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FADE IN:
INT. A DARK ROOM
A pair of eyes glance around with confusion. These eyes
belong to PETE SKOLARI who begins talking in his head.
Pete has an expression in his face that says, "I don't know
what the hell is going on here, but it surely must not be my
day."
PETE (V.O.)
The way in is the way out, the way
in is the way out. I don't know
what's going on here. Don't know
if things are making any sense.
Things that I see. Things I can't
explain.
Pete stands still while he's observing the room around him.
PETE (V.O.)
I don't even know where I'm at.
I'm standing in a big dark room.
There's a big dark room with a spotlight in the center.
Under the spotlight lies a television set on the floor, and a
glass tank full of scorpions on a table. Behind the
television set is a man smoking a cigar.
His name is MR. MUNZER.
PETE (V.O.)
There's a tv on the floor and a man
smoking his cigar acting like his
the Godfather.
On the right side of the room, there is a girl sitting in a
chair with a helmet on her head. She's in known as "THE GIRL
WITH THE HELMET."
PETE (V.O.)
There's girl sitting down with a
helmet on her head. I don't have a
clue why she's wearing the helmet.
Pete continues standing.
PETE (V.O.)
The people are watching, they are
watching every move. Don't make a
move, because they are watching
you.
The television screen is showing some kind of bizarre
cartoon, when a pair of feet pass by, followed by a
politician sweeping the floor. The politician is RANDY
FLOYD. The person dragging the politician is MAX THE LOON.
Max holds a big red baseball bat.
PETE (V.O.)
What's this? This guy is dragging
Mister Floyd, the dirty politician
who mysteriously disappeared one
night.
Max the Loon places the politician on a board. The board
then lifts the politician onto the table of scorpions. Max
the Loon smiles while this is going on.
PETE (V.O.)
Something is wrong with this
picture. Something don't seem
right. This is not making sense to
me.
Pete is trying to figure out what is going on.
PETE (V.O.)
I think I'm losing it. Just calm
down and keep it together. You're
just a little paranoid about this
situation. A little paranoid,
that's all.
The politician starts screaming as Max the Loon walks to the
television and flips the channel.
The "Pinky and the Brain" theme song plays in the background.
PETE (V.O.)
But why do I see these things? Is
this real? Is this really
happening? Is this the end of the
world?
We PAN down to Pete's head.
PETE (V.O.)
Why is this happening? Too many
questions.
A big ball resembling the Earth drops slowly like a Tim
Burton scene. It stops in the middle of the air at a piņata
level. Max the Loon hits the ball with his red baseball bat.
PETE (V.O.)
A boy with one arm once told me
that when the end is near, people
will turn insane. Well the end of
the world is finally here because
I'm losing my mind here. Should I
let everyone else know? No,
because nobody will believe me. It
will all be a big joke inside your
head. That's it, it's all in your
head.
Mr. Munzer smokes his cigar. The politician screams from
inside the scorpion tank. Max the Loon continues hitting the
ball. "The girl with the helmet" gets excited. A person
wearing a mask appears behind her. The person wearing a mask
will be known as "THE MASKED FIGURE."
PETE (V.O.)
You're going to get some help.
First thing tomorrow, your going to
call in from work and go see a
doctor.
Pete is watching all this madness around him. The politician
screams from inside the scorpion tank.
MR. FLOYD
Stop, Please!! No more pain!!
PETE (V.O.)
"No more pain," cries the
politician. But what can you do
when you have 30 seconds left until
the end of the world,...
A timer posted on the wall, counts down from 30 seconds.
PETE (V.O.)
.... while a dirty politician is
covered with scorpions,....
MS of politician getting bit.
PETE (V.O.)
.... and all I'm thinking about is
eating licorice for one last time?
Pete holds a string of red licorice. Max the Loon hits the
Earth ball. "The girl with the helmet" laughs. "The masked
figure" behind her moves back to the shadow. Mr. Munzer
takes one final puff on his cigar and moves away from the
spotlight.
PETE (V.O.)
Of course, there is not enough time
in this world to satisfy everyone
around you.
A scorpion is moving towards the politician.
A kid runs towards Pete and takes his licorice and runs off.
PETE (V.O.)
So basically me and the dirty
politician are fucked in this
situation.....
The counter shows 4 seconds then 3 seconds.
Pete looks straight.
PETE (V.O.)
....And I guess that you are too!!
Counter shows "1" then "0."
The theme song finishes and Max the Loon strikes the Earth
one more time and the Earth explodes.
CUT TO:
OPEN CREDITS
Echo and the Bunnymen's version of "People are Strange"
plays.
Title:
"The Schizophrenic Diaries"
Drawings drawn by persons with schizophrenia appear as the
credits roll.
DISSOLVE TO:
INT. A WALKWAY OF SOME HOSPITAL. DAY
There's a wall full of drawings, some of which appeared
during the credits. A few people are passing by this wall.
Some stop and stare at the drawings.
Some of the people include nurses, and others are patients in
uniforms. This is a hospital located in the heart of Texas.
This hospital are for people who need mental help such as:
people with anti-social behavior, troubled persons, and
people with schizophrenia. It is made up of people who have
been committed to the hospital, and those who volunteered.
There are different rooms in the hospital for different
things. There are some rooms only for medical staff, which
are locked by security doors, a room for treatment, a
cafeteria, a playroom, a courtyard, and of course, individual
bedrooms for the patients.
Two patients walk by this wall full of art. These two
patients stare at each other as they walk. We follow these
patients and they lead us into some kind of room where Pete
Skolari is sitting down writing on a journal.
INT. THE WAITING ROOM
The waiting room is a room where patients wait for medication
or for any activity instructed by doctors or nurses. It
looks similar to those rooms where patients wait to see the
doctor. There's a television, seats for patients, and two
doors. Pete sits in one of the seats.
PETE (V.O.)
The wheels are spinning, but they
only just begun. How long will
they spin for? Don't know how
long, just got to be patient. Be
patient until they call out your
name and then you get up and obey
orders. No matter what they say,
you just got to listen because
there is no other way.
A PATIENT gets up and a NURSE hands him a pill and a cup of
water.
PETE (V.O.)
If you want to make it, you gotta
follow orders. You may not agree
with some of the orders, but you
make the best of it.
A GUARD, whose job is mainly security, stands by a door and
looks at Pete. Pete looks at the guard and gets a little
paranoid.
PETE (V.O.)
No matter what, someone is
watching. No time to panic, just
got to have self control.
Just got to have self control, and
pretend nobody is watching.
Pete turns his head to a patient sitting to his right.
The patient is a girl who is brushing her hair and she is
looking down.
PETE (V.O.)
One day they will stop watching.
Pete smiles as he writes in his journal.
PETE (V.O.)
That will be the day I put on my
favorite hat and buy some pineapple
and coconut ice cream and head to
the lake for some good times.
Pete pauses for a bit. He looks up at the ceiling then
begins to write again.
PETE (V.O.)
Let's start all over again, my name
is Pete Skolari. Why am I writing
this down? Well, because Dr.
Stevenson recommended me to. I
went to seek help. The doctor
said, this will help me out.
Pete continues writing.
PETE (V.O.)
So I write my daily thoughts in
this little journal.
Pete writes then pauses from writing and looks around.
PETE (V.O.)
But I'm not crazy though. That guy
over there, that guy is crazy.
The man who was given a pill a little while ago, is standing
up shaking his head around.
PETE (V.O.)
So is this girl next to me who's
been brushing her hair ever since I
got here.
The girl sitting next to Pete, continues brushing her hair.
PETE (V.O.)
Even the guy dressed in blue, who
walks around the room over and over
all day.
A patient dressed in all blue, walks around the room.
Pete glances around.
PETE (V.O.)
I'm not crazy, i'm just not feeling
well. Earlier, I was imagining
things like the end of the world.
What the hell was that? Just
another hallucination.
Another angle on Pete sitting down holding his journal.
PETE (V.O.)
It's all a bunch of tricks inside
my head. Doctor Stevenson said,
this can get worse. So that's why
I'm here, to get better.
Pete writes in his journal.
PETE (V.O.)
I'm going through this new
treatment they have going. They
give me medication everyday, which
sometime helps. But in a couple of
weeks, I'll be receiving three
yellow pills.
Pete looks up.
PETE (V.O.)
These three pills will make me
better.
Pete continues writing.
PETE (V.O.)
In the meantime, I'm here because I
chose to be here. I got my time
off from work to get treated. Just
waiting for the countdown, it's all
a matter of time.
Pete stops writing.
PETE (V.O.)
I love writing. I love writing
ever since high school.
INT. PETE'S BEDROOM FROM LONG AGO (FLASHBACK)
Pete's bedroom is somewhat clean except for his desk, which
is a mess.
Pete types in front of a computer.
PETE (V.O.)
Even though, I'm terrible with
grammar and style, I still love
writing. That would of been my
major in college except....
Pete stops typing and picks up a pile of bills.
PETE (V.O.)
.....that I needed money to pay my
bills. So instead, I graduated
from college with a degree in
Business Management. Struggled to
get a job for a bit, then moved to
Austin to work for Tuff Marketing.
INT. TUFF MARKETING CALL CENTER. DAY
Tuff Marketing is a call center type environment with
cubicles.
PETE (V.O.)
I've been here four years now.
Pete sits in his cubicle.
PETE (V.O.)
I have my own little space here.
It's small, but is comfortable.
I'm just working trying to get
promoted. But this guy,.....
An over-achiever preppy looking guy is walking by Pete with
papers in his hand, and a smile in his face that says "look
at me, I'm better than you."
PETE (V.O.)
.....who's only been here for three
months, just got promoted to
Assistant Manager. It's okay
though.
Pete types in his computer.
PETE (V.O.)
Just got to keep reminding yourself
that everything is going to be
alright.
INT. THE HOSPITAL'S WAITING ROOM
Pete has his head up while sitting down waiting for his name
to be called out for his medication.
PETE (V.O.)
I need three pills to make me
better. And after that, I'm back
to where I belong. No more being
in this crazy place.
A couple of patients talk among each other in the corner of
the waiting room. One of them looks like he's telling a very
interesting story.
PETE (V.O.)
I'm just watching these crazy
people around me talking nonsense,
talking about things that they see.
Pete sits back looking around.
PETE (V.O.)
Sometimes I have hallucinations of
my own. One second I'm watching
this person sitting next to me,
shaking because of the
medication,....
The patient shaking his head is sitting next to Pete. He is
shaking as if he's having a big seizure.
PETE (V.O.)
....and the next, I'm not here any
more.
Pete puts his head up.
PETE
I'm outside driving in my car,
driving the street with my music
turned up.
EXT. PETE'S CAR DRIVING ON THE STREET. DAY
Pete drives down the street.
The song, "Doomsday," by the Transplants plays in the
background.
Pete continues to narrate while driving. He sees different
things on the street.
PETE (V.O.)
It's a nice day out here. Very
nice, except some things feel a
little bit strange.
A man walks his dog on a leash, except there is no dog, it's
just a leash.
Pete drives.
PETE (V.O.)
I see the usual homeless on every
corner with their usual signs. But
then there's this homeless guy
who's wearing a different kind of
sign.
A HOMELESS MAN is on a corner of an intersection with a big
sign on him that says, "THE END IS HERE." It's kind of like
the White Zombie video, "More human than human," where
someone is holding a 'the end is near' sign towards the end
of the video.
PETE (V.O.)
And that shit-stinking son of a
bitch is staring right at me.
Instead of looking at everything around him, the homeless
stares at Pete. Pete's car approaches.
PETE (V.O.)
I'll go on ignoring him like
everybody else.
Pete turns his head around and sees a cop pointing a gun to a
kid. The kid is holding a box of donuts, "Creme Delights,"
any cop's fantasy.
PETE (V.O.)
Then a cop is on the corner
pointing a gun at a kid holding a
box of donuts. I'm thinking, that
ain't right, but then again....
Pete continues to drive.
PETE (V.O.)
....these fuckers need their sugar
fix to push us around at night.
Always giving us speeding tickets
instead of getting to a crime scene
in time.
Pete's car passes by a billboard. The billboard shows the
face and the name of an elected official, MATTHEW G. GILLIAM.
PETE (V.O.)
Even though, elections were months
ago, we still see political
billboards.
Pete stares at the billboard.
PETE (V.O.)
We the people have elected mister
Gilliam for office. He's making
big changes.
Pete continues driving.
PETE (V.O.)
I'm not going to get political
though. Nope, I don't have no
time for that. Gotta watch the
road.
A girl walks down the street with a shirt showing her
cleavage. A guy passes by and looks at the girl revealing
her cleavage. She has a look on her face that says, "Why do
people always stare at my chest?"
A priest and a young boy walk down the street together. They
pass by a Michael Jackson poster, from his 'Thriller' days,
hanged up on a window. Pete passes by.
PETE (V.O.)
Religion is another topic I don't
want to get into. It's something
you have to think for yourself.
While driving, Pete looks at the world around him.
PETE (V.O.)
I gotta concentrate on the road.
Don't know where I'm going? Don't
know where I'm headed. Just
getting somewhere, that's
important. Somewhere comfortable,
somewhere to kick back and forget
about the world around me.
Pete looks to his right and there's a big line of people.
The day is somewhat sunny and these people look like they are
waiting for something good. A lot of hope in the air. Pete
has no idea what this line is for. He is indeed, a bit
curious.
PETE (V.O.)
There's a big line. What is this
line for? What's on special? Is
it the day after Thanksgiving? The
day when millions of people get up
early in the morning, they spend a
lot of money, and make companies
richer.
The people waiting in line appear to be the average people we
see in public.
PETE (V.O.)
It could be people trying to get
saved. Saved from what? The end
of the world?
On the left side of the street, a MAN WITH NO LEGS is reading
a book to a crowd of people. Behind this leg-less person is
an anti-Gilliam sign. These people look like a bunch of
hippies ready to protest against Matthew Gilliam.
PETE (V.O.)
Maybe these people know what's
going on? Maybe they know
something I don't. For all I know,
they may be telling the truth.
Pete passes by the protesters.
PETE (V.O.)
Need to find answers. Need to ask
more questions. More questions.
Need to watch the road.
"The masked figure," from Pete's first hallucination, appears
in the middle of the road.
PETE (V.O.)
Watch out !!
Pete hits "the masked figure."
PETE (V.O.)
Oh shit, I think I ran over that
guy with the mask.
Pete stops his vehicle and tries to relax.
PETE (V.O.)
Calm down, calm down. Everything
is alright. You're probably
imagining things. Remember,
everything that you see, might not
be real.
Pete prepares to get out of the car.
PETE (V.O.)
Everything that you say, might not
make sense. You might think it
does, but it might not. Take a
deep breath, take a deep breath and
lets get out of the car.
Pete gets out of the car, and he is in the middle of nowhere.
He looks for "the masked figure."
PETE (V.O.)
Where did he go? Was it all in my
head? (pause) Another trick from
my head.
Pete checks the front of his car for any kind of evidence
that proves that it was real, but no trace anywhere. Pete
gets a little bit paranoid.
PETE (V.O.)
What am I looking for? Looking for
something. Looking for something
to tell me the truth.
Pete circles around his car for clues as he gets more
confused about everything.
PETE (V.O.)
But where is it? Where is it?
Nowhere, I'm in the middle of
nowhere.
Little by little, the background gets darker.
INT. A DARK ROOM
Pete is in a dark empty room. He turns his head to a light
shining down on a display. The display shows a gun. He
approaches the light. A voice is heard.
VOICE OF A MAN
Pull the trigger my friend!!
Pete turns and sees a man. For the first time, Pete talks
out loud.
PETE
Bob!!
BOB is a very calm, very relaxing type of person. He always
keeps it cool. He's the opposite of Pete.
BOB
Hey Pete!!
PETE
Bob, we are lost.
BOB
I can see that.
PETE
What should we do?
BOB
Relax, Bob's here now. Bob will
take care of us.
PETE
Good.
Bob takes a deep breath and relaxes
BOB
Let's take a walk.
PETE
Alright.
Pete and Bob take a walk in the middle of darkness.
PETE
Bob, I just don't know if we can
get through this.
BOB
Of course we can, we're in this
together. (Pause) We're in this
together like the movie Fight Club,
remember Fight Club?
PETE
Yeah!!
BOB
Or even that other movie, what's
the name of that movie?
PETE
Which one?
BOB
That movie. The movie with that
girl. Damn, I forgot.
PETE
You got me.
BOB
Drop Dead Fred. There we go. Well,
not really like that movie but you
get the picture. Anyways, we're
going to get through this.
PETE
I just want to get better, you
know? Just getting better, and go
back to how things were.
BOB
I know, I understand what you want.
But you have to admit, that you're
a little bit crazy (points to his
head).
Pete and Bob stop walking.
PETE
I'm not. I'm not feeling good
right now, but I'm not crazy.
BOB
Pete, I know it's hard for you to
admit it. But you are crazy.
PETE
This is only temporary. I'm going
to take those three pills, and I
will get better.
BOB
Better? The world will not get
better. Did you see everything
that is happening out there?
PETE
Yeah.
BOB
What do you think?
PETE
I don't want to think. I just know
that I'm not crazy.
Bob points to Pete.
BOB
But you are.
PETE
Bob, why you tell me these things?
BOB
Sit down Pete!!
PETE
What?
A chair suddenly appears by Pete.
BOB
Go ahead and have a seat.
Pete sits.
BOB
Pete...
Bob sits down on a chair that appears beside him. Bob starts
lecturing Pete.
BOB
...Thoughts come and go. They go
here (pointing to the right) then
they go there (pointing to the
left). And they come and go over
and over again.
The other side of the mind, is
blue. Shades of blue. But you
can't see it. You will want to see
it. Then you start to make up
things in between.
Pete sits patiently in his chair.
BOB
Things you want to believe. Things
you want to see. The more you make
up these things, the more
complicated it all becomes. And
then you drive yourself nuts over
and over until you convince
yourself that it is real.
Therefore, you believe, you're not
crazy.
PETE
You sound like Dr. Stevenson.
BOB
Well, that's where I got it from.
Does it make sense?
PETE
A little bit.
BOB
Write it in your diary.
Pete picks up his diary from the floor.
BOB (O.S.)
Write every word. This is
important Pete. If you want to be
sane again, you must admit that
you're crazy.
PETE
I'm not crazy, I'm normal. Normal
like the average Joe.
BOB (O.S)
They're about to call you.
PETE
Normal.
A female voice is heard.
FEMALE (O.S.)
Pete Skolari?
INT. THE WAITING ROOM
Pete moves his head up and he is back in the waiting room.
The NURSE calls out his name.
FEMALE (O.S.)
Pete Skolari?
Pete whispers.
PETE
Normal!!
NURSE
Pete Skolari. Time for your
medicine.
The nurse approaches Pete and gives him a couple of blue
pills and a cup of water.
NURSE
Here you go.
Pete swallows pills.
NURSE
Now you can go outside if you want.
The nurse leaves. Pete stays still. Few seconds later, he
continues with his narration.
PETE (V.O.)
Hallucinations, they don't make
sense. You try to make sense out
of it, it's like trying to solve a
puzzle. But the pieces don't seem
to fit. I'm not crazy, that guy
over there staring at the wall...
A patient is standing facing a wall next to a door.
PETE (V.O.)
....he's crazy.
Pete sits down patiently as we see the whole room. We see
the patient walking around in circles.
PETE (V.O.)
So is this guy who's still walking
around the room.
But the world keeps on spinning.
The world keeps on going.
Pete looks up.
PETE (V.O.)
Sometimes you just got to remind
yourself, that everything will be
alright. That things will get
better. And that's why I am here.
I'm here because I need three
pills, (pause) three pills to make
me better.
Pete closes his journal. The closing of the journal makes a
big noise "Thump."
FADE TO:
INT. A LIVING ROOM
A white phone begins to ring. It rings for a few times, then
a hand grabs it, and a female voice is heard.
FEMALE
Hello? Hey, it's you again. Why
are you always calling me?
CUT TO:
BLACK FRAME
The song: "They" by Jem begins to play in the background.
A title appears:
"Why are you always calling me?"
Then above that title, the following words appear:
"The Diary of Julie Vargas"
CUT TO:
INT.A LIVING ROOM
The living room is a normal living room, except for the woman
who is talking on the phone. The woman sounds like she's
been crying all day. She has a black long sleeve shirt.
Near her wrists appear to be white bandages. She is wearing
a name tag on her shirt that says, "JULIE."
JULIE
You don't know when to quit huh?
(Pause) Well, you're lucky you got
a hold of me in time. (Pause) You
know what I mean. (Pause) Of course
I was. (Pause) I guess I have a few
minutes.
CU of a clock in the living room wall.
The room is filled with antiques. Such as an old fashioned
clock. The television set is old. Julie lives in the modern
world, but she has these second hand antiques because she
can't afford new things.
JULIE (O.S.)
There's always a little bit of
time, I guess. (Pause) I know. I
didn't mean to hang up last time,
it's just that...(Pause)...yeah,
it's that I get tired of things all
of a sudden.
Julie sits down in her recliner chair beside her phone. The
phone cord stretches from the table to the floor.
JULIE
When will you quit, seriously?
(Pause) I know the last time we
spoke, it wasn't very pleasant.
(Pause) Well I had another bad
day. I always have bad days. It
seems like nobody cares about me.
Julie is very emotional, every word coming out, sounds like
she is going to cry.
JULIE
You're the only that calls me, but
you always put me down. (Pause)
Don't even lie, you know you do.
And sometimes, I get tired of you
calling me all the time. (Pause)
Maybe because there is nobody else.
(Pause) No, I gave up.
Julie starts crying as she talks to the person on the phone.
JULIE
(Crying)
Sheela, you of all people know that
this world is not for me. You
should know that, I don't belong
here. I'm just taking up space.
I'm a waste of time. Never had a
true friend, never had someone
there to just talk to. I know I
have you, but that's not enough.
(Pause) Fuck Sheela, do I need to
fucking remind you? Every single
time you call, we go through this.
That's why I'm tired of all this.
There's an end table near the recliner. On the table: there's
a pair of keys, a purse, a teddy bear, and a gun.
JULIE (O.S.)
I been putting up with this shit
for all my life now. It has to end
one day.
Julie wipes her tears away with her long sleeve shirt.
JULIE
But why have hope? Hope is just
more pain along the way. And pain,
i'm tired of it. (Pause) Yeah, no
one understands. No one. I have to
do it Sheela. Every night you try
to stop me. But not tonight.
Julie pauses for a moment to hear SHEELA on the phone.
JULIE
Because, I'm sick and tired of this
shit. Can you hear me crying.
(Pause) Here I am crying like a
baby, crying for attention. But
it's true. (Pause) Is because, you
never go through what I always go
through. (Pause) Please Sheela,
you have to stop. You say that and
you still put me down every single
time.
We SEE Julie's back sitting on the recliner. The camera
slowly moves around her, showing Julie in her state of
depression.
JULIE
Why not? (Pause) Frustrated
Sheela, just frustrated. Besides,
why do I want to stay here, and
watch the world end with everybody
else? (Pause) The end, yes, the
end of the world. (Pause) Sheela
you of all people should know why.
Hello, there are signs everywhere.
(Pause) Well you don't have to
believe me. No one else does.
(Pause) But I do know some things.
We slowly pan to the right near the television.
JULIE (O.S.)
Things I suspect. (Pause) Why do
you care? (Pause) It's what I saw
at work the other day.
A dead flower sits on top of the television.
DISSOLVE TO:
INT. FRONT DESK OF THE ATTORNEY'S OFFICE
A fresh living flower sits on the desk. The desk is filled
with papers and a computer. The sign on the wall states,
"The law office of Randy G. Floyd."
Julie sits on the desk reading through a big pile of
documents. The phone rings. Julie answers it.
JULIE
Thank you for calling the law
office of Randy Floyd, can I help
you? (Pause) Okay, can you hold on
for a minute please?
Julie turns around and she is clueless of what to do.
She walks to a door on her left and opens it. It's the
office of Randy Floyd, but there is no one there. She closes
the door, and walks past the receptionist area to the other
side of the room.
INT. BREAK ROOM
There's two young ladies sitting down eating cupcakes. This
appears to be some formal employee break room. There's a
refrigerator and a sink. Julie walks in.
JULIE
Christine?
The ladies ignore her.
JULIE
Excuse me?
The two ladies turn to her with disgust, because comparing to
Julie, these ladies are high class bimbos.
CHRISTINE answers.
CHRISTINE
(With an attitude)
Yeah?
JULIE
Uhm, this guy called and asked if
we do lawsuits with injuries?
CHRISTINE
Well, tell him that we specialize
in medicine practices and like
malpractice.
JULIE
Okay.
CHRISTINE
What's your name again?
JULIE
Julie!
CHRISTINE
Julie, don't forget to apologize
for the wait.
JULIE
Okay.
Julie backs away as the girls stare at her in the background.
We can almost hear them whispering. They giggle.
INT. FRONT DESK OF THE ATTORNEY'S OFFICE
Julie returns to the desk and picks up the phone.
JULIE
Sorry for the wait. Hello? Hello?
Sir?
Julie hangs up the phone because there is no answer.
Julie continues going through the paperwork. She gets
another call. She answers.
JULIE
Thank you for calling the law
office of Randy Floyd, can I help
you? (Pause) Oh.
Julie looks to her left staring at Mr. Floyd's door.
JULIE
He's not in his office at the
moment. Can I take a message?
(Pause) Oh, can you hold for a
moment? Okay.
Julie gets up and goes to the break room again.
INT. BREAK ROOM
JULIE
Christine?
CHRISTINE
What?
JULIE
Where is Mr. Floyd?
CHRISTINE
He's in a very important meeting.
Why?
JULIE
This lady would like to speak with
him.
CHRISTINE
Well, take a message.
JULIE
I try to, but she wants to know
when he comes back?
CHRISTINE
He won't come back until tomorrow.
Didn't you hear the news?
JULIE
What news?
CHRISTINE
Mr. Floyd is going to be running
for office.
JULIE
For office?
CHRISTINE
Yeah!!
JULIE
I'll let the person know.
CHRISTINE
You need to hurry, the person is
still waiting.
Julie walks away to go back to the desk, but she overhears
them talking about her.
The OTHER GIRL talks.
OTHER GIRL
Is she new?
CHRISTINE
Yeah, but she don't work here.
She's from a temp agency.
OTHER GIRL
Well, she wont make it.
Julie turns around because she heard the comment.
CHRISTINE
(To Julie)
Is there a problem?
JULIE
No.
CHRISTINE
Don't forget to apologize for the
wait. (to her friend)What!!Ever!!
Julie exits the room as they both giggle.
INT. FRONT DESK OF THE ATTORNEY'S OFFICE
Julie picks up the phone again.
JULIE
Maam? (Pause) Hello?
Julie hangs up the phone and gets frustrated.
INT. JULIE'S LIVING ROOM
JULIE
I was getting irritated. I didn't
want to lose it, but I still had to
do my job. Knowing that Mister
Floyd was going to leave in a few
months, reduced the number of
calls. Then strange things started
happening when mister Floyd showed
up the next day.
INT. FRONT DESK OF THE ATTORNEY'S OFFICE
Attorney Randy Floyd (the dirty politician) walks up to
Julie. Mr. Floyd is your typical lawyer. He's very
conservative, very strict, and talks fast.
Julie is going through her pile of papers from earlier.
MR. FLOYD
Hey Julie!! I got an important
assignment for you.
JULIE
Yes mister Floyd?
MR. FLOYD
You can go ahead and turn that work
in to Christine (referring to the
stack of papers). And come to my
office and I'll explain.
Randy Floyd enters his office.
Julie gathers her stack of papers. She gets up and leaves
the front desk.
INT. FLOYD'S OFFICE
Mr. Floyd has a big office. There's a table on the side for
coffee, and three chairs in front of his desk.
MR. FLOYD
Julie, sit down.
Julie sits down in front of Mr. Floyd.
JULIE
What you want me to do?
Randy Floyd gives her a look that says, "I want you to flirt
with me."
MR. FLOYD
Julie, I know you been here for
only two days.
Mr. Floyd pulls out a box full of papers and sits it in front
of Julie.
MR. FLOYD
But, I want you take care of these
forms for me.
Julie stares at the box full of papers. She hates this job.
MR. FLOYD (O.S.)
I want you to go through these
forms, and highlight every time you
see the words, pills, medication,
experiment, and manipulative.
Mr. Floyd raises his voice a little to intimidate poor Julie.
MR. FLOYD
Now this is a very important case
for me. I don't need to go into
detail of what this case is about.
But it's nothing good, in fact it's
something very dangerous. This is
also my last case as an attorney.
It's going to take a long time to
close this case. Now, a very
important thing about this Julie,
is that I'll be running for office
soon. I will be running against
Matthew Gilliam. Mister Gilliam
has a lot to do with this case. In
fact, he's the one that agrees with
everything in here. I need to win
this case, in order to look good.
I need to beat mister Gilliam.
You, Julie, have to have an eye for
details. Because if you miss a
word, it could cost you the
possible job of working for me in
the future.
So highlight these words for me.
Did I make myself clear?
JULIE
Yes.
MR. FLOYD
Go on and start working on it.
JULIE
Yes sir.
Julie lifts the heavy box full of papers while Mr. Floyd
calls Christine in.
MR. FLOYD
(to the telephone)
Christine, come to my office.
Julie exits office.
INT. FRONT DESK OF THE ATTORNEY'S OFFICE
Julie is about to close the door to Floyd's office.
Christine interferes. Christine walks inside Floyd's office.
The door closes. Julie walks to the desk.
Julie puts the box of papers by the desk. She sits down. She
grabs a high-lighter and begins going through the papers. She
looks up and sees a tall man waiting in front of her.
THE TALL MAN holds a tube to his throat.
JULIE
Can I help you?
THE TALL MAN
I would like to have a word with
Mister Floyd.
JULIE
Give me a second.
Julie approaches Mr. Floyd's door and opens it. Randy Floyd
is holding Christine in a sexual manner. Julie interrupts.
MR. FLOYD
Julie!! For God's Sake, don't you
know the rules?
JULIE
I'm sorry but there's someone here
to talk to you.
MR. FLOYD
Give me a moment.
Julie closes the door.
JULIE
(to the tall man)
He will be here shortly.
THE TALL MAN
Thank You.
Christine walks out of the office and approaches Julie.
CHRISTINE
Julie, never walk in like that.
You always have to call and let him
know on the phone first.
JULIE
I didn't know that, I'm sorry.
CHRISTINE
Well now you know. You're going to
get it with mister Floyd later.
Christine walks away and Mr. Floyd walks out to greet the
Tall Man.
MR. FLOYD
Hi, how can I be a service to you?
THE TALL MAN
I've got a message from Mister
Munzer.
Mr. Floyd gets nervous all of a sudden.
MR. FLOYD
Come inside and we'll talk. Julie
will make us some coffee. (to
Julie) Julie make some coffee for
our guest.
JULIE
Yes.
Mr. Floyd and the Tall man both enter the office.
Julie walks around to go make coffee when she encounters a
man holding a red baseball bat in the hallway. It is Max the
Loon. Julie suspects something going on.
Max the Loon stares at Julie. Julie turns around and heads
for the break room.
INT. BREAK ROOM
Julie starts making coffee. She gets two cups ready. Max
The Loon stands by the break room door. Julie turns around
and notices him.
Max The Loon waves.
JULIE
Hi.
Max the Loon puts the bat at a side and takes out his
notebook and a marker. Max the Loon is a mute, so he writes
everything he wants to say on a paper.
Julie wonders what he's doing.
Max the Loon writes, "Hello."
JULIE
What's your name?
Max the Loon writes, "Max."
JULIE
Max?
Max the Loon nods his head.
JULIE
What are you all doing here?
Max the Loon turns around and writes down on his notebook.
After a little bit, he hands Julie a page.
Julie reads the page that says, "We are here to stop Randy
Floyd's case."
JULIE
His last case?
Max the Loon nods his head saying yes.
JULIE
Why?
Max the Loon turns around again and writes some more. He
hands Julie another page.
Julie reads the page that says, "We are paid to do so."
JULIE
But why?
Max the Loon grabs a piece of paper from his back pocket and
holds it out to Julie.
The paper says, "The end of the world is around the corner."
Julie has a face of confusion. Max the Loon gives her a
bizarre look. The coffee is ready.
JULIE
I better get back to work.
Max the Loon nods his head and exits the break room. Julie
gets the pot and two cups and puts it on a tray.
INT. FRONT DESK/MR. FLOYD'S OFFICE
Julie carries a tray with coffee and opens Mr. Floyd's door
and enters. We Follow her inside. Mr. Floyd is sitting down
talking to the Tall Man who is not sitting down.
MR. FLOYD
I don't care about what is going
on. All I want is to win this
race. Now you tell Mister Munzer
with all do respect, that I'm not
going to give in. You will not
threaten me, not you, not him, not
anybody else.
Julie hears the conversation as she puts the tray down on the
table. She begins pouring coffee into the cups.
THE TALL MAN
Mister Munzer does not like to hear
bad news from me. You do realize
who he works for, don't you?
MR. FLOYD
Look, I don't give a damn, who
Mister Munzer is and who he works
for. In fact, I don't care if he
happens to work for the devil
himself. I will not drop this
case. And that's my answer.
THE TALL MAN
I hope you realize what you're
saying.
Mr. Floyd gets up from his chair.
MR. FLOYD
Ooh!! I know what I'm saying, and
this conversation is over. (to
Julie) Julie, please escort this
gentleman outside.
Julie puts the coffee down and walks with the Tall Man to the
door.
THE TALL MAN
Thank you Mister Floyd for your
time.
MR. FLOYD
Have a good day.
The tall man is about to leave the office but then turns
around to Mr. Floyd.
THE TALL MAN
Ooh, Mister Floyd?
MR. FLOYD
Yes?
THE TALL MAN
I hope you like scorpions!!
Mr. Floyd gives him a confused look.
INT. FRONT DESK OF THE ATTORNEY'S OFFICE
Max the Loon and the Tall man leave the office. Max the Loon
waves bye to Julie. Julie waves back at Max the Loon. Mr.
Floyd yells at Julie.
MR. FLOYD
Julie? Get in here!!!
INT. MR. FLOYD'S OFFICE
MR. FLOYD
Never, ever walk in through my
office without calling me first.
Even when there's somebody waiting
to see me. You got that?
JULIE
Yes, Mr. Floyd. I'm sorry.
Mr. Floyd gives her a mean look and then changes mood.
MR. FLOYD
Julie come closer.
Julie walks up to Mr. Floyd.
Mr. Floyd touches Julie's shoulders.
MR.FLOYD
If you want to make it in this
business, you have to follow
orders. You have to be
professional.
Julie gets bothered by Mr. Floyd touching her.
MR. FLOYD
And once you're there, you'll begin
to love your job. Now go ahead and
continue to work on the case.
Julie finally gets away from Mr. Floyd, until he grabs her
from behind. Julie makes a face that says, "I'm tired of
this world."
MR.FLOYD
Thank you Julie.
INT. MR. FLOYD'S OFFICE/FRONT DESK
We Follow Julie exiting the lawyer's office to the front
desk. She sits down and continues working through the stack
of papers from the box.
INT. JULIE'S LIVING ROOM
Julie continues talking to Sheela on the phone. She is more
angry, she's still emotional, but with more anger this time.
JULIE
I hated working there, in fact I
hated all the jobs I ever had. But
you see, Sheela, all my life is
just useless. (Pause) What you
mean what happened? (Pause) I told
you that last time we spoke. Do I
need to tell you what happened
again? (Pause) I was just doing my
job and then that bitch fucked me
over.
INT. FRONT DESK OF THE ATTORNEY'S OFFICE
Julie is highlighting words. Christine walks by and offers
to help Julie.
CHRISTINE
Julie, here let me help you out
with some of that.
JULIE
But, Mister Floyd told me to be
responsible over this.
CHRISTINE
Yeah, but this is an important
case, and we like need this done as
soon as possible. So let me help
out.
Christine takes a handful of papers out of the box.
JULIE
But,
CHRISTINE
Don't worry, I know which words to
highlight.
Christine looks like she's up to something. Julie suspects
something wrong.
Julie goes through the papers searching for words to
highlight when she sees a man passing by. He is a bodyguard
hired by Mr. Floyd. The BODYGUARD looks like he's part of
the secret service.
JULIE
Can I help you?
BODYGUARD
Ooh, I'm mister Hernandez. I'm a
bodyguard to Mister Floyd, I'm just
checking out the place.
JULIE
Ooh, okay.
Julie continues working.
Julie encounters the words: pills, experimentation, and
manipulative, within the same sentence, and she gets curious.
"Yelling in my Ear," by the Blue Meanies, plays.
She pays special attention to these words and reads the whole
page. She looks around to make sure no one is watching her.
It looks like she found something juicy.
She highlights the words.
DISSOLVE TO:
A series of shots of Julie reading through the documents, she
is not really working, she's reading important information.
Mister Hernandez walks by looking around. Christine talks on
her cellphone and sees Julie reading through the important
documents.
We see a clock on the wall. The time is 10:14 and it
dissolves into 3:32.
Julie continues reading. She looks worried, but interested
in the material. The music fades down for now.
Christine comes out of Mr. Floyd's office.
CHRISTINE
Julie, Mister Floyd wants to see
you. Ooh yeah, and like bring all
these papers with you.
Julie stops what she's doing and walks inside the dirty
lawyer's office with the box of papers.
MR. FLOYD
Julie, put the box down.
Julie puts the box on the floor.
MR. FLOYD
Show me what you've done.
Julie picks up a pile of papers from the box and hands it to
the lawyer. Mr. Floyd goes through the papers.
MR. FLOYD
It's been brought to my attention
that you haven't been doing the job
correctly.
Julie looks at Christine who has a bitchy look in her face.
JULIE
What do you mean? I did every..
Mr. Floyd interrupts her.
MR. FLOYD
No, you did not do what I told you
to do. Look at these papers.
Mr. Floyd shows Julie some of the forms.
MR. FLOYD
I can see a lot of words that need
to be highlighted. What did I tell
you in the beginning? Huh? I told
you, you need to have an eye for
details. You are making us work
double here.
Julie gets hurt by his words.
JULIE
I'm sorry mister Floyd, I'm trying
my best here. I could of sworn,..
Mr. Floyd interrupts her again.
MR. FLOYD
Then explain this.
Christine hands Mr. Floyd a stack of papers. The papers have
highlights on every word on the whole page. Some pages are
blacked out.
Julie is confused by all of this and looks at Christine. She
knows damn well that Christine is responsible for most of
this. But since Julie hates this job anyway, she puts the
whole blame on herself.
JULIE
I'm sorry..
Julie lets out a tear while Mr. Floyd continues to yell at
her.
MR. FLOYD
Julie, I don't hire amateurs like
you. I'm calling the temp agency,
and I'm telling them not to
recommend anyone else in here. All
we get are these stupid people.
Julie cries while Mr. Floyd yells at her in front of
Christine.
"Yelling in my Ear," by the Blue Meanies, begins playing
again. This time we hear the whole song while the lawyer
yells at Julie.
The song is at a low volume slowly getting higher. When the
lyrics begin, Julie recalls all the bad times working at the
office. The flashbacks go with pace of the song. Some of
the flashbacks include: when Mr. Floyd touched her, and
Christine being rude to her. When the chorus of the song
begins, we see Mr. Floyd yelling in slow motion. Then he
turns red. Christine laughs. Julie walks away from the
office crying in pain. The song gets higher and higher.
INT. FRONT DESK OF THE ATTORNEY'S OFFICE
Julie knocks every single thing on the desk down to the
floor. She picks up her flower and leaves the office. Julie
does not turn back.
The song fades down but we can still hear it.
INT. JULIE'S LIVING ROOM
Julie continues talking to Sheela.
JULIE
I just don't know if I can go on,
Sheela. I mean it's not just this,
it's my whole life in general. So
if the world is going to end, why
not end tonight for me? (Pause)
You say that, then tomorrow you
call and it's the same thing. The
same thing over and over. And
that's what I'm tired of. Nothing
is going to change. (Pause)
Sheela (Pause), Sheela (Pause),
Sheela, I know. I know, it's,
it's..(Pause) Nothing, I'm tired of
explaining things, no more
explaining. (Pause) I'm going to
hang up now.(Pause) No, don't say
that. (Pause) I'm hanging up,
okay? (Pause) I'm hanging up.
(Pause) Okay, Bye.
As soon as Julie hangs up the song, "Emotional Abuse," by the
Horrorpops begins.
The camera stays at the phone while Julie gets up and exits
to the right of the frame. The camera slowly pans to the
left to follow the cord of the telephone.
We reveal that the phone was never plugged in to the jack.
We pan to the right slowly and move to the side table and see
that the gun that was their earlier, is no longer there. We
focus on the teddy bear that sits on the table, then a
gunshot is heard. The teddy bear gets splattered with blood.
The music stops and we hear a silence. Then the camera moves
rapidly away from the bloody teddy bear to another place,
another time, another story.
INT. A DARK HALLWAY OF AN APARTMENT
A mirror is thrown into the wall and it breaks.
A man walks by the hallway.
The man goes inside a bathroom.
INT. THE BATHROOM
On the counter next to the sink, we find: a rope, a gun, a
razor blade, pills, and a bar of soap. The man approaches
the counter and looks at the mirror. His name is MITCH, a
schizophrenic with an outburst problem. He has a big temper.
He's quiet at times then he turns into a madman. Mitch talks
out loud to himself.
MITCH
Look at yourself, look. Now say
it, say the words. Mitch, tonight
is the night. Yes, it is the
night. It's the perfect night.
It's not like last night, this is
it. This is it.
Mitch picks up the rope.
MITCH
We got a rope..
Pan into the counter of the different deadly items.
MITCH
..a gun, maybe the razor blade, and
some pills. We got everything.
Mitch gets mad at himself in the mirror.
MITCH
Don't you dare let me down Mitch.
Don't fucking dare. What are you
doing? What's taking so long? Go
for it. Are you waiting on
something?
Are you waiting for the end to
arrive, or you just waiting for it
to be two fifty one in the morning?
Mitch changes mood.
MITCH
You're not going to do it, are you?
You son of a bitch. Not now, I
need something to cheer me up.
INT. HALLWAY/KITCHEN
Mitch exits bathroom and we follow him down the hall into the
kitchen.
MITCH
Gotta find the perfect thing. The
answers to all of my problems. The
only thing worth living for. The
only thing I need.
Mitch opens the cabinet door where we find some canned foods
and a few jars of peanut butter.
MITCH
And it's right here.
Mitch pulls out a jar of peanut butter.
MITCH
Everything, i ever wanted. When
feeling down, all you need is
peanut butter.
Jackie Wilson's "You're Love keeps lifting me higher" plays.
Mitch holds the jar of peanut butter and begins to jump in
the air. While he's up in the air, the frame freezes and it
turns to a cartoon version of the frame.
CUT TO:
BLACK FRAME
The title appears:
"When feeling down all you need is peanut butter."
Then above the title, another title appears:
"The Diary of Mitch Rowe"
CUT TO:
DIFFERENT ANGLES
Mitch opens his jar and begins eating peanut butter. He's
got about two other jars in the cabinet. We see in the
counter near the trash can, about fifteen to twenty empty
jars of peanut butter. There's also a mess everywhere. Mitch
is happy eating peanut butter. He's obsessed with the jar.
He feels insecure without it. He needs it like a heroin fix.
INT. MITCH'S DINING ROOM
Mitch eats peanut butter. He uses a spoon, and at times, he
uses his hands. His dining room is a mess. There's also
peanut butter stains on the walls. Mitch talks to himself.
MITCH
What you gonna do? Nothing
absolutely nothing. Except finish
this jar. All my worries are gone.
I guess, I always been a big fan of
peanut butter. It's just so damn
good. Nobody can fuck with me.
Song fades down.
Mitch looks around his apartment. He walks and turns on the
television.
MITCH
I can hear all the bullshit going
on out there. It's election day.
That's right, elections.
On the television screen. We have Mr. Gilliam shaking hands
with several citizens. Footage of people voting and the
polls stating that Mr. Gilliam is up by 1%. His opponent is
a man named MR. GEISELMAN.
MITCH
I don't need to vote. Don't want
to go out there. I'm safe in here.
Safe, nothing can hurt me.
Besides, the end is near. I can
feel it. But as long as I got
peanut butter, I'm safe. Even the
apocalypse can't hurt me.
Mitch eats more peanut butter while staring out his window.
MITCH
The devil is out tonight. It lurks
around the bushes waiting for me to
fuck up. Waiting for me to run out
of peanut butter. As long as I
have this jar, the devil can fuck
himself.
Pete looks at a broken mirror located near his television.
MITCH
You just keep it together man.
Gotta have your own system. No
matter what people say. You can't
trust no one. No one. People talk
a lot of shit.
Pete in outburst mode.
MITCH
Why do they talk all kinds of shit?
Fuck leave me alone. So what if I
love to eat peanut butter? So what
if I think, this is the only answer
and the only thing that will save
me from all of this.
(screams)Fuck!!
Mitch drops the jar of peanut butter, he kneels down to grab
it. When he gets up, he sees the figure with the mask in the
reflection of the mirror. He panics and looks back. Nothing
is really there. He holds the jar close to him.
MITCH
(screams)
What the fuck do you want from me?
Mitch jumps on the couch and looks for "the masked figure."
MITCH
You can't separate us. Don't you
dare fucking try. I swear I'll
fucking kill you. (relaxes) Keep
it together Mitch. Nobody can mess
with you.
Mitch gets down from couch.
CU on the peanut butter jar in Mitch's hands.
MITCH
I'm safe. This is my shield. My
shield. My shield.
Mitch looks up sees "the masked figure" again.
MITCH
Come on, get closer to me!!
Mitch picks up a candle holder next to him, and throws it at
"the masked figure."
MITCH
Motherfucker!!
"The masked figure" begins to walk towards him. Mitch throws
him his shoe.
MITCH
Get Away!!
"The masked figure" continues walking.
MITCH
Piece of shit!!
Mitch picks up a chair and slams it towards the figure.
The figure gets closer.
Mitch looks at his jar of peanut butter.
MITCH
Oh Fuck!!
Mitch throws his jar of peanut butter to the figure. "The
masked figure" turns the other way and runs into the darkness
of the hallway.
MITCH
He's gone. You saved my life.
(referring to his jar)
Mitch relaxes. He's quiet.
MITCH
It's quiet. Everything is calm.
My girlfriend is in the bedroom,
she's quiet. Then again, she's not
supposed to make any noise because
she's dead.
"The Loons," by the Insane Clown Posse, plays.
MITCH
Gotta check on her!!
Mitch walks to the bedroom and opens the door.
INT. MITCH'S BEDROOM
His girlfriend Christine, from Randy Floyd's office, lays
dead on the ground near the bed. It appears that she is
somehow covered in peanut butter. She's wearing a "Betty
Boop" shirt.
MITCH
She's okay, but she's starting to
stink again.
Mitch pulls his shirt up to avoid the smell.
MITCH
I better cover the smell again.
INT. MITCH'S KITCHEN.
Mitch opens his cabinet door and grabs another jar of peanut
butter. He also grabs an air freshener spray from underneath
the sink.
INT. MITCH'S BEDROOM
Mitch sprays the room with the air freshener. And begins
covering Christine's body with peanut butter.
MITCH
I don't how long she's been dead.
It's probably been a couple of
days. (referring to the body)
Christine, can you hear me? I
don't think so. You used to work
for that lawyer, what was his name?
Anyways, he mysteriously
disappeared while he was running
for office. No one knows what
happened to him. Randy Floyd,
that was his name. He's lucky he
disappeared, because I was going to
take care of him. His replacement
is another shithead, mister
Geiselman. Did you fuck him too?
Maybe. It's too bad, you wont get
to be by me while the world ends.
You won't get to bitch at me
anymore.
INT. MITCH'S DINING ROOM. FLASHBACK
Mitch watches television while eating out of his jar of
peanut butter. Christine, with her Betty Boop shirt on,
walks in and yells at him.
CHRISTINE
Mitch!! What the fuck is wrong
with you?
Mitch yells.
MITCH
What?!!?
CHRISTINE
You haven't paid my credit cards
this month. This is not like you!!
MITCH
Can you leave me alone, I'm fucking
busy!!
CHRISTINE
Busy!! What ever!! All you do is
eat peanut butter. You been acting
so weird lately.
MITCH
Look!! I don't feel good unless I
have this.
CHRISTINE
Whatever Mitch!! No matter what,
I'm like so way better than you!!
MITCH
You think you're better than
everybody else.
CHRISTINE
Yeah Mitch, I am. I'm even better
than that stupid peanut butter.
She grabs the jar away from Mitch and goes into the kitchen.
MITCH
What the fuck are you doing?
Mitch follows her.
INT. MITCH'S KITCHEN
Christine throws the peanut butter jar into the trash can.
Mitch tries to stop her.
MITCH
What the fuck!!
CHRISTINE
Fuck you Mitch, you need to listen
to me.
Mitch grabs her head and smashes her to the wall. Christine
makes struggling noises, but no words comes out, since she's
in shock.
Christine falls to the ground.
Mitch grabs peanut butter jar and smashes her in the head
with it. The jar breaks. Mitch kicks her and opens a drawer
and grabs a kitchen knife.
INT. MITCH'S HALLWAY
Mitch drags Christine's body into the bedroom.
INT. MITCH'S BEDROOM
He lays Christine by the bed.
MITCH
(screams)
Fuck!!
Mitch realizes what he's done, but blames it all on her.
MITCH
Why did you make me do that? Huh?
Why? (screams) Why?
DISSOLVE TO:
INT. MITCH'S BEDROOM (IN THE PRESENT)
Mitch continues putting peanut butter all over Christine's
body.
MITCH
Why, Christine? Even after, I let
you slide every time you cheated on
me. Why? You tried to stop me
from enjoying myself. This peanut
butter, is my happiness. You
should of understood that. But I
guess, it's too late. Come to
think of it, you been dead for a
week already.
Mitch runs out of peanut butter and leaves the bedroom.
INT. MITCH'S KITCHEN
Mitch opens cabinet door and finds no more peanut butter.
Mitch freaks out.
MITCH
Fuck!! There is no more. I could
of sworn there was more. What the
fuck am I going to do?
He relaxes.
MITCH
Calm down!!
He snaps.
MITCH
Fuck!! Fucking shit!!
Opens the refrigerator.
There is nothing in the refrigerator except some expired
food.
He closes the refrigerator, and "the masked figure" appears
beside him.
MITCH
Shit!! Get the fuck away from me!!
Mitch leaves kitchen.
INT. MITCH'S LIVING ROOM
Mitch walks around the living room and he is paranoid.
MITCH
The antichrist is near me. The
antichrist is in here. I'm not
safe, I need peanut butter. That
is the only fucking thing that can
save me. Should I blow my brains
out? Is tonight the night Mitch?
Mitch looks outside his window.
MITCH
Is not safe out there. I gotta go
buy some more at the store, but
it's not safe.
Mitch looks around the apartment.
He sees "the masked figure" coming out of the dark hallway.
MITCH
It's not safe in here. Gotta go
buy some more.
He grabs his wallet on a side table near the front door.
He goes outside.
EXT. APARTMENT COMPLEX. NIGHT
Mitch walks out his apartment door. He locks the apartment
and sees his neighbor staring at him.
Mitch's NEIGHBOR is covering up his nose, he can smell
something awful coming out of the apartment.
MITCH
What are you staring at? Huh?
Neighbor gets inside his apartment.
MITCH
Fucker!! This is not a good night.
Mitch walks away.
EXT. SIDEWALK OF A STREET. NIGHT
Mitch walks the streets. It is a full moon. Mitch is very
paranoid when he's out there in the dark.
MITCH
Just a few blocks away. Going to
make it. I wish i could just get a
fucking uzi and blast everyone in
my way.
Few people pass by and they react to the awful, awful scent
of Mitch's presence.
Mitch walks a little bit faster.
INT. SUPERMARKET STORE
Mitch
Walks inside the supermarket store.
He grabs a shopping cart.
He goes by an isle checking for peanut butter.
People are staring at him.
Mitch minds his own business.
He finally sees a shelve full of peanut butter, and it's like
heaven to him.
He fills his cart with all the jars on the shelve.
An OLD LADY stares at him from the other side.
MITCH
(to the lady)
What are you looking at?
The old lady turns around.
Mitch clears up the shelve and walks past the old lady.
Poor grandma covers her nose while Mitch passes by.
Mitch hits her cart with his cart.
MITCH
Bitch!!
At the cash register, there's a female employee staring at
Mitch. The EMPLOYEE reminds us of a zombie.
Mitch notices her. She's the only register open.
Mitch puts the jars up for her to scan.
EMPLOYEE
Did you find everything alright?
MITCH
Yes.
She scans the jars like a robot.
EMPLOYEE
Do you have a shopper's card?
MITCH
No.
EMPLOYEE
Would you like to get one?
MITCH
No.
EMPLOYEE
Would you like any of these items,
they're on sale for only a dollar?
The employee shows Mitch a basket with items.
Mitch gets frustrated.
MITCH
Look, I just want to buy this and
that's it.
Mitch stares at a television above him.
Mr. Gilliam wins the election.
(We never know or reveal for what elected office the
elections were for.)
The employee scans the items slowly.
MITCH
Can you hurry? Time is running out
for me?
EXT. APARTMENT COMPLEX. NIGHT
Mitch approaches his apartment door with four bags full of
peanut butter jars. He looks to his right.
A couple of his other neighbors are staring at him.
Mitch opens his apartment door and shuts it loud for them to
hear.
INT. MITCH'S KITCHEN
Mitch stocks up his pantry with peanut butter jars. He grabs
one and walks to the living room.
Mitch opens the jar and grabs some peanut butter with his
hands and eats it.
There's a knock on the door.
Mitch peeks out his window, and sees a man.
MITCH
My landlord, he probably wants his
rent money.
The LANDLORD knocks on the door again.
MITCH
Fuck!!
LANDLORD
Mitch open up, I know you're in
there.
Mitch puts the jar down on the table and grabs his check
book.
MITCH
I'll make this quick.
Mitch opens door.
LANDLORD
Mitch, can you come out for a
second?
MITCH
I have the rent money, I'm sorry
I'm late.
LANDLORD
You already paid me last week,
remember?
MITCH
I don't know!!
Mitch gets suspicious.
LANDLORD
Come out Mitch, are you feeling
alright? And what is that smell?
MITCH
I got to go!!
Mitch tries to close the door. The landlord blocks the door
from being closed.
LANDLORD
Wait Mitch.
MITCH
What?
LANDLORD
These gentleman want to speak with
you.
Two men wearing security guard uniforms bust in.
They both grab Mitch.
MITCH
Fuck, I didn't do nothing.
LANDLORD
Mitch, everything is going to be
alright.
Mitch stares at his peanut butter jar at the table as he's
being pulled out by the two guards, UNIFORMED MAN #1 and
UNIFORMED MAN #2.
MITCH
(screams)
Fuck!! Leave me alone. Why is
everybody against me? Why?!?
EXT. APARTMENT COMPLEX. NIGHT
A couple of other men, along with the landlord, walk inside
the apartment.
MITCH
Leave me alone. I didn't do it.
She did.
UNIFORMED MAN #1
Relax buddy, just stay put.
MITCH
Fuck, I'm not safe anywhere.
UNIFORMED MAN #2
You're safe with us mister Rowe.
MITCH
Who the fuck are you guys?
One of the persons walks out of the apartment.
The PERSON yells.
PERSON
Lock him up.
MITCH
Leave me the fuck alone. I'll
swear I'll fucking kill you all.
The men take Mitch to a black car.
UNIFORMED MAN #1
Come on buddy, get inside.
UNIFORMED MAN #2
We'll take you somewhere safe
mister Rowe.
MITCH
Fuck!!
Mitch breaks the car window with his feet.
Uniformed man #1 pulls out stun gun and zaps Mitch.
UNIFORMED MAN #2
Lights out mister Rowe.
FADE TO:
INT. A CELL
Mitch, in a strait jacket, talks to a DOCTOR who is standing
outside his cell.
MITCH
Doctor? You gotta understand. I
need peanut butter. I need it.
It's the only way I can get better.
DOCTOR
Sorry Mitch, until you undergo
treatment, no peanut butter will be
around you.
MITCH
Fuck doctor, don't let me be like
this.
DOCTOR
I'm going to get the proper
documents to get this treatment
started. In the mean time, take it
easy Mitch. See you in a couple of
months.
Doctor leaves.
MITCH
Doctor wait, doctor?
Mitch talks to himself.
MITCH
I'm not safe anywhere. Not safe!!
No. I'm not safe. I'm going to
fucking kill you Mitch. You're
gonna die. You're gonna die. You're
gonna die. That's right, tonight
is the night. The end, the end is
right here. Is here.
A PATIENT walks by.
MITCH
Hey you?
PATIENT
Yes.
MITCH
Go to the kitchen and tell that
bitch to give me some peanut
butter.
PATIENT
Okay!!
MITCH
Hey, don't let anybody see you.
You got to be very fucking careful.
PATIENT
Why?
MITCH
Because, don't you know? Peanut
Butter can protect you from
anything. I mean anything. It
will make us safe.
A big pause from the patient.
PATIENT
Ooh, in that case. I'll get some
for me too. I'll be right back.
MITCH
I'll be here. (to himself) I'll be
here. Not going anywhere. Not
going anywhere. (Takes a few
breathes) Not feeling good. I'm
feeling down. Feeling very down.
(yells out from his cell)
Huuurrrryyyyy!!!
Mitch is very paranoid, and wants to kill himself. Mitch
needs peanut butter like a crack-head needs a little fix.
MITCH
I'm not feeling good.
Mitch starts shaking.
MITCH
Not feeling good. Not feeling good
at all. Is this it, Mitch? It is
time yet. Calm down, that guy went
to get us some good stuff. Just
calm down Mitch. Not feeling good.
It will be time soon. Time is
running out.
Mitch falls to the ground.
FADE TO:
INT. A DARK ROOM
A big clock is ticking.
Pete Skolari begins narrating.
PETE (V.O.)
The countdown continues... The
countdown continues...
A timer is counting down from 90 seconds.
Pete is in a dark room similar to his early hallucination.
He stands near the big clock. Everything appears to be some
dream, even the way Pete talks.
PETE (V.O)
Countdown until there is no more
time. No more time. Looks like I
been here before. I been here, but
I don't know when. Don't know if
this is the past or the present, or
even the future.
Pete's eyes wander around.
PETE (V.O.)
Things get repetitive. Things get
repetitive. Thoughts keep on
coming. Got to figure it out. Got
to make it through this. I feel
like, I'm lost. Lost in a world
full of confusion.
"The Masked Figure" appears behind Pete.
PETE (V.O.)
No matter what, someone is
watching. The antichrist is
watching. I got to get some help.
Got to find a way to get help and
go back to how things were.
Pete encounters pieces of a giant jigsaw puzzle. He lifts
two giant pieces and tries putting them together.
PETE (V.O.)
Got to get help. Help me in this
puzzle. Life is a big puzzle. Try
to find the pieces that fit. I try
to make it fit. The pieces wont
fit until you find the right one.
The counter shows: "3, 2, 1."
PETE (V.O.)
Got to make it through before time
runs out.
As soon as the counter shows "1," we hear a whisper:
A VOICE
Wake Up.
Pete's eyes open up.
INT. PETE'S HOSPITAL ROOM
Pete gets up from his hospital bed. Pete is somehow little
bit different than before. His behavior is a little bit more
strange. Pete begins writing in his journal.
PETE (V.O.)
Today, is another day. Another day
closer to my destination. Need to
stay focus to reach my destination.
Pete writes in his journal, this time with little bit more
confusion.
PETE (V.O.)
But somehow, it feels like I'm
losing focus. Starting to feel
like, I don't know where I'm at.
In the dream world, or reality? I
said, Pete, you got to stay focus.
Focus for what? I'm losing it here.
Remember, you chose to be here.
Pete stops writing and looks up. He looks at the room around
him. He notices a calendar on the wall.
PETE (V.O.)
You chose to go see Dr. Stevenson.
That's right, Dr. Stevenson told me
to stay here until I get better.
I'm losing track of how many days
its been, but luckily writing my
thoughts in this diary, helps me
stay focus.
Pete continues writing. The words on the journal are very
hard to read.
PETE (V.O.)
I just got to stay put, and take
medication everyday, until that
final day. My last day, I will
take three special pills. Three
pills to make me better.
I'm not crazy. That guy staring at
the wall is crazy.
INSERT:
A guy stares at the wall next to a window.
INT. PETE'S HOSPITAL ROOM
PETE (V.O.)
I feel like I'm repeating myself.
I'm going to get up and take a
break. Get my thoughts back in
order.
Pete gets up and exits his room and begins to walk down the
hallway.
INT. THE HOSPITAL HALLWAY
PETE (V.O.)
Down this hallway, we find a couple
of patients wandering around. Each
of these doors are rooms to the
other patients. The more dangerous
patients, they keep them upstairs.
Pete passes by a door that is locked with chains.
PETE (V.O.)
I heard they keep them sedated
twenty four seven. I mean they
have them in strait jackets. They
don't even have access to pens or
journals. I hate to go up there.
Staff members who include nurses, are seen behind glass
doors. They sort out pills and are sitting in chairs.
PETE (V.O.)
In each corner, we have the staff.
The staff keeps an eye on us.
Telling us the times for food and
medication. I met this one crazy
guy, his name is Woodchuck.
Pete passes by WOODCHUCK who is staring at a clock.
PETE (V.O.)
I guess everybody calls him
woodchuck.
Pete talks to Woodchuck.
PETE
Hey Woodchuck?
Woodchuck stares at the wall while he talks to Pete.
WOODCHUCK
Hey man, how's it going?
PETE
Just another day.
WOODCHUCK
I hear you. Days are going by slow
for me though.
PETE
Really?
WOODCHUCK
Yeah.
PETE
Well, is just of matter of days for
me.
WOODCHUCK
Why?
PETE
Well, my last day is after I take
the three yellow pills. And I'll
be gone Woodchuck. Time to go back
to work and stuff.
WOODCHUCK
Hey, I'm supposed to take those
three yellow pills too.
PETE
Really? I didn't know that.
WOODCHUCK
Yeah, a whole bunch of us do. I
heard everybody has to take them.
Pete looks around the room.
PETE
Maybe you all will get out of here
soon then.
WOODCHUCK
Aww man, I doubt it. I'm in this
motherfucker forever.
PETE
Why? What did you do?
WOODCHUCK
Nothing really. I just can't
really take care of myself out
there.
PETE
I don't understand.
Woodchuck looks at Pete for the first time.
WOODCHUCK
You know, having a steady job.
Paying bills. Having a girlfriend,
buying her ice cream and shit like
that. I can't do it.
PETE
Maybe after taking those yellow
pills, things can get better for
you too.
WOODCHUCK
I sure hope so. If not, fuck it.
PETE
Just got to have hope Woodchuck.
Keep on having hope. That's what
I'm doing. I'm trying to stay
focus. Just need three pills to
make me better.
WOODCHUCK
Say, what's your name again?
PETE
Pete, Pete Skolari. We met on my
first day here, when you and a few
others were in the same room taking
medication.
WOODCHUCK
Nice talking to you Pete.
Woodchuck starts walking somewhere.
PETE
Where you going?
WOODCHUCK
I'm trying to learn how to fly,
Pete.
Woodchuck points to the clock.
WOODCHUCK
Everyday at this time, I go to
Blake's room, and he teaches me how
to fly.
PETE
Okay then. We'll see you.
Woodchuck leaves.
Pete stares at the clock then walks around.
PETE (V.O.)
Woodchuck is definitely crazy.
Crazy like these others. But i'm
not crazy. I know what I got to
do. Just wait until that very day.
And when it gets there, I will be
one happy guy. Maybe I'll have
some ice cream walking down the
street on a sunny day. One thing
is for sure though, I'm not feeling
good today.
The NURSE approaches Pete.
NURSE
Time for your medication, mister
Skolari.
Pete follows the nurse as he narrates.
PETE (V.O.)
Not feeling good at all. Maybe a
little medication will help me.
Help me get by.
INT. WAITING ROOM
The nurse hands Pete a cup and a couple of blue pills.
PETE (V.O.)
Time for my medication. Hope I
don't act like that guy over there.
Pete looks to his right and sees a patient who is shaking as
if having a seizure.
Pete swallows the blue pills.
The patient next to Pete is turning red while he continues to
shake. The nurse gets some kind of device and calms him down.
Pete sits down on a chair.
PETE (V.O.)
Circles are circling around me.
Feeling a little bit better. Just
waiting for the time to come. The
countdown. It's funny that one
minute I'm sitting here, the next,
I'm in the streets.
EXT. THE STREETS. DAY
A pair of wheels from a car pass by.
"Marmalade," by System of a Down, plays.
Pete is on the sidewalk staring at the road.
PETE (V.O)
This time I'm not in the car.
Things repeat but this time with
slight differences.
Pete appears to be more confused and a little bit more
paranoid as he crosses the street.
PETE (V.O)
It feels like I'm either back in
time or went to the future.
Pete walks on the sidewalk.
PETE (V.O)
I'm repeating the same scene.
A kid eating ice cream walks by. The kids wears a "Kill your
Parents" shirt (a la Marilyn Manson).
PETE (V.O)
This time we have a kid eating ice
cream. But is no longer a sunny
day.
Pete walks down a block.
PETE (V.O)
In fact, it looks like it wants to
rain. The homeless are still out.
The homeless man with "The End is Here" sign is at the same
corner as before. The homeless takes off his sign.
PETE (V.O.)
The homeless takes off his sign.
The homeless walks into an alley with his sign.
PETE (V.O.)
He goes into the alley.
CU of needle shooting heroin into veins of a dirty junkie.
PETE (V.O.)
Grabs a needle and starts shooting.
The homeless man shoots heroin and slowly puts his head up.
PETE (V.O.)
He sees the future. (Pause)
Meanwhile, on the other side...
The cop from earlier is eating a donut from the box.
PETE (V.O.)
....the police don't care about the
homeless shooting up because he's
enjoying his Creme Delights.
Pete then sees "the masked figure" walking towards him.
PETE (V.O.)
The masked figure is out there.
This only makes things complicated
for me. Pete, calm down.
Pete turns away from "the masked figure" and walks at a
faster pace. "The masked figure" starts following him like a
stalker.
PETE (V.O.)
This is not happening. Everything
is not real. You might think that
it is, but it's not. You might
want to make sense out of these
things. But don't even try. Don't
try because you're just wasting
time.
Pete reaches a corner and loses "the masked figure."
PETE (V.O.)
Are you going to get some help
Pete? Help? Who are you looking
for? I am looking for myself. Who
are you looking for?
Pete takes a little break and repeats himself.
PETE (V.O.)
I am looking for myself. Looking
for myself because, after finding
myself, I will get back on track.
Pete sees "the masked figure" again and begins walking fast
again.
PETE (V.O.)
I'm losing it, but I got to find
myself before it's too late.
Pete walks into a line of people. The same people from
earlier, but this time, the mood is gloomy. Pete is at the
end of the line.
PETE (V.O.)
Now I'm waiting in line. Waiting.
It's all about time. Why am I
standing in line for? Scenes
repeat over and over. This time
with more and more details. Things
appear more closer. With slight
differences. The cycle keeps on
moving. Circles are in motion. I
just got to find out why I'm here
for? I look at across the street,
and there's protesters.
On the left side of the street, the man with no legs from
earlier, continues to read a book to a crowd of protesters
against Mr. Gilliam.
PETE (V.O.)
These protesters have some special
visitors.
A black van pulls up with several uniformed men. The men
approach the crowd of protesters. The uniformed men look
like they are ready to either kill or arrest these people.
PETE (V.O.)
I wonder was going on? Something I
don't have a clue about. Like this
line. What is this line for?
Pete bothers the GIRL in front of him.
PETE
Hey excuse me?
The girl in front of him answers.
GIRL
Yeah?
PETE
What is this line for?
GIRL
You're joking, right?
PETE
No. I'm not.
GIRL
You really don't know?
Pete nods his head saying no.
GIRL
Hey Johnny, this guy doesn't know
what this line is for.
JOHNNY, the guy in front of the girl, turns around.
JOHNNY
What a fucking idiot.
GIRL
Everybody knows what this line is
for.
PETE
I realize that, but I need to know.
JOHNNY
Hey buddy, you see way up ahead?
Pete tries to see ahead.
PETE
I can't see that far.
JOHNNY
Well, let me explain. You wait in
line. When you get to the front,
you'll find a gun, and you'll kill
yourself. Simple as that.
Pete is confused.
GIRL
(to Pete)
After that, the government takes
your body and makes weapons of mass
destruction out of it. (to Johnny)
Johnny, this guy's is a fucking
idiot.
Pete is still confused. Pete can hear gunshots in the
background. Pete gets out of the line and walks to the front
of the line.
PETE (V.O.)
Need to find answers. Need to find
out what is going on. Something's
wrong.
There's a stand in front of the line. The person in front of
the line, touches a button, then a gun pops out. The person
grabs the gun and enters a door.
Another gunshot is heard.
Up to this point, Pete loses his mind completely. Things
become more dark and more bizarre for him.
Pete runs.
PETE (V.O.)
Don't know if things are making any
sense? Things that i see. Things
I cannot fully explain. You might
want a better explanation, you
might want me to tell you
everything. But I can't.
I can't because I don't know if I'm
making any sense? My head is
spinning. Then it gets dark.
INT. A ROOM OF DARKNESS
PETE (V.O.)
Dark again, get a hold of yourself
Pete.
Lights turn on.
Bob stands next to a light switch.
INT. A DREAM LIKE ROOM
The room has a dream look to it. Similar to the dreams of
Laura Palmer in David Lynch's "Twin Peaks: Fire Walk With
Me."
PETE
Bob, what is going on?
Bob mimics Pete.
BOB
Pete, what is going on?
PETE
I don't know Bob.
BOB
I don't know Pete.
PETE
Bob, stop it.
BOB
Pete, stop it.
PETE
I'm serious man, quit repeating
me!!
BOB
I'm serious man, quit repeating
me!!
PETE
Bob, this is crazy.
BOB
Pete...(silence)..you are crazy.
PETE
Crazy?
BOB
Yes!! Crazy. I mean here you are
having a conversation with
yourself. What do you think? That
you're sane as a shit in the
toilet?
PETE
What?
BOB
Admit it, there's something wrong
with you.
PETE
What's going on Bob?
BOB
Remember what Doctor Stevenson
said, just calm down. We are going
to get through this. Things will
fall into place.
PETE
You're right.
BOB
Pete, you just got to open your
eyes a bit.
PETE
Yeah, I'm trying.
BOB
Let's have a drink.
Bob and Pete walk to a bar in the other side of the room.
Behind the bar, lies a cd player and a cd booklet. Bob gets
behind the bar. Pete sits in one of the chairs.
BOB
What about some music?
PETE
Sure.
Bob flips through the cd case full of cd's next to the
player.
BOB
What you in the mood for? There's
different music for different days,
different occasions.
Pete looks at Bob.
BOB
Sometimes you need some good rock
or something dark. Then other
times you need maybe some salsa or
some ska. In between, whatever
you're in the mood for.
PETE
I don't care.
BOB
How, about something jazzy?
PETE
Sure.
Bob puts on something jazzy.
"La Grippe," by Squirrel Nut Zippers, plays.
BOB
What can I get ya?
PETE
What about a vodka tonic?
BOB
Sure.
Bob pulls out a bottle and a glass with ice. He pours liquor
into the glass. Then pulls out a lemon and a lime.
BOB
Lemon or Lime?
PETE
Lemon!!
Bob cuts a lemon and squeezes a lemon slice inside the glass.
He then pours tonic into the glass. He hands the drink to
Pete.
BOB
Pete, all I can say is, you need to
take it easy.
Pete takes a sip of his drink.
BOB
You're making up shit. Then you
don't want to admit that you're
crazy.
Pete listens to Bob while drinking.
BOB
Yup, very complicated stuff here.
A STRANGE MAN appears in the other side of the bar also
drinking.
STRANGE MAN
I once bought this half dog and
half monkey on ebay.
Pete wonders "where the fuck did this guy come from?"
STRANGE MAN
I was looking forward to receiving
it. Hell, I even put in a little
extra for the shipping. I waited
and waited, and finally after a few
weeks, this package came. I knew it
was my half-dog half monkey because
of the holes around the box. I
opened the box, then I immediately
closed it. It was so horrible, I
didn't want to see the damn thing
again. I mean, on the internet,
the pictures were different. So I
was disappointed. I put the box in
the closet. Went to the bar,
started drinking for a while.
The strange man takes a sip from his drink and continues with
his story.
STRANGE MAN
Anyways, after a few days of
depression. I decided, what the
hell. I paid a lot of money on the
thing, I might as well enjoy it.
So I went to the closet and opened
the box.
And that fucking thing, (pause)
that fucking thing died on me. And
so here I am. But I'm making the
best of it.
BOB
Pete, you just got to make the best
of it too. Just make the best of
it, you know?
PETE
The best of it?
THE STRANGE MAN
And if the world is going to end,
you might as well go out with a
bang.
Bob gives a "what the hell are you talking about" look to the
strange man.
PETE
But you're right Bob. You're
right. Earlier you said, I was
crazy. I think that I am.
BOB
Are you accepting it?
PETE
Yes. I'm crazy. Something is
wrong with me.
THE STRANGE MAN
Hey, if you're crazy, why don't you
go through that door over there?
Pete looks at a door at the end of the room.
PETE
That door?
THE STRANGE MAN
Yeah. You go in there and you get
you some help.
BOB
That's right Pete, go in there and
get some help.
Pete takes one last sip of his vodka tonic and leaves the bar
area. He walks slowly pace with the music behind him. He
opens the door and enters.
INT. THE HOSPITAL'S HALLWAY
Pete is back at the hospital, wondering what the hell
happened. Pete closes the door behind him. Music fades as
the door closes. He walks down the hallway. He sees
patients everywhere. He gets a little paranoid. Every
patient and everyone around him, appears different to Pete
now.
PETE (V.O.)
Hallucinations, they don't make
sense. You try to make sense out
of it, it's like trying to solve a
puzzle. But the pieces don't seem
to fit. The pieces don't fit.
INT. PETE'S HOSPITAL ROOM
Pete enters his room and grabs his diary.
PETE (V.O.)
The pieces don't fit. Everything
is not real. Everything is not
real. Thoughts come and go. They
go here and then they go there. Am
I crazy? Maybe so. Maybe not like
these people out there. But I'm
sick.
Pete looks at his clock by the bed.
PETE (V.O.)
But the countdown continues. The
countdown continues.
Pete sits down and writes in his journal.
PETE (V.O.)
Dr. Stevenson said, that after
these two weeks, I will take three
yellow pills. I will get better.
It's just a matter of days. Matter
of days. Just another day closer
to my destination. Back to work.
Back to paying bills. Back to
paying taxes. Back to obeying laws
and eating crappy food. Back to
having a normal life. Looking
forward to it. That's right.
Pete stops writing and gets up. He looks at the right.
PETE (V.O.)
I may be crazy, but you just gotta
have some hope. Sometimes you just
got to remind yourself, that
everything will be alright. That
things will get better. Three
pills to make me better. Yes my
friend, the countdown continues.
Pete stares at the wall with a look that says, "Hope is my
only friend, and I can only hope for good times." He takes a
deep breath.
PETE (V.O.)
The countdown continues.
Pete closes his journal. The closing of the diary makes a
big noise, like slamming a big door.
BLACK FRAME
We are in darkness for a few seconds. We hear sounds like we
are on a cellar somewhere. Then through the lens of a
camera, someone takes the cap off the lens.
INT. A CELLAR ROOM
We are looking at some kind of cellar through some kind of
camera. The screen is black and white and it's a wide shot.
The man who just uncover the lens presses a button. The
screen then has a big red circle at the top and it says,
"REC." The man is BUCKETS LANE. He looks innocent and acts
like a kid, but he's in his late twenty's. He is sometimes
sarcastic, but mostly paranoid and always looks behind him.
(His personality resembles the character, "Charles Freck" in
"Scanner Darkly," and also David Arquette's character in
"Dream with the fishes.")
Buckets begins talking to the camera.
BUCKETS LANE
Today is Thursday. My name is
Bucket's Lane. A lot of people
might pay money for that
information. Maybe not. Today is
Thursday. I am recording this as a
testimony of what is happening out
here. A lot of things are
happening, crazy things. You got
to excuse my behavior.
I have not taken any medication
since we escaped a few weeks ago.
You see a lot of us escaped out of
the nut house. We escaped, and now
we're hiding somewhere down here.
We are survivors of the (in quote)
Human Experimentation. A lot of
people died up there. We are down
here now, but we are not safe.
Nope, we're not safe anywhere.
Even in this hidden place, we're
not safe.
CUT TO:
OVER BLACK
The title appears:
"Even in this hidden place, we're not safe"
Then another title appears above these words:
"The Diary of Buckets Lane"
CUT TO:
INT. A CELLAR ROOM
BUCKETS LANE
In case you see this video, I just
want to let you know that there are
crazy things happening here. Maybe
we are all just a little bit
traumatized of the things that
happened up there. There are a lot
of us down here. Some of us came
from different hospitals. When I
first arrived here, I couldn't
believe my eyes. It was like
another city that is hidden
underground. No one up there knows
this place exists. Hell, I
couldn't believe it myself.
(Pointing two fingers) Two things
happened yesterday. One, I fell in
love with this girl. I'm actually
going to see her today. The second
thing is, I came up with a theory
that we will also die down here.
We are not safe anywhere. I think
people need help.
Let me tell you about yesterday.
Yesterday began with me eating an
apple.
TRANSITION TO:
INT. THE CELLAR
The screen is in color now and it takes place in the same
room. Buckets is wearing a different outfit. He is eating a
shiny red apple sitting in a chair.
A VOICE
Hey Buckets....
Buckets turns to his left.
A bizarre guy named CHINIKERS yells at Buckets from the door.
CHINIKERS
Buckets? Let's go.
BUCKETS LANE
Where?
CHINIKERS
To the Waker pad.
BUCKETS LANE
But why?
CHINIKERS
They are doing a show for us.
BUCKETS LANE
For us, what kind of a show?
CHINIKERS
I don't know Buckets, just it's
something to entertain us. You
know?
BUCKETS LANE
I kind of wanted to stay here and
relax.
CHINIKERS
You always stay here man. You need
to get out more. Besides, few of
the guys went up there to get some
more food and stuff for us. Say,
where'd you get that apple?
BUCKETS LANE
I saved some from last week's break
in. You want one?
CHINIKERS
Of course I want one.
Buckets pulls a box with apples and throws Chinikers an
apple.
BUCKETS LANE
They're really good.
Chinikers bites on the apple.
CHINIKERS
So do you want to go or what?
BUCKETS LANE
Last time you invited me somewhere,
I ended getting all covered with
tomato sauce.
CHINIKERS
Buckets why you got to bring that
up again? You can't take a joke?
This is for real.
BUCKETS LANE
I don't know Chinikers. You're a
fucking asshole sometimes.
CHINIKERS
Yeah, but I'm still your friend.
Buckets looks around knowing that he'll be bored if he stays.
BUCKETS LANE
Would there be any kind of drugs?
CHINIKERS
Buckets, we are going to the Waker
Pad. You know they'll have
something for you.
BUCKETS LANE
In that case, let's go, I just
don't want to be covered in tomato
sauce again.
CHINIKERS
Buckets, I promise, there won't be
any tomatoes in sight. Now lets
hurry and get to the show.
BUCKETS LANE
Okay.
Both of them walk out the left door.
"Carousel," by Mr. Bungle, plays.
INT. THE WAKER PAD
A big colorful christmas jester stands in front of a big
room. The room has a hallway leading to another room. This
is a place that is hidden underneath the ground near a
hospital. There's a big muscle man with a big gun guarding
some kind of entry door. That entry door is the gateway to
the surface. This place belongs to SMUCK and his Waker Clan.
The group that is responsible for helping patients escape out
of mental institutions. There's about 15-20 people walking
in this room. A man holding a bowl of white pills, stands
near the hallway entry. People grab pills as they pass by.
"Carousel" by Mr. Bungle continues playing.
Buckets and Chinikers walk down this room. They stop to
greet Smuck who happens to be standing in the center of the
room.
CHINIKERS
Buckets I want you to meet Smuck,
the leader of the Waker Clan.
SMUCK
Hello Buckets, at last we meet.
Smuck and Buckets shake hands.
SMUCK
Chinikers, can you see if Glimpie
is almost ready? He's back there
practicing his lines.
CHINIKERS
Yeah!! I'll be right back.
Chinikers leaves to a door.
Buckets and Smuck talk.
BUCKETS LANE
Chinikers said something about a
show?
SMUCK
Yes. The show will start in a few
minutes. It should be good and
entertaining.
BUCKETS LANE
Chinikers also said something about
some "medication."
Smuck directs Buckets to the person holding a bowl of white
pills.
SMUCK
Buckets, help yourself.
Buckets grabs a handful of white pills.
SMUCK
Which hospital were you in?
BUCKETS LANE
I don't know the name, but it's the
one up north.
SMUCK
It's a shame about those who didn't
make it, huh?
BUCKETS LANE
Yeah.
SMUCK
I heard society is revolting.
It's chaos up there, Buckets.
BUCKETS LANE
I just want it to be over.
SMUCK
We all do Buckets, we all do. But
who knows when?
BUCKETS LANE
We were just a bunch of guinea
pigs.
Buckets puts a couple of pills in his mouth, he swallows
them.
SMUCK
Fucking doctors. Always want to
fuck you up even more than you
already are. Just to get a quick
buck. It's not all about money,
Buckets.
BUCKETS LANE
These are good (referring to the
pills).
SMUCK
It will get better when the show
starts. Come on let's go to the
show room.
They walk to the hallway.
INT. SMUCK'S HALLWAY
Buckets and Smuck walk down the hall passing a few people. A
man and a woman are making out. It's all colors in the
hallway, like going to a night club.
SMUCK
Buckets, there's going to be more
shows like tonight. If you like
tonight's show, and if you're
interested, you can be part of the
next show.
Buckets starts acting like he's tripping on some kind of
trippy drug.
SMUCK
Let me know later if you're
interested? It is your decision.
Buckets feels lost.
BUCKETS LANE
Sounds like something I got to
think about.
SMUCK
This is our future now, Buckets.
We can't trust people up there
anymore.
INT. THE SHOW ROOM
The show room is a big room with a stage on one side, and a
set up for an audience on the other. A spotlight lights the
stage. The left side of the stage consists of a cd player on
a stand, and a little stairway that leads to a podium high on
the stage. On the right side, is a microphone set up.
Approximately 20 people are sitting down in chairs on the
other side of the room facing the stage. The people are
waiting for the show to start.
Smuck and Buckets walk by the people sitting down. Sitting
among the crowd is CHUCKZ and SMILEY. Smuck introduces
Buckets to them.
SMUCK
This is Chuckz and Smiley. Guys,
Buckets Lane.
Chuckz is kind of hyper and talkative. Smiley is a very
serious person, he looks depressed.
CHUCKZ
Buckets Lane, you're from the north
hospital aren't you?.
BUCKETS LANE
Yeah, I got out of there before it
was too late.
CHUCKZ
Shit, we all got out those places
before it was too late. My friend
Willie didn't make it though.
(Pause) Fucking bastards.
Chinikers enters the scene.
CHINIKERS
Ronald and Glimpy are ready Smuck.
SMUCK
Good. You boys make yourselves
comfortable, I'm going to the side
and coordinate some things.
Buckets, it was nice meeting you.
BUCKETS LANE
Same here.
SMILEY
We gotta go too!!
CHUCKZ
See you later Buckets.
Chuckz and Smiley leave with Smuck. Chinikers grabs Buckets
and introduces him to a girl sitting down.
CHINIKERS
Hey Buckets, I want you to meet
somebody.
Buckets turns around and sees a girl sitting down in one of
the chairs. The girl is wearing a helmet (she is the same
girl wearing a helmet during Pete's hallucination from the
beginning).
When Buckets and the girl make eye contact, there is dead
silence.
A love song starts playing. (Shaboom, Shaboom oldie song)
DISSOLVE TO:
A MONTAGE OF THE GIRL WITH BUCKETS.
They hold hands and kiss on this twenty to thirty second
montage. They both run in the park, kiss by a tree, and hold
each other while staring at a beautiful lake. It is
obviously a fantasy inside Bucket's brain.
After the love montage, Buckets gets interrupted by
Chinikers.
CHINIKERS
Buckets, hello, come back to me!!!
BUCKETS LANE
Yeah!! I'm here.
CHINIKERS
I want you to meet, the beautiful,
the wonderful, but dangerous,
Sheela.
Both of them shake hands.
BUCKETS LANE
Hi Sheela!!
SHEELA
Hi!!
Buckets sits next to her. Buckets is a bit shy, like a 5th
grade boy having his first crush.
BUCKETS LANE (V.O.)
I fell in love right there as I sat
next to her. I tried not to get
too obsessive and weird, but I
couldn't help myself.
INT. BUCKETS BEDROOM
Behind the camcorder lens in "REC".
BUCKETS LANE
I have a big feeling about this
one. Sheela, is a wonderful name.
I can't wait to see her again.
She'll be here any minute now.
But let's continue with the show.
INT. THE SHOW ROOM
The show is about to start. The audience are making a lot of
noise as the stage fills up with smoke and strobe lights
strobe around the room. The audience consists of mentally
ill patients, some appear normal, others appear strange.
The strobe lights turn off and we have two spotlights on the
stage, one on the right side and the other on the left.
Smiley brings a man in a wheelchair to the right side of the
stage up to the microphone. Smiley exits stage.
The man in the wheelchair looks very serious and very
strange. His name is RONALD.
Smuck is standing by the right side of the stage.
Chuckz walks up to the cd player on the left side of the
stage.
Ronald begins talking to the audience with his deep voice.
RONALD
My name is Ronald. I'll be your
host for today.
Music is such passion, a very great
tool to escape and forget the harsh
of reality. Let us forget these
hard times for a moment. Let us
forget for a moment, that there is
no pain and no suffering. Ladies
and gentlemen, let your minds go
free.
The audience applauds.
Chuckz hits the play button on the player.
A light turns on lighting up a small door on the back left
side.
A bizarre song starts playing in the player. Ronald sings
along with the song.
The song is "Happy Colored Marbles" by Ween.
RONALD (SINGING WITH THE SONG)
Most people are not ok, but they're
taking their siestas in the sun.
Got some ideas on the way it should
be. But most of em' just carrying
on.
The little door on the left side, opens. A little man
holding a sack of marbles comes out. The little man has the
name, "GLIMPY," written on his forehead. He sings the chorus
of the song as he walks forward to the audience.
GLIMPY (SINGING WITH THE SONG)
Happy Colored Marbles that are
rolling in my head. I put em' back
in the jacket of the one I love.
Carry the velvet sack full of
pretty colored marbles. And I'll
ask you for em' back, when I'm
ready and done.
He stops at the stairway that leads to the podium.
Ronald continues singing.
RONALD (SINGING WITH THE SONG)
Most people are not ok, and they're
slackin' cause the job ain't done.
Fillin' up on the poison nut. And
getting down till the dawn.
Glimpy climbs up the stairway as he sings the chorus one more
time. When he reaches the podium, he lifts his sack of
marbles.
GLIMPY (SINGING WITH THE SONG)
Happy Colored Marbles that are
rolling in my head. I put em' back
in the jacket of the one I love.
Glimpy empties the sack of marbles from his right hand to his
left.
The marbles are shiny and dark colored.
GLIMPY (CONT.)
Carry the velvet sack full of
pretty colored marbles. And I'll
ask you for em' back, when I'm
ready and done.
As soon as he finishes his line, he drops the marbles to the
floor.
The marbles roll and fall down the stage.
Pace with the music:
Chuckz walks towards Glimpy with a gun. He hands Glimpy the
gun.
Smuck stands near the stage like some kind of stage manager.
Glimpy drops the empty sack to the ground.
The audience are confused.
Glimpy points the gun to his forehead.
Ronald watches the audience with a straight face.
While the marbles are still rolling, Glimpy blows his brains
out.
(BANG!!!!)
Fog covers up the stage as the song fades.
FADE TO:
INT. BUCKETS BEDROOM
Buckets talks to the camera while it is recording. The image
is black and white.
BUCKETS LANE
And that was the show. After that,
I don't remember how i got back.
All I know is that we are dying
down here. Slowly but surely.
That is why I'm recording this.
Because our days are numbered. I
think I'll call this video,
Chronicles of the endtimes. We may
have escape those hospitals, escape
out of those experiments. But, we
are not safe down here. Seems like
someone is doing this on purpose.
Seems like we are being watched.
Sheela enters frame and interrupts Buckets.
SHEELA
Buckets?
BUCKETS LANE
Oh, Hi Sheela.
SHEELA
What are you doing?
BUCKETS LANE
I'm doing a documentary.
SHEELA
Ooh Cool, about what?
BUCKETS LANE
I'll explain it to you in a moment.
SHEELA
Okay. Are you almost done?
BUCKETS LANE
Yes. I'm done.
Buckets presses a button to stop recording. The red circle
disappears and all we have is the black and white video.
Buckets grabs a few things from the floor while Sheela talks
to him.
SHEELA
Buckets, I got a message from
Smuck.
BUCKETS LANE
Yes?
SHEELA
He wants you to be part of the next
show.
BUCKETS LANE
Did he tell you what I'll be doing
if I do it?
SHEELA
Yeah, he said, you'll be playing
the part that Glimpy played. He
said it's your decision.
Buckets is silent for a few seconds.
BUCKETS LANE
What do you think?
SHEELA
I think you'll be good for it.
Buckets is silent for a few seconds more.
BUCKETS LANE
In that case, I'll do it. Let's
go.
Buckets looks back at the camera, he's paranoid.
Buckets and Sheela exit frame.
Few moments later, the camera starts shaking and then it
starts moving forward, it makes a turn and we see a door.
The door opens, and it's dark.
The sounds of the cellar fade away.
A match is lit, and we SEE "the masked figure." The same guy
with the mask who's being appearing throughout the story.
The masked figure is about to take off the mask.
As soon as we're about to see who's behind the mask, the
screen goes black.
BLACK FRAME
The title appears:
"I saw the monster behind the mask"
Then above these words, another title appears:
"The Diary of Carlos Montes Cervantes"
CUT TO:
INT. THERAPIST'S OFFICE. DAY
A young man sits on a couch talking to his therapist.
The young man is named CARLOS. He seems scared and confused.
The therapist is DR. STEVENSON.
DR. STEVENSON
What did you see?
CARLOS
(with a spanish accent) I keep
telling people what I saw, but they
don't believe me. I don't believe
it myself.
DR. STEVENSON
Carlos, you can tell me. This
visit is for you to be open.
CARLOS
I just don't know where to start.
Everything is crazy, you know?
DR. STEVENSON
I understand. You tell me one
thing, and then it leads to
something very different. I've
seen that kind of behavior before.
CARLOS
It's a mess. After that night, my
head started hurting. I couldn't
sleep. I couldn't be with my
family.
DR. STEVENSON
Carlos, just take it easy. You're
here, and I'm here for you.
CARLOS
My head still hurts.
DR. STEVENSON
Let me give you some pills for your
head.
The therapist gets up and exits frame. Carlos is shaking a
little bit. He looks around the office. The therapist comes
back with a glass of water and a couple of white pills.
DR. STEVENSON
Here you go.
Carlos grabs the water and the pills. He questions the
medicine.
CARLOS
What's this?
DR. STEVENSON
It's for your head. They're good,
it really helps.
Carlos swallows the pills and takes a sip of water.
DR. STEVENSON (O.S)
Now lets go back and tell me from
the beginning.
CARLOS
The beginning? (Pause) I guess I
can start where me and Pistacho
were going to work. Just to think
of it, the morning started out
weird.
EXT. PARKING LOT OF A FANCY HOTEL. DAY
"Da, Da, Da," by Molotov, plays.
Outside of a big building, are a few cars parked on the
parking lot. Music is coming out from one of the parked cars
near the building.
Carlos and co-worker friend, PISTACHO, walk by this car.
The car belongs to SERGIO, another co-worker, he's jamming to
the music.
PISTACHO
Hey, Sergio, what's up?
SERGIO
Hey guys, what's going on?
PISTACHO
I thought you were going to quit?
SERGIO
I am, I am. You'll see.
CARLOS
Hey, we're going out tonight after
work, what you got going?
SERGIO
You guys ain't going out tonight.
We have a big banquet.
PISTACHO
That's right.
CARLOS
Which one?
PISTACHO
That one guy running for office,
he's going to be here tonight.
SERGIO
A lot of important people tonight.
CARLOS
Fuck, I should call in.
Pistacho looks at his clock.
PISTACHO
Aww, we better clock in and shit.
SERGIO
Ay los vemos. (Translation: See you
later.)
CARLOS
(To Sergio)
Don't you got to clock in?
SERGIO
Yeah, in a minute. I'm waiting for
a couple of fools, I got to meet.
PISTACHO
You're dealing again?
SERGIO
Business, is business brother.
PISTACHO
See you man.
CARLOS
Later.
Carlos and Pistacho enter the building. The music from the
car fades down and we hear other music fading up from the
inside.
INT. BACKROOM/KITCHEN
"Rey de los Sonideros," by Chon Arauza, plays.
Carlos and Pistacho walk in the backroom and they both clock
in to work on the computer.
PISTACHO
Otro pinche dia en este trabajo.
(Translation: Another fucking day
in this job.)
CARLOS
Can't wait to get out, man.
Carlos and Pistacho walk to the kitchen where a few of the
hotel staff are preparing lunch. They are listening to music
while they cook. Carlos and Pistacho greet the other workers
in the way. An OLDER MAN stops them.
THE OLDER MAN
Hey cabrones (fuckers)!! Get ready
for a busy day.
PISTACHO
Shit, I'm ready, man.
CARLOS
Another day of slavery.
THE OLDER MAN
Did Sergio finally quit?
CARLOS
No, he's in the back.
THE OLDER MAN
I knew that fucker wasn't going to
quit.
Pistacho encounters someone on the side.
PISTACHO
Fuck, there's Locket.
MR. LOCKET, the general manager of the hotel, walks around
with his manilla folder.
PISTACHO
Why is he here so early?
THE OLDER MAN
Maybe because of tonight. Big
event tonight. Everybody's going
to be here.
CARLOS
What's this event anyway?
THE OLDER MAN
I don't know, is something to do
with the elections coming up.
PISTACHO
We better get to work, before
Locket starts talking shit.
THE OLDER MAN
Chale, este pelon no me asusta.
(Translation: I ain't scared of
this baldie) I been working here
under six different managers, all
of them are the same.
PISTACHO
Later.
CARLOS
Later, man.
THE OLDER MAN
Hey Pistacho?
PISTACHO
Yeah?
THE OLDER MAN
You still going to help me with
that thing on Monday?
PISTACHO
I don't know, we'll see what
happens.
THE OLDER MAN
Alright.
Carlos and Pistacho walk to the Dishwasher area.
INT. THE DISHWASHER AREA
Carlos and Pistacho start up the dishwasher. They start
sorting out dishes from the night before.
PISTACHO
Estos marranos (translation: These
Pigs. Referring to the waiters who
brought the dishes there).
Carlos gets the dish soap box. It is empty.
CARLOS
Hey, I'm going to get some more
soap.
PISTACHO
Alright, man. Don't take your
time, now.
Carlos leaves the dishwasher area.
INT. STORAGE ROOM
Carlos enters a storage room in the basement somewhere
underneath the hotel. Carlos is alone for the first time,
and he gets a little scared. He's trying to find the soap
among the items on the shelf. He grabs it.
INT. HALLWAY NEAR STORAGE ROOM
On his way back, Carlos encounters a MAN WITH GLASSES.
Carlos gets scared.
MAN WITH GLASSES
Are you Carlos?
CARLOS
What?
The man with glasses walks towards Carlos.
MAN WITH GLASSES
Are you Carlos Montes Cervantes?
Carlos takes a look at the man with glasses to see if he
knows him, but he's never met him before.
CARLOS
Yeah! What's up?
MAN WITH GLASSES
I have a message for you.
CARLOS
From who?
MAN WITH GLASSES
From a very important man who wants
you to do him a favor.
CARLOS
Well, I'm working right now. I
(Pause), I don't have time.
MAN WITH GLASSES
It is nothing big, just a little
favor.
Carlos doesn't care what he's saying.
CARLOS
I'm not interested.
Carlos walks away from him.
MAN WITH GLASSES
You'll live to see your kids.
Carlos pauses and turns to him.
CARLOS
My kids?
MAN WITH GLASSES
Carlos, I work for mister Munzer.
Do you know who Mister Munzer is?
CARLOS
No.
MAN WITH GLASSES
Mister Munzer is a man who works
for very, very important people.
And he wants you to do him a favor.
CARLOS
But, I don't know him.
MAN WITH GLASSES
Mister Cervantes, do you see that
person over there?
The man with the mask is in the corner of the hallway walking
towards Carlos.
Carlos freaks out.
MAN WITH GLASSES
That guy, will poison your
children.
"The masked figure" shows Carlos a photo of Carlos and his
children.
MAN WITH GLASSES
Now, all you got to do mister
Cervantes, is get the card to room
three hundred and thirty three, you
get the card, and you let this
person inside that room. That's
it. You do that, and everything
will be okay.
Carlos in confused state of mind responds.
CARLOS
Why me?
MAN WITH GLASSES
You were randomly chosen by our
organization. You do this favor
for us, and everything will be
okay.
INT. THERAPIST'S OFFICE. DAY
Carlos sits frustrated in Dr. Stevenson's office. He is very
confused.
CARLOS
I'm confused doctor. This doesn't
make sense, none of this. But it
really happened.
DR. STEVENSON
I see. So what did you do?
CARLOS
I became different. I acted
different. But I came through. I
have a friend named Rosa who works
on the front desk. She has a crush
on me, at least that's what I
heard.
DR. STEVENSON
Did you ask Rosa for the key?
CARLOS
Yes.
DR. STEVENSON
And what did you tell her?
CARLOS
I told her,...
INT. FRONT LOBBY OF HOTEL
Carlos talks to ROSA in the front lobby. Carlos flirts with
Rosa. Rosa flirts back. Carlos talks to Dr. Stevenson while
this is going on.
CARLOS (V.O.)
Hey, I need this key
because...(Pause) Because..(Pause)
Carlos pauses to Dr. Stevenson while We SEE that both him and
Rosa are flirting.
CARLOS (V.O.)
Because, I fucking need it.
DR. STEVENSON (V.O.)
And what did she do?
CARLOS (V.O.)
What do you think? She gave me the
key.
Rosa gives Carlos the key.
INT. THERAPIST'S OFFICE. DAY
DR. STEVENSON
Then what happened?
CARLOS
(Takes a deep breath)
I did it. (Pause) The whole hotel
was crowded with people, the
banquet had already started, but I
did it. There was security
everywhere. Everywhere, except for
room three hundred and thirty
three.
INT. HALLWAY TO HOTEL SUITES
Carlos and "the masked figure" walk up to the door that says
"333." Carlos opens it with the card. He lets "the masked
figure" inside. The door closes. Carlos stares at the door
for a little bit.
Carlos heads back. He takes a deep breath and releases a
sign of relief that is over. Then, he hears music coming out
from that room.
"Space Mutants 4," by The Phenomenauts, plays.
Carlos is curious about what is going on. He hesitates for a
moment, then he goes back to door and opens it. He enters.
INT. HOTEL ROOM
The room is dark.
Carlos flips the light switch. The lights turn on.
Carlos looks for "the masked figure." He's nowhere to be
found. The music still plays.
Carlos walks around the room. He finds the radio near the
window. He turns off the radio. Music stops.
There's a brief case, by a table. Carlos is still curious
about the situation. He opens the brief case.
Carlos realizes this room is booked to Randy Floyd. Then he
hears the door open. He is fucked.
Carlos tries to hide somewhere.
Randy Floyd, a prostitute, and his bodyguard, Mr. Hernandez,
enter the room.
Carlos hides behind the thick curtains from the window. He
watches them.
Randy Floyd is talking in his cell phone.
MR. FLOYD
Of course it's going to happen. We
got a lot of people paying big
money for this to happen. Mister
Gilliam doesn't have nothing on me.
Mister Gilliam will be through
after this case closes next week.
There is no way in hell, they are
going to pass those bills. It's
unreal. Human experimentation?
Come on. Testing drugs on patients
will not happen. Look, it's
obvious that this is so bogus.
The prostitute gets on the bed. Mr. Floyd watches her.
MR. FLOYD
Yeah, (Pause) I got to go.
Alright. Bye.
Randy Floyd hangs up the phone.
MR. FLOYD
(to bodyguard Mr. Hernandez)
Thanks for your help. You can just
be on the lookout outside.
The bodyguard goes outside.
Randy Floyd starts making out with prostitute.
"The masked figure" lurks around in the background. "The
masked figure" slowly opens the door, then a man and Max the
Loon walk in.
The man has a camera and takes a picture of Randy Floyd.
The flash interrupts Randy Floyd and the prostitute.
MR. FLOYD
What the fuck?
Max the Loon swings his baseball bat at him.
CUT TO:
INT. HOTEL ROOM. MOMENTS LATER
Moments later, we are in the same room, except that the
prostitute is taped up and Mr. Floyd is knocked out. Mr.
Floyd gets conscious.
Carlos watches while hiding in the curtains.
"The masked figure" opens the door and Mr. Munzer and one
more man walks in. Mr. Munzer whispers to the man beside
him. THE MAN talks to the people.
THE MAN
Mister Munzer is here. Ray...
RAY is the man who took the picture of Mr. Floyd and the
prostitute.
THE MAN
....get the dead bodyguard in here
and let's try not to make a scene.
Mr. Munzer whispers to the man again.
THE MAN
Mister Munzer says hi mister Floyd,
how are you?
Mr. Floyd getting back to reality from his blackout answers.
MR. FLOYD
Son of a bitch!!
Mr. Munzer smokes his cigar and nods his head.
THE MAN
Mister Munzer does not like your
response.
MR. FLOYD
You can tell Mister Munzer, that he
won't get away with this. This is
not the end.
Mr. Munzer whispers to the man.
THE MAN
Mister Munzer said, this is the
beginning of the end.
Carlos is very scared hiding behind the curtains. Ray walks
in to the door with the bodyguard's body. He drags him to
another room.
THE MAN
Mister Munzer would like me to
explain what is going on. You see,
Ray over there, took a picture of
you and the lady. That picture
will be posted all over the media.
You Mister Floyd, will now be
referred to as a dirty politician.
Mr. Floyd lays on the ground while Max the Loon puts his bat
down and takes out a needle.
THE MAN
Mister Floyd, Max the Loon there,
will be drugging you. Now that
drug will put you to sleep for a
while. You won't be running for
office anymore.
Mr. Floyd stares at the needle.
THE MAN
You're replacement will be a
gentleman by the name of Mister
Geiselman. You will sign the
papers stating you're resignation,
and appointing Mister Geiselman in
your place. The people will then
vote for who they think should win.
It's a very good democracy.
MR. FLOYD
Mister Gilliam hired you all to do
this?
Mr. Munzer whispers to the man's ear.
THE MAN
Mister Gilliam works for us. In
fact he is here right now.
Mr. Floyd is very, very fucking confused.
Mr. Munzer whispers to the man's ear.
"The masked figure" walks towards Randy Floyd. "The masked
figure" takes off the mask. WE SEE, Mr. Matthew Gilliam, the
same person on the billboards, on the tv, the next leader.
MR. FLOYD
That's not Mister Gilliam.
Mr. Gilliam talks for the first time.
MR. GILLIAM
Of course I am. It looks like
we're going to have a bright future
without you.
MR. FLOYD
Why are you doing this?
MR. GILLIAM
Too many questions. Too many
answers. Let's not break our heads
right now, let's relax. Carry on
Mister Munzer.
Mr. Gilliam puts his mask back on and walks near the door
behind Mr. Munzer.
MR. FLOYD
What are you going to do with me?
Mr. Munzer whispers to the Man.
THE MAN
You'll see.
The man signals to Max The Loon. Max the Loon injects Mr.
Floyd with a needle to his neck. He is unconscious. The
prostitute screams with tape around her mouth. Ray smacks
the girl with his gun. She's unconscious too. The room is
quiet.
Mr. Munzer whispers to the Man.
THE MAN
Max and Ray, start dragging these
people to the bathroom. We are
going to wait for transportation to
arrive.
Max the Loon begins dragging Mr. Floyd.
Mr. Munzer whispers to the man.
THE MAN
One more thing.
They all stare at the curtains. Carlos is spotted.
"The masked figure" slowly walks to the curtains to reveal
Carlos. Carlos is scared as hell. The man lights up Mr.
Munzer's cigar. Ray drags prostitute from room. Max the
Loon drags Mr. Floyd away from the room. " The masked figure"
pulls Carlos from the curtains.
CARLOS
Wait....
INT. THE THERAPIST'S OFFICE
Carlos is sitting down with the therapist. He takes a long
sip of his water. He is more paranoid than before.
DR. STEVENSON
What happened?
Carlos lost his train of thought.
CARLOS
Nothing. Forget I said anything
doctor.
DR. STEVENSON
You were getting somewhere, Carlos.
What happened next? Finish the
story.
CARLOS
No. I'm lost.
DR. STEVENSON
Carlos, but I'm listening.
CARLOS
Can I start all over?
DR. STEVENSON
No, I'm afraid our time is up.
CARLOS
Doctor, I just can't think
straight.
DR. STEVENSON
Carlos, you need to focus. You
were telling your story fine. But
then you lost yourself there for a
minute, then it got confusing.
CARLOS
Sometimes, I have dreams about the
end of the world.
DR. STEVENSON
Have you told anyone about this?
CARLOS
No, nobody would believe me. They
all think I'm crazy.
DR. STEVENSON
Well, based on what I'm seeing and
hearing, it sounds like you are
having some issues.
CARLOS
I don't want to have these issues.
DR. STEVENSON
Carlos, I'm going to help you out.
I think, everything that you're
saying, does not make sense.
Carlos looks at Dr. Stevenson.
CARLOS
Yes doctor, make this nightmare go
away.
DR. STEVENSON
This is what I'm going to do to
help you.
Dr. Stevenson stands up and walks to her desk, she writes on
a paper.
DR. STEVENSON
I'm going to prescribe you some
medication, mainly some anti
depressants. After a couple of
months, if things are still the
same, I am going to recommend you
to commit yourself to a hospital.
Dr. Stevenson sits back down.
THERAPIST
There's this hospital, where they
are going to do this special
treatment starting in January. I
think this treatment can help you.
After a few weeks at the hospital,
you will take three yellow pills.
After these pills, you can go home
and be yourself again.
CARLOS
That sounds good. Whatever you
think is best.
THERAPIST
Good. I'll get things started for
you Carlos.
CARLOS
Thank you Doctor Stevenson.
DR. STEVENSON
Throughout this, I want you to take
it easy. If things get hectic for
you, remind yourself that things
will get better. Always a good
reminder.
Carlos listens to his therapist.
DR. STEVENSON (V.O.)
Take some time off work if you have
to. Keep a journal with your
thoughts, that might help you get
rid of these bad moments.
Dr. Stevenson stands up.
DR. STEVENSON
Always, always, always have hope
and wish for the best.
Carlos stands up.
CARLOS
You're right, doctor.
DR. STEVENSON
We are going to get through this.
I'll follow up in a couple of
weeks.
CARLOS
Okay.
Carlos walks towards the door. Dr. Stevenson interrupts him.
DR. STEVENSON
One more thing Carlos.
CARLOS
Yes?
DR. STEVENSON
The man with the mask, who did you
say it was?
Carlos is already too confused.
CARLOS
I don't remember.
DR. STEVENSON
Carlos, this is between you and me,
okay. But try not to think about
things like that. It might confuse
others.
CARLOS
Was this all in my head?
DR. STEVENSON
Yes, I'm afraid so. But, we're
going to take care of this.
CARLOS
Okay.
Carlos turns around and walks towards the door. He turns
back to Dr. Stevenson.
CARLOS
Wait, I think I know who was behind
the mask.
DR. STEVENSON
Who?
CARLOS
The monster.
DR. STEVENSON
What monster?
CARLOS
The monster I had dreams about when
I was a kid. I think its name was
Alfred the Shoe Monster. My mother
used to say, Ya biene alfredo el
coo cooi de los zapatos. I always
remember that.
DR. STEVENSON
We'll talk more about this in our
next visit.
CARLOS
Alright. Doctor?
DR. STEVENSON
Yes?
CARLOS
You're right, those pills you gave
me for my headache, they work.
DR. STEVENSON
They don't call me doctor for
nothing, right?
Dr. Stevenson gives him an evil look.
Carlos walks away and exits Dr. Stevenson's office. The door
closes slowly. Right before the door closes, "the masked
figure" walks in the background and stands next to Dr.
Stevenson.
Door Closes
INT. A VERY DARK ROOM
Blackness around us while Pete Skolari begins to narrate.
PETE (V.O.)
The way in is the way out, the way
in is the way out. I don't know
what's going on here? Don't know
if things are making any sense?
Pete's eyes glance around.
PETE (V.O.)
Things that I see. Things I cannot
fully explain. You might want a
better explanation, you might want
me to tell you everything. But I
can't. I can't because I don't
know if I'm making any sense?
Pieces of a jigsaw puzzle float around Pete.
PETE (V.O.)
Each thought is like a piece of a
puzzle.
The pieces don't make sense. The
pieces don't make sense. You put
them together as a whole, it might
make sense. You put them together,
things become clear. Try to find
myself. Don't exactly know what
happened. Things are different. I
am different. All I know is that I
need three pills to make me better.
Pete sits down next to a glowing window with darkness behind
him.
PETE (V.O.)
I could be free, I could be normal,
I could be just like everybody
else. But the only thing I need is
those damn pills. I could be free,
I could be normal, I could be like
everybody else. All I need is
those three pills to make me
better.
CUT TO:
BLACK FRAME
The title appears:
"Three Pills to Make Me Better"
Above these words, another title appears:
"The Diary of Pete Skolari."
CUT TO:
INT. THE HOSPITAL'S WAITING ROOM
Pete Skolari is sitting down with other patients around him.
They are watching television. Pete's behavior and
personality has changed dramatically. While we remember Pete
as somewhat normal, he is completely insane.
PETE (V.O.)
Cut the strings. Cut the strings,
and I will be free. I am no longer
you're puppet. No longer your
puppet. If I cut the strings, then
I will no longer be your puppet.
Stand still. Have hope. What is
today? Should I ask the nurse?
Should I ask one of these guys?
Questions become unanswered.
Questions!!
INT. THE HOSPITAL HALLWAY
Pete walks along the hallway.
PETE (V.O.)
The circles continue to spin.
Don't exactly know how long they
been spinning. One day, I will cut
the strings. If I cut the strings,
then I will no longer be your
puppet. Today is the first day of
my last days. That's right. Today
is the day I take the three pills.
INT. PETE'S HOSPITAL ROOM
Pete walks to his room and up to his journal.
PETE (V.O.)
Dr. Stevenson told me to wait until
this day. The waiting is almost
over. The countdown is here. When
the countdown is over, then it is
time. Time to change. Time to end
a cycle and begin another. Write
that down.
Pete writes in his journal.
PETE (V.O.)
When the countdown is over, then it
is time. Time to change. Time to
end a cycle and begin another. It
keeps repeating in my head. Don't
know if this journal is helping me.
Just got to remind myself, that
everything will be alright. That I
will take those three pills and
everything will be okay. I was
going to major in English. I love
writing. Not good with grammar and
stuff, but I love writing. Things
come to my head. Some things are
the past, some things are the
future. It's kinda hard to
distinguish them.
I'm standing in this room, but then
I'm not here anymore. I am working
at Tuff Marketing.
CUT TO:
INT. TUFF MARKETING CALL CENTER
Pete is in his cubicle at Tuff Marketing, and he is paranoid.
He gets up and all the rest of the employees are brainwashed
zombies working in their cubicles.
PETE (V.O.)
Another day of work, another day of
making people rich. Another day to
pay my bills at home and eat cup o
noodles all day. Been working
there for a few years now. Mister
Fancy pants, who's been working
here for a few months, is now
assistant manager.
MR. FANCYPANTS walks around showing off.
Meanwhile on the other side of the room, supervisors are
looking around while guards whip some of the workers.
Pete gets up from his cubicle and tries to get away from
this. He sees that everyone is sitting in their cubicles
with helmets on their heads. A lady walks around with a
control. She stops by a worker. She presses the button on
the control. The worker works harder and harder.
Mr. Fancypants approaches Pete with a helmet.
MR.FANCYPANTS
Hey Pete, put your helmet on and
get back to work.
Pete gets away from him and starts walking fast.
A co-worker is dead in his cubicle.
PETE (V.O.)
Things become clear to me. Things
are becoming clear. The world is
somewhat different. I am
hallucinating. This is not real,
everything that I see is not real.
EXT. THE STREETS.DAY
Pete is back on the streets, the same streets as before.
Things are different. The day is more gloomy than ever.
"Ich Bin Auslander," by Pop will Eat Itself, plays.
Pete walks by and sees the homeless man who was wearing "the
end is here" sign. The homeless is dead on the street with a
needle sticking out of his arm. Pete gets away from him.
Across the street, is a kid walking while eating ice cream.
The kid is smiling. His smile turns upside down when he
encounters a dead body on the street. He is in disgust.
After a few seconds, he licks his ice cream and continues
walking.
A cop eating his Creme Delight donuts is arresting a kid who
previously had the box of donuts.
Pete walks by all of these events. He is confused like he's
been here before. Everything repeats except this time with
slight differences.
At a glance, Pete sees the protesters protesting against Mr.
Gilliam. They are surrounded by uniformed men. The
uniformed men force the protesters inside the black van.
Pete walks in the streets looking around.
PETE (V.O.)
The homeless man dies of an
overdose. People dead on the
street. Cops arresting people for
no reason. Protesters being taken
away. Someone is watching. No
matter what, someone is watching.
Pete turns around and sees "the masked figure" who is close
to him. He walks faster. "The masked figure" appears in
front of him. Pete begins running in another direction.
Pete is by himself, and just when he thought it was safe, the
figure stands next to him and grabs him.
INT. THE HOSPITAL'S HALLWAY
A GUARD from the hospital grabs Pete.
GUARD
Alright buddy, settle down.
Pete believes the guard is "the masked figure." He
struggles. He tries to get away. He hits the guard. The
guard calls for help. Others come to help the guard. They
grab Pete and put him to the ground. A nurse comes in with
the needle and puts Pete to sleep.
INT. SEDATED ROOM
Pete is in another room. Is the opposite of his regular
room. He has a strait jacket on. He is all fried out
because of the shot. He is strapped to a chair.
Pete narrates at a lower pace.
PETE (V.O.)
Bunch of schizophrenics around
here. That's what they have. They
say I am one of them too. There
are different kinds of
schizophrenia. And different kinds
of symptoms. Each person is
different. But I'm not here to
talk about what schizophrenia is.
I'm here to talk about how I can
get better. I know I have a
problem, I admit it. But I also
have hope. Hope is a good thing.
I remember when I was normal, don't
know exactly what happened. Just
one day it hits you without a
warning. We are a few, but our
numbers are rising. A boy with one
arm once told me that when the end
is near, people will turn insane.
All I know is that you got to have
some kind of hope. And I hope,
that after I take those three
pills, things will get better. A
lot better!!
Bob interrupts Pete.
BOB
Hey Pete?
PETE
Bob!!
BOB
What are you doing here? Today is
the day!!
PETE
I know. But I'm strapped here.
BOB
Well, there's a big line out
there!! And you're missing it.
Bob is outside the room.
PETE
Well, get me out of here.
BOB
I can't do that Pete. You gotta
call for some help.
PETE
Where's the help when you need it?
BOB
Man, everybody is busy. It's chaos
out here.
PETE
I need to make it. I need those
three pills.
BOB
There's all kinds of doctors around
here. There's even visitors
checking things out.
PETE
Is Doctor Stevenson here?
BOB
I haven't seen her yet.
PETE
Bob, I'm fucking scared.
BOB
Why are you scared? This is the
day you were waiting for. I mean
all this time you been bragging
about this day and about those
fucking pills.
PETE
Fuck, I don't know. I guess I'm a
little paranoid.
BOB
Paranoid? You look like a fucking
puppet. That's what you are.
PETE
I am a puppet.
BOB
You just gotta cut the strings.
Pete tries to get the strait jacket off.
PETE
The strings.
BOB
The strings.
PETE
The voices in my head are coming
back again.
BOB
Fuck those voices man. You're going
to get better.
PETE
I'm going to better, better. Back
to normal, back to being like
everyone else.
BOB
Thoughts come and go Pete. They go
here and there. You got to be
strong.
PETE
Strong. Everything is a puzzle to
me. The pieces don't fit. I'm
trying to make it fit.
BOB
You were never good with puzzles to
begin with.
PETE
You're right.
BOB
Pete?
PETE
Yes.
BOB
You have to stop doing this to
yourself.
PETE
What?
BOB
This. Talking to me. Thinking
thoughts about the past and the
future. Talking all this nonsense.
You're crazy Pete, you're totally
going insane. I mean, haven't you
noticed?
Pete looks confused.
BOB
Everything you said, everything you
seen. It's all in your head buddy.
PETE
All in my head. All in my head.
BOB
It's all in your head.
PETE
Everything I'm saying it's all in
my head. Everything that I see,
it's all in my head. It doesn't
make sense, because it's not real.
I tried making sense out of it.
But I failed. There is no puzzle.
No puzzle. I don't make sense. I
don't make sense. I'm not making
any sense. Bob?
Pete looks around for Bob. Bob is not there. Pete needs
Bob. He is insecure.
PETE
Bob? I'm not making any sense.
The nurse and a guard walk to Pete's room.
NURSE
Mister Skolari?
Pete is speechless.
NURSE
Mister Skolari, it is time for you
to take your special medication.
The guard releases Pete from his chair. Pete gets up.
NURSE
You're going to feel a lot better
mister Skolari. Bob will take you
where you need to go.
Pete looks at the guard. The guard has his name tag that
says "Bob." Pete looks at the name tag. They both walk.
INT. THE HOSPITAL'S HALLWAY
The guard and Pete walk down the hallway. Pete narrates.
His narration is more poetic and more stranger than ever. It
is inspired by "Doppelherz," the short film by Marilyn
Manson.
PETE (V.O)
Walking, walking is a journey one
must do themselves. Walking to the
other side. Faces look at me walk.
They are watching. Watching every
move. Maybe one day, they will
stop watching. The shadows are
behind, I'm walking away. The
shadows are way behind. And I'm
walking away. Everything that I'm
saying does not make sense.
Everything that I'm saying does not
make sense. Following orders, we
follow orders everyday. If you
want to make it in this world, you
have to follow orders.
The guard leads Pete into the waiting room.
INT. THE WAITING ROOM
There's a big line of patients getting ready to take the
three pills. The guard leaves Pete in the back of the line.
The patients resemble the people waiting in line in Pete's
hallucinations. Pete looks around the room.
PETE (V.O.)
I am standing in line. Waiting
like everyone else.
We been waiting in line for all of
our lives. Waiting to reach our
turn. Our turn and then we wait
again. I am standing in line.
Waiting like everyone else. We
been waiting in line for all of our
lives. Waiting to reach our turn.
Our turn and then we wait again.
Waiting for the three pills. The
three pills that will make me
better.
The line moves a little.
PETE (V.O.)
Waiting for our turn. Have some
patience. Have some hope. Hope is
a good thing. Those who have hope
are the lucky ones. Hope is a good
thing, those who have it, are the
lucky ones.
Pete encounters Dr. Stevenson.
PETE (V.O.)
Doctor Stevenson is here,
everything appears in order. Just
in waiting in line. Waiting like
everyone else. We been waiting in
line for all of our lives. Waiting
to reach our turn. Our turn and
then we wait again.
The line continues to move.
Dr. Stevenson pulls a girl out of the line. The girl is
Sheela.
PETE (V.O.)
The mind is a magician full of
tricks. Tricks that are hard to
understand. But when you kill the
magician, the tricks are gone and
the fun is over.
Dr. Stevenson walks Sheela near the door that says,
"faculty." A nurse walks by and hands Dr. Stevenson a
helmet. She puts the helmet on Sheela. Sheela begins to
smile. They go inside the door to the faculty room.
Pete sees Mr. Munzer and few of his men walk into the waiting
room. They all go into the faculty room as well.
PETE (V.O.)
The mind is a magician full of
tricks. Tricks that are hard to
understand. But when you kill the
magician, the tricks are gone and
the fun is over.
A person who is staring at a wall, the same person staring at
the wall earlier, begins to turn around. He is Max The Loon.
Pete sees him and begins to get paranoid.
Max the Loon walks to a trash can near by and picks up a red
baseball bat. He also enters the faculty room.
PETE (V.O.)
The mind is full of tricks. You
get to know all the tricks, the fun
is over, and there's nothing else
to look forward to. When there's
nothing else to look forward to,
there's nothing else to live for.
And if there's nothing else to live
for, then the end has arrived.
The line moves forward.
PETE (V.O.)
When all of your dreams become
true, reality will be destroyed.
Pete looks at the television screen, Mr. Gilliam sits on a
desk talking to the audience. We have no idea what he is
saying.
PETE (V.O.)
When all of your dreams become
true, reality will be destroyed.
The line moves again. Pete is almost there.
PETE (V.O.)
Three pills to make me better,
three pills to change my life.
Three pills to make it all go away.
The frustrations, the
hallucinations, the confusion.
Three pills to make me better.
Woodchuck approaches a girl who is in front of Pete.
WOODCHUCK
Excuse me?
GIRL
Yeah?
WOODCHUCK
What is this line for?
GIRL
You're joking, right?
WOODCHUCK
No. I'm not.
GIRL
You really don't know?
Hey Johnny, this guy doesn't know
what this line is for.
JOHNNY
What a fucking idiot.
GIRL
Everybody knows what this line is
for.
Pete stares at them like he's been there before. A dejavu
for Pete. The guard grabs Woodchuck and takes him away. The
line moves inside another room.
INT. EXAM ROOM
A nurse hands Johnny a cup of water. Another nurse, holding
a pair of latex gloves, hands Johnny three yellow pills.
A guard stands guarding an exit door.
Johnny takes the pills. The girl also gets her pills.
Pete is the next in line.
PETE (V.O.)
The moment of truth. The moment of
hope. The moment has finally
arrived. I am a monkey waiting for
my banana. I am a robot waiting
for my battery. I am a zombie
waiting for my brains. I am Pete
Skolari, and I'm about to take
three pills to make me better.
Music begins.
Pete grabs a cup of water from the nurse. The other nurse
hands Pete three yellow pills. Pete looks at his pills.
Pete puts one of the pills into his mouth. Waters it down
with water. He swallows the second pill. He looks up and
there's a camera pointing at him. Pete stares at the camera.
The guard and the nurse pressures Pete to hurry up. He
swallows the third pill. He puts the cup in the trash and
leaves the room through the "exit" door.
INT. HALLWAY
Pete is on the other side of the door. A guard awaits him
there and guides him into his room. Pete feels a little bit
dizzy. Pete walks by other patients who are also dizzy.
Some of them are on the floor, not moving a bone. Others
walk slow. The rest of the patients are in their rooms
laying down.
INT. PETE'S HOSPITAL ROOM
Pete finally reaches his room. The guard leaves him there.
Pete walks for a bit in his room. He sees his diary. He
opens it and begins writing.
PETE (V.O.)
It is done. It is done. Looking
forward to the future. Looking
forward to the future. Days on the
lakes, eating ice cream. Cruising
down the street. Looking forward
to the future. I am feeling weak.
It's probably the side effects.
When the side effects are over, I
will be a different person. I will
be a different person. I feel like
I'm in a coma. Feels like a big
dream.
Pete falls down and drops his journal. He gets up. Pete
sits down in his chair.
PETE (V.O.)
I am falling into a coma. When you
see me, I will no longer be here.
I am falling into a coma. When you
see me, I will no longer be here.
I am falling into a coma. When you
see me, I will no longer be here.
I am falling into a coma. When you
see me, I will no longer be here.
I will be a different person.
Pete grabs the journal from the ground. He flips the pages
to the first page. He reads.
PETE (V.O.)
My name is Pete Skolari. I'm Pete
Skolari.
He flips a couple of pages forward.
PETE (V.O.)
Sometimes you got to remind
yourself that everything is going
to be alright. Everything is going
to be alright. You are going to
get better. You are going to get a
lot better.
Pete looks up and says his final words.
PETE (V.O.)
The future is just around the
corner. I just got to have hope.
I'm looking forward to the future.
Pete collapses. His journal drops to the floor again.
We PULL away from the room and we are now in the hallway.
INT. THE HOSPITAL'S HALLWAY
We See Pete's body laying on the chair.
A pair of feet runs across. Few moments later, another pair
of feet passes by. The camera PANS up and another patient
runs across. While we SEE, Pete's room in the background, a
little patient runs. It is Glimpy. We follow Glimpy.
Glimpy runs along the hallway and he is encountered by a
couple of other patients who happen to be, Chuckz and Smiley.
They call his name.
CHUCKZ
Hey Glimpy, come over here.
Glimpy stops and walks towards them.
SMILEY
Hey Glimpy, where are you running
to?
Glimpy with his kid-like voice answers.
GLIMPY
Away, somewhere.
CHUCKZ
What you got there?
GLIMPY
Just my sack of marbles.
Glimpy pulls out some marbles from his sack.
Smuck comes out of a hole from underneath.
SMUCK
Alright boys, get moving.
Chuckz and Smiley walk towards the hole.
Smuck talks to Glimpy.
SMUCK
Hey, Glimpy? Do you want to come
with us? We found the perfect
place down here. Nobody will find
us.
Glimpy is undecided.
GLIMPY
I don't know. I just, I..
SMUCK
Come on Glimpy, it will be alright.
Besides, you don't want to be up
here and see the world end, do you?
GLIMPY
No, I guess not.
SMUCK
Say you like marbles?
GLIMPY
Yes I do.
SMUCK
Well, I found some more marbles
down here. Let's go.
Chuckz and Smiley step down into the hole.
Glimpy looks back at the hallway, then he decides.
GLIMPY
Okay.
Glimpy approaches Smuck and looks at the hole.
GLIMPY
It's dark in there.
SMUCK
Don't worry, that's just the
basement. There's plenty of lights
underneath that.
Smuck pats Glimpy's shoulders.
SMUCK
Besides Glimpy, we're going to have
a very bright future. You'll see.
A bright future indeed.
Glimpy smiles.
CUT TO:
CLOSING CREDITS
"Clint Eastwood," by Gorillaz, plays.
FADE OUT.
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