HEAD IN THE CLOUDS

written by
Sean Wu
[insert address here]
[insert phone number here]
diggswu@gmail.com
FADE IN:
INT. LOS ANGELES INTERNATIONAL AIRPORT/ARRIVALS - DAY
A pretty brunette stands on an escalator going down. This is
MARIA, a twenty-something from Portugal. She grasps her
suitcase tight as it rolls. Her eyes dart, as if she's
looking for someone. She hears her name.
BROOKE
Maria! Maria!
Maria turns to see her friend BROOKE, a blue-eyed brunette,
waving at her. They embrace.
BROOKE (CONTD)
How are you? I haven't seen you in
forever!
Maria speaks with hesitance. English is not her first
language.
MARIA
I know, same. I'm good. What about
you?
BROOKE
You know what? Let's talk in the
car. It's too noisy here. Tell me
everything.
INT. BROOKE'S CAR - DAY
Maria observes Los Angeles from the shotgun window as she and
Brooke talk. The car has a retractable roof, and at the
moment it is down.
BROOKE
...and that's why Bill can never go
back to Haiti.
Brooke laughs. Maria smiles.
BROOKE (CONTD)
Oh my god, Maria. I forgot to tell
you on the phone. There's someone I
want you to meet?
MARIA
Who?
2.
BROOKE
It's a guy.
Brooke smiles.
MARIA
Oh, Brooke. I told you! I'm not
looking for anyone here!
BROOKE
No, but trust me on this one. He's
a musician. The guitar. He's great,
really.
MARIA
What's his name? Juan Antonio?
BROOKE
No, no! His name is Richard, but I
call him Rhett.
MARIA
Rhett? What kind of name is that?
BROOKE
Trust me when I say that you'll
like him. He's the yin to your
yang.
A beat of silence.
BROOKE (CONTD)
Hold on. Maria, don't tell me
you've got a guy back home?
Maria laughs.
MARIA
No, oh no-no. Not anymore.
BROOKE
Did you used to have a guy?
MARIA
Yea.
BROOKE
Tell me about him!
MARIA
I'd rather not.
BROOKE
Oh. Okay.
3.
Brooke turns on the radio. It's Estelle's "AMERICAN BOY".
MARIA
(to herself)
I like this song.
EXT. PORTER HOUSE - DAY
Brooke drives the car up a long straight driveway. There is a
husband and wife in front of the house: CHRIS and JENNIFER
PORTER. They are Brooke's uncle and aunt, respectively.
JENNIFER
Hey! Yoo hoo!
Brooke and Maria step out of the car. Brooke approaches
Jennifer.
BROOKE
Hey Aunt Jen! It's been awhile!
How've you been?
The two hug. Chris extends his hand to Maria.
CHRIS
You must be Maria, Brooke's friend.
I've heard many nice things about
you.
The two shake hands.
MARIA
You must be Uncle... Uncle...
CHRIS
Uncle Chris. Call me Chris.
Jennifer grabs Maria. An ambush hug.
JENNIFER
Maria! I've heard all about you!
MARIA
So have I.
JENNIFER
Have you eaten yet? Chris has got
some excellent grilled chicken
prepared.
4.
EXT. PORTER HOUSE/PORCH - AFTERNOON
The four are each seated to a side of a square table.
JENNIFER
So Maria, is this your first time
out to LA?
MARIA
Yeah, it is.
JENNIFER
What do you think?
MARIA
It's nice. I like the palm trees.
JENNIFER
That's nice.
CHRIS
(chewing)
Do you have an itinerary?
MARIA
What is it?
JENNIFER
Oh, an itinerary? That's-
BROOKE
I'll show Maria around.
CHRIS
Looks like you've got something
even better: a tour guide!
Chris chuckles. A beat of silence.
BROOKE
Maria, what would you like to do
today?
MARIA
I don't know. Show me what's good.
CHRIS
I'll tell ya one thing: I don't
think Maria would fit in at
Compton, that's for sure.
We hear N.W.A's "Straight Outta Compton" fade in quietly-
5.
INT. BROOKE'S CAR - LATER
-but is now very loud. Brooke tries her best to dance and
drive.
MARIA
(yelling)
What is this?
BROOKE
What? I can't hear you!
MARIA
What is this?
BROOKE
Never heard of N.W.A? You're
missing out!
EXT. RODEO DRIVE - LATER
Maria and Brooke exit a fancy store. Brooke is holding a
large shopping bag. The two talk as they walk past many nice
stores.
BROOKE
...there goes another credit card.
MARIA
What is this place called again?
BROOKE
Rodeo Drive. Like cowboys.
MARIA
It's nice.
The two walk past many stores.
EXT. RESTAURANT/OUTDOOR SEATING - EVENING
The two share a table, one on each side of it.
MARIA (CONTD)
I hope we're not too late.
BROOKE
We are, but that's okay. The crowd
beat us.
6.
MARIA
Back in Portugal, you know, dinner
at this time would be considered
early.
A WAITER approaches their table, carrying a basket of warm
rolls.
WAITER
Are you two both ready to order?
BROOKE
You ready Maria?
Maria orders, then Brooke. The waiter sets down the roll
basket before leaving.
BROOKE (CONTD)
Love the bread at this place. Do
you want me to warm some butter up
for you?
MARIA
Uh, sure.
Brooke takes a small package of butter and cups it in her
hands. She then passes it to Maria.
MARIA (CONTD)
Thank you.
BROOKE
I learned it in a movie.
Brooke picks up her knife in preparation to cut some bread,
but takes off what looks like a wedding ring.
MARIA
Is that a-
Brooke smiles.
BROOKE
A ring? Yessir, you are correct.
MARIA
How have I not noticed it?
BROOKE
It's a simple gold band, nothing
fancy. We're not that rich, me and
him. I have school and all, and
he's not exactly a breadwinner.
7.
MARIA
Let me see it.
Brooke hands Maria the ring. Maria admires it while Brooke
cuts some bread.
MARIA (CONTD)
Wow. It's like a "Lord of the
Rings" ring.
BROOKE
I guess so.
MARIA
Who's your fianc?
BROOKE
High school sweetheart. He works as
a street performer, but he's got a
heart of gold. He writes brilliant
poetry.
MARIA
You'll have to introduce me.
BROOKE
Definitely. But first, you gotta
meet Rhett.
MARIA
What's his last name?
BROOKE
Rodriguez. Rhett Rodriguez. The
alliteration is cartoonish, but
you'll get over that soon.
A beat of silence.
MARIA
I can't believe I never asked. What
are you studying?
BROOKE
Journalism.
MARIA
So would you like to be on TV
someday?
BROOKE
Yea, definitely. Or at least write
for something respectable.
8.
The waiter approaches their table with a plate of what
appears to be calamari.
BROOKE (CONTD)
That can't be our food. We didn't
order that.
WAITER
You're correct. This appetizer
comes with compliments of the man
down there.
The waiter points to a man radiating with ego and self-
confidence. He is wearing a bro-tank, board shorts, and a
snapback that reads "BRAD" on the front. He waves at Brooke
and Maria. Brooke looks at him disgustingly.
BROOKE
Tell 'Brad' to give to another
charity.
The waiter fumbles nervously.
WAITER
Uh, I'll just leave this here.
He sets down the plate on the center of the table, then
leaves. Brad leaves his table and walks over to Maria and
Brooke.
BRAD
Yo. I'm Brad. How's the octopus?
Brad reaches over and takes a piece of calamari, then eats
it.
BRAD (CONTD)
Tastes good to me. Ladies, have
some.
BROOKE
Don't you have some other guys you
can be talking to?
BRAD
Yea, but can't a guy look at what
he likes?
BROOKE
Look, you're very kind, but we're
not looking for friends right now.
BRAD
At least tell me who you girls are!
9.
BROOKE
Go back to your mom's house, Brad.
BRAD
Well give me a holler when you
girls need to see a gun show.
Brad flexes his biceps, admiring himself. He then returns to
his table.
BROOKE
What a jerk!
MARIA
What was wrong with him?
BROOKE
Did you not see him?
MARIA
So?
BROOKE
If someone circumcised him, he
wouldn't have a brain.
(beat)
I'm going to the bathroom. Watch my
purse.
Brooke leaves. The waiter approaches Maria.
WAITER
Are we all done here?
MARIA
Yes, I think so.
The waiter picks up the tray of calamari.
WAITER
We're running a little slow today.
Your food will be out here shortly.
The waiter leaves. On the table where the calamari was placed
is a NAPKIN WITH A PHONE NUMBER (Brad's). Maria takes the
napkin, folds it gently, then puts it in her bag.
EXT. STREET/SIDEWALK - NIGHT
Maria is holding onto Brooke's arm as they run on the
sidewalk, bumping into many pedestrians.
10.
MARIA
(yelling)
Why are we running?
BROOKE
C'mon, we're going to be late!
MARIA
Late?
BROOKE
Yea, late!
INT. CAF/BANDSTAND SEATING - MOMENTS LATER
Maria and Brooke shuffle by people who are already seated.
The lights in the place are dim. As they sit down beside each
other, a man with a Spanish guitar walks onstage. He is RHETT
RODRIGUEZ, tall, tan, and well-dressed.
RHETT
Hi. Tonight I'll be playing an old
tune my father taught me. Maybe
you've heard it before. Maybe you
haven't. But I'd love it if all of
you fell in love with the song like
I did so many years ago.
Rhett sits down on a barstool and begins playing his song.
BROOKE
(whispering)
He plays beautifully.
Maria nods. Onstage, Rhett begins singing.
EXT. CAF - LATER
Maria and Brooke stand outside. Rhett walks outside and sees
Brooke.
RHETT
Hey Brooke!
BROOKE
Rhett!
The two hug.
RHETT
Did you see my show?
11.
BROOKE
Of course!
RHETT
How was it?
BROOKE
It was great, really. Rhett, I want
you to meet someone.
RHETT
Is this your Portuguese pal? Marta?
BROOKE
Not quite. Rhett, meet Maria.
Maria does a shy wave.
MARIA
Hi.
RHETT
Hi.
MARIA
That was really good. Your song.
RHETT
Really? You mean it?
MARIA
Of course.
BROOKE
Hold on. Let's get some drinks. On
me?
RHETT
Sure. Let's dump this Gaslight Caf
wannabe. There's a place across the
street with some top-notch hops.
The three of them walk and talk as they cross the street.
INT. PORTER HOUSE/BEDROOM - LATE MORNING
Maria is groggily woken up by sunlight. She hears Brooke
talking on a cell phone.
BROOKE (O.S.)
...you need me when? What... Did
you say Tuesday or two days? Two
days?
12.
Maria walks out of the bedroom to a nearby study where Brooke
is.
INT. PORTER HOUSE/STUDY - LATE MORNING
Brooke is still on the phone.
BROOKE
Yes, I can hear you... Okay. Bring
the study... Okay... Thank you...
Bye.
Brooke puts her phone in her pants pocket.
MARIA
Who was that?
BROOKE
My professor. He wants me to cover
a story, a human interest one.
MARIA
What's it for?
BROOKE
Some small-town guy in Oregon that
everyone loves. Nothing special.
MARIA
When are you leaving?
BROOKE
Two days from now.
MARIA
How long are you going to be gone?
BROOKE
A couple of days, not too long.
Maria nods.
BROOKE (CONTD)
Look, this came out of left field.
I wish I could spend every day of
this trip with you. But this job,
it means a lot to me. I'll be back
as soon as possible.
Maria paces in a small circle near the doorway.
MARIA
What are we gonna do today?
13.
BROOKE
Did you bring a swimsuit?
EXT. BEACH - AFTERNOON
Maria rests on a beach towel. Brooke runs out of the water to
her.
BROOKE
You see that guy?
MARIA
Who?
BROOKE
That douche canoe and his wolf pack
by the boardwalk.
Brooke points her finger to a man sporting a bro tank, board
shorts, and a snapback hat.
MARIA
What's a douche canoe?
BROOKE
Shh. Isn't that Brad from the
restaurant?
Maria turns red.
MARIA
Yea, I think so.
BROOKE
Look away. If he sees us looking,
he'll definitely walk over here.
MARIA
Psh. You're the one looking at him.
BROOKE
Shut up! Shit, he saw me. He's
walking over.
MARIA
What about his crew?
BRAD
Hey. You're the girls at the
restaurant yesterday. How're you
ladies doing?
14.
BROOKE
Brad, please leave.
BRAD
Don't say that, especially since I
caught you 'mirin'.
Brad triumphantly smirks.
BROOKE
Brad, I guarantee that I'll like
you a whole lot more if you left.
BRAD
You know what? You never introduced
yourself to me. Why don't we do a
proper introduction. Hi, I'm Brad.
BROOKE
Hi Brad. I'm 'done with you', but
you can also call me never. Just
leave us alone.
Brooke flashes her hand and ring to Brad.
BROOKE (CONTD)
You know what's on my finger?
BRAD
A girl, lookin' the way you do,
carrying yourself the way you do.
I'm not surprised.
BROOKE
Now will you leave us alone?
BRAD
No, not quite. Missus, who calls
herself 'done with you', who's your
friend?
BROOKE
Look, she's not interested.
BRAD
Let the lady speak for herself.
Maria extends her hand.
MARIA
Hi, I'm Maria.
15.
BRAD
Maria? You look more like a
'gorgeous' to me. Can I call you
that?
BROOKE
Do you say that to every Maria I
meet?
BRAD
No, only ones that look just like
her.
BROOKE
Brad?
BRAD
Yes'm?
BROOKE
Your crew needs you. Next time you
bump into us, just leave us alone,
okay?
BRAD
Well, I bet next time is gonna be
arranged, hmm? Call me sometime,
ladies. You know my digits.
Brad gets up and leaves. Brad's friends all give him high
fives when he returns.
BROOKE
Geez. What a confident tool!
MARIA
He's kinda cute.
BROOKE
Maria! What are you talking about?
MARIA
He's just kinda cute.
BROOKE
He's a loser! He carries himself
like he's Kanye West but without
the talent!
MARIA
He's confident. I don't see
anything wrong with him.
16.
BROOKE
Hello? He thinks he can just try to
pick us up like we're two
dumbbells. He's probably looks for
anything that has half a
resemblance to a vagina.
MARIA
Brooke, what are you talking about?
BROOKE
Didn't you see? After I showed him
my ring, then he decided to try to
pick you up. He totally ignored you
until he found out I was engaged!
MARIA
So?
BROOKE
Well Jesus. By some gypsy magic,
he's got you blooming with rosy
cheeks.
MARIA
I thought you wanted to get me a
guy while I was here.
BROOKE
Yea, but not like Brad! Honestly,
Rhett fits your personality like a
glove. You just gotta know him
better.
Maria nods.
BROOKE (CONTD)
Look, forget Brad. Just pretend
he's a charming guy you pass by on
the street and think nothing of
after five seconds.
(beat)
I'm gonna arrange a dinner with
Rhett tomorrow evening before I go.
I'll bring my fianc.
Maria nods.
BROOKE (CONTD)
Let's go home.
17.
INT. RESTAURANT - EVENING
Maria sits alone at a square table. Rhett runs toward where
she's sitting.
RHETT
Hey Maria. Am I late?
MARIA
Yea, a little. It's fine.
RHETT
Where's Brooke?
MARIA
She's picking up her boyfriend.
RHETT
Oh, yea? Jimbo.
MARIA
Jimbo?
RHETT
Her boyfriend. His name is Jim, but
we call him Jimbo for, uh, long I
guess.
Rhett sits down.
RHETT (CONTD)
Anyway, how are you?
MARIA
I'm good.
RHETT
What've you done these past few
days?
MARIA
Shopping and going to the beach.
RHETT
Sounds like fun. I wish I coulda
made it out there but I've been
busy.
MARIA
What do you do?
RHETT
I'm a college student, but perform
on the side.
(MORE)
18.
RHETT (CONTD)
UCLA's med program is excellent,
but it's, excuse my franaise, a
shit-ton of work.
MARIA
Wow.
RHETT
Yea, I know.
A beat of silence.
RHETT (CONTD)
Do you know where the bread is?
MARIA
No, I don't.
RHETT
Man. Normally this place is decent
with the service, but I have no
idea what's up today!
MARIA
Yea, no idea.
Rhett's cell phone BUZZES loudly.
RHETT
Geez, I'm sorry. Can I take this?
MARIA
Go ahead.
Rhett walks away from the table and answers his phone. About
a minute later, he comes back.
RHETT
Sorry, that was Brooke. She said
Jimbo's down with a bug, and she's
gonna stay to keep him company.
MARIA
Oh.
RHETT
She might come down later for a
drink.
MARIA
Okay.
19.
RHETT
For the most part, though, looks
like it's gonna be the two of us.
Maria acknowledges Rhett's comment.
RHETT (CONTD)
So, Maria...
(beat)
...are you seeing anyone?
INT. PORTER HOUSE/BEDROOM - LATER
Brooke is lying underneath bedsheets reading a novel. Maria
is standing close to the bed. Both are sporting nightgowns.
MARIA
I don't understand, why couldn't
you make it to dinner tonight?
BROOKE
I'm sorry. Jimbo was feeling ill
and I couldn't bear to leave him
alone. How was the food?
MARIA
It was fine.
BROOKE
See? Tonight wasn't too bad, huh?
MARIA
Yea, but look. I don't know about
Rhett.
BROOKE
What do you mean?
MARIA
Rhett, you know. He's like a river
going up and I'm like a rock that's
been thrown in his current.
BROOKE
What does that mean?
MARIA
I was there at dinner against my
will! I'm getting all of Rhett on
me but it's not what I want.
20.
BROOKE
I can't believe you don't like the
guy.
MARIA
I like Rhett, I really do. He's
nice, he sings well, he's kinda
good-looking, and he's smart. But
he's just not for me.
BROOKE
What'd you guys talk about?
MARIA
He conversed like a high schooler.
Meaningless stuff. Brooke, I don't
know why you want me and him
together so badly?
BROOKE
I don't know, I just thought you
guys would be a good together.
Silence.
MARIA
Don't you have to pack?
BROOKE
I will tomorrow morning.
Maria nods.
BROOKE (CONTD)
What're you gonna do while I'm
gone?
MARIA
I'll find something.
BROOKE
Do you have Rhett's number?
MARIA
Yea.
BROOKE
Look, you two don't have to date or
anything, but I'll have him show
you around a little more.
MARIA
Okay.
21.
BROOKE
Hey, when I'm gone, let's call each
other every night, at or around
11:00.
MARIA
That's okay with me.
BROOKE
Okay. I'm ready for bed. Mind
getting the light?
Brooke closes her book and sets it on a nightstand. Maria
turns off the light.
CUT TO BLACK:
EXT. STREET/SIDEWALK - AFTERNOON
Maria stands near a pedestrian sidewalk with Rhett.
RHETT
So when did Brooke leave?
MARIA
About a couple of hours ago.
RHETT
Did she say how long she'd be gone?
MARIA
A couple of days.
RHETT
What's she doing out in Oregon?
MARIA
Human interest story.
RHETT
Going way back to middle school,
Brooke really was a great
journalist. I'm proud of her.
MARIA
Yea.
Rhett and Maria cross the street.
RHETT
I have to ask, how'd you and Brooke
meet?
(MORE)
22.
RHETT (CONTD)
I had no idea she had a friend out
in Portugal until last week.
MARIA
It was a student summer camp at
some northeast University, you
know, a nerd camp. Academic stuff,
but it sounded interesting.
RHETT
Mm-hmm.
MARIA
I had been looking for an excuse to
go to America for the longest time,
and this was my chance.
RHETT
How'd you meet Brooke?
MARIA
She was my roommate.
RHETT
How'd you two keep in touch?
MARIA
Occasional letters. Like, four or
so a year.
RHETT
That's really cool. I've always
wanted a pen pal.
MARIA
How come you don't have one?
RHETT
I"m gonna be honest, but I don't
know how to send a letter.
MARIA
Really?
RHETT
Yea. Like, how many stamps do I put
on, and how do put the address in
order. And even if I could do all
that, how do I make my letters
interesting?
MARIA
Oh, it's so easy. I'll help you
sometime.
23.
RHETT
Really? I'd like that.
(beat)
Have you ever been to the art
gallery here?
MARIA
No, this is my first time to LA.
RHETT
Oh, it's great. I've got to show
you this painting they have. It's
sensational.
INT. ART GALLERY - AFTERNOON
Rhett guides Maria into a room full of paintings.
MARIA
I thought you said this was a big
place.
RHETT
Oh, I did. But a lot of the stuff
isn't on display now. Here, I want
to show you this one.
MARIA
What is it?
RHETT
See it?
Rhett extends his pointer finger to a small white canvas with
a red dot in a seemingly random place.
MARIA
So?
RHETT
Look at it.
MARIA
Hm. I don't get it.
RHETT
What does it mean to you?
MARIA
It's a dot. Kinda looks like
Japan's flag to me.
24.
RHETT
To me, it's a red dot surrounded by
a bunch of white dots.
MARIA
So?
RHETT
Look at the red dot. Does it look
like someone?
MARIA
Clifford?
RHETT
No, not the dog. It's you.
MARIA
I'm confused.
RHETT
Pretend that red dot is you.
Compared to all those other white
dots, it sticks out like a sore.
But it's different!
MARIA
Okay.
RHETT
Isn't it incredible? Look at how
simple it is. And there's more too.
Rhett points to another canvas. It's a red dot with a blue
dot next to it.
MARIA
What does the blue one mean?
RHETT
What does it mean to you?
MARIA
I want to know you think?
RHETT
I think it's like a friend.
MARIA
To the red dot.
RHETT
Yea. Kinda like us, don't ya think?
25.
Rhett looks at Maria and smiles.
RHETT (CONTD)
Those dots, it's sending a little
message. Be different, be distinct,
don't be ordinary.
MARIA
Yea. Who did these?
RHETT
Some guy named Andrew Newsom.
MARIA
Hmm. Is there anymore of his in the
gallery?
RHETT
I looked into him a bit. I haven't
found anything else of his.
MARIA
Oh. I guess it's interesting.
RHETT
Yea. He's one ear away from being
great. Just looking at it, I wanna
do something crazy.
MARIA
What do you me-
Rhett grabs Maria's cheek gently and kisses her lips. After
letting go his hand, he looks at her with fear.
RHETT
I messed up, didn't I?
MARIA
(laughs)
You're crazy.
Rhett smiles.
RHETT
Wanna see a movie?
The two walk out of the room.
INT. PORTER HOUSE/BEDROOM - NIGHT
Maria is talking to Brooke on her cell phone.
26.
MARIA
...so we saw some movie, La Dolce
something.
BROOKE (O.S.)
Hold on. Can you repeat that part?
MARIA
La Dolce?
BROOKE (O.S.)
No, no! About the kiss! What was it
like?
Maria smiles.
MARIA
He kisses like a sixth grader.
BROOKE (O.S.)
(laughing)
How many sixth graders have you
kissed?
MARIA
Haha.
BROOKE (O.S.)
You know, Maria, guys always liked
you.
MARIA
Now why do you say that?
BROOKE (O.S.)
I'm putting myself in Rhett's
shoes. Did you hear him talk when
he's around you? Everything he says
is him playing it safe because he
doesn't want to hurt, offend, or
confuse you.
MARIA
He talks to me like I'm stupid.
BROOKE (O.S.)
Really? When we got drinks it was
kinda cute.
MARIA
Whatever.
(beat)
How's Oregon?
27.
BROOKE (O.S.)
It's okay. I mean, I'll tell you
more when I get back.
MARIA
Okay.
(beat)
You know Rhett's philosophy?
BROOKE (O.S.)
To do something crazy?
MARIA
Yea. What do you think of it?
BROOKE (O.S.)
It's not bad. I wouldn't be in
journalism without it. I wouldn't
be marrying Jimbo without it. Like
you coming to spend the summer here
in LA! That's a little crazy,
especially two weeks ago I had no
idea I'd be seeing you ever again!
MARIA
So do something crazy.
BROOKE (O.S.)
Yea! Do something crazy!
MARIA
(louder)
Do something crazy!
BROOKE
(even louder, laughing)
Do something crazy!
Maria laughs.
JENNIFER (O.S.)
(calling loudly)
Is everything okay upstairs Maria?
MARIA
Yea, Mrs. Porter. It's your
daughter, she's gonna do something
crazy!
BROOKE (O.S.)
Stop!
JENNIFER (O.S.)
Haha, alright.
28.
BROOKE (O.S.)
I'm gonna go. I gotta get up early.
MARIA
I'll call tomorrow.
BROOKE (O.S.)
Alright! Okay, yea, that sounds
good. Love you.
Brooke hangs up. Maria sets her phone on a nightstand near
her bed.
MARIA
(to herself, whispering)
To do something crazy.
Maria looks at a crumpled napkin on the nightstand. It's
BRAD'S NUMBER.
MARIA (CONTD)
To do something crazy.
Maria takes the napkin and uncrumples it. Also grabbing her
phone, Maria then begins to dial the number on the napkin.
FADE TO:
EXT. CAF/OUTDOOR SEATING - AFTERNOON
Rhett sits across from Maria as she sips from a coffee cup.
RHETT
Okay, what's the craziest idea you
ever had?
MARIA
Running away.
RHETT
That was quick. Wow. Running away?
From Portugal? Isn't that place
like paradiso?
MARIA
Like dropping everything.
RHETT
Like ditching everything you have.
Starting over.
29.
MARIA
Yea. Yes. Yea. You know what I'm
saying!
RHETT
Do I? Wow. I guess I'm not as weird
as I thought.
MARIA
And what's your crazy thought?
RHETT
It's stupid.
MARIA
Oh, c'mon.
RHETT
I wanna live on a cloud.
MARIA
But there's no electricity! Or A/C.
RHETT
Up there, all I'd need is a heater.
The temp up there is lower than
limbo. A nice girl up there'd be
nice too.
Maria smiles.
RHETT (CONTD)
Are you gonna join me when I start
living on my cloud?
Maria laughs, and Rhett does so soon after. Maria's phone
starts ringing.
RHETT (CONTD)
You wanna take that?
MARIA
Yea, hold on.
Maria gets up and walks inside the caf, leaving Rhett alone
with coffee and his thoughts.
MARIA (CONTD)
Hello?
BRAD (O.S.)
Hi. Marla, right?
30.
MARIA
(laughs)
No, no, it's Maria. Nice try.
BRAD (O.S.)
I'll get it soon. How are you?
MARIA
I'm good. Good. How about you?
BRAD (O.S.)
I'm not doing too badly myself.
Hey, I wanna ask you something.
MARIA
Sure. Shoot.
BRAD
My friends and I are going to the
club tonight. Would you like to
come?
MARIA
Uh, sure, what time?
BRAD
Anytime. Be fashionably late.
MARIA
Can you pick me up?
BRAD
I'd love to, yeah. Where are you
gonna be at 9:00?
MARIA
Probably at my friend's aunt's
house.
(laughs)
No, I'll be at the Starbucks near
Rodeo.
BRAD (O.S.)
Okay. 9:00, I'll pick you up?
MARIA
Yes. Yes!
BRAD (O.S.)
Okay. I'll see you tonight.
Maria hangs up on the call. She then walks back to Rhett.
31.
RHETT
Who was it?
MARIA
Some guy.
Rhett looks at her nervously.
MARIA (CONTD)
Don't worry about it.
EXT. STREET/SIDEWALK - AFTERNOON
As Rhett and Maria walk down the street, they pass many
street performers.
RHETT
D'you see him?
MARIA
Who?
RHETT
The guy painted in all gold.
MARIA
No, I must've missed him.
RHETT
Look at this guy. Sexually
confused.
MARIA
Who?
RHETT
The Statue of Liberty wannabe in
front of us. He's a guy trying to
be an iron lady. C'mon dude, I can
see your pup tent beneath that
spray painted towel.
MARIA
Rhett, you are crazy.
RHETT
Me? You mean crazy good.
MARIA
I never said crazy bad.
An entertainer posing as CHARLIE CHAPLIN approaches Maria.
32.
RHETT
Oh hello. You're pre Un-american
Chaplin. You know, you kinda remind
me of Iron Man. I'm not mistaken,
am I?
Chaplin hands Maria a flower.
MARIA
Oh, thank you.
Chaplin smiles, and then waddles away.
RHETT
Marie, have you ever seen the movie
'City Lights'?
MARIA
No. What is it?
RHETT
It's a Charlie Chaplin picture. He
falls for a blind flower girl. I
think it's his best film.
MARIA
When I was young I think I saw one
of him working in a factory. It was
pretty funny.
RHETT
Oh yeah? 'Modern Times'. It's no
'City Lights', but it's not too
bad.
EXT. STREET/SIDEWALK - NIGHT
RHETT
See Maria, what I don't understand
is, why do you need to be at a
Starbucks in five minutes!
MARIA
It's top secret.
RHETT
Maria! Maria c'mon! I haven't
hidden anything from ya!
MARIA
Sorry Rhett. You're above me on
that. But it's a secret.
33.
Maria rests her pointer finger on her upper lip, a sign for
'shhhh'.
RHETT
So it's hush-hush and on the down-
low?
The Starbucks store is in front of them.
RHETT (CONTD)
Hey, look at all the clothing
stores down here. You like H&M? We
can go in before you bow-
Maria kisses Rhett on the cheek.
MARIA
Look, I'm sorry. I'll see you
tomorrow.
RHETT
Tomorrow can't come any sooner.
Maria waves to Rhett. Rhett walks away, occasionally turning
his head to glance at Maria. Maria checks her phone. The time
on it reads 9:04. Around the cornerblock, a five-year old
sedan turns and stops in front of the Starbucks. The windows
are down, Brad is visible at the driver's seat, and his
friends are in the back.
BRAD
Hey Maria!
MARIA
Hi.
BRAD
I've saved you shotgun. C'mon,
let's turn up!
Maria enters the car. After her door is shut, the car drives
away.
INT. CLUB - LATER
People dance on an overstuffed floor. Loud music blasts from
bad speakers. Brad is sitting with Maria at a two-person
table from the club's balcony.
BRAD
(yelling)
So are clubs in Portugal like this
at all?
34.
MARIA
(also yelling)
There's less English, but yes,
you're right.
BRAD
I gotch-ya.
MARIA
I never got introduced to your
friends in the car.
BRAD
That doesn't matter! They're not
important!
(beat)
C'mon M! Let's dance!
Brad extends his hand to Maria and she takes it. The two run
down to the dance floor. Both are talented dancers.
INT. PORTER HOUSE/BEDROOM - NIGHT
Maria opens the door to her room. She checks her phone. The
time reads 2:25 AM. She has missed calls from Brooke.
MARIA
(to herself)
Merda.
She calls Brooke. No response. Calls again. Immediately,
there is an angry-
BROOKE (O.S.)
Hello? Maria?
MARIA
Hey Brooke.
BROOKE (O.S.)
Hey, where were you? We promised
each other we'd talk every night at
around eleven. Is there anything
wrong?
MARIA
No, nothing.
BROOKE (O.S.)
Where were you?
MARIA
A club?
35.
BROOKE (O.S.)
A nightclub? By yourself?
MARIA
I was with Rhett.
BROOKE (O.S.)
Really? I talked to him a couple of
hours ago and it sure didn't sound
like he was in a club.
MARIA
Look, I'm sorry I missed your
calls.
BROOKE (O.S.)
Forget about it.
MARIA
I'm going to bed. Do you wanna talk
in the morning?
BROOKE (O.S.)
No, I've got that interview. I'll
be back in LA by tomorrow
afternoon, and we can talk then.
MARIA
Okay.
BROOKE (O.S.)
Don't forget, you don't need to
hide anything from me. I'm your
friend, I'll support any decision
of yours.
MARIA
Okay.
BROOKE (O.S.)
Good night.
MARIA
Good night.
INT. PORTER HOUSE/BEDROOM - AFTERNOON
The sun shines furiously in Maria's eyes. At the foot of her
bed is Chris, a sight she is alarmed by.
MARIA
Hi Mr. Porter.
36.
CHRIS
Hey. Were you out late last night?
You were out all morning!
MARIA
What time is it?
CHRIS
Nearly three. D'you have a busy
night?
MARIA
I guess so, yeah.
CHRIS
That's good. It's okay to be late
for the sun. You're young.
Chris is staring out of the window near the bed.
MARIA
Mr. Porter?
CHRIS
Yeah?
MARIA
What are you looking at?
CHRIS
Nothing. Just thinking.
MARIA
What are you thinking about?
CHRIS
My girls.
MARIA
You have kids? How old are they?
CHRIS
Had. On the 12th of August they'd
be twenty.
MARIA
Where are they now?
CHRIS
Six feet under. Both of 'em. Twin
girls. They were wonderful.
37.
MARIA
I'm so sorry. We don't have to talk
about this if you don't want to.
CHRIS
It's fine. You're older than they
are, but I think you should put
what I'm about to tell you in your
back pocket, not the back burner.
MARIA
What is it?
CHRIS
Be careful with who you meet. I
guess I'm telling you because I'm
worried for Brooke. You too,
definitely, but Brooke.
MARIA
What is there to worry about with
her?
CHRIS
Her Jimbo. I can't believe she's
marrying him. I've never met him,
but I don't think much of him.
MARIA
Why?
CHRIS
He's a bum hopping from one oddjob
to the next. How can such a bright
upstart like Brooke be with such a
hopeless man?
MARIA
Brooke told me he's an excellent
writer.
CHRIS
I just don't trust him. I've lost
two kids to strange men. I don't
wanna lose Brooke, and I don't
wanna lose a friend of Brooke's.
MARIA
Mr. Porter, you're scaring me.
A beat of silence.
38.
CHRIS
And so is your breath! Go brush
your teeth! Go!
Maria laughs.
CHRIS (CONTD)
It's too strong for me! Go, go!
Maria hops out of bed. She takes her phone with her to the
bathroom across the hall. Chris rolls on the bed.
CHRIS (CONTD)
(mockingly)
Hey, I'm dyin' here!
INT. PORTER HOUSE/BATHROOM - AFTERNOON
Maria looks at herself in the mirror. She squirts toothpaste
on her toothbrush, and starts brushing. As she brushes, she
checks her phone. There are missed calls from Rhett.
EXT. PORTER HOUSE - AFTERNOON
Maria steps out of the house. She is wearing a knee-length
skirt and a matching top. Her phone RINGS from her small
shoulderbag. It's Rhett.
RHETT (O.S.)
Hello? Mar-
She hangs up.
EXT. STREET/SIDEWALK - AFTERNOON
Maria walks down the street where the Chaplin performer was
the day before. She is approached by him, but this time he
hands her two flowers.
MARIA
Thank you.
Chaplin smiles, tips his hat, then waddles away. Maria
smiles. Soon after, Brad walks out of a store.
BRAD
I can't believe it in there. A
quarter for a piss. Hey, where'd
you get those?
39.
MARIA
Oh, these? The flowers?
BRAD
Yea.
MARIA
They were a gift from Charlie
Chaplin.
Brad laughs.
BRAD
There's a beach over a block. Wanna
go?
EXT. BEACH - EVENING
Brad, Maria, and friends are playing beach volleyball. Maria
leaves the game during a break.
BRAD
Hey Maria. Where you goin'?
MARIA
I'm getting a snack down the
street.
BRAD
Oh cool. Get me a Combos while
you're they're, eh? I'll pay you
later.
Maria nods, then walks away.
INT. STORE - EVENING
A bell dings as Maria enters a local mart, not dissimilar
with 7/11. She browses the aisles, looking for food. A man
spots her from another aisle. He is JIM aka JIMBO, Brooke's
husband-to-be.
JIMBO (O.S.)
Hey!
Maria turns around and sees Jimbo.
JIMBO (CONTD)
Hi. Hi. Do you know Brooke Porter?
MARIA
Yea. How do you know her?
40.
JIMBO
I'm her boyfriend.
MARIA
Oh! You must be Jim!
JIMBO
Yea. Call me Jimbo.
MARIA
Jimbo.
(beat)
Do you know who I am?
JIMBO
You? You must be Maria. Brooke's
been talking about you all last
month.
MARIA
Really?
JIMBO
Yea, she loves you.
(beat)
What're you doing here by yourself?
Didn't you have a guy with you
earlier today?
MARIA
What?
JIMBO
Shit! Shit, I haven't told you!
(beat)
I'm the Charlie Chaplin street
performer.
MARIA
Oh!
JIMBO
Yea, yea. When I saw you, I was
thinking about calling out to you,
but of course, the Tramp can't
speak, so I resorted to the next
best thing.
MARIA
The flowers were wonderfully kind.
Thank you.
(beat)
The guy you were wondering about?
Brad?
(MORE)
41.
MARIA (CONTD)
He's down by the beach. I was just
getting some munchies.
JIMBO
Oh, cool.
Maria picks up a bag of Combos and a nearby soda.
MARIA
Hey, I'm going to check out now. It
was very nice to meet you.
JIMBO
The pleasure's all mine.
(beat)
You know what? Let's get dinner
together sometime. You, Brooke, me,
and your friend. How does that
sound?
MARIA
That would be nice. Let's do it.
JIMBO
Okay. I'll call Brooke sometime
about it.
Maria smiles and waves. Jimbo walks out.
EXT. BEACH - EVENING
Maria walks out of the store and back to Brad and his beach
volleyball game.
BRAD
Are those Combos I see? Toss 'em
over.
Maria tosses Brad the bag.
BRAD (CONTD)
Thank you. I'll pay you back
sometime, I don't have my wallet on
me.
Maria nods.
BRAD (CONTD)
(to the volleyball
players)
Guys, let's take five. Water break.
42.
The game dissolves as everyone disperses to where their water
bottles are.
EXT. STREET/SIDEWALK - EVENING
Brad and Maria are walking back to his car.
MARIA
Do you remember where you parked
it?
BRAD
Yea, it's somewhere around here.
Next block over, I think.
The two cross the street.
BRAD (CONTD)
See it?
Brad hits the unlock button on his keys. The car lights
flash.
MARIA
Oh. I see.
The two stand outside the car. Maria's back faces the
passenger seat door.
MARIA (CONTD)
Aren't you going to start the car?
Brad places his hand on her shoulder. He sighs.
MARIA (CONTD)
(nervously)
What the hell are you doing?
FADE TO BLACK.
BLACK SCREEN (BY BRAD'S CAR)
The screen is all black, but the sounds from the scene are
still heard. Rhett has been accidentally dialed.
RHETT (O.S.)
Hello? Maria?
Maria and Brad are panting.
RHETT (O.S.) (CONTD)
Is anyone there with you right now?
43.
MARIA
(loudly)
Rhett, Rhett! Call-
BRAD
Shut up.
Maria resists more.
RHETT (O.S.)
Maria, if this is your idea of a
joke, it's not funny. You're messed
up.
A long beat of silence before the next scene.
FADE IN:
EXT. PORTER HOUSE/KITCHEN - AFTERNOON
Jimbo and Brooke stand on opposite ends of a granite island,
conversing.
JIMBO
You know, I've probably said this
for the millionth time, but it's so
great to have you back.
Brooke brushes off the kindness
BROOKE
Yea, yea. Where's Maria?
JIMBO
She's in the bedroom.
BROOKE
What happened last night?
JIMBO
It's ugly.
BROOKE
Like what?
JIMBO
Let's just leave it at
(beat)
'attempted rape'.
BROOKE
No way. You're shitting me.
44.
JIMBO
According to the police.
BROOKE
Who was the guy?
JIMBO
I don't know for certain.
BROOKE
Any ideas?
JIMBO
I don't know, Brooke. Pointing
fingers and playing the blame game
isn't my forte.
Brooke sighs.
BROOKE
There's a whole lotta dirt in this
city.
JIMBO
At least she's not six feet under.
BROOKE
Can I see her?
JIMBO
Yea, of course.
Brooke and Jimbo leave the kitchen.
INT. PORTER HOUSE/BEDROOM -AFTERNOON
Maria gazes at the closed bedroom door. The room is nearly
all dark. She hears two KNOCKS.
MARIA
(groggily)
Come in.
Jimbo and Brooke enter the room. They each sit on a side of
the foot of Maria's bed.
JIMBO
Hey Maria, how are you feeling?
MARIA
Better, thank you.
45.
BROOKE
Hey, can we turn on a light in
here? I feel like a vampire's gonna
pop out of the armoire.
JIMBO
(to Brooke)
Hey!
MARIA
No, it's fine.
JIMBO
I'm going to open a window.
Jimbo goes to a nearby window and pulls up curtain. An
immense light seeps through.
MARIA
Oh!
BROOKE
Is it too much?
MARIA
No, it's fine. Thank you Jim.
Jim returns to the foot of the bed.
BROOKE
What happened?
MARIA
(slowly)
I... don't really remember.
(beat)
Before I could react, he had his
hands all over me. He was like an
animal, clawing at my skirt.
Brooke nods.
BROOKE
Do you know where he is now? It's a
he, right?
MARIA
No, I don't.
BROOKE
Did anyone see him? Any witnesses?
Maria chokes a little.
46.
MARIA
No.
BROOKE
So he can get away with this?
JIMBO
Hey, hey. The investigator in you
is kicking in. Let's take it down a
notch.
Brooke catches her breath.
BROOKE
Sorry. I got caught up in the
moment.
JIMBO
Can we bring you anything?
MARIA
No, I just need some rest.
JIMBO
Okay. Brooke, let's go.
The two walk toward the door.
BROOKE
Give me a holler if you need
anything, okay?
Maria nods. The two walk out the door.
INT. PORTER HOUSE/HALLWAY - AFTERNOON
Jimbo and Brooke step out the door. As Jimbo walks down the
hall, Brooke freezes.
JIMBO
Hey Brooke, what're you doing?
Brooke puts her finger to her lips, as to make a 'shhh' sign.
Brooke tips her ear against the bedroom door. She hears
sniffling, like silent crying.
JIMBO (CONTD)
(softly)
Don't do that. C'mon, let's go.
47.
INT. PORTER HOUSE/KITCHEN - AFTERNOON
Brooke and Jimbo assume the same positions they were in last
time, each on an opposite side of the granite slab.
BROOKE
Have you talked to Rhett at all?
JIMBO
I tried, but he won't pick up.
BROOKE
Really? That's weird.
JIMBO
Call him on your phone.
BROOKE
Okay.
Brooke summons her phone, and almost immediately has it up to
her ear.
BROOKE (CONTD)
(mockingly)
Brrrr...Brrr...Brrr...
(robotically)
Sorry, we are not available now.
Please leave your name an-
(normally)
Oh, hello Rhett.
Rhett answers gloomily.
RHETT (O.S.)
Hey Brooke.
Brooke pulls the phone away from her ear.
BROOKE
(to Jimbo, softly)
He sounds terrible.
Jimbo shrugs.
RHETT (O.S.)
Why'd you call?
BROOKE
Do you know what happened to Maria-
RHETT (O.S.)
(angrily)
Maria? Your piece of shit friend?
(MORE)
48.
RHETT (O.S.) (CONTD)
One night she comes onto me, next
night she puts me on speaker phone
while she and another guy screw!
BROOKE
Um.
(beat)
We need to talk about that.
RHETT (O.S.)
Wait, what?
BROOKE
Someone tried to force themselves
on Maria last night.
RHETT (O.S.)
Jesus.
BROOKE
Why weren't you with her?
RHETT (O.S.)
I tried calling her like seventeen
times yesterday but she was giving
me the cold shoulder!
BROOKE
You should come over. We gotta talk
about this.
INT. PORTER HOUSE/DINING ROOM - LATER
Brooke, Rhett, Jimbo, and Maria are all seated on their own
sides of a circular table.
RHETT
Hey Brooke, where's Jen and Chris?
BROOKE
They're both bogged down in health
insurance work.
Rhett nods.
RHETT
(sternly)
Maria, did anyone see you at all?
MARIA
No.
49.
RHETT
Are you sure?
MARIA
Yes.
JIMBO
Do you know where Brad is now?
MARIA
No.
JIMBO
Well, shit.
RHETT
No witnesses. Excuse my directness,
but he didn't...
(beat)
...penetrate, did he?
MARIA
No.
RHETT
He hurt you, didn't he?
MARIA
Yes.
RHETT
Hey Jim, can't we call this
assault?
JIMBO
Don't ask me, all I do is street
performance.
BROOKE
Yea, with our court system, I bet
we can get a charge on him.
RHETT
That'd be reasonable.
Jimbo nods. Maria stares at the floor.
EXT. PORTER HOUSE/PORCH - EVENING
Rhett and Jimbo walk out of the house and into the porch.
There are fireflies out.
50.
JIMBO
I always liked those little
buggers.
RHETT
Fireflies?
JIMBO
Yea.
(beat)
Is Brooke with Maria right now?
RHETT
Yea.
JIMBO
That's good. I hope she gets
better.
RHETT
I've been thinking crazy.
JIMBO
You're always thinking crazy.
RHETT
No, but I'm serious.
JIMBO
Okay, what is it?
RHETT
What if she's faking it?
JIMBO
What?
RHETT
We don't know who the guy is. He
could be Santa Claus for all we
know!
JIMBO
Stop.
RHETT
Why?
JIMBO
You're molesting my childhood.
(beat)
But why would she lie about nearly
being raped?
51.
Brooke enters the porch.
BROOKE
What were you two talking about?
RHETT
Nothing.
BROOKE
Didn't sound like nothing to me.
RHETT
Is Maria okay?
BROOKE
She's asleep now. She's good.
RHETT
That's good.
JIMBO
Rhett was telling us about some
Kennedy conspiracy.
RHETT
No, it wasn't like that.
BROOKE
Tell.
RHETT
I think Maria might be faking it.
BROOKE
What the hell Rhett? Why would she,
actually, why would anyone lie
about being raped?
RHETT
I feel she's using the rape story
for attention.
BROOKE
Whoa. I know Maria, she would never
do anything like that. She's got
all the attention she needs.
RHETT
Really Brooke?
BROOKE
Rhett, how old are we? Seven? Don't
'really' me.
52.
RHETT
Do you really know her?
BROOKE
Yes!
RHETT
What do you have to show for your
friendship? Ten days at a summer
camp and stamped shits of paper?
JIMBO
Wait. Did you mean to say sheets of
paper?
RHETT
I know what I said, damnit.
BROOKE
Okay Rhett, you really need to calm
down.
RHETT
(angrily)
I am calm!
BROOKE
Look, Jim and I are going inside.
Take a time out, like the seven
year old you are right now.
Brooke snatches Jimbo's arm, and hurries him past a sliding
glass door. Rhett looks the other way, seething with anger.
INT. PORTER HOUSE/KITCHEN - EVENING
Jimbo and Brooke stand around the island in silence.
JIMBO
Wasn't that something?
BROOKE
Huh?
JIMBO
Rhett.
BROOKE
I have no idea what's gotten in
that kid's head. I've never seen
him like this.
(beat)
Can I get you anything?
53.
JIMBO
Like what.
BROOKE
Like a coffee. Or tea. Or a soda.
JIMBO
How about some fancy tea. That
shit's popular right now.
Brooke chuckles. She walks over to a nearby pantry and grabs
a teabag.
JIMBO (CONTD)
Check the pantry for a chill pill
for Rhett.
BROOKE
Jim you're terrible!
JIMBO
I'm just trying to lighten things
up here.
BROOKE
You're doing a marvelous job.
Brooke give Jimbo a long kiss from the other side of the
island. Mid-kiss, Rhett walks in.
RHETT
That's the shit I don't like.
Brooke is annoyed by Rhett's presence.
BROOKE
Go outside because I'm not putting
up with you inside here.
RHETT
Please. I love it outside! I don't
have to put up with your stupid
PDA!
(mumbling)
Calling me a seven year old? It
takes one to know one.
BROOKE
Hey Jim, guess what? I'm having a
conversation with a talking turd!
Rhett, right now, you're being a
piece of shit.
54.
JIMBO
(to Brooke)
Hey, you're crossing a line.
RHETT
You know what? A wise man once said
not to argue with fools becau-
BROOKE
Are you quoting Jay Z? Really?
Rhett puts his hands up and waves them sarcastically.
RHETT
You got me.
BROOKE
What makes you so certain that
Maria is faking it, huh?
RHETT
Because she had the nerve to call
me during her fucking!
(beat)
Jimbo, be a dear and get a beer for
me out of the fridge.
BROOKE
Jim, don't do it.
RHETT
C'mon.
BROOKE
Jim, don't.
Jim walks to the fridge and gets a beer.
JIMBO
(to Brooke)
Sorry.
Brooke sighs. Jimbo tosses the can to Rhett. He drops it, but
picks it up. He presses the top and takes a sip.
RHETT
(oddly choked up)
You told me she was perfect.
Rhett walks out of the kitchen and down a hallway. Brooke
looks at Jimbo with disappointment.
JIMBO
What?
55.
BROOKE
You shouldn't have done that.
Brooke sighs.
BROOKE (CONTD)
Anything to shut him up, I guess.
JIMBO
Hell, ditch the tea, I need a beer.
Brooke gets one out of the fridge and hands it to Jimbo.
JIMBO (CONTD)
Man, I'm awful. I'm relapsing
myself and making light humor
because shit like rape is too much
for me to stomach. What a night.
Jimbo takes a sip.
BROOKE
I'm bad too. I made my best friend
that's not married to me hate me. I
made myself I hate my best friend!
A beat of silence.
JIMBO
Raise your imaginary glass, Brooke.
BROOKE
Why?
Jimbo lifts his beer, ready to toast.
JIMBO
To terrible people and the shit
they do.
BROOKE
I'll drink to that.
Jimbo takes a sip, and Brooke takes an imaginary one.
BROOKE (CONTD)
How's Maria doing?
JIMBO
We should check.
56.
INT. PORTER HOUSE/HALLWAY - NIGHT
Brooke and Jim go through a hallway. There are big windows
that show how the orange evening has become a very dark
night. As they walk down the hallway, they pass by the open
living room, which has an old sofa that holds a snoring
Jimbo. His beer can is on the floor.
BROOKE
I'll clean that up later.
INT. PORTER HOUSE/BEDROOM - NIGHT
Jimbo and Brooke tiptoe into the bedroom.
MARIA
Hi guys.
BROOKE
(sweetly)
Hey Maria. We were just wondering
how you were doing.
MARIA
I'm good. Thank you. Where's Rhett?
BROOKE
He's passed out on a sofa. Can we
get you anything? Food?
MARIA
(smiling)
I could go for a chocolate bar.
BROOKE
(to Jimbo)
Do you know if we have any
chocolate bars?
Jimbo looks as if he's suddenly realized something.
JIMBO
I think I saw one when you were
getting the teabag.
BROOKE
Okay. Hang tight. Jim, can you
fetch the chocolate for Maria?
JIMBO
(fidgety)
Yea, yea. Brooke, can you come too?
57.
BROOKE
You don't need a buddy system in my
aunt's house!
JIMBO
I have something to talk to you
about.
MARIA
I'm not going anywhere.
Maria smiles.
BROOKE
Okay, let's go.
(short beat)
Maria, we'll be right back.
Brooke kisses Maria's forehead. Jimbo holds the bedroom door
for Brooke.
INT. PORTER HOUSE/HALLWAY - NIGHT
The two walk away from the bedroom door.
BROOKE
What was it that you had to talk to
me about?
JIMBO
You know why Rhett's mad?
BROOKE
Shoot.
JIMBO
Jealousy. Someone beat him to
Maria.
BROOKE
I kinda figured that.
JIMBO
Yea, but if there was anyone to,
um...
(beat)
...take advantage of Maria, it
would be her friend Brad.
BROOKE
Whoa. Whoa. Brad?
58.
JIMBO
Yesterday night, I met Maria at a
convenience store. She was buying
Combos for her friend Brad.
BROOKE
Do you know what he looked like?
JIMBO
If you saw him, you'd say he looked
like a douchecanoe.
BROOKE
So that Brad, huh?
JIMBO
Yea.
BROOKE
Why didn't you tell me earlier?
JIMBO
It crossed my mind, but I wasn't
sure!
Short silence.
BROOKE
Do you have the chocolate bar?
JIMBO
We haven't reached the pantry yet.
BROOKE
Can you get it? I need to talk to
Maria.
Brooke pats Jimbo on the back before running down the hallway
and back to the bedroom.
JIMBO
(yelling to her back)
Brooke! What're you doing?
The bedroom door is opened, then slammed shut.
JIMBO (CONTD)
Shit.
59.
Jimbo keeps on walking to the pantry. After retrieving the
chocolate bar, he slowly paces back to the bedroom door.
There is yelling on the other side of the door. Jimbo slides
his back down a nearby wall, and waits for it all to be over.
FADE TO:
INT. PORTER HOUSE/CHRIS AND JENNIFER'S BEDROOM - NIGHT
This bedroom is different than the one Maria is currently in.
There is one big bed pressed against a wall, occupied by
Jimbo and Brooke.
JIMBO
Is Maria okay?
BROOKE
Yea. She's good.
JIMBO
Why'd you chew her out like that?
BROOKE
I was mad. Why would she lie to me
about Brad?
A long silence.
JIMBO
Chris and Jen are okay if we sleep
here, right?
BROOKE
What're they gonna do? Kick us out?
JIMBO
We're terrible.
Jimbo sighs.
BROOKE
You know the Brad guy?
JIMBO
Yea.
BROOKE
Apparently he's being looked for.
There was a witness from the
building where the car was parked.
JIMBO
That's good.
60.
Short silence.
BROOKE
Tell me something beautiful.
JIMBO
Like a poem?
BROOKE
Yea. You're good at those.
JIMBO
Aw, geez. Okay.
Brooke snuggles tighter with Jimbo.
JIMBO (CONTD)
Clouds come floating into my life,
no longer to carry rain or usher
storm, but to add color to my
sunset sky.
(beat)
There was a star riding through
clouds one night, & I said to the
star, 'Consume me'.
BROOKE
Wow.
JIMBO
Special thanks to Tagore and Woolf.
(beat)
A girl came from no man's land and
saw a one man band. But she fell
for a man in love with the brands,
so she got all of his hands.
BROOKE
Who's is that?
JIMBO
That's an original Jim Hill.
BROOKE
Jimbo Hill.
JIMBO
Yes.
(beat)
When's your article getting
published?
61.
BROOKE
Oh, the one I was in Oregon for. I
totally forgot about it. I don't
know if it even will be. Let's just
get some sleep.
FADE TO:
INT. PORTER HOUSE/LIVING ROOM - NIGHT
Rhett groggily wakes up off the couch. He peeks out a big
window, and sees that it is still quite dark outside. He gets
up and walks into the hallway.
INT. PORTER HOUSE/BEDROOM - NIGHT
Rhett cracks his head in the door. Maria is awake, sitting up
against the headboard. He walks to the foot of her bed.
RHETT
(whispering)
Hey.
MARIA
(whispering)
Hi.
RHETT
Why're you up so early?
MARIA
I couldn't sleep.
RHETT
Neither could I.
Silence.
MARIA
What're you doing here?
RHETT
I was going to ask you something.
MARIA
What is it?
RHETT
Would you like to do something
crazy with me?
62.
MARIA
What do you mean?
RHETT
Like running away. Let's ditch LA
for a bit.
MARIA
Rhett, are you crazy?
RHETT
C'mon.
MARIA
Why would you want to do this?
RHETT
Because I don't like to see you
hurting in this bed anymore. Isn't
that what you wanted to do? Run
away?
Maria sighs.
RHETT (CONTD)
Let's just go to the beach. Forget
running away. I have something to
show you.
Rhett extends his hand. Maria grabs it, stepping out of the
bed.
RHETT (CONTD)
I have a few blankets in the car.
EXT. PORTER HOUSE - BEFORE SUNRISE
Rhett and Maria are fully dressed, walking to Rhett's car.
Rhett opens the door for Maria before entering, before they
drive off.
INT. RHETT'S CAR - BEFORE SUNRISE
Maria is curled up in blankets in the passenger seat. She
tries sleeping, but the city lights are too distracting.
MARIA
Mmmmmmmmm.
RHETT
What?
63.
MARIA
The city is very bright.
RHETT
(off-topic)
Let's go here.
EXT. BEACH - BEFORE SUNRISE
The car pulls into an old asphalt parking lot that faces a
sad-looking beach. The sun is just about to rise.
INT. RHETT'S CAR - SUNRISE
Maria is about to leave the car.
RHETT
Stay.
Maria lets go of the handle.
MARIA
Rhett?
RHETT
Yea?
MARIA
Do you know that feeling you get,
before you go to sleep?
RHETT
What about it?
MARIA
The feeling when you're lying on
your back, thinking about the hours
before. Sometimes you never want to
sleep because then the night would
end, but some nights you wish you
weren't thinking about the day, but
you can't help but think about it
even though it hurts so much, and
you wish you could sleep so
tomorrow could come sooner, but you
can't because you can't stop
thinking about it. Do you know that
feeling?
RHETT
Yea.
64.
MARIA
Do you know that feeling when you
get up in the morning, with your
face smashed against the pillow and
your back is to the sky?
RHETT
What about it?
MARIA
All I think about in those mornings
is 'how did I get this bed so
messy', and 'how did I roll myself
over', and I try my hardest to
remember, but I never ever can.
Rhett nods.
MARIA (CONTD)
But the worst feeling is when I
peel back my bedsheets and feel the
cool air hit my sides. And when my
feet touch the floor. I remember
how the good stuff the day before
is all gone, and the bad stuff
won't ever leave my mind. I wish I
could just live in my bed.
RHETT
Yes, I know that feeling. That
feeling of self-loathing you get
when you brush yourself against the
wall, inching to the shower.
MARIA
It feels like you're seeing a most
realistic dream, a dream you want
to leave but cannot because it is
your reality.
RHETT
I get this chill down my spine
every time I take my clothes off
before I enter the shower. I avoid
looking at myself because only a
guy like me, with a face like mine,
could screw over yesterday so
terribly.
MARIA
I had a feeling yesterday.
RHETT
Which one?
65.
MARIA
The one when you're afraid to face
the world because you feel alone
but hiding in your bed guarantees
your loneliness.
RHETT
Isn't it nice to be alone though?
MARIA
Sometimes.
RHETT
You know, before I met Brooke, I
never had a friend. It was me and
my guitar, writing and singing
songs for no one in particular.
MARIA
Was it bad?
RHETT
It was all I had, and sometimes I
beat myself up over my loneliness,
but it was never bad. Friendship is
always better.
MARIA
That's good.
The sunrise is strong.
RHETT
(pointing)
Look at it.
MARIA
Wow.
RHETT
It's a new day. Are you ready?
MARIA
Yea.
RHETT
Tell me what you're feeling.
MARIA
I'm feeling that warmth, the warm
sting like hot water spraying in
the shower. It hurts, but it hurts
so good.
66.
RHETT
It's good, right? This feeling?
MARIA
It's wonderful. You're alone and
naked, singing that dumb tune you
heard two days ago but just
remembered. And the shampoo slides
into your eyes but you don't care.
RHETT
Like how the sun feels.
MARIA
The sun doesn't have feelings.
RHETT
I bet the sun is looking down at
us, waving his flares, thinking
we're funny as hell. Humans, we
love some, hate some, protect some,
and kill some. We're weird.
MARIA
(confused)
Who said hell was funny?
RHETT
Oh, I didn't mean it like that.
Silence.
MARIA
You asked me how I felt and how the
sun probably feels, but you never
talked about yourself. How do you
feel, Rhett?
RHETT
(smiling)
Most of the time I use my fingers.
Maria jokingly hits Rhett's arm.
MARIA
No! Not like that. Like your
emotion. What is that right now?
RHETT
Let me think. I look at the future
with optimism, but when it comes,
my face reads ambivalence.
67.
MARIA
Like when did you feel this?
RHETT
Like two days ago. I thought you
dug me, like you were really really
into me.
MARIA
And I was!
RHETT
But you left me in the cold the
next day!
MARIA
I know. I'm sorry.
RHETT
You can apologize a trillion times,
but sorry doesn't mean anything.
Doing different? Changing your
ways? That's an apology I can
accept.
MARIA
I thought Brad could be my American
Boy.
RHETT
Seriously? Like the song?
MARIA
I've been living a lot with my head
in the clouds.
The sun shines brightly.
RHETT
We should get back. Brooke and
Jimbo might be up and they're
probably worried sick.
MARIA
Okay. Hold on. Give me a second.
Maria opens the door and steps out of the car.
RHETT
Maria, what're you doing?
68.
EXT. BEACH - MORNING
Maria runs opposite the beach, where there is a large cliff.
Rhett runs after her. There are steps leading a ledge for
viewing the water. Maria runs to the top of the ledge,
catching her breath near a railing. Rhett stops to recompose
himself on the opposite side of the ledge.
MARIA
Are you gonna join me when I start
living on my cloud?
RHETT
What?
Maria climbs on top of the railing.
RHETT (CONTD)
What're you doing? Get down!
MARIA
Let's do something crazy!
Maria runs off the railing and into the sky. Rhett watches as
she disappears behind a cloud. Awestruck, Rhett hops on top
of the railing and begins his climb.
CUT TO BLACK: