about what I
want to do. I know my task for the day.
It is clear. My success depends on my
dedication to that task. So I guess you
could say, I've made it half way. I am
able to do what I want to do 3 days a
week.
INT. APARTMENT, NEW YORK - MORNING
Antonio wakes up. Rolls out of bed. It's still dark
outside.
He sits at his kitchen table eating cereal. Typing into
his laptop.
ANTONIO (V.O.)
I've got a story for you. I'll tell
later. I've gotta go to work.
Antonio walks to the subway. It's chilly. No one is up
this early.
ANTONIO (V.O.)(CONT'D)
It's already Wednesday. Jesus. Today's
the fucking deadline for that contest.
SOUND OF THE SUBWAY
EXT. OLYMPIA - MORNING
Lawrence sits on his couch in the middle of the sidewalk.
He can't hear it. He's typing.
People on the street don't notice him.
LAWRENCE (V.O.)
I sat right here for 3 days and worked on
one script. Not even the renter's strike
script. The fucking one set in Alaska.
I worked on it for 3 days.
INT. APARTMENT - MORNING
Lawrence does a pull up.
LAWRENCE
Two.
INT. APARTMENT - NIGHT
Cecily and Lawrence sit around. She's holding a script
in one hand and a beer in the other.
LAWRENCE
The ending doesn't work. I'm not happy
with it.
CECILY
No, it's awesome. I like this one better
than the renter's strike one.
LAWRENCE
Really? I don't.
CECILY
Maybe it's just the visual stuff. I'm
such a visual person. The part where it
comes out of the film.
LAWRENCE
I think that might distract the audience
from all of the logic problems.
LAWRENCE (V.O.) (CONT'D)
We must've talked about that ending for
two hours. Cecily learned all the
secrets of my process.
INT. PRODUCTION COMPANY - MORNING
Antonio arrives. Opens his laptop.
ANTONIO (V.O.)
I'm gonna answer phones, get the mail and
write about Suicide Sam.
The Production Manager walks up to Antonio.
PRODUCTION MANAGER
Can you run this to the Hyatt? Room
three-five-seven.
ANTONIO
Sure.
INT. APARTMENT - MORNING
Lawrence does a pull up.
LAWRENCE
Three.
INT. PRODUCTION COMPANY
Antonio closes his laptop.
INT. APARTMENT - NOON
Lawrence searches his computer. Finds a script called
"tony short.fdr."
He emails it to Antonio. Types.
SEND THIS SHIT. NO CHANGES, JUST PRINT AND SEND.
Lawrence looks something up on the Web. Cut and pastes
the contest guidelines and mailing address into the e
mail.
LAWRENCE (V.O.)
What do we do? You talk to me all
fucking day, walking around New York,
running errands. Making me believe I can
write these things. We do each other's
work. I'll fucking mail it from my time
zone if it's too late in yours.
INT. HOTEL - AFTERNOON
Antonio walks into the Hyatt Hotel listening to his iPod.
LAWRENCE (V.O.)
Hear me?
Through the lobby and to the elevators. Tries to just
get on the elevators. A CONSEIRGE stops him.
CONSEIRGE
Excuse me sir. Can I help you get
anywhere?
INT. APARTMENT - MORNING
Lawrence does a pull up.
LAWRENCE
Four.
INT. HOTEL - AFTERNOON
Antonio pops his ear buds out.
ANTONIO
No I think I got it.
CONSEIRGE
Where are you headed today?
ANTONIO
Room three-fifty-seven.
Steps onto the elevator. Doors close.
CONSEIRGE
Sir? There's--
INT. ELEVATOR - AFTERNOON
Antonio rides with a gentle seeming OLD MAN. He looks at
him out of the corner of his eye.
ANTONIO
Excuse me. Can I tell you a story?
OLD MAN
Hmm? Sure son.
ANTONIO
Last night, I was at my friend Danny's
house, right.
Bing! Doors open. Third Floor.
Antonio looks at the old man. Sighs. Steps off.
INT. 3RD FLOOR HALLWAY - AFTERNOON
Antonio walks down the hall. 347, 349. Turns the
corner.
INT. APARTMENT - MORNING
Lawrence does a pull up.
LAWRENCE
Five.
The hallway ends and Antonio finds himself looking out
over 48th street from three floors up.
The traffic honks and wizzes below. The light is almost
too much.
ANTONIO
Fuck. Where the hell is three-five
seven. Maybe it's on the other side.
Walks back.
INT. APARTMENT - AFTERNOON
Lawrence takes out the recycling.
LAWRENCE (V.O.)
Secret agents always have an escape plan.
It's in the back of their minds the whole
movie. The safety deposit box, the new
identity. The pay phone call to the one
they love from a far off land. Goodbye
they tell them. It's been too long. I
hate to see wild dogs in a pet store.
INT. HOTEL HALLWAY - AFTERNOON
Antonio on his cell.
ANTONIO
I don't know. It's missing. ... I
looked all over this fucking thing.
There's no three-five-seven at the Hyatt.
... Fine, I'm on my way.
SOUNDS OF SUBWAY
INT. SUBWAY - AFTERNOON
Antonio rides. Stares at the advertisements for
techinical colleges.
INT. APARTMENT - MORNING
Lawrence does a pull up.
LAWRENCE
Six.
INT. SUBWAY - AFTERNOON
ANTONIO (V.O.)
Maybe I'm too busy. Maybe I can't think
of anything to write about. Fucking
contest. Fuck the contest. I need a
vacation.
Lawrence walks up and sits beside him.
LAWRENCE
Do I look like I'm on vacation?
ANTONIO
Yeah, you kinda do.
LAWRENCE
Oh.
He turns to look away. Stares at the beer ads.
ANTONIO
How ya been man. I missed you?
LAWRENCE
I've been good bro. We talk every day.
You know I've been good. Keeping fit.
Trying my best to, I donno. Stay a
solider. Ready myself for when I'm
called upon.
ANTONIO
Yeah. I hear ya. But I think you're
bullshiting me. I mean, come on. We've
done this for years. I'm up you're down.
Visa versa. You're travelling, I'm
meditating in the woods behind my
grandparent's house. You're stuck in a
shitty job, I'm stuck in a shitty place.
We call each other and make plans and
talk big and play devil's advocate about
the reality. Either it's perfectly happy
or perfect shit.
LAWRENCE
And what is it right now. Excuse me.
Lawrence hangs off the subway hand hold. Does a pull up.
LAWRENCE (CONT'D)
Seven. Bitch!
ANTONIO
It's the same as it's always been.
You're up and writing. I'm down and
working.
Lawrence sits back down again.
LAWRENCE
Yeah. And I can't imagine barking at you
to submit something to something doesn't
really help.
ANTONIO
Well. I mean it does but fuck man.
That's what I want to do! It ain't like
eating my peas. If I had one second
without eight-thousand assholes telling
me what to do, I'd have submitted
something to that contest long ago.
LAWRENCE
I guess I'm eight thousand and one.
ANTONIO
Yeah but you're the only one who gives a
fuck. Like last night. I'm smoking with
Danny.
INT. DANNY'S APARTMENT - NIGHT
Antonio and Danny smoke a joint. Danny leans forward.
DANNY
Man, I don't know. I hate this place.
It's gonna be another five years before I
can leave.
ANTONIO (V.O.)
Dude what are you doing?
LAWRENCE (V.O.)
I'm writing your story in screenplay
form.
(grunt)
Eight.
ANTONIO (V.O.)
Dude, don't write my story. It's mine.
I'm going to write it. Don't write my
stories. Write your own.
INT. SUBWAY - AFTERNOON
Lawrence walks off.
LAWRENCE
Fine. Then write it.
ANTONIO
I already did. I sent it to you.
LAWRENCE
Not in script format.
ANTONIO
Who cares?
LAWRENCE
I do. I care. I've lost too many
friends to other formats.
CUT TO:
INT. SUBURBAN HOME, LONG ISLAND - AFTERNOON
Ainsley on a treadmill. ZOOM INTO her computer screen. A
fucking hiaku.
THE WORDS ARE FLOWING
I SIT AND WRITE THEN BOUNCE A
QUARTER OFF MY ASS
INT. SUBWAY - AFTERNOON
Subway pulls into the station. Antonio gets off.
Lawrence stays on. Holds the doors.
ANTONIO
We gotta go man. This is my stop.
LAWRENCE
Stop for what? Work? Nine.
ANTONIO
Yeah, I gotta go to work.
LAWRENCE
(yells)
You're on fire goddamnit! You're so
right you're willing to let your friend
punch you to prove it! I guess it's
easier to prove it than to live it.
Lets the doors go. Train starts off.
LAWRENCE (CONT'D)
(sits down, whispers)
Listen to your hard won philosophy.
Kicks the seat. He fades away.
INT. OFFICE - NIGHT
Antonio comes back in. Opens his laptop. Sits. Waits.
Closes his laptop.
ANTONIO
Fuck you Lawrence. Fuck you.
Opens his laptop. It's 5:45 pm. He opens the e-mail
from Lawrence.
Opens the script in Final Draft. Prints it.
Opens Word. Starts to type a paragraph synopsis of a
script he wrote 2 years ago.
LAWRENCE (V.O.)
This isn't a seminar and it isn't a
weekend retreat. This is your life and
it's ending one minute at a time.
Checks the clock. 5:47. Keeps typing. Opens the drawer
below him. Big manilla envelopes.
INT. APARTMENT - MORNING
Lawrence does a pull up.
LAWRENCE
Ten.
Lawrence drops to the couch. Sits and re-reads his
little journal so far.
LAWRENCE (V.O.) (CONT'D)
It's not just about the pages. This
entry isn't very exciting and the
narration is about to get really
Scrubs-y. And I'm definitely not the
main character for the first time. Which
might mean I'm growing or it might mean
that I'm boring.
Lawrence looks out the window at his little view of
Olympia.
LAWRENCE (V.O.) (CONT'D)
Hilary I'm talking to you. Remember me?
Lawrence gets up and leaves the apartment.
LAWRENCE (V.O.) (CONT'D)
And Calee, have fun being a mom. Erica,
I hope you're not hibernating like I did.
Riley, I know you're writing.
INT. PRODUCTION COMPANY - NIGHT
Antonio prints the questions out. Paper clips them to
the script.
LAWRENCE (V.O.)
Sasha, I hope you're well and in love.
Dawn, I hope that for you too.
Shoves them in an envelope.
LAWRENCE (V.O.) (CONT'D)
For my hero, Charlie because fuck if he
ever finished anything.
Writes the address on the outside. Seals it.
LAWRENCE (V.O.) (CONT'D)
Sometimes, it is about the pages.
Especially when you're not putting any
out.
The Production Manager walks up to him as he's pulling
stamps off a roll.
PRODUCTION MANAGER
I need you to...
ANTONIO
I'm sorry I gotta get this to the Post
Office. I'll be right back.
Runs off.
EXT. CITY - NIGHT
Shots of him running to the Post Office with an envelope in his
hand.
LAWRENCE (V.O.)
Sometimes it just feels good to put those
pages in the fucking mail and pay a
dollar twenty-five to feel like you're
making progress.
FADE TO BLACK:
Subscribe to:
Comments (Atom)