PROLOGUE:

Fade up on:

A crown of ancient design: Sumerian, or some great middle-eastern civilization. Crafted of fine silver and studded with jewels. Where garnets and crystal have been used in the past, the ancient artisan who crafted this used diamonds and rubies.

Cross fade to:

EXTERIOR

LONG-SHOT

HIGHWAY

HITCH-HIKER

NIGHT

Now a highway plated with rain and studded with taillights. We see a HITCHHIKER: the kind with dirty blonde hair and bad skin. Gonna be a big somebody someday--in her tank-top and tight jeans--carrying her life in a tote bag that she's had since she was a kid growing up in a piss-ant town. Duffel-bagging it to New York or Los Angeles.... ANYWHERE to get her away of where she is now. Big dreamer--big sucker.

Now we see a limousine--Bentley or Rolls Royce--gray and silent. It glides to a stop beside her and the driver gestures to the now open door in back.

INTERIOR

MID-SHOT

LIMO

HITCH-HIKER, CLOUD

NIGHT

Inside is poorly lit and smoke-filled. It seems occupied by a CLOUD with gray silk pants and a single cherry eye. The vehicle resumes its progress without a mummer. Hitchhiker rubs her arms: to dry them or warm them.

HITCH-HIKER

Thanks. I didn't think anyone was going to stop.

Especially not a limo. You must be, like, one

of those philanthropists or something.

CLOUD

I must be.

HITCH-HIKER

Sure, or you wouldn't have stopped.

How far are you going?

I'm going all the way to La-La land.

You’re an actor, ain’t ya?

You look like a famous guy.

Do I know you?

CLOUD

The actor’s profession is

to lie for money

while looking his best.

HITCH-HIKER

What's your point?

CLOUD

Sabine, a drink.

Suddenly we are aware of another passenger--SABINE--dark warm red. A woman in maroon velvet, garnets and gold, honey tan skin, soft brown hair in soft warm curls, deep brown eyes and full red lips. A drink we have never seen prepared is slipped into our hitchhiker's hands. The ice clinks against the glass sides in response to the limo's sway.

CLOUD

Red label...?

Sabine slides over to hitch's side.

SABINE

We stopped to give you a ride

out of the cold and wet

into the safe and dry.

An uncomfortable pause, as hitch decides what to make of her hosts. An opportunity to make conversation though. Sabine's garnet jewelry makes an excellent topic.

HITCH-HIKER

Those are garnets, ain’t they?

My mama told me that young women,

such as yourself an' me,

should wear bright shiny things,

like sapphires and diamonds.

Garnets are for older women.

SABINE

Older women? Did you hear that, Quinn?

Older women. She's absolutely adorable.

Please, Quinn, let me keep her.

CLOUD (QUINN)

Sabine!

She shies back, hurt, and then glances at hitch. The limo swerves and some of hitch's drink sloshes from its low-ball onto her lap. Nervous laughter from hitch as she rubs the wet (newly wet anyway) spot on her thigh.

QUINN

Derek! What was that?

The partition slides away to show the driver, DEREK: young and duty-bound. He glances from the road to the rear-view mirror to offer his report. His eyes are swift and hungry. He could tell you what was engraved on your school ring if he passed you on the street

DRIVER (DEREK)

Sorry, sir. A young man in a Mercedes cut us off.

A puff of smoke from Quinn.

QUINN

Never trust anyone under forty

who drives a car worth forty thousand.

Hitch giggles and gestures to her surroundings.

HITCH HIKER

I'm sure this ain't cheap.

SABINE

He isn't driving.

HITCH HIKER

But he's a young guy, right?

I mean, you're not older than forty.

QUINN

I suppose you could say, age is a relative thing.

You have to ask, if a person is born again,

do you determine age from their birthday

or from their "born-again" day?

Now the hitchhiker is indignant as she slams her drink on the nearest flat surface. More of her drunk sloshes from its glass.

HITCH HIKER

Look, buddy! I don't know what your deal is--

if you're some kind of rich sick-o who thinks

he can do what he wants just 'cause he's rich--

but no guy in a silk suit, riding around in a limo,

with a coffin nail in one hand, and a whore

putting red-label in the other is a Born Again Christian!

SABINE

A whore! A woman of the night!

Sabine finishes her laughing as Quinn clears his throat.

QUINN

I didn't say Born Again Christian.

I said "born again".

HITCH HIKER

So?

QUINN

I respect little differences.

SABINE

They separate us from ordinary people.

Hitch looks around and coughs nervously. Sabine licks her lips and grins. Hitch has committed a social faux pas and doesn't know her way out of the situation. Quinn leans forward into the light and we see his face for the first time. The bone structure says Italian--Roman nose--but his hair is blonde, almost gray, and his eyes are cold, glittering things. He resembles not a cloud, but more a mist, or morning frost. He's a predator through and through--much like Sabine. You can tell these two aren't afraid to kill; but, they both use very different methods.

QUINN

Drink up, girls....

And now Derek the driver slides up the partition and thinks how much it looks like rising water in the re-view mirror.

Fade to white: Roll credits

INTERIOR

MID SHOT

KITCHEN

MAVIS

MORNING

The sound of running water as a pair of hands go through the dance that makes coffee--a poem for the deaf. The hands belong to MAVIS, who has just gotten home from six hours of selling stamps at the twenty-four hour post-office. After shedding her uniform and taking a quick, silent shower, she makes coffee for her housemates, who are just getting up. A minor act of consideration for the other members of the house. Mavis is a strong looking woman, but not to terribly butch. You can tell that with her hair down and a little make-up she'd look pretty good. She doesn't take any shit from anybody--probably due to being teased as a child.

The house is largish and was built before W.W.II. There are tiles around the sink and a toilet under the master stairs. Yes, two sets of stairs: one set feeds into the kitchen, where there is a breakfast nook, the other set leads to the main hall. The master bath is upstairs with the five bedrooms. Downstairs are the kitchen and nook, living room, dining room, and master hall with its impressive grand staircase. The garage isn't even attached to the house. It's the kind of house you wish your grandparents had, or the kind you hate because they did.

KAY, the first to wake up, comes down the stairs, pours herself some coffee, and takes a seat at the breakfast nook. She wears middle-retail type clothes and is preferably a redhead. Kay works at an antique store.

KAY

Hmmm...

MAVIS

Morning, Kay. Not quite awake yet?

Kay takes a drink from her coffee and shakes like a wet dog.

KAY

Ugh! I am now!

What did you do to this coffee, Mavis?

Brew it or burn it?

MAVIS

Well, if you don't like it, don't drink it.

At least add cream and sugar before you

make your final decision. Things can change.

Kay sips her coffee and flips through the paper.

KAY

How was work last night?

Any crazed employees shoot the place up?

MAVIS

Nothing so exciting. We ran out of three-cent stamps

at about eleven o'clock and then the air-conditioning

broke down. With the humidity being the way it's been,

nothing was safe. My uniform was sticking to my back

and everything was sticking to everything else.

What can I say? It's government work.

KAY

It's the post office, not the FBI.

MAVIS

Well, the FBI would have gotten the A/C fixed.

GENE comes running down the stairs at top speed. Gene is one of those guys you thought about dating but couldn't because it would be too much like dating your little brother or your best friend. He's nervous most of the time and terrified the rest. The rabbit is his totem and he'll hide under the table when a fight breaks out in a bar. Cowardice aside, he's a nice person--concerned and considerate. He runs from one end of the kitchen to the other, fumbles around on the counter--looking for something.

GENE

What time is it? Man, I’m going to be late!

Anyone got change for a dollar?

He turns to run back upstairs. On his way there, Gene runs full-face into BRIAN. Brian works at a men's clothing store and has a relationship with Kay. Well, he thinks they're an "item"; Kay could care less. Brian's amicable enough and fairly attractive, but in a goofy, naive way. She's leagues ahead of him in worldly wisdom and is mildly annoyed by his presence; but, she puts up with him the way people put up with a puppy or a three-year-old child.

Anyway, Gene runs into Brian and looses his balance. A tense moment as Gene teeters on the edge of one of the steps, trying not to fall backward down the stairs. Brian reaches out, grabs Gene by the collar of his tee shirt, and pulls him to safety. Gene waves his arms and shouts.

GENE

Dammit, Brian! You're in the way!

I'm going to miss the bus!

Gene runs up the stairs. Brian calls after him.

BRIAN

Gene! I'm going to the bank this morning!

I can give you a ride!

Gene re-enters the kitchen; only this time, he's calm and collected like nothing happened at all. He strides over to the counter, pours a cup of coffee, and stops to pick through the paper. He nods non-chalauntly to the others.

GENE

Morning, ladies.... Brian...

MAVIS

Ooo hoo. What a man.

KAY

He must work out.

Gene finds what he was looking for and struts back upstairs. Brian sits next to Kay and gives her a peck on the cheek. Kay rolls her eyes and Mavis gives her a "I can't believe you" look, then looks away.

BRIAN

Morning, hon.

KAY

Hey…

MAVIS

While I've got you here,

are you going to Jenny's party?

BRIAN

Which one is Jenny?

KAY

The one with the laugh.

She and Mavis imitate the laugh: something between a bray and a cackle.

BRIAN

I see.

Gene re-enters.

BRIAN

Well.... We gotta go.

GENE

Uh, so soon?

BRIAN

I’m going to the bank.

I need to leave early.

MAVIS

Bye, guys. Don't forget.

Jenny's party is tonight.

She's an old friend and

I'm sure the invitation

was for all of us.

GENE

Okay. Bye, Mavis. Bye, Kay.

KAY

Good-bye, Gene.

Gene makes a face at her as he and Brian exit.

MAVIS

Someday, Gene will get a car

and then we won't have this

little display every morning.

KAY

Did you see that?

He nearly fell down the stairs!

MAVIS

Oh, I know....

KAY

You're up late. We usually

don't see you during the day.

MAVIS

The plumber's coming this

morning. I have to stay up

until they get here.

KAY

Oh. The leak?

MAVIS

I replaced the shower head,

but that hasn't helped.

And I still have to

get the lock on the back

door replaced.

KAY

Fixing it's too expensive?

MAVIS

Yeah... that's the one disadvantage

to owning your own place. You have to

take care of everything yourself.

KAY

But, if we had a landlord,

it would take weeks to get fixed.

MAVIS

So, when are you going to tell him?

KAY

Huh? Who? What?

MAVIS

Brian..... About...

KAY

I don't know...

MAVIS

You should have told him the

first time he said, "I love you."

KAY

I know, I know...

MAVIS

Because sooner or later....

KAY

I know! Look, it's only been

two months. I don't want to hurt him.

I want there to be someone for him to

fall back on. It's just that it's made

him so happy and I don't want to rip the rug

from under his feet.

MAVIS

Sounds more like you're just

walking away and taking the

rug with you.

KAY

I just...

MAVIS

You're living a lie. How hard

can it be to just look him in

the eye and say, "I'm sorry,

Brian. I just don't love you"?

KAY

You're one to talk.

It's not that simple.

We live together.

MAVIS

We all live together.

I hate to see you unhappy.

And not only are you hurting

yourself, you'll be hurting

him much worse if this drags on.

KAY

Maybe someday I will

love him. If I try hard

enough, maybe I will.

MAVIS

And if you tell a lie

long enough it becomes

the truth. I don't think so.

Kay glances at the wall clock.

KAY

Is that really the time?

MAVIS

Uh, yeah.

KAY

Hell! I'm late! Hell!

I gotta go. I'll see you.

EXTERIOR
MID-SHOT

BRIAN’S CAR

BRIAN, GENE

DAY

BRIAN drives a piece of shit on wheels. It's one of those cars held together with gaff-tape and coat-hangers. GENE fumbles with the sun-shades and tries to open one of the windows. They hit a bump and the glove box opens, smashing into Gene's knees.

BRIAN

Could you get that?

Gene shuts the glove box.

GENE

When are you going to get rid of this junk heap?

BRIAN

What I want is a little out of my price range.

GENE

What’s that?

BRIAN

All leather interior with chrome

on everything and tinted windows

and little wood panels everywhere.

GENE

You know what you want, huh?

BRIAN

Not imitation wood, real wood

from a real tree in little

swirly patterns… knotty pine!

That’s what it’s called.

GENE

Wood. You want wood.

BRIAN

Yeah, I want wood.

I want to rip the carpet out

of my room so you can see the

wood floor underneath.

Maybe I'll get some

panels and do my room.

GENE

Yeah, and it’ll look like a den.

BRIAN

And then I'll strip the

paint off my doors. And then I'll get

some wax and polish all the wood in

my room so I can see myself in it.

GENE

That is really stupid.

BRIAN

I like wood.

GENE

Why? Why? I don't get you, man.

BRIAN

You know, they can't recycle

wood the same way they can glass

or aluminum. Particle board just isn't

the same. And you can recycle clay..

GENE

No, you can't....

BRIAN

Well, when you're working with it.

If you're doing something in clay and

you mess up, you can always go back

and fix it. Same thing with metal

and glass. Not wood.

You screw up, that's it.

GENE

You're crazy.

BRIAN

I'm your ride.

GENE

You're a genius.

BRIAN

You can't fuck up with wood.

GENE

It’s real

It's… honest.

BRIAN

Yeah. It's honest.

Gene shakes his head and points out the window.

GENE

Here. Turn right here.

INTERIOR

LONG SHOT

ANTIQUE SHOP

KAY, MANAGER

DAY

The antique store where KAY works. Kay's MANAGER is coming out of his office just as Kay is pinning on her name-tag.

MANAGER

Miss Kay... how nice of you to join us.

KAY

Lay off, Howard.

MANAGER

That's exactly what's

going to happen if you

don't improve your work ethic.

KAY

Work ethic?

MANAGER

Indeed. You seem to have a

little difficulty staying on task.

KAY

I sell more shit than

anyone else around here.

MANAGER

And you spend half your time

out back with a cigarette. Why don’t you

keep that incredible selling power

out on the floor where it's needed?

KAY

Well, I'm here now.

So, if I could just get to work?

MANAGER

Yes, why don't you do just that?

And unless I see a dramatic change of

attitude, you're going to find

yourself right out on your

prissy little ass.

KAY

Fuck you, Howard.

MANAGER

Don't you wish...

INTERIOR

LONG SHOT

KITCHEN

MAVIS, GENE, KAY, BRIAN

EVENING

Everyone is running back and forth: KAY is applying make-up, BRIAN is trying to fix his hair, GENE is lacing his boots, and MAVIS is rattling her keys trying to get everyone to hurry.

MAVIS

You said you were ready!

GENE

So, I lied!

Kay and Brian are fighting for mirror room.

KAY

Skootch, you.

BRIAN

I’m trying to do something….

KAY

You look fine.

MAVIS

Hurry!

Gene has finished lacing his shoes and is tying them.

GENE

We can’t really be late.

This is going on all night…..

Mavis gestures to Brian and Kay.

MAVIS

They have to work tomorrow.

GENE

How’d you get the night off?

MAVIS

After working there five years

and only missing three days of work,

I told them I deserved a personal holiday.

Come on!

KAY

All right. All right…

Kay and Brian walk out the door first. Mavis and Gene follow to lock the door. You can hear them talking outside through the door as Mavis locks it.

GENE

Don’t forget, you’re

the designated driver.

MAVIS

I know, I know…

BRIAN

Ha ha…..

INTERIOR

LONG SHOT

EXPENSIVE HOUSE

CROWD

NIGHT

An old world home, built in the last century. Older than the house Mavis and her friends share and a fair bit more expensive. Wood paneled in parts, stained-glass in others.

The place is packed--people everywhere--the party's in full swing. The HOSTESS meets our troop of four at the door and everyone tries to make introductions, but the music is so loud, how can anyone hear what is being said? The four split up and MAVIS makes her way around until something by the buffet table catches her eye. She gets a huge grin and walks over to a couple resembling Mutt & Jeff. The MAN is tall, thin, and blonde. The WOMAN is short, dark, and very pregnant. Mavis and the woman hug and squeal. The tall blonde man gives Mavis a peck on the cheek.

MAVIS

Ursula! Ian! I haven't seen you in ages!

MAN

And how on earth are you, Mavis, hon?

MAVIS

Fine, fine. This is quite some place.

WOMAN

Well, it's not her house, per Se. She's

not living here. It has something to do with

her employer. There are some clients or

something from out of town and the guy

just wanted the place packed to show

these people how great it is here

or something like that. I'm not sure.

MAN

Jenny's supposed to make them feel at home.

Mavis nods then turns her attention to the woman's girth.

MAVIS

So? When's it due?

MAN

SHE is due sometime late May--early June.

We're still deciding on a name.

WOMAN

My vote is Yvette.

Ian wants to name her Katherine.

MAN

I had an aunt named Katherine.

MAVIS

So these clients....

from out of town...

Are they here?

WOMAN

Uhhhmmmm.... there's three of them.

Quinn's a sort of slick looking guy.

Then there's Sabine.... another one--

who I haven't seen yet--Oh! And their

butler or something: he's serving drinks.

The man gestures with his punch glass.

MAN

That's Quinn right there.

MID-SHOT

QUINN, DEREK

QUINN, gray and smoky, stands taking a long, slow drag off a cigarette. He is watching KAY from across the room then starts walking towards her. MAVIS steps in his path.

QUINN

Have we been introduced?

MAVIS

No, but I know your kind.

Leave her alone, understand?

Leave them all alone.

QUINN

Them?

MAVIS

My friends. Leave them alone.

QUINN

That is a rude and brash thing

to say….. And you needn’t stare

at me like that.

MAVIS

Most animals can't look

a human in the eye.

QUINN

Oh, so I am an animal now?

And what kind of animal am I, pray tell?

MAVIS

Predator.

QUINN

You are obviously a lunatic.

Now, if you will excuse me.

He pushes past her. She swings around.

MAVIS

They are under my protection.

Quinn looks like a cat that's heard a can-opener.

QUINN

What ever possessed you to say that?

That sounded like some sort of challenge.

Was it?

MAVIS

It is.

QUINN

Very well.

And with that he starts off towards Kay. Mavis tries to stop him, but the hostess cuts her off.

HOSTESS

Mavis! There you are.

Have you seen Ursula anywhere?

PUNCH BOWL

KAY, QUINN

KAY has just made it to the punch when QUINN sides up next to her. He gently takes the ladle out of her hand--causing her to glance into his eyes.

MONTAGE: Rudolph Valentino and Fabio. Clark Gable and Cary Grant. Roses and lace and stars and a candle-lit dinner with a view of the Eiffel Tower.

She reels a bit.

KAY

I'm sorry... do I know you?

QUINN

No, it is I should be sorry,

that we didn't meet until now.

COUCH

BRIAN, MAVIS

Brian’s been enjoying himself, but he doesn't know where Kay is and it's starting to bother him. MAVIS runs to where he's sitting--she's in near panic.

MAVIS

Brian! Brian, have you seen Kay?

BRIAN

What's.. what's wrong?

MAVIS

It's just that.... uh,

there's this guy making

a move on her. I remember

him from somewhere. I was

trying to warn her.

BRIAN

Oh, uh.... I'm sure she can

take care of herself. She...

she'll be okay.

MAVIS

Let me know if you see her.

Brian watches her leave and shakes his head. He doesn't notice SABINE until she's sitting right next to him with her hand on his shoulder. He turns to look at her.

MONTAGE: Mona Lisa, Venus de Milo, Elizabeth Taylor, Marylin Monroe..... Arms and legs and hips and tits... lips and eyes and hair and hands...

Sabine smiles softly with downcast eyes.

SABINE

I'm sorry... It's just that,

I saw you from across the room

and I was wondering if you were

here all by yourself.

Brian takes her hand and kisses it.

BRIAN

Well, I don't have to

be alone... You're here...

EXTERIOR

MID-SHOT

PATIO

GENE

NIGHT

The patio is almost abandoned save for GENE, who sits in a lawn chair smoking like he's afraid the cigarette will fly away if he doesn't hold on tight. He doesn't even notice the GIRL until she touches him. He jumps up and drops his cigarette into his drink. She giggles as he makes a vain attempt to fish the smoke from the cup. It's hopeless--the thing is soaked and the drink is ruined as well.

GIRL

I think it's a lost cause.

At a time like this, you just

have to accept things as they are.

He sets his drink down and looks at her. He's mildly ticked. We recognize her right away--it's the hitch-hiker from scene one. This time, however, she's cleaned up and kinda cute in a psycho-elf sort of way. She brushes her hair from her eyes

MONTAGE: Snakes and benders, whips and shoes, tattoos, rockets, kittens, a magic eight ball, J.R. "Bob" Dobbs, tarot cards, chain mail, super glue, squirt guns, Hostess Twinkies, laundry detergent, assorted weirdness....

Gene reels from the assault on his senses. He's not sure what to do, so he extends a hand to the girl. She grabs his hand and covers his mouth with her other hand.

GIRL

Do you believe in destiny?

Gene nods and removes her hand from his mouth.

GENE

I don't even know your name.

GIRL

Leila.... Call me Leila.

EXTERIOR

MID SHOT

MAVIS’ CAR

MAVIS, KAY, BRIAN, GENE

NIGHT

MAVIS drives a big wood-paneled station wagon. It’s a big chunky car that has trouble finding a parking space, but is probably very dependable. It’s one of those cars with a scratched up paint-job but runs a quiet as a purring kitten. Everyone but Mavis has a far-away look. It’s as if they’re all under a spell.

MAVIS

So…. I guess everyone had a good time.

No-one answers. She drives in silence a while.

MAVIS
This is why I hate being designated driver.

INTERIOR

MIDSHOT

ANTIQUE SHOP

KAY, CO-WORKER

NIGHT

KAY and her CO-WORKER are shutting down the store for the night. Kay moves around dreamily. She still seems to be in another world. Her co-worker grins.

CO-WORKER

So…. Who is he?

KAY

What do you mean?

CO-WORKER

You’ve had that far away romantic

look all day. Who’d you meet at that party?

KAY (coyly)

I don’t know what you mean…..

CO-WORKER

Well, it’s not that guy you’re living with.

I know that much….

A knock at the glass. Both clerks turn to see QUINN standing outside.

KAY

Oh my god….

CO-WORKER

That’s him? Not bad…

Not your usual type.

Kay nods and bites her lower lip. Co-worker grins and making shooing motions.

CO-WORKER

Go on. I can finish it from here.

EXTERIOR

LONG SHOT

ANTIQUE SHOP

KAY, QUINN

NIGHT

KAY exits the shop. QUINN circles around to see her better.

KAY

Hey…. What are you doing here?

QUINN

I thought I would visit you at work.

KAY

You’re a little late. The shop closed at seven.

QUINN

Oh… we missed the sunset.

KAY

Yeah… guess so.

QUINN

Miss Kay…. I was wondering….

KAY

Yeah?

QUINN

I have tickets… for the opera… this Friday…

I was wondering if you would join me.

KAY

The opera?

QUINN

You are familiar with the opera?

Sets, costumes…. Singing?

KAY

Oh, yeah… well…

QUINN

The person who was supposed to go

with me had a change of plan.

I would be honored if….

KAY

Uh… Say, let’s… uh…

Let’s go have some coffee or something.

QUINN

Coffee?

KAY

You are familiar with coffee?

Brown, hot, keeps you up at night?

QUINN

I would be delighted.

They walk down the street. Close, not touching yet.

INTERIOR

LONG SHOT

LIVING ROOM

MAVIS, BRIAN, GENE

NIGHT

MAVIS and GENE sit watching a horror film. Mavis is in her uniform. BRIAN comes in.

BRIAN
I’m home…. What are you watching?

MAVIS and GENE

Horror.

BRIAN

That’s nice.

Brian stands and watches for a minute. More screams from the television.

BRIAN

Who’s that?

MAVIS

Heroine’s best friend.

GENE

She’s gonna die.

BRIAN

Oh?

MAVIS

Hero’s best friend… heroine’s best friend.

They always die in these things.

BRIAN

Brings the horror closer to home?

GENE

You know she’s gonna die….

She’s even wearing a red shirt.

BRIAN

Where’s Kay? Shouldn’t she be home by now?

MAVIS

I guess.

GENE

Shhh… this is the good part.

Mavis and Gene watch silently as horrid screams and growls come from the TV. Mavis and Gene squeal in delight and start laughing. The phone rings in the other room. Brian leaves to answer it.

INTERIOR

HEAD SHOT

KITCHEN

BRIAN

BRIAN saunters into the kitchen and answers the phone.

BRIAN

Hello?

SABINE’S VOICE

Is… is Brian there?

BRIAN

Speaking….

SABINE’S VOICE

This is Sabine…. From the party this weekend….

Brian swallows and fumbles with phone.

BRIAN

Uh… how… how did you get this number?

SABINE’S VOICE

You gave it to me.

BRIAN

I… I did?

SABINE’S VOICE

Yes… you asked me to give you a call.

You asked me what I was doing this weekend.

BRIAN

Oh… uh… so…

What are you doing this weekend?

Sabine laughs over the phone.

SABINE’S VOICE

Well…. What did you have planned?

BRIAN

Uh…. Would dinner be okay?

SABINE’S VOICE

Dinner would be delightful. Should I pick you up, or…..

BRIAN

Uh…

SABINE’S VOICE

Or should I just meet you at Sasu’s at eight?

Brian swallows hard again.

BRIAN

That’s fine… I can do that…..

INTERIOR

HEAD SHOT

ANTIQUE SHOP

CO-WORKER

DAY

A CO-WORKER of Kay’s holds a phone to her shoulder.

CO-WORKER

Kay! Phone!

KAY snubs out her cigarette and takes the phone.

KAY

Hello?..... Brian, hon..... no, I...

EMPORIUM

BRIAN

In the break-room of Al’s Apparel Emporium, BRIAN leans on the pay phone. He’s dressed in a suit, like always. He stares at the buttons on the phone, fiddles with the cord.

BRIAN

I just want to know if we’re still together or not....

KAY’S VOICE

Brian, jeeze.... Can we discuss this later?

BRIAN

Tonight?

ANTIQUE SHOP

KAY

KAY is obviously irritated.

KAY

No, not tonight.

BRIAN’S VOICE

Tomorrow night, then?

KAY

It’s really not convenient.

I’m going to the opera with Quinn.

BRIAN’S VOICE

When is convenient?

KAY

Why don’t you ask your little friend?

Or is she busy? ......Hello?

Kay slams the receiver into the cradle.

CO WORKER

What’s up?

KAY

Nothing! Okay?

Kay rubs her hand over her face, brushes back her hair, and returns to the sale floor.

INTERIOR

LONG SHOT

EMPORIUM

BRIAN

DAY

In the break room of Al’s Apparel Emporium, BRIAN sits drinking a soda and listening to the radio.

RADIO VOICE

Not much can be said about this fantastic site except that

it dates back to the same era as the great city-states of Sumeria.

As far as we can tell, it was the burial site of a princess.......

One of Brian’s CO-WORKERS come in and starts shelling nickels into the soda machine.

CO-WORKER

Hey, Brian. What’s up?

BRIAN

Oh, not much.

CO-WORKER

Yeah? How was the party last weekend?

Get any hoochie-fied action?

BRIAN

Did I meet anyone?

CO-WORKER

Yeah, well.. yeah...

BRIAN

Yeah, I met someone.

We’ve got a date tonight.

CO-WORKER

Really? What about that chick you’re living with?

BRIAN

Kay?

CO-WORKER

She isn’t going to get bent out of shape

because your seeing another girl?

BRIAN

No. She’s got a date herself.

CO-WORKER

Your girl’s dating another guy?

BRIAN

It’s just a one-time deal.

CO-WORKER

She’s dating another guy?

BRIAN

She’s not dating him.

They’re just on a date…..

CO-WORKER

She is DATING another GUY!

BRIAN

It’s no big deal….

We... we have an understanding.

It’s an open relationship.

CO-WORKER

Oh, man! I cannot believe this! Man!

Co-worker continues his raving. Pan back to the radio.

RADIO VOICE

One of the finest pieces in this collection is a silver

head-dress of exquisite craftsmanship. It incorporates the

standard leaf motif; however, instead of lapis beads, this

‘crown’, if you wish to call it that, has been studded

with uncut diamonds and rubies. This one piece alone could

re-write the theories of pre-historic.........

INTERIOR

MID SHOT
DREAM CABIN
MAVIS, CHILDREN

NIGHT

In the dream, MAVIS can hear the wolves outside. They throw themselves against the thick wooden door of the log cabin. The CHILDREN huddle in a corner. This is the house that Mavis built. She notched the logs. She set the roof. Outside the wolves growl and snap. There are no guns in the house, only a stag’s head mounted on a plaque. Mavis pulls it down and stands ready between the door and the children. A whimper from behind, and when Mavis turns to the children, their smiles grow lupine and their hair grows gray. The wolves outside are singing as the children rip out her throat....

INTERIOR

HEAD SHOT

MAVIS’ ROOM

MAVIS

DAY

Mavis’ room is dark, but not messy. Perhaps her uniform shed on the floor bed-side. The phone rings and her hand digs out from under the covers, retrieving the phone and pulling it under the cover. It’s as if she has eaten the phone--amoebae like. Mavis’ voice is scratchy.

MAVIS

God damnit, Kay.... I should make you walk.

EXTERIOR

MID SHOT

MAVIS’ CAR

MAVIS, KAY

DAY

MAVIS drives with clenched fists. She’s wearing huge dark glasses and constantly adjusts the shades. Outside it’s not really that bright. KAY fidgets in the passenger seat with her cigarettes.

KAY

I don’t know what happened.

It just died on me.

MAVIS

Cars have a habit of doing that to you.

Maybe if you put some oil in it every so often.

KAY

And the worst part is I have a date tonight.

I guess I’ll just have to call Quinn and.....

MAVIS

From the party last week?

We better not be talking about the

same Quinn, because if we are...

KAY

Yes! Quinn from the party!

We’re going to the opera tonight.

MAVIS

Oh, the opera. Kay, stay away from him.

He’ll do nothing but use you. I know him.

KAY

You’ve got to be kidding. Just because you got

burned a couple times, you think every guy...

MAVIS
The man is a predator. Don’t get involved

with him. I don’t want to see you get hurt.

KAY

Mavis, I’m not going to get hurt. You’re not my mother.

I can take care of myself. Okay--the man is a complete

stud-muffin--I don’t care. I never care, because I know if I do...

Well, it’s not going to happen. Don’t worry about it.

Mavis starts coughing--a thick bronchial cough that sounds like it’s going to bring up solid matter at any minute. Kay turns, takes one last drag off her cigarette, and throws the butt out the window. Mavis regains her breath. She wipes her eyes under the thick sunglasses.

MAVIS

So... what opera are you... are you going to see?

Carmine? Don Giovanni? The Rake’s Progress?

KAY

No. We’re going to see Die Fledermaus.

Mavis starts coughing again.

MAVIS

Maybe... maybe you... you should...

KAY

Are you okay?

Mavis nods with her fist over her mouth.

MAVIS

Yeah. Yeah, I’m fine.

KAY

I’ve never seen you get sick.

MAVIS

It’s nothing. Just a little bug.

I must have picked it up at Jenny’s party.

KAY

You look like shit.

Mavis stops the car and stares at Kay.

MAVIS

Well, thank-you so much, miss Kay.

KAY

Why’d you stop the car?

MAVIS

Because we’re home, you idiot!

EXTERIOR

LONG SHOT

OPERA HOUSE

CROWD, QUINN, KAY

NIGHT

An old opera house, maybe built at the turn of the century. KAY and QUINN exit, satisfied with a good show. They walk down the street with other PEOPLE. Kay fans herself with her program.

KAY

So exactly what business are you in?

QUINN

Oh, antiques.... the like.

KAY

You work with interior decorators?

QUINN

No, that’s someone else.

KAY

It must be very interesting.

QUINN

I’ve been in the business a long time.

My father was involved with the Phoenicians when I was young.

KAY

The Phoenicians?

QUINN

Phoenicians, Persians, Egyptians, Thessalonians...

A DARK WOMAN approaches Quinn. She smiles with a cigarette at her lips. They speak Latin.

DARK WOMAN

<Could I bother you for a match?>

QUINN

<Of course.>

Quinn absently reaches into his breast pocket and pulls out a box of matches. He strikes one and lights her cigarette. She grins through the smoke.

DARK WOMAN

<Many thanks.>

She grins again and walks away. Quinn stops and looks after her, distracted. He looks a little worried. Kay brings him out of it.

KAY

Artifacts, not antiques...

QUINN

Humm? Oh, yes.... Antiques many times over.

KAY

I guess this Sumerian thing has stirred up a lot of excitement.

It’s all Brian talks about. He’s very into that sort of thing.

QUINN

The ‘Juyenna’ site.

KAY

Is that what it’s called?

QUINN

Located only a few miles south of the city of Ur.

An ancient Sumerian princess was given a rather royal funeral.

All of her belongings were interred with her. Perfume bottles,

plates, goblets, knives, jewelry, slaves.....

KAY

Slaves?

QUINN

They belonged to her.

They were hers to use in the afterlife.

KAY

That’s terrible... but kind of romantic.

QUINN

Clothing, musical instruments.....

KAY

You know a lot about it.

QUINN

It’s business.

KAY

Why is it only being found now?

QUINN

Who knows? I’ve never been interested in the nitty-gritty.

Digging out there in the hot desert sun.... surrounded by

uneducated, superstitious natives or, even worse, undergraduates.

No, thank you. I mearly fill the gap between the dust and the money.

EXTERIOR

MID SHOT

QUINN’S CAR

QUINN, KAY

NIGHT

QUINN drives a very expensive, sporty car. Something like a ‘65 Jaguar E-type. Something with a lot of chrome, tinted windows, leather seats, and some REAL wood paneling. KAY is lounging in the passenger seat. It’s obvious she could get used to living like this. Quinn smokes, flicking ashes out the window and blowing smoke out his nose. Kay frenches her cigarette smoke.

QUINN

These people you live with.....

what are they like?

KAY

Oh.... just people.

QUINN

But you’re involved with one, aren’t you?

I got that feeling at the party.

KAY

I guess so. Brian and I.... we.....

QUINN

Of course.

KAY

No! It’s not like that at all! I mean,

I guess he loves me and I kind of love him....

QUINN

But you’re hungry for more.

KAY

Yes! I want more out of life! Okay, so I work at a stupid knick-kack-shop,

but that’s only temporary until something better comes along.

I want to get my own apartment eventually. Living with

Mavis and the others if fine for now, but.....

QUINN

Mavis?

KAY

She’s one of the people I’m living with.

QUINN

Tell me about her.

KAY

Oh, we’ve known each other for years.

She and Gene and I went to elementary together.

QUINN

Fascinating.

KAY

Mavis introduced me to Brian.

QUINN

Is that so?

KAY

Brian’s okay... I guess. Anyway, I don’t mean,

I don’t want to be here five years from now.

I don’t want to be doing the same thing for the rest of my life.

I want to do something with it.

QUINN

A worthy ambition. I admire that.

KAY

You do?

QUINN

I have nothing but admiration for take-charge sort of people.

They are the ones that make the world what it is today.

KAY

Yeah... I guess.....

QUINN

Why, if it weren’t for them... ha ha....

We’d still be living like the Sumerians.

EXTERIOR

LONG SHOT

FRONT PORCH

KAY, QUINN

NIGHT

The front steps of the house Kay shares with Mavis. KAY stands by the door and QUINN stands on the second to top step. She holds the screen door open and leans on it, swinging it back and forth.

KAY

Well, I had a lovely evening. Thank you.

QUINN

You are quite welcome.

It made me proud to have you on my arm.

KAY

Me?

QUINN

You are quite an attractive young lady.

KAY

And I was always the pretty girl’s friend.

QUINN

You?

KAY

I was so gangly, with glasses and braces.

It was Mavis who was turning heads.

She was the popular one. I was a face in the crowd.

QUINN

And a beautiful face it is, too.

KAY

Thank you. Oh! Look!

QUINN

What?

KAY

There! It’s an owl!

Quinn turns to look at the owl. He smiles.

QUINN

So it is.

KAY

That’s supposed to mean something.

QUINN

A marriage? A birth?

KAY

I don’t remember if it’s good or if it’s bad, but I like it.

Quinn smiles and takes her hand.

QUINN

Good night, Miss Kay.

He holds her hand up, as if to kiss the back, but turns it over and kisses her palm where it meets the wrist under the thumb.

QUINN

The mount of Luna.

He kisses under the index finger.

QUINN

The mount of Apollo.

Finally, he kisses near the wrist again--opposite the thumb.

QUINN

And the mount of Venus. Good-night.

KAY

Good night.

Quinn strolls to his car and drives off. Kay stands on the porch and sighs. She swings some more on the door and squeals in delight to go inside.

EXTERIOR

LONG SHOT

CITY STREET

GENE

NIGHT

GENE is walking home, he’s missed the last bus. He shuffles his feet and smokes like it’s going out of style.

A limo across the street honks at him. Gene looks up as LEILA is rolling the back window down. Gene looks around, then crosses the street. Leila grins without showing her teeth, but it wrinkles her nose and makes her eyes squint. She looks like a little kid. The effect is somewhat grotesque. Leila opens the door to let Gene in. He stops and gives her a wary look. She giggles and grabs his hand. He gets in the car.

EXTERIOR

LONG SHOT

CITY PARK

CROWD, BRIAN, SABINE

NIGHT

A well lit city park. Not like Central park, but similar to the river walk in San Antonio. The park is a hub to various bars and night clubs. PEOPLE walk together, some in couples, some groups. BRIAN and SABINE stroll in the moon-light.

SABINE

That was a lovely dinner.

BRIAN

You hardly touched a bite.

SABINE

Well.... I have to keep up my girlish figure.

BRIAN

Well....

SABINE

What do you think?

You don’t think this dress shows too much?

I always worry about things like that.

BRIAN

No. The dress is fine.

SABINE

Isn’t it a beautiful night? Not too warm.

BRIAN

No, it’s nice and cool... here with you.

He reaches for her hand. She swings around him and puts her arms around his neck. He pulls back a bit.

BRIAN

Jeeze, you hands are like ice.

He rubs her hands, trying to warm them.

SABINE

And my arms?

He works his way up her arms to her neck. Once there, he stops and holds her head in his hands and kisses her. Afterwards, he stares into her eyes.

SABINE

What?

BRIAN

Nothing.

SABINE

But you’re staring.

BRIAN

I was just thinking.

SABINE

About her?

BRIAN

No, not Kay.

SABINE

Is that her name, or just an initial?

BRIAN

No, it’s her name.

SABINE

What an unromantic name.

It sounds like a talk show or a personal ad.

BRIAN

It’s just a name.

SABINE

But names can mean so much. Like the North American

Indians, or the Africans. Even names to-day have meanings.

Most people have forgotten that.

BRIAN

Like what?

SABINE

Well, Brian is Gaelic....

it means strength, honor, virtue....

BRIAN

And ‘Sabine’?

SABINE

It means ‘of the blood’. Royalty.

BRIAN

Interesting. Why did your parents

name you that? A relative?

SABINE

It just suited me, I suppose.

BRIAN

It does.

They walk in silence awhile.

SABINE

Do you love her?

BRIAN

Hum? Kay? Oh...well....

SABINE

You’re not supposed to tell me that on your date.

BRIAN

No, it’s not that.

SABINE

Where is she now?

BRIAN

Uh, the opera or something with

a guy she met at the party.

SABINE

Good party. A lot of people met a lot of

other people. Just like a medieval feast.

BRIAN

In what way?

SABINE

A meeting of clans. The members of one

house feast on the members of another.

BRIAN

With.

SABINE

Pardon?

BRIAN

You said, ‘the members of one house feast on the....’

SABINE

Oh, of course, with....

BRIAN

Freudian slip?

SABINE

Secret desires.....

BRIAN

Not so secret now.

What other secrets do you have?

SABINE

Plenty....

She circles him and grins.

SABINE

This is so improper...

BRIAN

In what way?

SABINE

So many questions.

BRIAN

You keep raising them.

SABINE

A man and a woman aren’t supposed to be together like this.

They’re supposed to have marriages arranged by their families

only to be disappointed on their wedding night.

BRIAN

Or pleasantly suprised.

SABINE

The true wonder of the new world.

A DARK WOMAN steps out of the shadows.

DARK WOMAN

‘Oh brave new world, that has such people in it...’

Brian and Sabine laugh nervously she pats Brian on the shoulder.

DARK WOMAN

Good luck.

Say hello to Quinn for us.

Gehenna says hi.

She walks off. Brian turns to Sabine who is visibly shaken.

BRIAN

You know her?

SABINE

No.

BRIAN

But she knows you.

SABINE

It’s getting late, we should go.

INTERIOR

LONG SHOT

NIGHT CLUB

GENE, LEILA, CLUBBERS

NIGHT

The club is dark and the music is loud, but that’s the way GENE likes it and LEILA is so much more adventurous than Mavis could ever be. The BAND is belting it out as Leila leads Gene to a booth and sets him down. She walks up to the bar and places an order for two drinks. The DARK WOMAN is sitting in the next booth.

DARK WOMAN

That’s quite a young lady you’ve got there.

GENE

Huh? Oh, thanks.

DARK WOMAN

Some hot date for you, eh?

GENE

Yeah, I guess so.

DARK WOMAN

She’s got nice teeth.

GENE

Teeth?

DARK WOMAN

‘We are poor animals; all we have are our teeth.’

That’s what the Jackals said to Kafka.

GENE

Oh.

She laughs. Leila comes back to the booth with the drinks.

LEILA

What was she saying to you?

GENE

That you have nice teeth.

DARK WOMAN

I was complimenting your smile.

LEILA

Thank-you.

DARK WOMAN

What can you do with those teeth?

LEILA

Lots.

She laughs again.

DARK WOMAN

Show us what they’re good for.

Leila leans over to Gene and kisses his cheek, then works his way up to her ear. Gene shifts uneasily with the public display of affection, especially on a first date. Leila continues to kiss and nibble his ear and neck. She takes the lobe of his ear and gives it a slight tug with her teeth. Gene flinches and glances at the others. They watch intently.

DARK WOMAN

She’s new at this.

But she’s got natural talent.

The dark woman takes a slow drag of her cigarette. Leila is licking and tugging at Gene’s ear. She stares at the side of his head as she does it, suppressing whatever wild urges she has… and crunches down on Gene’s ear. Gene leaps out of the booth with his hand, now red and wet with his own blood, over his ear. Leila licks the evidence from her lips. The dark woman howls with laughter. Gene looks at them with terror and runs off. The dark woman leans over to Leila.

DARK WOMAN

You better tell Derek to come pick you up.

Tell Quinn that Gehenna is not happy.

Leila nods, but doesn’t look like she really understands. The dark woman leaves.

INTERIOR

MID SHOT

KITCHEN

GENE, MAVIS

NIGHT

GENE sits at the breakfast nook with his shirt off and wads of tissue at his ear.

GENE

I can’t believe she did that!

She bit me! My god!

MAVIS stands behind him at the sink scrubbing furiously at his shirt. She is incredibly pale and hollowed looking. Occasionally she stops with closed eyes to catch her breath. It is obvious she is very ill.

GENE

Can you believe it? She took a chunk out of my ear!

MAVIS

Maybe she’s some kind of kook.

Mavis starts coughing again as Gene checks the tissue wad.

GENE

Kook? A kook owns fifteen cats or talks to her plants.

This girl drew blood. We’re beyond kook.

We’ve reached fucking insane psycho-bitch from hell.

Mavis hold the wet shirt in front of him. She points to a spot on the shoulder.

GENE

Wow! You got all the blood out!

Where did you learn how to do that?

Mavis returns the shirt to the sink and joins Gene at the nook.

MAVIS

It’s something my aunt taught me when I turned thirteen.

Mavis starts coughing again. Gene sets his blood stained tissue down and stares at Mavis.

GENE

Hey? Are you okay? Mavis?

MAVIS

No... no. Maybe you should.....

Mavis cannot finish her sentence at this point because she has passed out.

INTERIOR

MID SHOT

ANTIQUE SHOP

KAY

Kay is irritable at work. She paces and touches her hair too much.

CO-WORKER

You okay?

KAY

Yeah… yeah.

I’ll be fine.

CO-WORKER

You seem on edge.

KAY

I said I’m fine.

CO-WORKER

It’s understandable that you’re worried.

KAY

I’m not worried, okay?

She’ll be fine. All right?

CO-WORKER

Yeah… okay.

KAY

People get sick all the time.

It’s no big deal!

CO-WORKER

All right….

KAY

This is Mavis we’re talking about.

Mavis never gets sick!

CO-WORKER

Jeezus, Kay. All right all ready!

Co-worker walks off. Kay reaches in her pocket and fumbles getting a cigarette out.

INTERIOR

LONG SHOT

HOSPITAL HALL

HOSPITAL PEOPLE, GENE

DAY

Gene hates hospitals. The smell of disinfectant and something that is either very young, or very old, puts him on edge..... but Gene is never truly relaxed. The hospital is starkly white, everything is white. GENE sticks out like mildew on a tile floor. He wanders around, looking confused until he finds the right door.

MID SHOT

HOSPITAL ROOM

MAVIS, GENE

The room Mavis is staying in has the same antiseptic look as the rest of the hospital. It offers no warmth or hospitality: as clinical as it gets. MAVIS is sitting up in bed with a weak smile. She looks small and dark in a huge white bed. You can tell this is the room where she’s going to die. GENE comes in with his worried, frightened look. He looks for a chair.

MAVIS

Hey, you just missed my Leukemia test.

GENE

Leukemia?

MAVIS

There’s been some blood loss. They’re just making sure.

That and they can’t trace the energy loss to any vitamin deficiency.

GENE

Oh.

Pause.

GENE

Low energy?

MAVIS

It’s hard to be energetic when your only

source of nutrition is through your hand.

GENE

They’ve got you on an IV?

MAVIS

I can’t keep anything down.

Pause.

MAVIS

So... how are things at home?

GENE

Okay, I guess.

Brian and Kay broke up.

MAVIS

They were never really together.

Pause.

MAVIS

How’s he taking it?

GENE

He’s with the girl he met at the party.

MAVIS

I feel sort of left out.

I didn’t meet anyone.

Pause.

MAVIS

We’ve know each other since we were kids:

you, me, Kay... we’ve always been together.

Gene laughs a little.

GENE

Remember when you beat up Jimmy Weatherson?

MAVIS

Only because he beat the shit out of you.

GENE

You have no idea how much that

Battlestar Galactica lunch-box hurt.

MAVIS

I think I do. I think Jimmy knows.

GENE

Only because you hit him with it.

Pause.

MAVIS

You’ve always needed me.

GENE

Yeah, I guess so.

But you’ve always need us.

MAVIS

Yeah.

GENE

If it weren’t for us

there’d be no-one to care for.

Pause.

MAVIS

I’m afraid.

Pause.

GENE

Yeah.

INTERIOR

HEAD SHOT

KITCHEN

BRIAN, GENE

DAY

GENE is holding a mug of coffee. The look on his face is a "I don’t want this in my mouth" look. BRIAN’s legs stick out from under the sink. He crawls out from underneath holding a flashlight and a tiny plastic ring.

GENE

Found it?

BRIAN

That’s it…..

GENE

It’s tiny.

BRIAN

We need a new one. I’ll run down to the store.

KAY comes in and pours some coffee.

KAY

I didn’t know you were a plumber, Brian.

BRIAN

Sure, Mavis and I have done a lot of work on this house.

GENE

Really?

KAY

I had no idea.

BRIAN

Who do you think built the shelves in the garage?

KAY

I thought they were already there.

GENE

I thought Mavis built them.

Kay has just realized how bad the coffee is.

BRIAN

I built them….

GENE

They were just so well made…..

BRIAN

What are you talking about?

GENE

They just…. You know….

BRIAN

No, I don’t.

GENE

It’s nothing against you personally…..

BRIAN

What isn’t?

GENE

Nothing…

BRIAN

What?

GENE

Nothing, really.

BRIAN

Say it.

KAY

You’ve never really been the

"man of the house".

BRIAN

You stay out of this.

GENE

They’re nice shelves.

BRIAN

You’ve never even been in the garage.

You’re too frightened of spiders!

KAY

Guys….

GENE

I am not afraid of spiders!

KAY

Guys…

BRIAN

So, what was all that crap last summer?

Huh? You wouldn’t even go in the back yard!

I had to do all the mowing back there.

There’s no shade back there.

GENE

I can’t help it. I’m lazy!

I… I burn easy…

KAY

Guys! Chill!

GENE

Sorry, Kay…

BRIAN

Sorry…

KAY

Just cool it, okay?

BRIAN

Okay!

Kay pours her coffee out in the sink and walks off.

GENE

Hey! Rinse it out!

I’m not washing everyone’s dishes.

KAY

Wash it out yourself

if you’re worried about it.

Gene starts to turn the sink on as Brian runs to stop him. Gene turns on the tap and water goes spraying.

INTERIOR

MID SHOT

HOTEL LOBBY

CONCIERGE, QUINN, KAY

NIGHT

An expensive hotel lobby. The kind of hotel with a five star restaurant, which is where Quinn is taking Kay. The restaurant doors are shut, but a CONCIERGE stands behind a podium--there to admit or reject. QUINN reeks of confidence, but doesn’t he always? KAY is nervous and out of place. She feels under-dressed--but only because everything around her is dark and warm and she has chosen to wear white or some bright color this evening. She stands out like Gene did in the hospital, only in negative. Quinn strides over to the podium and smiles at the concierge, who is absorbed in something else.

QUINN

Two tonight.

CONCIERGE

Well, now…It’s been a long time since

you’ve graced us with your presence.

May I ask where the others are?

QUINN

Busy with other things. May I introduce my consort, Miss Kay.

KAY

Hel.... Good evening.

The concierge stares at Kay, which only makes Kay more self-conscious than she already is. The concierge gestures to Quinn. He raises his eyebrows in response.

CONCIERGE

Forgive me; may I have a word with you?

QUINN

By all means.

CONCIERGE

Alone?

Quinn glances at Kay, then at the concierge, who is staring intently at Quinn. Kay shifts her weight from one foot to the other. Quinn puts his arm around her and kisses her forehead.

KAY

I’m not dressed right.....

QUINN

No, no... This is a business matter.

KAY

I’m so sorry. I’m embarrassing you.

QUINN

No, no. Don’t cry. This will only take a moment,

then you will dine like a true queen.

Kay smiles, somewhat strained. She wipes her eyes and nods.

KAY

Okay.

Quinn gives her another kiss, this one on her cheek. He walks a slight distance with the concierge from Kay.

CONCIERGE

What exactly do you think you’re doing?

QUINN

I was going to have dinner

with a lovely young lady.

CONCIERGE

I don’t appreciate you bringing that sort of business here.

What were you thinking, bringing her here at this hour?

QUINN

I was thinking about having a meal

with her, attended by your charming wait-staff.

CONCIERGE

I can’t let you in.

QUINN

And why not?

CONCIERGE

Because I have a brain. So do you,

so why aren’t you using it? I’ve got the after

dark crowd in there. You haven’t

lost your head over this one, have you?

QUINN

Of course not!

CONCIERGE

I suggest you get her out of here before….

Before someone sniffs her out.

Quinn looks nervous for the first time. He walks over to Kay and gives her a peck.

KAY

What’s wrong?

QUINN

Nothing. A private function.

Very exclusive. Let’s go.

KAY

I’m so sorry.

QUINN

It’s not your fault.

They leave the lobby. The concierge watches them go, then goes to the podium and picks up the phone.

CONCIERGE

Gehenna?...... Yes, he just left here....

True, they’ll probably go there....

INTERIOR

MID SHOT

HOSPITAL ROOM
MAVIS
NIGHT

MAVIS lays immobile on her hospital bed. A collection of tubes run down her throat and her arms are full of needles. She looks small and artificial. The DARK WOMAN who has been pestering Quinn enters.

DARK WOMAN

So, you are Mavis.....

You are the great protector…..

She stands over the bed. Mavis can barely open her eyes in response. She is unable to move or cry out for help. She is terrified. The dark woman paces the room.

DARK WOMAN

How can you protect your children from

the wolves if you cannot protect yourself?

Mavis shuts her eyes; she is crying. The dark woman leans in close to Mavis’ head.

DARK WOMAN

To fight the wolves, you must understand them.

You must know them…I have something to offer you.

Something to help your plight. But I offer it strictly quid pro quo.

Mavis opens and shuts her eyes. What ever is going to happen, she has no power to prevent it.

INTERIOR

HEAD SHOT

GENE

KITCHEN

NIGHT

GENE sets the phone back in its cradle. Brian calls from the other room.

BRIAN (off screen)

Who was that?

MID SHOT

LIVING ROOM

BRIAN, GENE

GENE walks back into the living room and collapses in a chair. BRIAN is watching TV. On the screen is a picture of some artifacts. Gene points vaguely to the TV.

GENE

Is it okay if we turn that off?

Brian fishes for the remote.

BRIAN

It’s one of those specials. The museum has some

wild exhibit from the middle east coming in.

Gene stands up and turns the TV off manually.

GENE

That was the hospital. They’ve been

trying to get a hold of us all day.

Brian looks up from the couch. He’s afraid of what Gene is going to say.

BRIAN

And.....?

INTERIOR

MID SHOT

CAFE

QUINN, KAY

NIGHT

A ritzy sort of late night cafe. The kind of place people go to be seen. The booths have high backs; perhaps there is a lot of cut glass. KAY and QUINN sit at a very private booth. Kay is a little sniffily still from the hotel restaurant incident.

KAY

I’m so embarrassed.

QUINN

Don’t be. It had nothing to do with you.

KAY

We were practically kicked out.

QUINN

We never got past the front door.

Her eyes glaze over.

KAY

I’m sorry. It’s just..... My life is going to pieces.

Work and.... shit, my best friend is in the hospital.....

She’s always been there for me.... I just.....

She is practically bawling. She gets up.

KAY

Excuse me.

Kay leaves for the bathroom. Quinn lights a cigarette. He seems un-worried and smiles to himself. The DARK WOMAN from the opera house walks up; he doesn’t see her until she speaks.

DARK WOMAN

Do you love this woman?

QUINN

Pardon?

DARK WOMAN

Do you love this woman? This human woman?

QUINN

You must be joking.

DARK WOMAN

Um-humm?

QUINN

I have little or no real interest in her.

DARK WOMAN

You must have more than interest.

You’re here with her, instead of.....

QUINN

It’s my own matter.

DARK WOMAN

And yet, your previous engagement

has been put on hold for this.

My people would be honored to do it for you.

QUINN

Your people leave too many traces. You have

a reputation for being sloppy. I could attest to that myself.

DARK WOMAN

And you have a reputation for becoming distracted.

I could attest to that.

QUINN

I’m better at this sort of thing than you are.

You're just letting jealousy get in the way.

DARK WOMAN

But you enjoy your surroundings too much.

That’s why she asked me to keep an eye on you.

QUINN

That is her own sense of humor.

Who else could better watch me than…

DARK WOMAN

That's isn't the point.

QUINN

You don't think so?

I find it rather amusing myself.

DARK WOMAN

Gehenna is aware of your preoccupation.

It… displeases her.

QUINN

Gehenna be damned!

The dark woman recoils a bit at that.

DARK WOMAN

Your house is full of hungry mouths.

Hungry mouths you cannot feed.

You will have to answer unto her

when she asks where they came from.

She walks off, just as Kay is returning to the table.

QUINN

Are you feeling better?

She nods and sits.

QUINN

There now, no more worrying.

KAY

No, no more worries.

QUINN

There you are. Nothing can go wrong.

KAY

You’re right.

Quinn reaches across the table and takes her hand.

KAY

Tonight, the town is ours!

Quinn stares at Kay with a smug grin. Slowly the entire mood of his face changes. He has a new idea he hadn’t considered before. Kay would be an attractive addition to his brood.

INTERIOR

LONG SHOT

LIVING ROOM

BRIAN, KAY, GENE

MORNING

BRIAN and GENE are on their way out of the house when KAY comes in. Brian tries to give Kay a hug.

BRIAN

Kay,..... I’m so sorry.

She pushes him away, the same way a wounded animal bites at help.

KAY

What are you talking about?

Brian and Gene shift uneasily. Gene holds Kay’s hand.

GENE

We’ve known her a long time, you and me both.

Kay’s eyes glaze over.

KAY

What are you talking about?

One scene here at least.

EXTERIOR

LONG SHOT

FRONT DOOR

KAY

NIGHT

KAY stands on the front of Quinn’s house. She bangs nervously. DEREK answers the door.

DEREK

Miss Kay? You’ve come at an inopportune time.

KAY

Is Quinn here?

DEREK

I’m sorry, he’s... He’s rather busy at the moment.

KAY

I want to talk to him about Mavis.

DEREK

My condolences.....

KAY

Are not what I want right now!

DEREK

Now, Miss Kay.....

KAY

And who told you about Mavis anyway?

She pushes past him through the door. He takes a moment to look around, then shuts the door.

INTERIOR

MID SHOT

SITTING ROOM

QUINN’S GROUP, KAY

NIGHT

QUINN sits at a table with LEILA, SABINE, and DEREK going over some papers. He looks up, startled.

QUINN

Kay! My dear young lady,

what brings you here?

KAY

I want to know what’s so

important that you can’t answer the phone!

QUINN

Whatever do you mean?

KAY

The hospital called to tell me Mavis was dead!

That was two days ago! What’s going on?

QUINN

Of course, you’re upset.

KAY

I called you, not ten minutes after

you dropped me off. An hour later!

Where were you? It doesn’t take an

hour to get here from there!

QUINN

If you will excuse me...

Kay, may I speak with you in the hall?

Kay turns on her heel and storms into the hall. Quinn leans over to Derek.

QUINN

Every good plan must involve the human element.

DEREK

An unforeseen glitch?

QUINN

Take the girls to the museum,

retrieve the items on our list.

There must be no mistakes.

DEREK

And what will you be doing?

QUINN

I have some pressing matters to attend to.

MID SHOT

HALLWAY

KAY, QUINN

KAY is fuming and pacing. QUINN exits the sitting room and holds a hand out to her. She turns away.

KAY

Okay, so I’m upset.

QUINN

Of course.

KAY

Everything’s so messed up.

QUINN

Of course.

KAY

I just don’t understand anything anymore.

QUINN

You said you wanted to do something with your life.

KAY

What does that have do with anything?

QUINN

I am exactly the person to help you do it.

All you have to do is trust me.

KAY

I can’t. You’re hiding something from me.

QUINN

What happened to your friend, Mavis,

had nothing to do with us. It must be very

frightening for you. Mavis has always been a

part of your life.... a life you said you felt

was going nowhere.

He holds her; she wipes her eyes.

KAY

I didn’t mean it like that.

QUINN

What did you mean?

KAY

Oh.... I just...

I’m not usually this weepy.

QUINN

You have a lot on your mind.

You need to go through this grief.

KAY

Mavis has always been there for us.

She did the banking and the bills.

If anything was wrong, she’d fix it.

I’ve known her all my life.

She was like a sister.... no... another

mother to me. When I was just a

geeky little kid, she brought me into her group.

QUINN

You’re upset. It’s only natural.

He lightly kisses her neck.

KAY

There’s other stuff going on at home.

Brian keeps bothering me.

I mean, I thought we broke up....

QUINN

You did.

He kisses her ear and cheek. He holds her arms.

KAY

I don’t know what kind of financial

problems we’re going to have

now that Mavis is gone. She took

care of everything.

QUINN

I understand.

He hugs her from behind, his hands working slowly over the curves of her body. He kisses her neck and shoulders. She is relaxing already.

KAY

I just... oh.... that feels so good.

During the next few lines, Kay shuts her eyes and lets Quinn do everything. His passion increases with her relinquishing of control.

QUINN

Thank you.

KAY

You always make me feel better.

QUINN

I don’t like to see you upset.

KAY

I’m not upset now.

It’s like the outside world doesn’t exist.

QUINN

It doesn’t. Not to-night.

KAY

I don’t have to worry about anyone.

I don’t have to care.....

QUINN

Do you trust me?

KAY

I trust you.

QUINN

Do you love me?

KAY

I love you.

QUINN

What do you want?

KAY

I want you

QUINN

What do you need?

KAY

I need you.

QUINN

Will you follow me?

Kay opens her eyes.

KAY

I follow you.

EXTERIOR

LONG SHOT

MUSEUM

DEREK, SABINE, LEILA

NIGHT

The loading dock at the museum. The truck is just unloading various boxes as SECURITY GUARDS oversee. DEREK, SABINE, and LEILA walk up.

GUARD

Excuse me, sir. This is a restricted area.

DEREK

Of course it is.

Derek and the girls continue their progress.

GUARD

Okay, buddy. That’s as far as you go.

DEREK

But we intend to go farther.

LEILA

Further, farther...

SABINE

Deeper, darker....

CUT TO:

INTERIOR

MID SHOT
BEDROOM
QUINN, KAY

NIGHT

There is very little light in the bedroom. Just moonlight on silk sheets and the intricate dance of two bodies pleasing each other. This is the ultimate act of passion. KAY is the flame in the company of QUINN’S smoke. His is smooth and composed; his actions are rehearsed and choreographed. Kay improvises as she goes along, using whatever comes to mind: hands, lips, tongue. All the tension in her body slips away. Kay is completely at his disposal and this does not stop his passion, but increases it.

INTERIOR

LONG SHOT

SITTING ROOM

QUINN, DEREK

NIGHT

QUINN sits before the fire, smoking. DEREK runs in with an aluminum suitcase.

DEREK

Success!

Quinn is somewhat startled. He stands and walks to where Derek is opening the suitcase. Inside are Sumerian artifacts: perfume bottles, bead necklaces, a golden knife, and a silver crown.

QUINN

Excellent.....

DEREK

Everything on Gehenna’s list.

QUINN

Good, good, good......

Why don’t you go out and celebrate?

DEREK

Why don’t you join me.... brother?

QUINN

Ah, I think tonight I should spend with the girls.

I’ve neglected them, and they’ve been so obedient.

DEREK

Ah, then... enjoy yourself.

QUINN

Happy hunting.

Quinn doesn’t even look at Derek. Derek is hurt, but now smiles at some private joke.

INTERIOR

HEAD SHOT

BED ROOM

KAY

NIGHT

KAY opens her eyes in the dream at last for the first time ever. The world has never been so bright or so new. Everything is glittering. Now she understands. We never die and we live at night. The dreams of a sleeping nation swirl about her. Everyone else is sleep-walking. They are blinded by the sun. Only the dark can show so much. Every nerve jumps inside her. Every muscle strains. Outside. Outside.

LONG SHOT

HALLWAY

She drifts through the house, because she can now. Gliding to where the door is kept--at the far end of forever. A cobweb in a rainstorm: glistening and strong. Moving to where the dreams come from. The life of others which she must share. The lock! Undo it!

EXTERIOR

LONG SHOT

FRONT PORCH

Fog has come in; it dances in the streets. Rainbows ring each streetlight. Clouds gather in gutters. There! in the street are others like her. It is their voice in her head. It is their hunger moving her. Three WOLVES stand ready to greet her... to introduce her to the hunt. Come. And it is QUINN, SABINE, and LEILA who stand in the street in the wolves stead. Quinn extends his hand and his eyes say everything worth knowing. This is what you are. Hunt with us. And four wolves are running down the street, following the sent of human dreams. The joy of togetherness. The exhilaration of being one of them. To move with the street under her feet and the moon over her head and the night laying down submissive before them. To find young lovers alone in misty parks with their shared dreams...... or to corner old men in allies with theirs shattered. To taste and feed and drink and love and run and howl and hunt and know! that this is for real--more real than anything has ever been before. To finally leave breathing behind and be alive. To live forever and never see the sun.


Thank you, I've seen enough. Now, get me out of here.

You want to see more? You Want to know where this is going? You don't work for FOX, do you?"