by Mark Allen
copyright
Mark Allen 2003
I finally discovered The Larry Sanders Show. I was probably the
last person on Earth to see what a mind-boggling comedy series it is. Yes,
I know... a decade after it debuted on HBO and was talked about by everyone
I know. I kept watching the show over and over and really got obsessed
with it. Well, you know when you spend a lot of "time" with someone how
you start to notice little things about them? Well I started noticing little
things about an actor on that show named Wallace Langham.
He's been acting
ever since he was a kid (his debut was in 'Weird Science') and used to
go under the name "Wally Ward" in his early days. He was also born (and
raised?) in Ft. Worth, Texas. He's a very interesting actor, and has a
strange screen persona. He's weirdly handsome... the best kind. I did some
stalker research on the nut-friendly web and found out he's completely
straight, married, with two kids, of course. I also read a few interviews
with him and he sounds really funny and weird. He also had a bit of a Sean
Penn-esque controversy when he supposedly assaulted a tabloid photographer
who insulted his girlfriend in a supermarket.
I've seen some of his other work. He's an actor's actor, whatever that
means. I have note-checked-to-rent all the 80's movies he did as a teen
(he was ingeniously sinister/funny in a 1988 film adaptation of Robert
Cormier's 'The Chocolate War'). Through the magic of a obsession-friendly,
online searchable archive of TV Guide listings I have been able to catch
him starring in episodes of the new Outer Limits and Twilight
Zone. He was really funny in the film Daddy Day Care. He's been
on E.R. He's plays a sometimes friendly sometimes weirdly suspicious
scientist character on C.S.I. and a bunch of other similar shows
on that network. He was on that sitcom Veronica's Closet as this
guy who was gay and didn't know it even though everybody else did. He was
also in that VHI-produced Behind the Camera: The Unauthorized Story
of 'Three's Company' portraying some eccentric agent who represented
Suzanne Somers and Farrah Fawcett in the 70's. He's very interesting to
watch. He can play both sarcastic/screwball comedy and also creepy evil
really well... and he often kind of mixes the two in a way I can't really
put into words. Even his portrayal of a slimy drug dealer in the indie
film God's Lonely Man seemed like it was going to break into Don
Knotts-isms during one pivotal scene.
But his character on The Larry Sanders Show is (was) a real multi-layered
flip - he plays Phil, a quirky, quick-witted comic writer who heads the
writing of all Larry's monologues and skits... and inevitably gets pulled
into all the show's serpentine human drama. Needless to say... the one
episode of the show (season 6, episode 10: 'Putting the 'Gay' Back
in Litigation') where Langham full french kisses fellow actor Scott Thompson
in a drunken moment of "slipped" heterosexuality, had me ...floored.
I have my UNHEALTHY obsessions with outer-edge male actors now and again...
but I keep them to myself. The list through the years has grown ever since
I was a kid up to now. They range from the well known and not well known
(Ike Eisenmann, John Friedrich, Dermot Mulroney, Edward Norton... the list
is creepy and endless) it's gone on and on my entire life. I've noticed
I tend to do it with dark-haired (often with facial hair), oddly handsome
males who often play quirky roles in off-beat, usually independent films.
They are almost always great actors who don't have superstar careers. In
my "fantasy" this is because, to me, they probably choose roles that are
interesting over typical Hollywood fare because they are too smart for
that. They're outsiders. Rebels. *cough* *sputter* ...oops... almost
drowned on my own saliva there. Anyway...
For me, these casually dangerous obsessions with actors usually spring
up from a chance viewing and, whatever spark they ignite in my brain stays
active in my subconscious... and continues on and off throughout my whole
life, usually flaring up near the initial moment of exposure, continuing
for about 6 months and wearing off after the first restraining order...
then tapering off over time and becoming less "romantic fantasy" and more
"nostalgic fantasy" The first fantasy category, "romantic fantasy" usually
involves mental scenarios of us alone in rooms lit by blue TV static, and
sex in a bed of flames... this is then kicked down a notch (usually by
a visit by the police and the application of a shock ankle bracelet) to
the second kind; "nostalgic fantasy" which is more like "...oh yea I remember
being into him" and a realization that I will never ever again be allowed
a press pass to the Emmy Awards backstage. Just because I have orders from
the cops doesn't mean I still can't be a fan!
I of course never get to know what the real person is like (thank you LAPD!)
so this "fill-in-the-blanks" blank-slate personality makes them excellent
fantasy fodder. I keep them and the world they inhabit in my head... to
myself... they are fuel for daydreams, that's it. They pop up when I'm
feeling maybe a little inadequate... and I start to drift off into daydream
world where I create fantastic scenarios in my head that have nothing at
all to do with any reality at all. Sound healthy? It's not. Well maybe
it is... everybody does it I suppose. Everybody loves to dream about movie
stars... right? I always say, and my corrections officer agrees; you can
see reality so much clearer when fantasy is standing in the way...
Rainy days when I'm staring out the window... or nights when I lay in bed
and can't sleep... or blazing hot afternoons underneath the freeway underpass
after my lithium has worn off... are when these visions... I mean, daydreams...
occur. Ahhh... daydream days in a daydream nation... daydream fantasies...
where me (sometimes the real me and sometimes me playing a 'character'
in the daydream - revealing textbook-case Freudian semiotics of deep-seated,
unresolved power struggles deep within my own psyche) and the actor (sometimes
themselves or sometimes a 'character' in my daydream - revealing ever scarier
textbook-case Freudian semiotics of deep-seated, unresolved power struggles
deep within my own psyche) somehow romantically meet and fall fantastically
in love... somewhere in a reality far, far away... worlds away, from this
reality... something along the lines of... I feel one coming on now...
NOTE: This is
a purley fictional work and has nothing to do at all with the real Wallace
Langham or any other persons living, dead or imagined.
Any similarities
to the persons portrayed in this daydream and real people would be highly
suspect.
CHARACTERS:
MARK
- early 30's, gay, recently moved away from New York City to Texas after
somehow having a sudden, smashing career as a writer and coming into lots
of money somehow. Has one son with no name who serves as no more than a
"prop" in the fantasy. Lives in a suburban house with his kid. Job: yes,
with huge income from writing glory bestseller past, still works - but
specifics unknown, although may be a nightwatchman/janitor in a
very large, immense, brightly-lit Jaques Tati-esque modern lobby of a huge
office building where he wears a uniform and guard hat that are both
too big for him and is always alone and spends all his time sitting in
front of a desk with lots of little tv screens and a mop and bucket he
uses to clean the floor with and spends time looking out the immense glass
windows out into the night parking lot and road outside... often pensively.
WALLACE
- early 30's, straight, recently divorced single dad with two kids with
no names who simply serve as props in the fantasy and have no names. Lives
in a suburban house in Plano with his two kids. Job: yes, but specifics
unknown, but may be something really cool and scientific like with
test tubes and a lab with really big electrical machinery and lasers and
stuff and Wallace wearing a sexy lab coat and goggles.
OLD SECURITY
GUARD - Works at Mark's place of work. About 80 years old and comically
crotchety.
WALLACE'S
LAB ASSISTANT - Young and sexy Asian woman. always wears lab coat
and glasses. Is very sexy.
LOCATION:
Plano, Texas
...sometime in the early 21st century.
SETTINGS:
Setting 1:
Unspecified McDonald's restaurant
with a front counter and food and employees, but no tables or chairs. Inside
of McDonald's consists only of overhead fluorescent lighting and kiddie
land playground that consists only of a "ball cage/room" thing with a boxing
ring-style rubber rope around it. When children are "placed" in the kiddie
ball room thing they disappear and stop becoming relevant to the scene
- yet can still be referred to to by the characters.
Setting 2:
Wallace house.
Large suburban home with a front porch swarming with plants and mood lighting.
Indoor contains many rooms, mainly a large living room with an immense
beige couch and candles and moody lighting. Also a view through big glass
windows out onto the lit pool outside. There is an upstairs that mainly
exists for children characters to "disappear" into.
Setting 3:
Mark house.
Large suburban home with a front porch swarming with plants and mood lighting.
Indoor contains many rooms, mainly a large living room with an immense
beige couch and candles and moody lighting. Also a view through big glass
windows out onto the lit pool outside. There is an upstairs that mainly
exists for children characters to "disappear" into. May contain an area
with as computer and table and bunch of writing stuff.
Setting 4:
Wallace's place of work.
Really cool science laboratory with test tubes and a lab with really big
electrical machinery and lasers and stuff and Wallace wearing a sexy lab
coat and goggles.
Setting 5:
Mark's place of work.
A very large, immense, brightly-lit Jaques Tati-esque modern lobby of a
huge office building where he wears a uniform and guard hat that are both
too big for him and is always alone and spends all his time sitting in
front of a desk with lots of little tv screens and a mop and bucket he
uses to clean the floor with and spends time looking out the immense glass
windows out into the night parking lot and road outside.
Setting 6:
Winding Texas road
that never has any other cars on it. It is always nighttime on the road.
Huge, dramatic rainstorms can occur on the road on cue. Next to the road
on both sides is thick woods.
Setting 7:
Unknown mountain landscape with gently rolling green valley...
possibly Adirondacks. Location of outdoor carnival with eventful "Pie Eating
Contest" (flashback sequence)
*********************************************************
THE
STORY BEGINS:
*DAY ONE*
SCENE 1:
characters:
Mark, Wallace
setting: 1
(Unspecified McDonald's restaurant)
time of day:
early
evening, dusk
MARK ENTERS UNSPECIFIED MCDONALDS RESTAURANT. HE IS WITH HIS KID. MARK PLACES KID INSIDE BALL CAGE THING AND THEN GOES AND SITS DOWN ON A BENCH FACING BALL CAGE THING. HE SPIES WALLACE ON THE OTHER SIDE OF THE BALL CAGE THING. WALLACE IS PULLING HIS TWO KIDS OUT OF THE BALL CAGE THING AND GETTING HIS STUFF TOGETHER TO LEAVE. THE TWO EXCHANGE LOOKS. WALLACE LEAVES. THERE ARE OTHER PEOPLE IN THE MCDONALDS BUT THEY ARE UNDESCRIPT BLURS.
*********************************************************
*DAY TWO*
SCENE 1:
characters:
Mark, Wallace
setting: 1 (Unspecified
McDonald's restaurant)
time of day:
early evening, dusk
MARK IS ALREADY IN
UNSPECIFIC MCDONALDS, HIS KID IS INSIDE THE BALL CAGE AND HE IS WATCHING
HIM. WALLACE ENTERS THE MCDONALDS WITH TWO KIDS IN TOW. WALLACE PLACES
HIS TWO KIDS INSIDE THE BALL CAGE AND THEN SITS ON A BENCH FACING THE BALL
CAGE (OPPOSITE SIDE OF MARK). THE TWO EXCHANGE BRIEF LOOKS THEN LOOK AWAY.
WALLACE READS A MAGAZINE. MARK WATCHES HIS OWN KID. THERE ARE OTHER PEOPLE
IN THE MCDONALDS BUT THEY ARE UNDESCRIPT BLURS.
- TIME PASSES -
IT'S TIME FOR WALLACE
TO LEAVE. WALLACE COLLECTS HIS KIDS FROM THE BALL CAGE AND AS HE PUTS THE
YOUNGEST KID UP ON HIS SHOULDER... HE LOOKS OVER AT MARK A BIT APPREHENSIVELY.
MARK HAS ALREADY GOTTEN UP TO COLLECT HIS KID. HE LOOKS BACK AT WALLACE
AND SMILES AND RAISES ONE HAND TO KIND OF SAY "HI". WALLACE SMILES BACK
HALF HEARTEDLY.
Wallace: Hey.
Mark: Hey
how's it going?
Wallace:
Well... see you tomorrow! (jokingly, sarcastic)
Mark: Yea!
Ha!
WALLACE EXITS MCDONALDS DOOR. MARK WATCHES TO SEE IF WALLACE LOOKS BACK INTO THE RESTAURANT TO WAVE AT MARK BEFORE THE DOOR SHUTS. HE DOESN'T. MARK LIFTS HIS OWN KID UP FROM THE BALL CAGE AND PUTS HIM ON HIS SHOULDER... WATCHING THE SHUT DOOR PENSIVELY.
*********************************************************
*DAY THREE*(NOTE
IMPORTANT: DAYS THREE THROUGH SEVEN ARE ALL EDITED TOGETHER IN ONE LONG
MONTAGE WITH OCCASIONAL DIALOGUE WITH MARK AND WALLACE ARRIVING AND LEAVING
AT THE BEGINNING [early evening - dusk] AND END [later at night - but not
too late for kid's bedtimes] OF EACH "DAY"... EACH TIME WITH A FRIENDLIER
AND FRIENDLIER HELLO AND GOOD-BYE -AND THE SAME SONG SOUNDTRACK THROUGHOUT
ALL DAYS THREE THROUGH SEVEN)
SCENE 1:
characters:
Mark, Wallace
setting: 1(Unspecified
McDonald's restaurant)
time of day:
varies
soundtrack:
song fading out of dialogue shots and over action shots is Stereolab's
"Jenny Ondioline"
(song continues un-interrupted from scene to scene,
day to day, until day *seven*, when second song is introduced)
QUICKLY EDITED SHOT WITH VARIOUS SNIPPETS OF DIALOGUE: VARIOUS SHOTS OF MARK AND WALLACE GETTING TO KNOW EACH OTHER BETTER AND BETTER EACH DAY AT THE UNSPECIFIED MCDONALDS AS EACH OF THEIR KIDS HAVE DISAPPEARED INTO THE BALL CAGE/ROOM. WE HEAR SNIPPETS OF DIALOGUE BETWEEN THE TWO AS THEY SIT ON THE BENCH AND TALK:
Mark: So you
got a divorce from her?
Wallace:
Yes (pensive look as he eyes his kids in the ball cage) I miss her
as a companion but, it's for the best I suppose.
Mark: What
was her name?
Wallace:
Shigeru Miyamoto. She was Japanese.
Mark: Un-huh
I see...
Wallace:
Yes.
Mark: I thought
I detected some Asian features in your kids but I couldn't really tell
since they are nondescript blobs who don't have faces and just appear as
props - since this is a fantasy.
Wallace:
Yes.
CUT TO: A SCENE WHERE MARK AND WALLACE BOTH BREAK UP A FIGHT BETWEEN ONE OF WALLACE'S KIDS AND MARK'S KID.
*********************************************************
*DAY FOUR*
SCENE 1:
characters:
Mark, Wallace
setting: 1
(Unspecified McDonald's restaurant)
time of day:
varies
soundtrack:
song fading out of dialogue shots and over action shots is Stereolab's
"Jenny Ondioline" (song continues un-interrupted from scene to scene,
day to day, until day *seven*)
QUICKLY EDITED SHOT WITH VARIOUS SNIPPETS OF DIALOGUE: VARIOUS SHOTS OF MARK AND WALLACE GETTING TO KNOW EACH OTHER BETTER AND BETTER EACH DAY AT THE UNSPECIFIED MCDONALDS AS EACH OF THEIR KIDS HAVE DISAPPEARED INTO THE BALL CAGE/ROOM. WE HEAR SNIPPETS OF DIALOGUE BETWEEN THE TWO AS THEY SIT ON THE BENCH AND TALK:
Mark: I ...yes,
I'm gay. My last boyfriend was killed by an elephant.
Wallace:
Wha... how?
Mark: He
was an animal trainer and an artist... he... he had been working for years
to train full grown elephants to knit sweaters and scarves... and also
make tiny Faberge eggs. And um... one day... well... let's just say he
went quickly.
Wallace:
I'm sorry.
CUT TO: SCENE WHERE WALLACE SHOWS MARK HOW TO JUGGLE WITH BALLS FROM THE BALL CAGE.
*********************************************************
*DAY FIVE*
SCENE 1:
characters: Mark,
Wallace
setting: 1
(Unspecified McDonald's restaurant)
time of day:
varies
soundtrack: song
fading out of dialogue shots and over action shots is Stereolab's "Jenny
Ondioline" (song continues un-interrupted from scene to scene, day to
day, until day *seven*)
QUICKLY EDITED SHOT WITH VARIOUS SNIPPETS OF DIALOGUE: VARIOUS SHOTS OF MARK AND WALLACE GETTING TO KNOW EACH OTHER BETTER AND BETTER EACH DAY AT THE UNSPECIFIED MCDONALDS AS EACH OF THEIR KIDS HAVE DISAPPEARED INTO THE BALL CAGE/ROOM. WE HEAR SNIPPETS OF DIALOGUE BETWEEN THE TWO AS THEY SIT ON THE BENCH AND TALK:
Mark: A research
scientist? Wow!
Wallace:
Yes... we are researching to find out if molecules have "memory". You know...
if over time, after being exposed and reacting to element changes at specific
timed intervals for years... you know at the same time... that if the stimulus
is suddenly removed at one of the planned times... the molecules - the
same molecules - will still "react" because they have been trained. Like
say you work in the same office for forty years... and you sit in the same
chair behind the same desk every day for all that time. Every day... Monday
through Friday - you sit in that chair at 9am and get out of it at 5pm,
and you take two coffee breaks and a lunch break at the same exact times.
And every time you sit in and get out of your chair... it "squishes" and
"un-squishes" and heats and unheats the cushion part of the chair - from
your body weight and heat - at exactly the exact same time every day for
forty years. Then after forty years you quit and don't come in at all.
But that chair that you have sat on every day is still in your office "expecting"
you on Monday morning at 9am to "squish" and heat it's cushion. But at
9... you do not show up. If we were to test the cushion of that chair with
really amazing scientific equipment... would we see any changes in the
molecular structure of the cushion? Even microscopically measured measurements
in the mass or even temperature. Would the molecules in the cushion have
been "trained" to behave that way every day? Can they? We already know
molecules have a way of "thinking" to behave the way they do to form things
in our world... but can they learn and adapt? Do they have "memory?"
Mark: How
interesting...
Wallace:
Yes... we are testing this by doing experiments on animals. We are at the
critical stage of our research.
Mark: Oh...
how does that prove...
Wallace:
Well... it's part of my research... but it's a little hard to explain how
it all fits together. Were you good at math and physics in high school.
Mark: No...
I never even made it to math and physics in high school.
Wallace:
Oh okay... well let's just say my work is very brainy and is a reflection
of my complex and highly creative mind.
Mark: Fascinating.
Wallace:
Yes... someone's got to do it. It won me the Nobel Prize.
Mark: Really?
Wallace:
Yes... it was handed to me in Switzerland.
Mark: I'm
so impressed.
Wallace:
And since I won the Nobel Prize last year I am a millionaire now you know.
CUT TO: SCENE WHERE MARK AND WALLACE BOTH ARE EATING HAPPY MEALS AT A TABLE WHILE THEIR RESPECTIVE KIDS PLAY. ONE OF THEM DROPS A FRENCH FRY ON THE FLOOR AND BOTH BEND DOWN TO PICK IT UP AT THE SAME TIME... BUMPING HEADS AND THEN HOLDING THEIR HEADS IN PAIN BUT SMILING AND LAUGHING.
*********************************************************
*DAY SIX*
SCENE 1:
characters:
Mark, Wallace
setting: 1 (Unspecified
McDonald's restaurant)
time of day:
varies
soundtrack: song
fading out of dialogue shots and over action shots is Stereolab's "Jenny
Ondioline" (song continues un-interrupted from scene to scene, day to
day, until day *seven*)
QUICKLY EDITED SHOT WITH VARIOUS SNIPPETS OF DIALOGUE: VARIOUS SHOTS OF MARK AND WALLACE GETTING TO KNOW EACH OTHER BETTER AND BETTER EACH DAY AT THE UNSPECIFIED MCDONALDS AS EACH OF THEIR KIDS HAVE DISAPPEARED INTO THE BALL CAGE/ROOM. WE HEAR SNIPPETS OF DIALOGUE BETWEEN THE TWO AS THEY SIT ON THE BENCH AND TALK:
Mark: Well
I'm a security guard at a non-descript office building lobby. I've been
doing that for ten years now. Although I just work for the "life experience"...
I actually am a very successful author.
Wallace:
Yes... I... I have read your books before actually.
Mark: Really?
Wallace:
Yes. I thought your "I Dreamed I Was Strangling My Own Identical Stunt
Dummy" was a very moving novel.
Mark: Thanks!
It was my idea to print the text backwards on the page so the reader would
have to hold the book up to a mirror to read it and therefore would have
to contemplate themselves while reading you know.
Wallace:
Yes I thought that was genius!
Mark: Thanks!
Robert H. Binstock of the New York Times called it "mind-numbingly infuriating"
despite it being on the New York Times bestseller list for a thousand weeks...
and I am now a millionaire because it's been optioned by a film studio
you know.
CUT TO: SHOT OF WALLACE AND MARK AT THE CASHIER PAYING FOR FOOD FOR THEIR KIDS. WALLACE SUDDENLY REALIZES THAT HE IS SHORT ON CASH TO PAY FOR THE FOOD. MARK RE-ASSURES AND MOTIONS TO A POLITELY PROTESTING WALLACE THAT HE WILL COVER FOR HIM THIS TIME AND PAY FOR BOTH MEALS. MARK THEN STARTS TO GET MONEY FROM HIS WALLET, THEN MARK'S EXPRESSION QUICKLY CHANGES TO MOCK-SERIOUSNESS AS HE PRETENDS TO HAVE A GUN CONCEALED IN HIS POCKET AND PRETENDS TO TRY AND HOLD-UP THE CASHIER FOR THE FOOD. BOTH WALLACE AND MARK BURST OUT LAUGHING AND THE BLURRY, NON-DESCRIPT MCDONALDS EMPLOYEE LOOKS BLURRILY CONFUSED AT FIRST AND THEN BLURRILY LAUGHS AS MARK PULLS OUT REAL MONEY.
*********************************************************
*DAY SEVEN*
SCENE 1:
characters:
Mark, Wallace
setting: 1 (Unspecified
McDonald's restaurant)
time of day:
varies
soundtrack:
song fading out of dialogue shots and over action shots is Stereolab's
"Jenny Ondioline" (song continues un-interrupted from scene to scene,
day to day, until day *seven*)
QUICKLY EDITED SHOT WITH VARIOUS SNIPPETS OF DIALOGUE: VARIOUS SHOTS OF MARK AND WALLACE GETTING TO KNOW EACH OTHER BETTER AND BETTER EACH DAY AT THE UNSPECIFIED MCDONALDS AS EACH OF THEIR KIDS HAVE DISAPPEARED INTO THE BALL CAGE/ROOM. WE HEAR SNIPPETS OF DIALOGUE BETWEEN THE TWO AS THEY SIT ON THE BENCH AND TALK:
Mark: ...and
the Peter Sellers movies...
Wallace:
Get out! I love Peter Sellers! (excited)
QUICKLY CUT TO: SCENE WHERE WALLACE AND MARK'S KIDS WHO WERE FIGHTING A FEW DAYS EARLIER NOW HAVE ON KIDDIE BOXING GLOVES AND HEAD GUARDS AND ARE HAVING A BOXING MATCH IN THE MCDONALD'S PARKING LOT. A CROWD HAS GATHERED TO WATCH AND EVERYONE IS LAUGHING A CHEERING, INCLUDING THE TWO KIDS. A BLURRY, NON-DESCRIPT MCDONALDS EMPLOYEE BRINGS OUT A TRAY OF MILKSHAKES FOR EVERYONE TO DRINK AND TOAST THE WINNER. MARK AND WALLACE BOTH RAISE THEIR BLURRY, NON-DESCRIPT KIDS ONTO THEIR SHOULDERS IN TRIUMPH AS WINNERS. THE CROWD OF BLURRY, NON-DESCRIPT ONLOOKERS LOOKS ON AND CHEERS AND TOASTS THEIR MILKSHAKES. (as Stereolab song begins to build and build)
NOTE SOUNDTRACK:
introduce soundtrack: last 2 minutes of Stereolab song "Jenny Ondioline"
CUT TO: SLOW-MOTION
CLOSE-UPS OF MARK AND WALLACE'S FACES... WITH EACH OF THEIR KIDS EACH ON
THEIR SHOULDERS. MARK AND WALLACE ARE BOTH BOUNCING THEIR KIDS UP AND DOWN
AMONGST THE CHEERING CROWD. - CAMERA CUTS BACK AND FORTH - BACK AND FORTH
FROM MARK TO WALLACE FACE... GETTING CLOSER EACH TIME... EVENTUALLY JUST
IN ON EACH OF THEIR EYES. MARK AND WALLACE ARE BOTH LOOKING AT EACH OTHER
WITH WARM SMILES AND LAUGHING EYES. AFTER THE LAST SHOT OF EACH FACE...
CAMERA PANS UP TO THE BLURRY, NON-DESCRIPT KID ON EACH'S SHOULDERS (FIRST
WALLACE'S THEN MARK'S) AND SHOWS EACH KID BLOW THE PAPER WRAPPER OFF THE
END OF THEIR MILKSHAKE STRAW UPWARDS. (as second half of Sterolab song
builds and builds)
CUT TO: SHOT
OF THE TWO PAPER STRAW WRAPPERS ALOFT AND INTERTWINING IN THE AIR WITH
THE BLUE SKY BEHIND THEM. SHOT IS EVENTUALLY WHITED OUT BY THE BRIGHT SUN
(as
last part of Sterolab song - softly wavering moogs and synths ebb and flow
into reverb and echo and fade out with the scene)
*********************************************************
*DAY EIGHT*
SCENE 1:
characters:
Mark, Old Security Guard Janitor
setting: 5
(Mark's place of work)
time of day:
evening (very dark out)
WIDE SHOT OF MARK
AT WORK. THE LOBBY IS HUGE AND VERY QUIET. WE SEE MARK LOOKING AT ONE OF
THE TELEPHONES AT HIS SECURITY DESK.
CUT TO: BATHROOM
ADJACENT TO LOBBY. WE SEE THE OLD SECURITY GUARD HOLDING A BOOK PAGE UP
TO A MIRROR AND TRYING TO READ IT. IT IS MARK'S BOOK. HE GRUMBLES:
Old Security Guard:
Mmmmph... damn... pizzashit...
SCENE 2:
CUT TO: BACK
IN LOBBY. OLD SECURITY GUARD ENTERS FROM BATHROOM AND MARK SAYS:
Mark: What'd
you think of the book?
Old Security
Guard: (face suddenly changes to wide sarcastic smile) Oh it
was g-r-r-r-e-e-e-a-a-a-t!
(face quickly changes back to original casual
sneer)
OLD SECURITY GUARD
TOSSES BOOK ON MODERN, UPHOLSTERED LOBBY BENCH AND THEN SITS DOWN AND PLACES
HIS HANDS ON HIS KNEES IN FRUSTRATED BOREDOM. SUDDENLY A LOUD CLANKING
SOUND IS HEARD COMING FROM THE HIGH CEILING. BOTH MARK AND THE OLD SECURITY
GUARD LOOK UP SIMULTANEOUSLY, THEN LOOK AT EACH OTHER. THEN THEY BOTH SIMULTANEOUSLY
LOOK AT THEIR WATCHES. THEN THEY CARRY ON WITH WHAT THEY WERE DOING.
CUT TO: MARK
AT SECURITY DESK. HE EYES TELEPHONE APPREHENSIVELY. HE THEN LOOKS OUT WINDOW
AT JUNE BUGS CRAWLING AND SWARMING AT BASE OF PARKING LOT OVERHEAD LIGHT
(CLOSE UPS), THEN BACK AT PHONE. MARK THEN QUICKLY PICKS UP PHONE AND DIALS
A NUMBER. WE HEAR IT RING. THEN WE IT PICK UP ON THE OTHER END AND HEAR
A VOICE ON THE OTHER END SAY:
Wallace (recording):
Hello...
Mark: (nervously
and awkward) Hey Wallace what's up? It's Mark! Hey I was...
MARK THEN REALIZES IT'S WALLACE'S OUTGOING MESSAGE. HE IS OBVIOUSLY CALLING WALLACE AT HOME. WE GATHER FROM THE NERVOUSNESS THAT THIS MAY BE THE FIRST TIME MARK HAS CALLED WALLACE AT HOME, OR THAT HE MAY HAVE INTENDED TO ASK WALLACE TO GO DO SOMETHING THAT MIGHT BE CONSIDERED A "DATE." MARK THEN LOOKS AT THE DANCING JUNE BUGS OUTSIDE AGAIN AND LISTENS TO THE WHOLE OUTGOING MESSAGE.
Wallace (recording continued): ...this is Wallace! I'm not hear right now but please leave a message and I'll get back to you just as soon as I can!
AS MARK IS LISTENING...
HIS EYES FOCUS FAR OUT THE WINDOW... PAST THE JUNE BUGS AND TO A CAR THAT
IS PASSING ON THE ROAD OUTSIDE THE OFFICE. WE SEE A CLOSE-UP OF MARK'S
EYES AS THEY SQUINT TO LOOK AT THE CAR.
CUT TO: MOVING
CLOSE-UP OF THE DRIVER OF THE CAR... JUST A BLURRY SHADOW. MARK ISN'T ABLE
TO SEE WHO WAS DRIVING THE CAR. MARK HANGS UP THE PHONE RIGHT BEFORE WALLACE'S
OUTGOING MESSAGE FINISHES AND THEN WALKS AROUND THE DESK AND GETS THE MOP
AND BUCKET AND BEGINS MOPPING THE FLOOR AS THE OLD SECURITY GUARD SITS
SLUMPED ON THE LOBBY BENCH.
*********************************************************
*DAY NINE*
SCENE 1:
characters:
Mark, Wallace
settings: 3 (Mark's
house), 4 (Wallace's place of work)
time of day:
early
evening
SHOT OF MARK AT HOME.
HE IS SITTING AT HIS WORK/WRITING DESK AND IS TAPPING A BALLPOINT PEN ON
HIS DESK - OUT OF NERVOUS FRUSTRATION - AND IS INADVERTENTLY MAKING ERRATIC
LITTLE DOT PEN MARKS ON A PAD OF PAPER.
CUT TO: CLOSE
UP OF PEN MARKS BEING MADE ON PAPER. (sound fx)
CUT TO: CLOSE
UP OF MARK'S EYES LOOKING IN ANOTHER DIRECTION
CUT TO: CLOSE
UP OF MARK'S DESK PHONE
CUT TO: PULLED-BACK
SHOT OF MARK... MARK PICKS UP PHONE AND DIALS WALLACE'S NUMBER AT WORK.
WE HEAR THE PHONE RING.
CUT TO: WALLACE'S
PLACE OF WORK. (NOTE: TILTED CAMERA ANGLE) THE LABORATORY IS FILLED WITH
BUBBLING, COMPLEX TEST TUBES AND GLASS THINGS WITH COLORED WATER IN THEM
(MAYBE SOME DRY ICE) AND MACHINES THAT HAVE ANTENNA WITH STRANDS OF BLUE
LIGHTNING/ELECTRICITY COMING OUT OF THEM. WE SEE WALLACE IN HIS LAB COAT,
GOGGLES AND CARRYING A CLIP BOARD. HE HAS ONE OF THOSE DENTIST HEADBAND/HATS
WITH A LIT CIRCULAR REFLECTIVE LIGHT/MIRROR THING ABOVE AND TO THE RIGHT
OF IT. IN THE BACKGROUND WE SEE A CHIMPANZEE SUBMERGED IN A LARGE TANK
OF BLUE WATER. THE CHIMP HAS WIRES AND TUBES AND ELECTRODES ATTACHED TO
IT'S BODY AND IS WEARING A FUTURISTIC LOOKING OXYGEN MASK. THE CHIMP IS
EATING A BANANA CREAM PIE - UNDERWATER - AND SMILING AND MOTIONING WITH
IT'S ARMS FOR MORE PIE. WALLACE IS OBSERVING AND TAKING NOTES ON HIS CLIPBOARD.
WALLACE HEARS PHONE. WALLACE WALKS OVER (FOREGROUND) TO LAB PHONE AND PICKS
IT UP (NOTE: EDITS SWITCH BACK AND FORTH BETWEEN SETTINGS 3 AND 4 AS DIALOGUE
COMMENCES)
Wallace: Molecular
Research... Wallace here (serious, casual tone)
Mark: (slightly
rushed and nervous) Hey hi hello Wallace? It's Mark! From McDonalds!
Wallace:
(face
lights up with genuine smile) Mark! Hey how are you?
Mark: Oh
fine... sorry to call you at work... I got your work number from your card.
Wallace:
Oh that's fine... sooooo... what's up (intimate sound in voice - Wallace
leans back against wall and crosses free arm to chest)
Mark: So
anyway... I noticed that "The Return of the Pink Panther" is showing at
an unspecified movie cinema in town tomorrow night and I was wondering
if you wanted to go see it? Burt Kwouk is going to be there and will be
doing a Q&A after the screening.
Wallace:
Get out! Really? Well I'd love to go...
CUT TO: BRIEF CLOSE UP OF CHIMP'S FACE UNDERWATER EATING PIE... CHIMP SMILES AND MOVES HEAD UP AND DOWN EXCITEDLY AND MAKES A (BUBBLY AND GURGLEY) "EEEK! EEEK! EEEK!" SOUND (sound fx)
Mark: Oh okay
great! (big smile) Alright I have your address and... why don't I come
pick you up at around 7pm tomorrow?
Wallace:
Okay... that's fine!
Mark: Okay
great... that was easy... I mean (fumbling) ...I mean, okay that's
good then! I'll see you at 7!
Wallace:
Okay... see you then
Mark: Bye!
Wallace:
Later!
CUT TO: SHOT
OF MARK HANGING UP THE PHONE AT HOME. HE INHALES AND LETS OUT A BIG SIGH
OF RELIEF THAT MAKES HIS CHEEKS BELLOW.
CUT TO:
WALLACE AT LAB. HE STAYS LEANED AGAINST WALL WITH ARMS CROSSED ACROSS CHEST
AFTER HANGING UP PHONE - LOOKS PENSIVELY OUT INTO THE AIR. THE UNDERWATER
CHIMP BEHIND HIM IN THE TANK IS NO LONGER EATING A PIE AND NOW SEEMS TO
BE SOLVING A RUBIK'S CUBE.
CUT TO:
CLOSE UP OF RUBIK'S CUBE UNDERWATER BEING TWISTED AND TURNED BY MONKEY
FINGERS. WHICH CUTS TO...
*********************************************************
*DAY TEN*
SCENE 1:
characters: Mark,
Wallace
settings:
2 (Wallace's house), 6 (winding Texas road)
time of day:
evening
(dark)
soundtrack:
(very end of scene) Nico's "Lawns Of Dawns"
CLOSE-UP SHOT OF
MARK'S KID IN PASSENGER SEAT OF MARK'S CAR TWISTING AND TURNING A
RUBIK'S CUBE. WE SEE THE KID'S BLURRY, NON-DESCRIPT FINGERS WORKING AT
IT.
CUT TO:
PULLED BACK SHOT OF MARK DRIVING TO WALLACE'S HOUSE... LOOKING AROUND AS
HE DRIVES AND TRYING TO FIND THE ADDRESS.
Mark: ...47... 4900... be patient we'll be right there...
SHOT OF MARK PULLING HIS CAR UP TO THE FRONT OF WALLACE'S HOUSE. MARK PARKS AND GETS OUT AND LETS HIS KID OUT. WALLACE IS AT THE FRONT DOOR, OPENED, AND IS WAVING HELLO. MARK AND KID WALK UP TO GREET WALLACE. MARK AND WALLACE SHAKE HANDS. WALLACE BRINGS THEM INSIDE.
SCENE 2:
CUT TO:
INTERIOR OF WALLACE'S HOUSE. MARK'S KID GREETS WALLACE'S TWO KIDS AND THE
THREE OF THEM EXCITEDLY RUN UPSTAIRS AND DISAPPEAR FOR THE REST OF THE
SCENE.
Mark: So this
is your place? It looks great...
Wallace:
Yea... thanks.
Mark: It
looks similar to mine.
Wallace:
Yes I guessed that. Would you like a beer?
Mark: Sure...
WALLACE OPENS HIS FRIDGE AND GETS TWO BEERS. INSIDE THE FRIDGE WE CATCH A GLIMPSE OF SHELF AFTER SHELF OF BANANA CREME PIES. WALLACE SHUTS FRIDGE AND HANDS MARK BEER.
Mark: Thanks.
Wallace:
Your welcome.
Mark: I can't
wait to see Burt Kwouk.
Wallace:
Me too.
CUT TO:
SEMI-CLOSE-UP OF WALLACE TAKING THE TOP OF HIS LONG NECK BEER BOTTLE AND
PLACING HIS WHOLE MOUTH OVER THE TOP OF IT ...ALMOST SEDUCTIVELY... WHILE
LOOKING AT MARK THE WHOLE TIME... IT LOOKS FOR A SECOND THAT HE IS GOING
TO PHALICALLY SUCK ON THE WET BOTTLE.
CUT TO:
SHOT OF MARK STARING IN WALLACE'S DIRECTION IN BARELY-HIDDEN AMAZEMENT.
MARK IS OPENING HIS BOTTLE WITH HIS HAND AS HE STARES.
CUT TO:
WALLACE... WHO DOES NOTHING OF THE SORT... BUT RATHER WAS USING HIS TEETH
TO OPEN THE BOTTLE TOP... IN A VERY MACHO FASHION. WALLACE THEN SPITS THE
BOTTLE TOP ACROSS THE ROOM IN A VERY MACHO FASHION.... THEN TAKES A SWIG
OF BEER IN A VERY MACHO FASHION
CUT TO:
SHOT OF MARK... STILL STARING IN AMAZEMENT... FACE HAS NOT MOVED... BUT
NOW HIS HANDS REVEAL THAT HE HAS POURED HIS OWN BEER INTO A LARGE CHAMPAGNE
GLASS WITH A PINK PAPER UMBRELLA AND SLICE OF LIME AND SALT RIM. MARK IS
MOTIONLESS EXCEPT FOR BEER POURING OUT OF BOTTLE.
CUT TO:
SHOT OF SPIT-OUT BOTTLE TOP HITTING OPPOSITE WALL OF KITCHEN (WHICH CONTAINS
MANY FRAMED PAST PHOTOS OF WALLACE WITH HIS EX-WIFE AND KIDS). WE HEAR
THE BOTTLE TOP HIT THE WALL AND MAKE A CARTOON-Y "B-O-O-O-I-I-I-N-N-N-G-G-G-G!"
SOUND (sound fx)
CUT TO:
BACK TO MARK. HE LOOKS DOWN AT HIS OWN BEER AND THEN BACK AT WALLACE...
KIND OF EMBARRASSED.
CUT TO:
SHOT OF WALLACE LOOKING AT MARK WITH TOTALLY NON-DESCRIPT LOOK, UNFAZED.
WALLACE TAKES ANOTHER SWIG OF BEER.
CUT TO:
MARK PLACES FANCY GLASS DOWN AND WALKS WITH HIS BEER BOTTLE OVER TO WALL
WHERE WALLACE'S FAMILY PHOTOS ARE. HE LOOKS CAREFULLY AT MANY OF THE PHOTOS.
Mark: Is this
Shigeru? Your ex-wife? And your kids?
Wallace:
Yes... that's us.
MARK LOOKS AT THE
PHOTOS.
CUT TO:
CLOSE-UPS OF MANY OF THE PHOTOS. IN THE PHOTOS WE SEE THE TWO BLURRY, NONDESCRIPT
KIDS AND BLURRY, NON-DESCRIPT EX-WIFE SMILING HAPPILY IN EACH PHOTO...
FULL OF LIFE. IN EACH SHOT, WALLACE LOOKS BORED AND OUT OF PLACE. IN THE
LAST PHOTO CLOSE-UP... THE WHOLE FAMILY IS POSING HAPPILY IN A FAMILY PORTRAIT
STUDIO AND YOU CAN SEE WALLACE LITERALLY ASLEEP ON THE FLOOR BEHIND THEM.
CUT TO:
WALLACE... WHO HAS NOT MOVED AND IS STILL WATCHING MARK. HE TAKES ANOTHER
SWIG OF BEER.
Wallace: Maybe
we should go if we're gonna catch that film. We don't wanna miss Burt.
Mark: (looks
away from photos and towards Wallace) Right!
SCENE 3:
CUT TO:
EXTERIOR OF WALLACE'S HOUSE. WE SEE MARK AND WALLACE EXIT THE FRONT DOOR...
WALK DOWN TO THE CAR... AND GET IN.
CUT TO:
INTERIOR OF CAR. MARK AND WALLACE BOTH ENTER AND FASTEN SEAT BELTS. MARK
STARTS CAR AND THEY DRIVE OFF. WALLACE LOOKS SLIGHTLY NERVOUS.
CUT TO:
CAR IS NOW MOVING ALONG NIGHT ROAD. WE SEE TREES MOVING OUTSIDE EACH PASSENGER
WINDOW AS CAMERA CUTS BACK AND FORTH BETWEEN EACH ONE AS THEY SPEAK. WALLACE
IS LOOKING MORE AND MORE NERVOUS AND FIDGETING SLIGHTLY IN HIS SEAT...
LOOKING AT DIFFERENT THINGS INSIDE THE CAR. LOOKING AT MARK'S HANDS STEERING
THE CAR ALONG... SHIFTING THE GEAR SHIFT... TURNING ON THE AIR.
CUT TO:
WALLACE'S NERVOUS EYES WATCHING MARK DO EACH THING.
CUT TO:
MARK'S HANDS STEERING.
CUT TO:
WALLACE'S EYES... THEY MOVE TO SOMETHING ELSE...
CUT TO:
MARK'S HAND TURNING THE GEAR SHIFT (WE HEAR CAR REV-UP)
CUT TO:
WALLACE'S EYES... THEY MOVE TO SOMETHING ELSE...
CUT TO:
MARK'S HANDS ADJUST THE AIR...
CUT TO:
WALLACE'S EYES... THEY MOVE TO SOMETHING ELSE...
CUT TO:
MARK'S HAND HITTING THE AUTOMATIC LOCKS ON ALL THE DOORS.
CUT TO:
WALLACE'S EYES LOOKING OVER AT HIS DOOR LOCK.
CUT TO:
WALLACE'S DOOR LOCK LOCKING AUTOMATICALLY.
CUT TO:
WALLACE'S HAND HOLDING ONTO THE INNER HANDLE OF HIS DOOR VERY TIGHTLY...
GRIPPING.
CUT TO:
WALLACE'S EYES... THEY MOVE TO SOMETHING ELSE...
CUT TO:
MARK'S FEET AS THEY PUSH THE GAS PEDAL... (WE HEAR CAR REV-UP)
CUT TO:
WALLACE'S UPPER BODY... THE CAR REVING-UP CAUSES HIS BODY TO MOVE FORWARD
SLIGHTLY AND THEN GET CAUGHT BY HIS SEAT BELT AND BOUNCE BACK IN HIS SEAT.
WALLACE LOOKS OVER AT MARK NERVOUSLY...
CUT TO:
MARK... LOOKING FORWARD AS HE DRIVES... HE LOOKS OVER AT WALLACE CASUALLY...
TOTALLY RELAXED... AND GIVES A NON-DESCRIPT SMILE... THEN LOOKS BACK AT
THE ROAD...
CUT TO:
WALLACE... STILL LOOKING AT MARK NERVOUSLY... HE THEN LOOKS BACK AT ROAD
AND SEEMS TO GULP HARD.
Mark: Do you
want the AC on?
Wallace:
No I'm okay. (sweating, tugging at collar)
CUT TO: WALLACE LOOKS RIGHT OVER AT MARK, WITH A VERY VULNERABLE LOOK ON HIS FACE. AS SOON AS MARK (IN CLOSE FOREGROUND) TURNS AND LOOKS AT HIM, WALLACE QUICKLY LOOKS AWAY... FORWARD. WALLACE THEN KIND OF FAKE-LY SMILES AND SAYS IN A KIND OF VOICE THAT BETRAYS HIS EMOTIONS:
Wallace: You
know... I... I didn't know what to wear. You know I'm so busy with my kids
and work these days. I never go out! I mean... I was all... 'What do people
wear to the movies these days? A tux?' (laughs) You know!? I mean
whaddyawear right? (when Wallace says this he throws his hands in the
air in a too-extroverted and loud fashion - a symptom of him trying to
cover his nervousness - he seems aware of this and slightly embarrassed
now on top of seeming nervous)
Mark: (oblivious
and relaxed) Oh really? No... no you look... lemme see (Mark tries
to look over at Wallace while still watching the road) ...you look
good. No you look good... I like the gel in your hair... you look good
like that. You look really great!
Wallace:
(nervously
smiling... fidgeting) Really? You... yea well thanks... you look...
you look... (Wallace seems to be trying to spit out words but can't...
he seems to be on the brink of a panic attack)
CUT TO:
WALLACE STOPS TALKING AND LOOKS RIGHT OVER AT MARK CALMLY AND WEIRDLY...
VERY VULNERABLE AND MAYBE A LITTLE SCARED. SUDDENLY... WHILE STILL LOOKING
OVER AT MARK... HE REACHES CASUALLY OVER TO HIS DOOR LOCK... UNLOCKS IT...
THEN SLINKS HIS ARM BEHIND HIMSELF (STILL LOOKING AT MARK)
CUT TO:
MARK NOW QUICKLY LOOKS OVER AT HIM THEN BACK AT THE ROAD... HE NOTICES
WALLACE IS ACTING STRANGE
CUT TO:
WALLACE ... STILL LOOKING OVER AT MARK CALMLY AND WEIRDLY OPENS HIS DOOR
WHILE THE CAR IS MOVING AND THEN QUICKLY UNCLICKS HIS SEAT BELT AND THEN
SAYS TO MARK WEIRDLY:
Wallace: (weirdly
calm) Can you stop the car plea... (Wallace doesn't have time to
finish as he flings his own body out of the moving car and it tumbles and
spins onto the moving pavement below him)
Mark: *AAAAAGGGGGHHHH!*
*WHAAAA!?!?!?!*
MARK... HAVING ALREADY
SLAMMED ON THE BRAKES AS SOON AS HE SAW WHAT WALLACE WAS DOING... BRINGS
THE CAR TO A SCREECHING HALT AND FREAKS OUT. JUST THEN *BOOM!* LIGHTNING
STRIKES IN THE DISTANCE AND A HARD RAIN STARTS TO DOWNPOUR ALL OVER EVERYTHING.
MARK PANICS AND UNDOES HIS SEAT BELT. HE PUTS THE CAR IN PARK AND LOOKS
THROUGH HIS REARVIEW MIRROR.
CUT TO:
MARK'S REAR-VIEW MIRROR. THROUGH THE RAIN... MARK'S RED REAR BRAKE LIGHTS
SHOW THE SILHOUETTE OF WALLACE GETTING UP FROM THE SIDE OF THE ROAD AND
HOBBLING (POSSIBLY INJURED) AWAY FROM THE CAR AND BACK IN THE DIRECTION
OF HIS HOUSE.
Mark: What the fuc...
CUT TO: MARK IN THE CAR REACTING. MARK FLINGS HS DOOR OPEN WE HEAR THE *DING* *DING* *DING* OF THE DOOR SOUND (sound fx) MARK GETS OUT OF THE CAR AND STANDS ON THE ROAD AND YELLS BACK AT WALLACE
Mark: Waaaaaalllllllace!!!
SOUNDTRACK: cue Nico's "Lawns Of Dawns" (plays in background and gets louder and louder as scene progresses)
MARK STARTS RUNNING
IN THE DIRECTION OF WALLACE... YELLING HIS NAME. THE RAIN IS POURING DOWN
ALL OVER EVERYTHING AND THE LIGHTENING AND THUNDER IS FLASHING AND BOOMING.
CUT TO:
SHOT FROM MARK'S PERSPECTIVE OF WALLACE'S SILHOUETTE HOBBLING OFF THE ROAD
AND INTO THE WOODS.
CUT TO:
MARK STILL RUNNING AND CALLING WALLACE'S NAME. MARK REACHES FOREST WHERE
WALLACE ENTERED AND ENTERS.
CUT TO: MARK
RUNNING THROUGH THICK FOREST WITH RAIN POURING DOWN AND LIGHTNING AND THUNDER
FLASHING AND BOOMING... WIND IS HOWLING. MARK KEEPS STOPPING TO WIPE THE
RAIN OFF HIS FACE AND LOOKING FORWARD TO SEE IF HE CAN SEE WALLACE'S SILHOUETTE.
CUT TO:
WALLACE'S SILHOUETTE FROM MARKS PERSPECTIVE, IN THE DISTANCE... HOBBLING
THROUGH THE WOODS IN THE DIRECTION OF HOME.
CUT TO:
MARK... STILL RUNNING THROUGH THE WOODS YELLING WALLACE'S NAME.
THE RAIN POURS DOWN
AND THE LIGHTNING AND THUNDER FLASH AND BOOM... THE WIND IS HOWLING...
(sound
fx)
part 2:
*********************************************************
*DAY TEN*
(continued)
SCENE 1:
characters:Mark,
Wallace
settings: 2
(Wallace house), 6 (winding Texas road)
time of day:
evening
(dark)
soundtrack: (very
end of scene - plays in background and gets louder and louder as
scene progresses) Nico's "Lawns Of Dawns"
...MARK IS RUNNING
IN THE DIRECTION OF WALLACE... YELLING HIS NAME. THE RAIN IS POURING DOWN
ALL OVER EVERYTHING AND THE LIGHTENING AND THUNDER IS FLASHING AND BOOMING.
CUT TO: MARK
RUNNING THROUGH THICK FOREST WITH RAIN POURING DOWN AND LIGHTNING AND THUNDER
FLASHING AND BOOMING... WIND IS HOWLING. MARK KEEPS STOPPING TO WIPE THE
RAIN OFF HIS FACE AND LOOKING FORWARD TO SEE IF HE CAN SEE WALLACE'S SILHOUETTE.
CUT TO:
WALLACE'S SILHOUETTE FROM MARKS PERSPECTIVE, IN THE DISTANCE... HOBBLING
THROUGH THE WOODS IN THE DIRECTION OF HOME.
CUT TO:
MARK... STILL RUNNING THROUGH THE WOODS YELLING WALLACE'S NAME.
THE RAIN POURS DOWN
AND THE LIGHTNING AND THUNDER FLASH AND BOOM... THE WIND IS HOWLING...
(sound
fx)
CUT TO:
WALLACE'S SILHOUETTE FROM MARKS PERSPECTIVE, IN THE DISTANCE... HOBBLING
THROUGH THE WOODS IN THE DIRECTION OF HOME. GETTING FARTHER AND FARTHER
AWAY FROM MARK'S FIELD OF VISION.
CUT TO:
MARK... STILL RUNNING THROUGH THE WOODS YELLING WALLACE'S NAME. MORE LOUDLY.
CUT TO:
WALLACE'S SILHOUETTE FROM MARKS PERSPECTIVE, ALMOST FAR ENOUGH AWAY TO
DISAPPEAR.
CUT TO:
MARK... STILL RUNNING THROUGH THE WOODS YELLING WALLACE'S NAME. HE CANNOT
SEE WALLACE.
CUT TO:
MARK'S EYES... HE SEES LIGHTS IN THE DISTANCE (IT IS WALLACE'S HOME).
CUT TO:
MARK... STILL RUNNING THROUGH THE WOODS... TOWARDS THE LIGHT.
SUDDENLY THE RAIN AND LIGHTENING AND THUNDER STOPS.
SOUNDTRACK: song fades out...
CUT TO: EXTERIOR SHOT OF WALLACE'S HOME. PORCH LIGHTS ARE ON. WATER IS DRIPPING OFF EVERYTHING POST-HEAVY RAIN. WE SEE WALLACE'S SILHOUETTE, DRIPPING WET... RUN FROM THE WOODS TO THE LEFT... STRAIGHT ACROSS HIS YARD AND QUICKLY INTO HIS FRONT DOOR. HE ENTERS THE DOOR, SHUTS IT, LOCKS IT, AND TURNS OFF THE PORCH LIGHTS.
CUT TO: MARK...
STILL RUNNING THROUGH NOW-DRIPPING FOREST... APPROACHING WALLACE'S DARK
HOUSE (POINT-OF-VIEW CAMERA). WE HEAR THE SOUND OF OWL HOOTING AND CRICKETS...
SLOWLY GROWING LOUDER AS MARK GETS CLOSER TO THE OPENING IN THE TREES THAT
OPENS TO WALLACE'S FRONT YARD. (sound fx)
CUT TO: EXTERIOR
SHOT OF WALLACE'S HOUSE, DARK. SOUND OF CRICKETS AND OWLS. MARK REACHES
THE FRONT DOOR AND KNOCKS LOUDLY AND CALLS WALLACE'S NAME. NO ANSWER.
Mark: Wallace! Wallace! Are you okay!? Wallace!?
CUT TO: MARK
AT FRONT DOOR. CAMERA IS LOW... LOOKING UP AT MARK. MARK IS POUNDING ON
WALLACE'S DOOR AND RINGING THE DOORBELL. NO ANSWER. MARK LOOKS UPWARDS
TO THE UPSTAIRS WINDOW.
CUT TO:
POINT-OF-VIEW SHOT OF DARKENED UPSTAIRS WINDOW.
CUT TO: MARK
GIVES UP AND BACK SLOWLY AWAY FROM THE DARK HOUSE... LOOKING UPWARDS QUIZZICALLY.
MARK LOOKS FOR A WHILE UP AT THE DARK WINDOW. HIS FACE CHANGES TO SLIGHT
RESIGNATION.
CUT TO: ANOTHER
SHOT OF DARK WINDOW.
CUT TO: MARK
LOOKING UPWARDS. MARK LOOKS DOWN AND THEN TURNS AROUND AND WALKS BACK IN
THE DIRECTION OF HIS CAR. CAMERA PANS DOWN AND RIGHT TO A PUDDLE IN WALLACE'S
YARD. THROUGH THE PUDDLE WE SEE AN UPSIDE-DOWN REFLECTION OF THE UPSTAIRS
WINDOW. WE SEE A DARKENED FIGURE APPROACH THE WINDOW AND LOOK OUT INTO
THE YARD... WATCHING MARK WALK AWAY. WHICH FADES INTO...
fade out...
*DAY ELEVEN*
SCENE 1:
characters: Mark,
Wallace, Old Man Security Guard, Wallace's Lab Assistant
settings: 5
(Mark's place of work), 4 (Wallace's place of work), 7 (mountain
valley used in Wallace flashback scene to his childhood)
time of day:
evening (dark)
CUT TO: MARK'S
PLACE OF WORK. CAMERA IS POINTED DOWN AT BRIGHTLY LIT, OFF-WHITE LINOLEUM
FLOOR (CLOSE ENOUGH IN THAT YOU SEE NOTHING ELSE). WE HEAR THE SOUND OF
A WET MOP AND WHEELS OF A MOP BUCKET. SUDDENLY SEE THE HANDLE OF A MOP
COME INTO FRAME. A WET MOP THEN PLOPS DOWN AND ENTERS FRAME LEFT AND SLOWLY
MAKES BACK AND FORTH MOTIONS ACROSS FLOOR (TO FRAME RIGHT) UNTIL IT COVERS
ENTIRE VIEW OF WHITE FLOOR WITH THICK, GLOSSY, REFLECTIVE MOP WATER. AS
IT DOES WE SEE THE UPSIDE DOWN REFLECTION OF MARK SITTING AT HIS DESK (REFLECTED
IN WET FLOOR IN FRONT OF HIM) LOOKING FORLORNLY DOWN. THE UPSIDE-DOWN REFLECTION
OF HIS HEAD AND UPPER BODY MATCHES THE PLACEMENT OF THE UPSIDE-DOWN REFLECTION
OF THE DARKENED FIGURE IN WALLACE'S WINDOW FROM THE END OF THE PREVIOUS
SCENE PERFECTLY.
CUT TO: CAMERA
PULLED BACK TO REVEAL MARK AT SECURITY DESK IN SAME POSITION AS WE SAW
HIM IN THE REFLECTION. THE OLD SECURITY GUARD IS MOPPING THE FLOOR NEAR
THE FRONT OF THE DESK. THE SECURITY GUARD STOPS AND SAYS...
Old Security Guard:
Whatsamatter with you!?
Mark: (snaps
awake) Oh... nothing.
Old Security
Guard: Oh yea? How'd your date go?
Mark: Oh...
fine... I guess... I don't know (trails off...)
OLD MAN SHAKES HIS HEAD AND THEN LOOKS DOWN AND CONTINUES MOPPING
NOTE: SETTING CHANGE
CUT TO: WALLACE'S
PLACE OF WORK. WALLACE IS IN LAB COAT WITH CLIP BOARD... OBSERVING CHIMPANZEE
SUBMERGED INSIDE TANK OF WATER.
CUT TO: CLOSE
UP OF WALLACE'S FACE... HE'S LOOKING INTENTLY AT THE CHIMPANZEE INSIDE.
WE HEAR BUBBLING SOUNDS (sound fx)
CUT TO: WALLACE'S
ASSISTANT... AN ASIAN WOMAN IN GLASSES AND A LAB COAT. SHE IS ON THE SIDE
OF THE LAB ROOM... APPROACHING WALLACE. SHE SAYS...
Wallace's Lab Assistant: Professor Wallace... the chimpanzees want more pie.
CUT TO: WALLACE'S PENSIVE FACE LOOKING AT CHIMPS IN TANK... HIS FACE OR EYES HAVE NOT MOVED FROM LAST SHOT. HIS EXPRESSION DOES NOT CHANGE AND HE KEEPS STARING FORWARD AND KIND OF ROBOTICALLY SAYS...
Wallace: Then give them more pie.
CUT TO: WALLACE'S ASSISTANT AGAIN.
Wallace's Lab Assistant: Yes Professor Wallace.
CUT TO: WALLACE'S
FACE AGAIN. HIS FACE HAS STILL NOT MOVED OR CHANGED EXPRESSION.
CUT TO: CHIMP'S
FACE INSIDE TANK. HE MAKES A LAUGHING CHIMP SOUND (GURGGLY) (sound fx)
CUT TO: WALLACE'S
FACE... CAMERA IS EVER SO SLOWLY MOVING IN ON HIS EYES.
CUT TO: CHIMPS
FACE AGAIN... STILL MOVING UP AND DOWN AND LAUGHING LOUDLY UNDERWATER.
CAMERA ZOOMS IN ON CHIMP'S VIOLENTLY MOVING FACE SLOWLY... SLOWLY...
CUT TO: WALLACE'S
FACE AGAIN. CAMERA IS STILL CLOSING IN ON HIS EYES. CAMERA IS VERY CLOSE.
(edit in blur filter - wavy blurriness - to signify a memory Wallace is having)
CUT TO:
SETTING 7. (NOTE: THIS IS A FLASHBACK IN WALLACE'S MEMORY
- TO WALLACE'S CHILDHOOD)
A GREEN, ROLLING
VALLEY WITH MOUNTAINS ALL AROUND. THERE IS A CROWDED CARNIVAL GOING ON.
CAMERA PANS SLOWLY ACROSS CROWD, BOOTHS, SOME SMALL RIDES, ETC. CAMERA
KEEPS PANNING RIGHT AND EVENTUALLY MOVES ACROSS BANNER WHICH READS "5TH
ANNUAL PIE EATING CONTEST" AND THEN A STAGE WITH A LONG TABLE ON IT FULL
OF BANANA CREME PIES AND TWO BOYS WITH BIBS ON SITTING IN FRONT OF THE
TABLE. THERE ARE CHAIRS ARRANGED ON THE GRASS FULL OF PEOPLE WHO ARE GOING
TO WATCH THE PIE EATING CONTEST.
CUT TO: ANNOUNCER
IN FRONT OF MICROPHONE AT THE SIDE OF THE STAGE. HE ANNOUNCES
Announcer: Ladies and gentlemen! Welcome to the 5th annual pie eating contest!" (crowd cheers)
CUT TO: SHOT
OF PIE EATING CONTEST TROPHY ON SHELF BEHIND ANNOUNCER.
CUT TO: ANNOUNCER
AGAIN...
Announcer: We are down to our last day of the contest... and are down to our final two contestants! On the left... we have... at eight years old and reigning champ four years in a row ...able to eat one hundred and fifty foot long hot dogs in one minute... Bo "Vacuum Cleaner" Bobber!!! (crowd goes wild)
CUT TO: BO
BOBBER WHO IS INCREDIBLY HANDSOME AND BUFF - EVEN FOR AN EIGHT YEAR OLD...
ALMOST LIKE A YOUNG TOM OF FINLAND CARTOON. BO STANDS UP AND WAVES HIS
HANDS TRIUMPHANTLY. THE CROWD GOES WILD. BO TAKES A GIANT SAUSAGE OUT OF
HIS POCKET, TURNS HIS HEAD TO THE SIDE AND LOOKS UPWARDS... AND THEN PLUNGES
THE SAUSAGE LONGWAYS DOWN HIS MOUTH AND "DEEP THROATS" IT OVER AND OVER...
SMILING AS THE THICK AND VERY LONG SAUSAGE SLIDES IN AND OUT AND IN AND
OUT OF HIS THROAT EFFORTLESSLY. BO LOOKS AT THE AUDIENCE WITH HIS EYE AND
RAISES HIS EYEBROW UP AND DOWN AND SMILES AS HE KEEPS PUMPING THE PLUMP
SAUSAGE IN AND OUT OF HIS THROAT. HE FLEXES HIS FREE ARM.
CUT TO: SHOT
OF THE CHEERING CROWD. WE SEE HAND-MADE SIGNS THAT SAY "GO MO' BO!" AND
"WE LOVE YOUR VACUUM PUMP ACTION BO!" AND "SWALLOW THAT SAUSAGE OVER AND
OVER BO!"
CUT TO: SEVERAL
YOUNG GIRLS WHO ARE SCREAMING AND CRYING FOR BO. SOME OF THEM FAINT FROM
THE EXCITEMENT.
CUT TO: BACK
TO BO. HE EFFORTLESSLY PULLS THE SAUSAGE OUT OF HIS THROAT TO THE GASPS
AND CHEERS OF THE AUDIENCE. HE THEN TAKES THE END OF THE SAUSAGE AND DIPS
IT INTO ONE OF THE BANANA CREME PIES IN FRONT OF HIM. HE THEN TAKES THE
WHITE CREME COVERED TIP OF THE SAUSAGE AND PULLS IT UP CLOSE TO HIS MOUTH.
HE LOOKS TO HIS LEFT AND GIVES WHATEVER HE'S LOOKING AT A MEAN ACING LOOK.
CUT TO: CLOSE
UP OF BO'S FACE... HE IS STILL LOOKING TO HIS LEFT INTENTLY AND MENACINGLY
(AND SEXILY) AND CAMERA IS FACING HIM. HE TAKES A LICK AND SLURP OF THE
WHITE CREME OFF THE END OF THE SAUSAGE AND SLURPS THE REST OF THE CREME
OFF THE END OF THE SAUSAGE (sound fx)
CUT TO: EVEN
CLOSER UP ON BO'S THICK LIPS AS HE SLURPS AND SUCKS THE CREME OFF THE SAUSAGE
(sound
fx)
CUT TO: CLOSE
UP OF BO'S THROAT... HIS ADAM'S APPLE IN PARTICULAR. WE SEE HIS ADAM'S
APPLE MOVE AS HE SWALLOWS THE CREME. (sound fx)
CUT TO: BACK
TO BO'S FACE. HE REACHES HIS LIPS OVER THE END OF THE SAUSAGE AND TAKES
A HEARTY CHOMP OFF THE END. HE CHEWS THE SAUSAGE IN HIS MOUTH A WHILE...
STILL LOOKING MENACINGLY AT WHOEVER HE'S LOOKING AT. THE CROWD GOES NUTS.
HE THEN SPITS THE CHEWED MEAT OUT VERY FAR OUT IN FRONT OF HIM, CAMERA
PANS ALONG WITH THE FLYING, CHEWED MEAT AS IT FLY'S ACROSS THE STAGE AND
LANDS IN SOMEONE'S LAP. IT'S THE LAP OF THE OTHER PIE EATING CONTESTANT.
MEAT FLOPS INTO LAP. CAMERA PANS UP FROM THIS AND WE SEE THE FACE OF THE
OTHER CONTESTANT. IT IS A VERY YOUNG WALLACE LANGHAM (EIGHT YEARS OLD).
HE LOOKS VERY NERVOUS AND IS SWEATING AND HIS EYES ARE DARTING ALL AROUND
THE STAGE AND AUDIENCE NERVOUSLY. HE IS WEARING A T-SHIRT THAT SAYS "FEED
ME". HIS LACK OF CONFIDENCE IS IN DIRECT CONTRAST TO BO'S OVER-CONFIDENCE.
CUT TO: ANNOUNCER.
ANNOUNCER YELLS INTO MICROPHONE...
Announcer: ...and in the other corner. A new contender in the eating race! Ladies and gentlemen... Wallace Langham!!! (crowd starts to 'boo')
CUT TO: WALLACE'S
FACE. HE LOOKS NERVOUSLY AND JITTERY OUT TO THE CROWD... THEN BACK OVER
TO BO.
CUT TO: BO'S
FACE. HE IS STILL IN SAME POSITION AND IS CHEWING SOME OF THE MEAT LEFT
IN HIS MOUTH.
CUT TO: WALLACE'S
FACE... NERVOUSLY LOOKING AT BO.
CUT TO: BO'S
FACE... WHO PUTS TWO FINGERS IN HIS MOUTH... SUCKS ON THEM WITH HIS LIPS
AND PULLS THEM OUT WITH A "POP" SOUND. (sound fx) BO THEN TURNS AND
SITS BACK DOWN
CUT TO: WALLACE
LOOKING NERVOUS AND AMAZED AT BO BUT MOSTLY NERVOUS.
CUT TO: CLOSE
UP OF WALLACE'S CROTCH CHEWED MEAT IS STILL THERE) WE SEE THROUGH WALLACE'S
JEANS THAT HE HAS POPPED A BONER. WE HEAR A "BOING" SOUND. (sound fx)
CUT TO: WALLACE'S
FACE. LOOKING EVEN MORE NERVOUS. HE SEEMS TO BECOME MORE AWARE OF THE CROWD
AND STARTS TO KIND OF TRY TO SMILE AND GET UP TO ACKNOWLEDGE THEIR "BOO"-ING
AT LEAST. HE LOOKS DOWN AT HIS CROTCH AND REALIZES HE HAS A HARD ON SO
HE CAN'T STAND UP. HE SITS BACK DOWN AWKWARDLY AS CROWD'S BOO'S BECOME
LOUDER. HE HALFHEARTEDLY WAVES.
CUT TO: CROWD
BOOING AND POINTING THEIR THUMBS DOWN FOR WALLACE.
CUT TO: WALLACE'S
NERVOUS AND SWEATY FACE AGAIN SCANNING THE CROWD AND CONTEMPLATING HOW
MUCH THEY LOATHE HIM.
CUT TO: EIGHT
YEAR OLD ASIAN GIRL IN CROWD. SHE IS IN CONTRAST TO CROWD IN THAT SHE IS
CHEERING AND JUMPING UP WILDLY FOR WALLACE AND CALLING HIS NAME. SHE IS
GOING CRAZY WITH ENTHUSIASM AND HOLDS A HAND-MADE SIGN THAT HAS A CUT OUT
PICTURE OF WALLACE'S YOUNG FACE AND SAYS "I LOVE YOU HONEY!" ON IT. (WE
PRESUME THIS IS WALLACE'S FUTURE WIFE)
CUT TO: WALLACE'S
FACE AGAIN LOOKING OUT INTO CROWD NERVOUSLY. WE HEAR ANNOUNCER'S VOICE
ON SOUND SYSTEM...
Announcer: Oh ladies and gentlemen... this contest looks like it may be over before it has even begun! The crowd loves Bo "Vacuum Cleaner" Bobber! But will this newcomer turn the tides and beat the champion Bo!? It doesn't seem likely!!! (crowd cheers)
CUT TO: WALLACE'S
FACE AGAIN LOOKING OUT INTO CROWD NERVOUSLY.
CUT TO: ASIAN
GIRL IN CROWD AGAIN. SHE IS SCREAMING "I LOVE YOU WALLACE!" AT THE TOP
OF HER LUNGS.
CUT TO: ANNOUNCER.
HE HAS A POP GUN POINTED UPWARDS. HE IS SAYING...
Announcer: On your mark ...eaters!!!
CUT TO: SHOT
OF BO BOBBER. WITH HIS OPEN MOUTH POSITIONED AND READY OVER HIS TABLE FULL
OF BANANA CREME PIES. LOOKING CONFIDENT.
CUT TO:
WALLACE. IN SAME POSITION BUT LOOKING SCARED.
CUT TO:
CROWD... AWED IN SILENCE.
Announcer: (fires gun) Go!!!
CUT TO:
SHOT OF BO EATING PIES FURIOUSLY
CUT TO:
SHOT OF WALLACE EATING PIES FURIOUSLY
CUT TO:
CROWD GOING WILD LIKE AT A BOXING MATCH
CUT TO:
BO WITH PIE ALL OVER FACE... EATING LIKE CRAZY
CUT TO:
WALLACE WITH PIE ALL OVER FACE... EATING FURIOUSLY.
THROUGH A SERIES
OF EDITS AND SHOTS WE ARE ABLE TO SEE THAT WALLACE IS SOMEHOW ABLE TO START
EATING A SIGNIFICANTLY HIGHER NUMBER OF PIES THAN BO... AND HIS LEAD KEEPS
GETTING STRONGER TO THE SURPRISE OF THE AUDIENCE, BO AND ALSO WALLACE.
CUT TO:
BO EATING BUT STARTING TO LOOK AT WALLACE A LITTLE WORRIEDLY.
CUT TO:
WALLACE EATING LIKE MAD BUT BECOMING AWARE THAT HE IS IN THE LEAD.
CUT TO:
ANNOUNCER...
Announcer: (bemused into microphone) Whoa!!! We have an upset folks! Wallace Langham is eating way ahead of champion Bo Bobber! Not in four years has anyone ever challenged the Bo! Ohhhh this is an exciting race indeed folks! (crowd's cheers start to diminish)
CUT TO:
WALLACE EATING IN FAST MOTION
CUT TO:
BO EATING BUT PAYING A LOT OF ATTENTION TO WALLACE
CUT TO:
WALLACE IN FAST MOTION... AT ONE POINT HE LOOKS OVER AT WALLACE AND MAKES
A "GRRR..." SOUND AT HIM WITH A MOUTH STUFFED WITH BANANA CREME PIE.
CUT TO:
CROWD KIND OF LOOKING CONFUSED... CROWD SLOWLY STARTS TO TURN AND BEGINS
TO CHEER FOR WALLACE... STARTS CHANTING "WALLACE... WALLACE..." ANNOUNCER
IS GIVING RUNNING COMMENTARY OF HOW WALLACE IS PULLING AHEAD AGAINST BO
AND IT'S A HISTORIC MOMENT...
CUT TO:
ASIAN GIRL IN CROWD STILL GOING WILD AND CHEERING FOR WALLACE. SHE IS YELLING
"YOU'RE GONNA WIN! YOU'RE GONNA WIN! I LOVE YOU WALLACE! YOU'RE GONNA WIN!"
CUT TO:
CROWD CHEERING FOR WALLACE.
CUT TO:
BO EATING BUT LOOKING VERY WORRIED AND OBVIOUSLY FAR BEHIND.
CUT TO:
A ROW OF THICK WOODS AT THE EDGE OF THE VALLEY... WAY BEHIND THE CROWD
AND CARNIVAL. WE START TO SEE LITTLE BLACK SHAPES... LIVING THINGS... POP
OUT OF THE WOODS AND INTO THE VALLEY. THE BLACK SHAPES START INCREASING
IN NUMBER AND APPEAR TO BE MOVING TOWARDS THE CROWD.
CUT TO:
CLOSE-UP SHOT OF WALLACE'S MOUTH EATING PIE LIKE MAD
CUT TO:
CLOSE-UP SHOT OF BO'S MOUTH EATING PIE LIKE MAD
CUT TO: GRINNING.
LEERING MOUTH OF WHAT APPEARS TO BE A PRIMATE. THE CAMERA IS FOCUSED ON
THE MOUTH OF THE ANIMAL EVEN THOUGH IT IS OBVIOUS THAT THE ANIMAL IS MOVING
QUICKLY FORWARDS. WE HEAR THE SOUND OF CHIMPANZEES MAKING WAR CRIES AND
THE GALLOPING OF CHIMPANZEE FEET. (sound fx)
CUT TO: CAMERA
CUTS BACK AND FORTH BETWEEN SHOTS OF WALLACE EATING AND BO EATING AND THE
CROWD CHEERING AND THE MONKEY MOUTHS AND FACES AS AN OBVIOUS CROWD OF ENRAGED
PRIMATES IS GALLOPING TOWARDS THE CARNIVAL.
CUT TO: LONG
SHOT OF CHIMPANZEES RUNNING TOWARDS THE CARNIVAL
CUT TO: CLOSER-IN
SHOT OF CHIMPANZEES REACHING THE EDGE OF THE CARNIVAL AND PIE-EATING CONTEST.
SOME CHIMPANZEES START TO ATTACK PEOPLE ON THE PARAMETER OF THE CROWD.
PEOPLE SCREAM.
CUT TO: MORE
SHOTS OF MORE MONKEYS ATTACKING PEOPLE IN THE CROWD. PEOPLE START TO SCREAM
AND REACT AND RUN/RIOT. MONKEYS START TO GET ON THE STAGE.
CUT TO: ANNOUNCER
WITH AN INSANE CHIMP ON HIS BACK SCRATCHING AT HIS HEAD. HE SCREAMS INTO
MICROPHONE...
Announcer: Aaaaauuuuggghhh!!! It's a monkey attack!!! Nooooo!!! Aaauuugghhh!!! Not again!!! The monkeys are back!!! Run for your lives!!!!!
CUT TO: ENRAGED
CHIMPANZEE JUMPING ONTO TABLE OF WALLACE'S PIES. WALLACE LOOKS UP QUIZZICALLY
AS THE CHIMP STARTS GRABBING AND EATING WALLACE'S PIES AND SCREETCHING
AT WALLACE. WALLACE LOOKS ALL AROUND HIM
CUT TO:
VARIOUS SHOTS OF CROWD BEING ATTACKED BY INSANE CHIMPS AND RUNNING FOR
THEIR LIVES. THERE IS BLOOD EVERYWHERE AND SOME CASUALTIES. IT'S TOTAL
CHAOS. PEOPLE RUNNING EVERYWHERE. CHIMPS SWARM AROUND BOTH BO AND WALLACE'S
TABLES OF PIES. BO IS SEEN RUNNING IN FRONT OF WALLACE'S TABLE SCREAMING
WITH A CHIMP ON HIS HEAD CLAWING AT HIS EYES... WHICH ARE BLEEDING. WALLACE
THEN GETS ATTACKED BY A CHIMP WHO KNOCKS HIM OUT OF HIS CHAIR.
CUT TO: VARIOUS
QUICK-EDITED CLOSE-UP SHOTS OF CHIMP MOUTHS DEVOURING THE PIES.
CUT TO: PEOPLE
RUNNING BLOODY FOR THEIR LIVES... SCREAMING... CHAOS
CUT TO: ANNOUNCER...
WITHOUT MICROPHONE... BLOODY AND DOWN ON HIS KNEES ON THE STAGE AND CRYING
TO HIMSELF...
Announcer: Not again... no... not another monkey attack... oh why... oh why...
CUT TO: WALLACE
OFF THE STAGE ON HIS BACK... LOOKING ALL AROUND HIM AT THE CHAOS AND THE
OBVIOUSLY CANCELED CONTEST AND HIS BIG MOMENT IN THE SUN GONE AWRY.
CUT TO: WALLACE'S
YOUNG FACE AGAIN... HE LOOKS UPSET ALMOST LIKE HE'S GOING TO CRY...
CUT TO: MONKEYS
ALL OVER THE LACE DEVOURING EVERY PIE IN SIGHT AND ATTACKING PEOPLE (WHO
HAVE PRETTY MUCH FLED AWAY).
CUT TO: WALLACE'S
FACE AGAIN... CRYING...
CUT TO: ASIAN
GIRL... WHO IS VERY INJURED AND BLOODY... AND IS CRAWLING TOWARDS WALLACE
ON THE GROUND... SHE IS MUMBLING SOMETHING ABOUT NOT WINNING THE PIE EATING
CONTEST... WE SEE MORE CHAOS AND CARNAGE BEHIND HER... BLOOD AND MERINGUE
EVERYWHERE... SHE IS HOLDING THE BLOOD-COVERED TROPHY THAT WOULD HAVE GONE
TO THE WINNER OF THE CONTEST TO HIM. SHE REACHES HIM AND HOLDS THE TROPHY
OUT TO HIM IN VAIN. HE JUST LOOKS AT HER (TO HIS RIGHT) AND THEN LOOKS
BACK UP (HE IS ON HIS BACK) AND CONTINUES TO CRY... CAMERA STAYS ON HIS
FACE AS...
(edit in blur filter - wavy blurriness - to signify a coming back to reality frommemory Wallace was having)
(NOTE: OUT OF WALLACE'S CHILDHOOD FLASHBACK AND BACK TO PRESENT
IN LAB)
CUT TO: SHOT
OF WALLACE'S FACE IN PRESENT IN THE LAB... STILL LOOKING AT CHIMPANZEE
IN TANK WITH NUMB LOOK ON HIS FACE...
CUT TO: CLOSE-UP
SHOT OF CHIMP'S FACE IN WATER BUBBLY SHRIEKING AND EATING PIE UNDERWATER.
CUT TO: BACK
TO WALLACE'S FACE... STILL UNMOVED... HE MUMBLES TO HIMSELF...
Wallace: Have some more pie...
CUT TO: CHIMP
SHAKING HEAD UP AND DOWN AND SHRIEKING AND EATING PIE UNDERWATER.
CUT TO: WALLACE'S
FACE STILL WATCHING. WE HEAR HIS LAB ASSISTANCE'S VOICE...
Wallace's Lab Assistant: Do you want to take this or not? Professor Wallace... Professor Wallace!?
CUT TO: WALLACE'S FACE... HE SHAKES OUT OF HIS DAYDREAM AND TURNS TO HIS RIGHT TO LOOK AT HER
Wallace: Huh?
CUT TO: WALLACE'S ASSISTANT. SHE IS STANDING NEXT TO HIM HOLDING OUT THE TELEPHONE.
Wallace's Lab
Assistant: Do you want to take this call or not? I've been asking you
for the last minute... didn't you hear me?
Wallace:
Oh... no... sorry... I was concentrating on the chimpanzee's progress.
Take a message will you? I've got to go somewhere. (Wallace looks over
at clock on wall)
CUT TO: SHOT
OF CLOCK ON WALL... IT SAYS 10PM EXACTLY.
CUT TO: WE
SEE THE LAB ASSISTANT TAKE A MESSAGE. WE SEE WALLACE TAKE OFF HIS LAB COAT,
GRAB HIS CAR KEYS AND WALK OUT THE DOOR.
CUT TO: CLOSE-UP
SHOT OF DOOR BEING SLAMMED AS WALLACE LEAVES LAB
CUT TO:
ONE MORE SHOT OF CHIMP IN TANK... HE IS HOLDING HIS LEFT HAND UP
TO EAR TO MIMIC LAB ASSISTANT ON THE PHONE. WHICH CUT'S TO...
(NOTE: SETTING CHANGE)
CUT TO: MARK
AT WORK BEHIND SECURITY DESK. HE HAS THE PHONE UP TO HIS LEFT EAR... WHICH
HE PROMPTLY HANGS UP.
CUT TO: PULLED
BACK SHOT OF MARK BEHIND DESK. WE SEE OLD MAN SECURITY GUARD IS NOW WAY
DOWN AT THE OTHER END OF THE LOBBY, FAR BACKGROUND. HE HAS BEEN MOPPING
THE WHOLE TIME.
Mark: He wasn't in.
CUT TO: OLD
SECURITY GUARD WHO LOOKS UP... SHAKES HEAD... AND THEN CONTINUES MOPPING.
CUT TO: MARK
LOOKING UP AT CLOCK ON WALL. IT SAYS A FEW SECONDS AFTER 10PM.
CUT TO:
CLOCK
(fade to black - then fade up again to same shot of Mark at desk - this is to signify some time having passed)
CUT TO: MARK
IS STILL AT DESK. HE LOOKS UP AT CLOCK... WHICH NOW SAYS 10:40PM
CUT TO: CLOCK
CUT TO: OLD
SECURITY GUARD... NOW SITTING UP SLEEPING ON BENCH... SNORING.
CUT TO: MARK...
WHO LOOKS AT HIS WATCH
CUT TO: WATCH...
WHICH SAYS 10:40PM AND ELEVEN SECONDS. MARK CONTINUES LOOKING AT HIS WATCH
AND THEN LOOKS OUT INTO THE AIR.
CUT TO: SHOT
OF CEILING OF LOBBY.
CUT TO: MARK
LOOKING AT HIS WATCH.
WE HEAR A LOUD CLANKING
SOUND... (sound fx) THE SAME SOUND WE HEARD IN THE LOBBY IN
THE LAST LOBBY SCENE. MARK LOOKS UP FROM HIS WATCH AT THE CEILING.
CUT TO: OLD
SECURITY GUARD BEING RUSTLED AWAKE BY THE SOUND. THE OLD SECURITY GUARD
LOOKS AT HIS WATCH.
Old Security Guard:
Right on time!
Mark: If
we didn't have that to look forward to every night I don't know what we
would do to pass the time.
CUT TO: OLD
SECURITY GUARD GETS A FLASHLIGHT OUT OF HIS POCKET AND SHINES IT UP AT
THE CEILING.
CUT TO: SHOT
OF CEILING WITH FLASHLIGHT LIGHT MOVING AROUND IT.
Old Security Guard: Every night... at exactly 10:41pm... the same sound.
CUT TO: MARK LOOKS UP.
Mark: Yep.
Old Security
Guard: When are we gonna go investigate that?
Mark: We're
not paid to investigate the insides of the walls of the building... just
to watch the outsides.
Old Security
Guard: Aren't you curious?
Mark: (looks
down at a magazine) Yea... I guess. I don't know... it's probably something
in the building switching on and off at a certain exact time... 10:41pm
every night... something in the air system or something.
Old Security
Guard: Sounds more like an infestation to me! (shining flashlight
up to ceiling)
Mark: Mmmmmph...
idunno...
CUT TO: MARK LOOKS OUTSIDE TO THE SWARM OF JUNE BUGS WRITHING BENEATH THE LAMP POST AGAIN. WE HEAR THE SOUND OF A CAR IN THE DISTANCE. MARK LOOKS UP AND PAST THE BUGS. HE LOOKS AT A CAR DRIVING DOWN THE STREET IN FRONT OF THE BUILDING.
Mark: There's
that car again!
Old Security
Guard: What car?
Mark: The
same car as last time!
CUT TO: MARK'S VIEW OF THE CAR. CAMERA FOLLOWS CAR MOVING SCREEN RIGHT TO LEFT. WE SEE A DARK FIGURE DRIVING BUT CAN'T MAKE IT OUT.
Old Security Guard:
What last time?
Mark: Last
time last time... it was there once before.
Old Security
Guard: So it's a road... there's gonna be cars!
Mark: But
I thought... I don't know... I keep seeing this one. At around this time
every night. I don't know...
Old Security
Guard: So it's someone getting off work!
Mark: Aren't
you curious as to who's in it?
Old Security
Guard: Yea... I guess. I don't know...
CUT TO: OUTSIDE OF OFFICE LOBBY... LOOKING IN. JUNE BUGS WRITHING AND SWARMING UNDER LIGHT IN PARKING LOT (CAMERA HAS MOVING BUGS IN FOREGROUND... CAMERA IS LOW TO GROUND... AND IS FACING THE OFFICE BUILDING). WE SEE MARK AND THE OLD SECURITY GUARD IN THE GIANT LIT WINDOW OF THE LOBBY WAY... WAY... IN THE BACKGROUND. THEY ARE TALKING. THE BUGS START TO WRITHE AND FESTER MANIACALLY... WE HEAR THE LOUD SOUND OF LOTS OF CRAWLING BUGS... (sound fx)
(fade out)
Why are Wallace's
research monkeys acting so peculiar around his Molecule Distance MicroMile
Measuring Device? What is the sound that Mark and the Old Security Guard
hear at 10:41pm every night? Who (or what) is in that car Mark sees every
night? What will Mark and Wallace say to each other after their their disastrous
"first date"? What famous physics paradox defines their relationship?
What unspeakable "deformities" do Mark and Wallace's relatives posses?
What do words look like backwards? Why does Wallace collect antique Buzz
Aldrin storage trunks from NASA? Can monkeys spell? Tune in and find out!
NOTES: What are they? Space Cases... but they're damaged.
Hey Nothing, thanks for everything!
Tonight it's going to be all about not being all about me.
Mark and Wallace talk about life in their car and just as the conversation is getting good... people stop and ask them for directions.
...to be continued
copyright
Mark Allen 2003