Greta By Aswar Rahman Aswar Rahman

All rights reserved.

612.229.4533

EXT. SMALL ROAD I. NIGHT 1 MCU: JACK sits in the drivers seat, patiently looking out towards. There is soft music playing on the radio. JACK continues to look forward intently. 2 CUTAWAY/CU: The radio as JACK changes the station to Hindi music, still at low volume. 3 2S: BRUTUS and CASSIE sit on lawn chairs under a bright orange streetlight. They each hold a very large cup*--the kind you find at gas-station soda fountains. 4 MS: A ticket* under the wipers of the car directly in front of JACK. JACK is visible in the background. 5 MATCHCUT/MS: A ticket* under the wipers of the car in front of the previous car. JACK smaller in the background. 6 MATCHCUT/MS: A ticket* being placed by METERMAID under the wipers of the car in front of the previous car. JACK barely visible now. METERMAID places ticket and walks ahead. 3cotd. CASSIE takes a loud, prolonged sip from her large cup. 1cotd. JACK looks forward and starts breathing more heavily. 7 POV-JACK: Looking outwards at the ticketed car in front. 1cotd. JACK hold still as someone appears to approach from behind the camera. 7cotd. METERMAID walks towards JACKs car. METERMAID smiles at JACK and walks past him. 1cotd. JACK smiles as the METERMAID passes, then follows with a resolute look. The sound of a car behind him starting and driving off. 3cotd. The two are watching intently. CASSIE goes to take another long sip, but just as she begins to make a noise, BRUTUS reaches over (without looking) and pushes CASSIEs cup down. 1cotd. The drivers seat is suddenly empty and the door is open. 4cotd. Ticket gone. 5cotd. Ticket gone. 6cotd. Ticket gone. (CONTINUED)

CONTINUED: 1cotd. JACK quickly gets back into the car.

2.

8 CUTAWAY-CU: Car ignition as JACK rapidly enters key and turns car on. 1cotd. The place where JACK and his car were is now empty. 9 2S/REV/OTS: BRUTUS and CASSIE watch as JACK drives past quickly. 3cotd. BRUTUS now takes a loud, prolonged sip. CASSIE (pleased) Cool. EXT. BIKE RACK WILSON-CARLSON 10 POV-APPRENTICE: GRETA looks into the camera and delivers the first part of her monologue. GRETA (sternly) I wanna make this very, very clear--are you listening? Cause Im not gonna say this again. So listen very carefully: kids who ride around on Trek Domanes dont get work-study. Kids who are STUPID enough to lock up their thousand-dollar Surlies dont work the late-night shift. And kids who leave their fixies outside a coffee shop because "theyll only be in there for a minute" OBVIOUSLY never had to skip lunch to save up for dinner--so never--never, never, NEVER--feel bad for them. And if its the principle in general that you have a problem with, remember youre standing on stolen ground, going to school on money that you--especially you--are probably never paying back, and that in the cosmic scheme of things, you and I are basically leeches--ya got that? 11 POV-GRETA: APPRENTICE wears dazed, fish-eyed look and doesnt respond. 10cotd. A look of disappointment/disgust/contempt comes across GRETAs face.

(CONTINUED)

CONTINUED:

3.

GRETA (shaking her head) Just get the bolt cutters out. 12 WS: Reveal GRETA and APPRENTICE standing at bike racks. APPRENTICE swings his backpack* off his shoulder and unzips its chain. EXT. BIKE RACK INFRONT OF FERGUSON 13 2S[low-angle]: GRETA and APPRENTICE look downwards and assess the situation. GRETA (with usual sternness) Now, see, we have an interesting situation. (pointing) A good model, hundred bucks easy, maybe one-fifty--front wheels locked up tight BUT they left everything else free. So what do we do in this situation, my young padawan? APPRENTICE says nothing and continues to stare downwards. GRETA walks off to the side. 14 WS: GRETA goes scouring amongst the other bikes on the racks. She eventually finds one and stoops over it. 13cotd. GRETA returns to the frame carrying a single bike tire*. GRETA (at APPRENTICE) The Amsterdam Switcheroo. GRETA hands APPRENTICE the tire. GRETA Quickly now. APPRENTICE approaches the camera with the bike wheel. EXT. BIKE RACK WILSON-CARLSON 15 MS: GRETA leans against the wall, one leg kicked up, as APPRENTICE struggles to cut off a bike lock. GRETA What were doing now--dangerous. Almost unnecessarily dangerous, but (MORE) (CONTINUED)

CONTINUED: GRETA (contd) chances of getting caught still pretty low. Best is in a populated public space. APPRENTICE stops and looks up at GRETA. GRETA Not even kidding, try it some time. APPRENTICE goes back to trying to unlock bike. GRETA Yeah, in fact, more people the better. Not a single person will say a damn thing. Bystander effect. Tested it out, too--broad daylight, middle of Nicollet Mall. A cop walked out of his way to keep from running into me--me--on the ground with a mini-hacksaw. EXT. BIKE RACK WILSON-HELLER

4.

16 MS: The silhouette of GRETA and APPRENTICE as they focus on a bike infront of them. APPRENTICE violently pulls on lock and GRETA stoops behind him. GRETA Thats what they call a fortified. Keep hacking away like that. Ill give you five years and better arms than yours, still would only be about halfway through. APPRENTICE looks up at GRETA. GRETA You got the air can? 17 MCU(low-angle): GRETA, with APPRENTICE looking over her shoulder, sprays the can of compressed air* towards the camera. She continues spraying for a while, almost until the can runs out. GRETA (without turning) Hammer. APPRENTICE hands GRETA a hammer*. GRETA swings over the camera and a loud clank is heard. She then rises and walks off. APPRENTICE takes her place, looking above the camera with a bewildered look. (CONTINUED)

CONTINUED:

5.

GRETA (off-camera) Negative thirty-five degrees fahrenheit. Makes most U-locks brittle like glass. EXT. BIKE RACK WILSON-CARLSON 15cotd. MS: GRETA against wall as APPRENTICE still struggles with lock. GRETA But theres only one name of the game, paddy: awareness. Whether or youre in a crowd, or a deserted parking lot, you gotta keep your eyes open. Security cameras, bums sitting on streetcorners, gaps in the fence, dead end alleys, the window seats at a restaurant, an old lady hiding behind her curtains, peeking out at the world--all these can do you in. And sometimes itll get hairy and you think youre done, but--and listen to me, paddy--the only thing to do in a situation like that is to keep your cool. No use huffing and puffing and-JACK enters into the shot from the side. JACK (sharply) Hey! APPRENTICE instantly runs off. GRETA bewildered but stays where she is. 18 MCU: GRETA + 19 MCU: JACK JACK What the hells going on? GRETA (sweetly) Oh, well, see my boyfriend left his keys at home over spring break, and--

(CONTINUED)

CONTINUED:

6.

JACK Greta? A silence. GRETA (sweetness gone) Jacky boy. JACK looks around. JACK That was your boyfriend? A silence. Cutaway: VANESSAs eyes glance down. Cutaway: Parking ticket envelopes* sticking out of JACKs front pocket. GRETA Yeah. Sure. 20 WS: GRETA and JACK. JACK slowly stoops near his bike. He rises back straight with a broken U-Lock* in his hands. He shows it to GRETA, who gives a girlish smile. JACK, visibly agitated, takes his bike and walks it off screen. EXT. EAST RIVER FLATS NOTE: 2Sx2, front and back, low angle. JACK and CHARLIE swing golf clubs towards the river. The sound of pebbles hitting water is heard. CHARLIE No, man, that couldnt have been real-JACK That was the whole point-CHARLIE No, but the part with the gun, and he has this look on his face, you know the look--here, look-CHARLIE imitates an exagerated look of bewilderment.

(CONTINUED)

CONTINUED:

7.

JACK Yeah, thank you, I know the look. All Im saying is that the work entire was intended to show how easily we all can just sit back and let terrible things go by right infront of our eyes. Speaking off psychoes, guess who I saw today? CHARLIE Fred. JACK Who? CHARLIE I dont fucking know. JACK Greta Bergson. CHARLIE stops mid-backswing. CHARLIE Well thats interesting. JACK (alert) Interesting? What do you mean by interesting? CHARLIE I mean interesting, what else am I supposed to say? JACK Interesting as in youre interested? CHARLIE What? No! JACK Youre not gonna do your usual thing are you? CHARLIE What usual thing? JACK You know, the usual thing--

(CONTINUED)

CONTINUED:

8.

CHARLIE (growing offended) No, I dont know. What usual thing? JACK The hopeless romantic bullshit. CHARLIE Oh, come on! JACK You know with the poems and the notecards-CHARLIE I dont do that all the time. JACK Well, but you do do it. A silence. JACK Alright, uncalled for. CHARLIE Eh, whatever. You still doing your suicide missions against the fine people at Traffic Control? JACK Followed a route for an hour tonight, already. Snagged fifteen tickets. CHARLIE You know thats a felony, right? JACK (concerned) What? CHARLIE I dont know if thats true, but the fact that you dont either concerns me. A silence as they take another round of swings. CHARLIE seems content with one hit, and looks out to see where it lands. JACK looks out with him.

(CONTINUED)

CONTINUED:

9.

JACK You know shes not good for ya. CHARLIE Im aware. JACK So youre gonna stay away from her? CHARLIE Mhmm. EXT. GRETA HOUSE The door is opened from the inside by GRETA whose expression is at once confused and cold. CHARLIE, well-dressed and carrying a set of notecards in hand, gives his monologue to GRETA. CHARLIE Okay, look, I know what youre going to say and Ill say it so you dont have to. Yes, I dont have a good reason to be here. No, that doesnt mean I wont do this. Now, look, that wasnt the best way to turn a guy down but Im sure Guatemala was nice and the people were friendly and the cuisine better than what we got here. But I was upset, quite understandably I might add, that you left so abruptly. That being said, I dont harbor a shred of ill-will or any of that, and so Im on your doorstep. Do I want something in particular? Absolutely not--though certain things are always on my mind and I wish they werent--but basically I missed you. And to tell you how I feel, I made these notecards. Here. CHARLIE hands VANESSA the stack of notecards and leaves abruptly. VANESSA is left at the door, holding the stack. As CHARLIE walks off the porch and onto the sidewalk, BRUTUS and CASSIE are revealed to have been sitting on the sidewalk on their lawn chairs. They both have shocked, gleeful looks on their faces as CHARLIE walks away. BRUTUS and CASSIE quickly fold up their chairs and walk after CHARLIE.

10.

EXT. SIDEWALK (BY ST ANTHONY MAIN BRIDGE) 3S: CHARLIE sits on a curb under the streetlights. BRUTUS and CASSIE catch up to him and take seats on either side of him. BRUTUS Bold move, sport. CHARLIE That was an AWFUL idea. CASSIE Oh, come on, it wasnt that bad. BRUTUS Yeah, she might even be flattered. CASSIE Thats a bit of a stretch. CHARLIE Shouldve just waited until we ran into each other or something. CASSIE Yeah, maybe. BRUTUS is distracted by something infront of him. BRUTUS What the hells that? CASSIE (gleeful) Ooh, looks like were in for a show. CHARLIE Oh, jesus. CASSIE Loosen up, Charlie. The human bodys a thing of beauty. BRUTUS Some human bodies. CASSIE That human body.

(CONTINUED)

CONTINUED:

11.

CHARLIE Freaking swimmer over there. BRUTUS (disgusted) Eehewew, go wash those hands. CHARLIE Where are we drawing the line on this one? CASSIE When Cassidys had enough. BRUTUS Wait--whats he? You ever do that Chip? CHARLIE Never. BRUTUS Or for that long. CASSIE Wait a minute... BRUTUS Oh God. CASSIE No, no, no. CHARLIE Perfect time to draw the line. BRUTUS He better not--oh no-CASSIE Guys-- guys-- I dont know-CHARLIE No, dont do that. Please, dont do that! BRUTUS Oh God, hes getting ready, hes taking deep breaths-CASSIE Eep.

(CONTINUED)

CONTINUED:

12.

An anticipatory silence as the three are withdrawn into themselves. THREE SIMULTANEOUSLY UGH!! BRUTUS Oh my God! Oh my God! CHARLIE He did it! He just did it! BRUTUS Close the fucking curtains!! CASSIE Hes gone guys! Hes gone. The three take some time to recover. BRUTUS Christ. That was almost as bad as what--as what Chip just pulled back there. CHARLIE Are you kidding? That was no where near as bad as mine. CASSIE Of all the places on your body... CHARLIE Goddamn it, guys, I screwed it up, didnt I? BRUTUS Depends. What were you trying to achieve? A silence. CASSIE Oh, come on, chipper up, now--what can ya do to feel better, huh? CHARLIE acts coy. CASSIE Come on, now--whatll cheer ya up? CHARLIE contemplates.

13.

EXT. SMALL ROAD II JACK is in the car, looking at his rearview mirror intently. His phone rings. JACK (confused) What? JACK answers the phone. JACK (on phone) Hello? CHARLIE (in a deep, masked voice) Hello, Mr. Simpson. I hope youre enjoying this evening. JACK Who is this? CHARLIE Are you enjoying your stay? JACK What? CHARLIE Your stay. I hope it is most conducive to your emotional wellbeing. JACK doesnt respond. CHARLIE You see, the number of eyes and ears we have in your vicinity at this very moment would make the territory de facto ours. We hope youll check out at the right time. JACK notices that the other end has hung up. JACK looks around, then starts the car and drives off.

14.

EXT. SIDEWALK CHARLIE hangs up on the cell phone. CASSIE Feeling better? CHARLIE Much better. BRUTUS Hey, look. The three focus off in the distance. ALL THREE (in realization) Ohhhhhhhhhhh. BRUTUS Okay. CASSIE Well I guess its sweet, then. CHARLIE But still... A silence. BRUTUS Did they? CHARLIE Yup. CASSIE They saw us. CASSIE and CHARLIE leave immediately. BRUTUS Relocate. Relocate! BRUTUS leaves, too, taking his chair with him. EXT. SMALL ROAD IV JACK pulls into a parking spot and looks forward. There is a METERMAID there.

15.

EXT. COFFEE SHOP II CHARLIE gets call. INT. GRETA HOUSE GRETA calling CHARLIE. EXT. COFFEE SHOP II EXT. TRAIL BRIDGE EXT. SMALL ROAD III JACK back in car. Gets a phone call from disguised CHARLIE. "Did that scare you straight?" EXT. WILSON-HELLER PLAZA EXT. SMALL ROAD IV EXT. LIQUOR STORE INT. DORM ROOM EXT. FRAT EXT. SMALL ROAD V Police camera. EXT. GRETA HOUSE INT. GRETA HOUSE GRETA sends out a text.

16.

EXT. WEST BANK PLAZA BRUTUS and CASSIE both receive texts. EXT. SMALL ROAD V Call with mom. Receives text. EXT. GRETA HOUSE GRETA leaves. EXT. FRAT INT. GRETA HOUSE Grand finale.