THE NINES




                                Written by

                                John August




                                                           FINAL SCRIPT

                                                          November 2006




    READER NOTE

    One thing that will be obvious to viewers, but not
    to readers, is that the nine principal parts in this
    film are played by only three actors:

     1) Gary, Gavin, Gabriel

     2) Sarah, Susan, Sierra

     3) Margaret, Melissa, Mary

    It'll make more sense in context. Promise.




100                                                                    100
      A MAN'S HAND

      unwinds a short length of green string. We're extremely
      close, with a shallow, blurry focus. It's like the first
      moments after a dream -- just fragments.

      Scissors cut the string. The man wraps it around his left
      wrist. A loop. A bracelet.

      We see the man's teeth, the edge of his chin as he pulls the
      knot tight.

      His fingers pull against the string.   Solid.   It won't break
      easily.

                                                FADE OUT.


101                                                                    101
      PITCH BLACK

      There's no music. No sound at all, really, except for some
      distant birds CHIRPING.

      Then a SQUEAK.   A SQUEAL as rusty springs engage.

      A GARAGE DOOR LIFTS,

      revealing GARY BANKS in silhouette. He's 30, effortlessly
      fit, with movie-star good looks. (Although for now, he's
      merely a TV star.)

      Like most Laurel Canyon garages, this one has never held a
      car. Instead, it's the resting place for all the detritus of
      bachelordom: shitty Ikea furniture, a drum set, a styrofoam
      snowman, and the Harley he always meant to get running.

      Gary spots what he was looking for.

                                                CUT TO:


102                                                                    102
      EXT. BACK PATIO / LAUREL CANYON HOUSE - MAGIC HOUR (DAWN)

      Gary drags a beaten Weber kettle. One of its wheels is
      broken, SCRAPING against the deck.

      WIDER, we see Gary's house has an incredible view of the
      city. He couldn't fucking care less.

      He yanks the circular grill out of the Weber and throws it
      down the canyon.

                                                                  2.

      He empties a garbage bag into the barbecue: mostly women's
      clothes, but also some stuffed animals and photos still in
      their frames. There's too much to fit, so he tries stomping
      it down with a flip-flopped foot.

      He cracks open a container of lighter fluid and begins
      drenching everything inside. He sprays until the container
      is WHEEZING air. He shakes it, making sure it's really
      empty.

      Then he cracks open a new container and keeps spraying.   And
      spraying.

      We follow the dripping fluid as it runs across a photo of
      Gary and a BLONDE WOMAN. Her eyes are scratched out, making
      her unrecognizable.

      Under the grill, lighter fluid is dripping in a stream,
      soaking into the wooden deck.

      Finally satisfied, Gary throws the lighter fluid aside. He
      takes five steps back and pulls a box of matches from his
      pocket.

103                                                                    103
      EXTREMELY CLOSE as the match SCRAPES, erupting in flames.

      On Gary's left wrist, we see a green string bracelet.

      MUSIC STARTS: a pounding, hypnotic track that will carry us
      through these MAIN TITLES.

      In EPIC SLOW-MOTION, we follow the burning match as it sails
      through the air, tumbling end-over-end.

      Just as it's about to reach its target, we...

                                                CUT TO:


104                                                                    104
      A DIGITAL METER

      shoots to 100 miles per gallon.   It's the display of Gary's
      Prius. We are...


105                                                                    105
      INT. THE PRIUS - DAY

      Gary's at the wheel, driving, as he finishes a fifth of
      bourbon. JUMP CUTS take us out of Hollywood, heading
      downtown. Our TRAVELLING MUSIC is serving us well.

      Gary stops at a light. He looks left and sees himself on the
      side of a bus. It's an ad for CRIME LAB ("This fall, Mondays
      are killer.") Gary watches himself drive away.

                                                CUT TO:

                                                                 3.

106   Further along, Gary spots two THUGGY TEENAGERS sitting on a 106
      low wall. He calls out to them:

                              GARY
                   Hey!   Do you sell crack?

      The boys look wary.

                                GARY (CONT'D)
                   It's cool.     I'm only a cop on TV.



      QUICK CUTS:

      Money changes hands.

      Gary holds a small ziplock bag -- and has no idea what to do
      with its lumpy beige contents.

                                                    CUT TO:


107                                                                   107
      HOLLYWOOD.

      Gary pulls up to a curb. He's now on Sunset Blvd. A
      matronly black streetwalker (OCTAVIA, 35) approaches the
      passenger window.

      Gary holds up the little bag.

                             GARY
                   Is this crack?

      She takes a closer look.

                             GARY (CONT'D)
                   Do you know how to do it?

                                                    CUT TO:


108                                                                   108
      INT. SHITTY MOTEL ROOM - DAY

      Gary and Octavia jump up and down on the bed, each trying to
      bounce higher than the other, LAUGHING all the while.

      Gary bounces so high that he THUNKS his head against the
      ceiling. He crumples, falling off the bed. But he's still
      laughing.

                                                    CUT TO:

109                                                                   109
      LATER, Octavia is sleeping.

                                                                4.

110                                                                  110
      INT. MOTEL BATHROOM - DAY

      Gary takes a shower with his jeans on.


111                                                                  111
      INT. MOTEL ROOM - CONTINUOUS

      Toweling off, Gary looks at his body in the mirror. He
      notices something odd. He tries to wake Octavia up, but
      she's down for the count.

      Looking around, he finds his cell phone. Dials 911. Pacing,
      he tries to sober up while it rings. The far side answers.

                          GARY
                Yes, hello. I'm having a medical
                situation. Yes. Okay. I don't
                have a belly button.
                    (explaining carefully)
                I do not have a belly button where
                I should, on my belly. And I'm
                concerned, because I don't know if
                that's...

      He sits down on the edge of the bed.

                          GARY (CONT'D)
                Can a person live without a belly
                button? Because if you think about
                it, you're born with one. So if
                you don't have one, you're unborn
                and it's really hazy whether you're
                alive or not. I guess I'm
                wondering: am I alive?
                    (a sudden thought)
                Or what if I'm God?

      A beat.

                           GARY (CONT'D)
                No, no.   I'm totally sober.

      A beat.

                          GARY (CONT'D)
                No, I don't think I need an
                ambulance. I don't seem to be
                dying any faster than usual. But I
                should probably go to the hospital,
                don't you think? Yeah, I should.

      He hangs up.

                                               CUT TO:

                                                                  5.

112                                                                    112
       INT. THE PRIUS - DAY

       He's driving again, but most of his attention is focused on
       trying to locate his missing navel.

       He looks up in the rear-view mirror, where he sees two

A113                                                                  A113
       VERSIONS OF HIMSELF

       sitting in the back seat.    All three Garys give each other
       thumbs-up.

       Driver-Gary looks out the driver-side window, where he sees
       shoes and asphalt. Only now do we ROTATE to reveal we're

B113                                                                  B113
       UPSIDE-DOWN.

       Gary has rolled the car.

       The music suddenly STOPS.    We hear SIRENS approaching.

                                                  CUT TO BLACK.


113                                                                    113
       TITLE OVER:

                                    Part One:
                                  THE PRISONER

       FADE IN:


114                                                                    114
       INT. COURTHOUSE PROCESSING AREA - DAY

       MARGARET O'REILLY, 34, is speaking to herself.

                            MARGARET
                  La la la la la. Like you've never
                  done worse.

       From a NEW ANGLE, we see she's using a cell phone earpiece.

                            MARGARET (CONT'D)
                  Okay, yes. He totalled a car. But
                  it was an environmentally friendly
                  car. Why doesn't that get
                  reported?

       A beat.

                            MARGARET (CONT'D)
                  Please! He was heartbroken,
                  betrayed. You say you understand
                  but you don't. You can't. You're
                  like a big giant Vulcan.

                                                                   6.

      Noticing something to her right...

                          MARGARET (CONT'D)
                He's coming. I'll call you later.

      She hangs up, wrapping the earpiece around her phone.   We
      reveal

      GARY

      being escorted through glass doors by a polo-shirted PAROLE
      OFFICER. Margaret moves to intercept them, offering a hand.

                            MARGARET (CONT'D)
                Hi.    Margaret. I work for Lola.

                            GARY
                Gary.

                          MARGARET
                I know.
                    (to the Parole Officer)
                We need to go out the back.

                                                   CUT TO:


115                                                                     115
      INT. BACK HALLWAY - DAY

      Margaret leads the way.      She's been here before.

                          GARY
                Are there reporters out front?

                          MARGARET
                A few. Not Hugh Grant level. More
                like Robert Downey, Jr. when he
                broke into that family's house and
                slept in the kid's bed like
                Goldilocks. "This bed is just
                right." I handled episodes two
                through four for Robert. This sort
                of thing is my specialty.

                            GARY
                What is?

                          MARGARET
                Famous fuck-ups. Don't worry.
                Mama's gonna take good care of you.

      A phone RINGS.

                                                   CUT TO:

                                                                7.

116                                                                  116
      INT. KITCHEN - DAY

      A designer kitchen in Hancock Park -- spacious and kosher-
      ready. The phone on the counter is RINGING.

                             PAROLE OFFICER
                Answer it.

      Gary picks it up.

                             GARY
                Hello?     Yes. Yes.

      He looks to Margaret while the other end of the call talks at
      length. Then, very deliberately...

                          GARY (CONT'D)
                The weather in Toledo is rainy.

      He says this like a sleeper agent repeating his trigger
      phrase.

                          PAROLE OFFICER
                Use your normal voice.

                          GARY
                    (to the phone)
                Nine dogs ran through the field.
                The koala sits in the tree.

      The Parole Officer takes the phone from him, punching in a
      series of numbers and jotting notes on his work sheet.

                          MARGARET
                It's computer voice recognition.
                The system can call you any time
                day or night. If you don't answer
                within five rings, the police come
                and haul your ass off.

                          GARY
                What if I'm not here?

      Catching the officer's concerned look...

                          MARGARET
                That's why it's called house
                arrest. You stay inside your
                house.
                    (to the officer)
                He can take direction, I promise.

                                                 CUT TO:

                                                               8.

117                                                                 117
      INT. MASTER BEDROOM - DAY

      Margaret pulls open curtains, flooding the room with light.
      Gary wanders, checking it all out.

                          MARGARET
                Okay, just so it's said, this house
                is flammable.

                          GARY
                I didn't mean to burn down my
                house.

                          MARGARET
                Yeah, I didn't mean to eat my way
                into a ten-year shame spiral, but I
                did, and it's healthier to
                acknowledge it.
                    (moving on)
                This flammable house belongs to one
                of Lola's other fabulous clients,
                who is currently shooting a pilot
                in Toronto.

                             GARY
                Actor?

                          MARGARET
                Writer. So for the next six weeks,
                su casa es su casa. I say, feel
                free to wear his clothes. He'll
                probably get a sick thrill of out
                it. The gays.

      Noticing two crates...

                          GARY
                He has dogs?

                          MARGARET
                They're away at summer camp.    Now,
                try the bed.

      He lies back on it, feeling it out.

                             GARY
                It's fine.

                          MARGARET
                Comfortable?

                             GARY
                Sure.

      She massages his besocked feet.

                                                                 9.

                          MARGARET
                Look, Gary, I know this has been
                crazy and stressful. I want you to
                feel safe. And comfortable.

                           GARY
                I do.

                          MARGARET
                I'm a fan of yours, you know.   Your
                number-one fan.

      Gary looks over his toes at Margaret. From this angle, she
      looks a bit like Kathy Bates from Misery.

                          MARGARET (CONT'D)
                But if you fuck this up, I will
                smash your ankles with a sledge
                hammer.

      A long beat.

                          MARGARET (CONT'D)
                That wouldn't be comfortable for
                either of us.

                                                CUT TO:


118                                                                   118
      INT. KITCHEN - DAY

      Margaret boxes up the alcohol while Gary bounces a lime on
      the island.

                           MARGARET
                I'll be coming by twice a day to
                check up on you. I'm the only
                person who should be coming by. No
                buddies, no pals, no heroin
                dealers...

                          GARY
                I don't do heroin.

                          MARGARET
                Yeah, crack is classy. And I'm not
                buying you porn. There's spray-per-
                view on cable.

                          GARY
                Good. I really wasn't concerned
                about my career, my family or my
                future. I just wanted to jack off.

      Margaret is a little impressed by this show of backbone.

                                                                 10.

                          MARGARET
                Let me see your phone.

      He hands over his cell phone.   She drops it in the contraband
      box.

                           GARY
                C'mon!   All my numbers are in that.

                          MARGARET
                Dial ten digits at random. Whoever
                answers will be better than the
                people on this phone.

      She picks up the liquor box, ready to go.

                          MARGARET (CONT'D)
                You have my cell number. You have
                delivery menus. You're fine.
                Right?

                           GARY
                I guess.

      As she leaves, Margaret notices a long butane lighter by the
      stove. She adds it to the box, just to be sure.

                                                  TIME CUT TO:


119                                                                    119
      INT. HOUSE / VARIOUS - DAY

      Gary paces around his new home, trying to get a feel for it.

      He plays a few NOTES on the piano.

      He looks up at the painting over the staircase:    a cliff near
      the ocean.

      He opens random drawers in a Chinese herb cabinet, wondering
      if there's anything hidden in one of the 46 slots. There
      isn't.

      He takes a long beat to consider three paintings in the
      dining room, which show the same thing in three different
      ways.


120                                                                    120
      EXT. BACKYARD - SUMMER NIGHT

      Gary swims laps, trying to exhaust himself.

      He stands in the shallow end, listening to the quiet.

                                                                 11.

121                                                                     121
      INT. KITCHEN - SUMMER NIGHT

      Wearing a fluffy white robe, he looks through the delivery
      menus.


122                                                                     122
      INT. FOYER / FRONT DOOR - SUMMER NIGHT

      He takes a bag of food from a college-age DELIVERY GUY, who
      seems to recognize him. Gary pays him, shuts the door.

      As he's walking to the kitchen with the food, Gary looks back
      and sees the Delivery Guy watching him from the front walk.
      The guy is a little embarrassed, but Gary is pretty used to
      being stared at.


123                                                                     123
      INT. KITCHEN - SUMMER NIGHT

      Gary unwraps the Thai food.   Makes himself a plate.

      He watches CRIME LAB on the plasma screen while eating
      dinner.

                          GARY (O.S. TV DIALOGUE)
                Once we get these samples back to
                the Crime Lab, we'll know who the
                real killer is.


124                                                                     124
      INT. LIBRARY / TV ROOM - NIGHT

      Gary scans the shelves, looking for something to read. There
      are five times more books here than Gary has opened in his
      lifetime.

      He settles on a paperback of Voltaire's Candide.

      He lies back on the couch, reading it.

      He flips a few pages ahead to see if it gets more
      interesting. A beat.

                                                CUT TO:


125                                                                     125
      GARY JACKING OFF

      to soft-core pay-per-view. We're CLOSE ON Gary's straining
      face, but we can hear the pleasured MOANS of the actresses as
      they go down on each other.

      Nearing climax, he looks for something to come on.     He can't
      find anything.

                                                                  12.

126                                                                     126
      INT. FOYER - NIGHT

      His left hand cupped to hold the semen, he pads barefoot from
      the TV room to the downstairs bathroom. We hear WATER
      RUNNING as he washes his hands. Then it shuts off.

      We hear a THUNK.   Something hard was dropped on the wood
      floor.

      Gary hears it too.

      He steps out of the bathroom, looks around. He takes a few
      silent paces back in our direction, stopping just before he
      reaches the two-story section of the foyer.

      That's when he hears it: CLICK-CLICK-CLICK-CLICK on the
      wooden floor. A JINGLE of metal.

      We follow Gary's eyes up to the second-floor walkway.   We can
      hear the little FOOTSTEPS, toe nails CLICKING. Faint
      PANTING. But there's no dog.

      BACK ON Gary, increasingly unsettled. He's directly below
      the walkway, and can't see up into it.

                           GARY
                 Is somebody there?   Hello?

      He CLAPS his hands twice.   Listens.

      Nothing.

      He's about to venture a step forward when suddenly

      THE PHONE RINGS.

      He nearly jumps out of his skin. It RINGS two more times
      before he ducks into the TV room to answer it.

                           GARY (CONT'D)
                 Hello?!
                     (relieved)
                 Yes. Yes.

      He turns his back to the foyer, listening to the instructions
      on the phone.

                           GARY (CONT'D)
                 Nine leopards run through the
                 jungle.
                     (listening)
                 I bought two cakes at the store.

      His identity evidently confirmed, he hangs up.   He looks back
      into the foyer.

                                                            13.

                           GARY (PRE-LAP) (CONT'D)
                 The house is haunted. There's a
                 zeitgeist, or something.


127                                                               127
      EXT. UPSTAIRS DECK - DAY

      Margaret's brought coffee and pastries from Susina.

                           MARGARET
                 Poltergeist, and no. Maybe they
                 were rats. L.A. is teaming with
                 rats. They live in the palm trees.

                            GARY
                 Sure.   Maybe.

      He's obviously not convinced.

                           MARGARET
                 Okay. You know I'm a licensed
                 psychotherapist.

                            GARY
                 Really?

                           MARGARET
                 No. I'm a publicist. My job is
                 what other people think of you, not
                 what you think of yourself. So
                 pull your shit together. I am
                 thisclose to getting Christine
                 Walsh to do your piece in Parade.

                            GARY
                 Parade?   I fucking hate Parade.

                           MARGARET
                 Everyone hates Parade. But the
                 people who watch "Crime Lab," they
                 love their Marilyn Vos Savant.
                 Give them a woman of indeterminate
                 age who solves riddles and they are
                 in hee-haw heaven.

                            GARY
                 Okay.

                           MARGARET
                 One heartfelt act of contrition and
                 maybe the showrunner won't kill off
                 your character between seasons.

      He nods.   He gets it.

                                                               14.

                          MARGARET (CONT'D)
                I swear to God, if you go batshit
                on me...

                          GARY
                I'm not crazy.

                            MARGARET
                Exactly.    Exactly.

                                                CUT TO:


128                                                                  128
      EXT. BACKYARD - DAY

      Gary is lying in the sun, eyes shut.   Suddenly, a golf ball
      hits him on the head.

      He sits up, perplexed. For a long moment, he has no idea
      where the ball came from, until he hears a voice from beyond
      the wall that separates the properties.

                           WOMAN'S VOICE
                Sorry!   Really sorry.

      (A practiced ear notices a Canadian accent.)

                          WOMAN'S VOICE (CONT'D)
                Over here. To your left.
                    (correcting)
                Right. Sorry. Right.

      He follows the voice to a gap in the hedges at the far corner
      of the yard, finding SARAH GLEASON. Late 30's, fresh-
      scrubbed and girlish, she looks more fragile than she really
      is.

                          SARAH
                I'm working on my putting, if you
                can believe it.

      Indeed, she's holding a putter.

                          GARY
                Not really.

                          SARAH
                Okay. Maybe I was just looking for
                a way to meet my infamous neighbor.
                You see, I'm under house arrest,
                too.

                          GARY
                What did you do?

                                                15.

                     SARAH
           I had sex with my husband.

                     GARY
           That's awful.

                     SARAH
           Nine months later, I had Jaden.
           That's her over there.

She points to a small portable baby monitor.

                     GARY
           She's cute.

                     SARAH
           She's sleeping for another...
               (checks watch)
           ...seventeen minutes. She keeps to
           a schedule.

                     GARY
           She sounds really boring.

                     SARAH
               (whispers)
           She is.

A beat.   A smile between them.

                     GARY
           You're rich. Shouldn't you have a
           nanny from Ecuador?

                     SARAH
           I'm Canadian.

                     GARY
               (as if that explains it)
           Ohhh...

                     SARAH
           I can't work in the U.S. Plus, I
           want to maintain this air of moral
           superiority by doing everything
           myself.

                     GARY
           Very Canadian.

                     SARAH
           Thanks.

Another pregnant pause.

                                                               16.

                           SARAH (CONT'D)
                 Listen, Jaden goes down again at
                 2:30. Maybe I could stop by.

                           GARY
                 I'm pretty sure I'll be here.

                           SARAH
                 It's a date.

                             GARY
                 Is it?

      She picks up the baby monitor, heading back into her house.
      Suddenly, she realizes...

                            SARAH
                 Oh.   I'm Sarah, by the way.

                             GARY
                 Gary.

                             SARAH
                 Yeah.    I know.

                                                  CUT TO:


129                                                                  129
      INT. BATHROOM - DAY

      Gary brushes his teeth and tongue.


130-131                                                        130-131
          OMIT


132                                                                  132
      INT. KITCHEN - DAY

      Gary neatens up, tossing out newspapers and delivery boxes.
      He plumps pillows.

      He looks up at the clock:      2:30.

      He sits, trying to read Candide again.     He fidgets.

      He looks at the clock again:     2:49.


133                                                                  133
      EXT. BACK PATIO - DAY

      Under the pretense of sweeping up leaves, he peers over the
      wall, looking directly into Sarah's kitchen. But there's no
      one in there.


134                                                                  134
      OMIT

                                                                 17.

135                                                                    135
      INT. UPSTAIRS WALKWAY - DAY

      Gary carefully sets rat traps, staggering them every few
      feet.

      He pokes one with a pencil.   The metal arm SNAPS back,
      breaking the pencil in two.


136                                                                    136
      INT. FOYER - DAY

      Gary notices that the piano has an electronic device attached
      to it. He turns it on.

      He opens the piano bench, finding computer disks. A red disk
      is labelled "Knowing." He puts it in. Hits play.

      The piano begins playing by itself, a sensuous but melancholy
      CLASSICAL PIECE.

      Gary lies on the floor, listening to it.   He stares up at the
      elaborate chandelier.


137-141                                                          137-141
          OMIT


142                                                                    142
      EXT. FRONT OF HOUSE - DAY

      Gary is sitting on a bench by the front walk, trying to read
      more of his book. He looks over to see Sarah coming up the
      steps, carrying the baby monitor and a bottle of chardonnay.

      She stops beside him.

                           SARAH
                 The best of all possible worlds.

                           GARY
                     (confused)
                 Okay.

                           SARAH
                     (pointing to his book)
                 Voltaire. Candide.
                     (off his reaction)
                 Are you actually reading it?

                           GARY
                 I thought I was.

      He gets up.

                           SARAH
                 Sorry I bailed. Jaden had a fever.

                                                              18.

                            GARY
                 Ah!   How boring of her.

      She hands him the wine.

                           SARAH
                 Housewarming gift.

                           GARY
                 Demon liquor.

                           SARAH
                 The best part is, I can drink it.
                 I pumped before I came.

                              GARY
                 So did I.


143-144                                                       143-144
          OMIT


145                                                                 145
      INT. LIVING ROOM - DAY

      Sarah tops off Gary's wine glass. They're both on the couch.
      The baby monitor is sitting on the table behind them.

                           GARY
                 ... so it's kind of hard to prove
                 that I only meant to burn my ex-
                 girlfriend's stuff, and not the
                 entire house.

                            SARAH
                 Yeah.   Fire's tricky that way.

                           GARY
                 How about you? Any history of
                 arson?

                           SARAH
                 Strangely enough...

                              GARY
                 I knew it!     I could see that little
                 spark.

                           SARAH
                 It wasn't arson.    Probably.

      A long beat while she decides whether she wants to tell him
      the story.

                           SARAH (CONT'D)
                 Okay. When I was a little girl,
                 our house caught on fire.

                                                                    19.

                              GARY
                 Oh shit.

     MUSIC begins, providing backing to her monologue.

                           SARAH
                 I'll never forget the look on my
                 father's face as he gathered me up
                 in his arms and raced through the
                 burning building, out onto the
                 pavement.

     ON GARY, feeling bad he brought this up, but fascinated at
     the same time.

                           SARAH (CONT'D)
                 I stood there shivering in my
                 pajamas and watched the whole world
                 go up in flames. And when it was
                 all over, I said to myself, "Is
                 that all there is to a fire?" Is
                 that all there is?

     As she starts to SING, Gary realizes the story isn't hers at
     all. It's Peggy Lee's "Is That All There Is."

                              SARAH (CONT'D)
                 Is that all there is, is that all there is?
                 If that's all there is my friends, then let's
                 keep dancing.

     She leans closer.

                              SARAH (CONT'D)
                 Let's break out the booze and have a ball.
                 If that's all there is.

     Standing up, Sarah takes Gary's hands, pulling him off the
     couch. She leads him to an open area -- more space for
     dancing.

                              SARAH (CONT'D)
                 Is that all there is, is that all there is?
                 If that's all there is my friends, then let's
                 keep dancing.
                 Let's break out the booze and have a ball,
                 If that's all there is.

                                                          CUT TO:


146-149                                                             146-149
          OMIT

                                                                   20.

150                                                                      150
      INT.   SARAH'S BATHROOM - DAY [MONOLOGUE]

      Sarah leans up to the mirror, trying to get her contacts in.
      It's not going well. Her eyes are tearing up.

                             SARAH
                   Then I fell in love with the most
                   wonderful boy in the world. We
                   would take long walks by the river
                   or just sit for hours gazing into
                   each other's eyes. We were so very
                   much in love. Then one day he went
                   away and I thought I'd die. But I
                   didn't. And when I didn't, I said
                   to myself, "Is that all there is to
                   love?"



151                                                                      151
      INT.   LIVING ROOM - DAY

      Sarah and Gary start to dance.

                                SARAH
                   Is that all there is?
                   Is that all there is?
                   If that's all there is my friends, then let's
                   keep...


152                                                                      152
      INT. ANTIQUE HARDWARE STORE - DAY

      Deep in the bowels of the store, Sarah is surrounded by
      vintage lighting fixtures. She's (futilely) trying to match
      a specific light switch plate.

      TO CAMERA:

                             SARAH
                   I know what you're thinking.
                   If that's the way she feels about
                   it why doesn't she just end it all?
                   I'm in no hurry for that final
                   disappointment. I know just as
                   well as I'm standing here talking
                   to you, when that final moment
                   comes and I'm breathing my last
                   breath, I'll be saying to myself...


153                                                                      153
      INT.   LIVING ROOM - DAY

      Sarah and Gary become more intimately acquainted on the
      couch. They still haven't kissed, but hands are running up
      and down over clothing. Sarah isn't singing anymore, though
      her voice continues.

                                                                  21.

                             SARAH'S VOICE
                Is that all there is, is that all there is?
                If that's all there is my friends, then let's
                keep dancing.
                Let's break out the booze and have a ball,
                If that's all there...

      Just as they're about to kiss,

      A BABY HOWLS.

      It's the monitor, HISSING and POPPING as Jaden wakes up from
      her nap, cranky and hungry. Sarah pushes back. Gary tries
      to close the gap, but she's already standing up.

                          SARAH
                I need to...

                             GARY
                Just...

                             SARAH
                My shoes.     Are here.     Okay.

      As she reaches for one, she knocks over a wine glass.

                             SARAH (CONT'D)
                Crap!

                          GARY
                Don't worry about it.         Just...

                             SARAH
                I'm going.     Bye.

      Carrying both her shoes, she's across the room and out the
      front door before he can say anything more.

                                                        CUT TO:


154                                                                     154
      INT. KITCHEN - DAY

      Gary washes the wine glasses, being sure to wash off any
      trace of lipstick. He dries them and puts them back in the
      cabinet.

      Faced with the remainder of the wine, he considers dumping it
      down the sink. Instead, he chugs it from the bottle.

      He wraps the empty bottle in newspaper and tucks it in the
      recycling.



155                                                                     155
      OMIT

                                                                 22.

156                                                                     156
      INT. OFFICE / GYM - SUMMER NIGHT

      Gary works out hard on the elliptical trainer.    He has his
      iPod cranked with a POUNDING TUNE.

      He does abs on a stability ball.   He's spent.


157                                                                     157
      INT. KITCHEN - NIGHT

      Gary enters from the driveway door, gulping from a water
      bottle. He starts to look through the delivery menus when he
      notices an orange Post-It note by the telephone. It reads:

                         Look for the Nines.

      He picks it up, looks at the back.   Nothing.    Sticks it back
      down on the counter.

                                                CUT TO:


158                                                                     158
      INT. LIVING ROOM - NIGHT

      Gary sits on the couch with his water bottle, listening to
      the baby monitor: Sarah is singing a LULLABY. He takes off
      his shoes and socks. When she's finished...

                          SARAH (ON MONITOR)
                Goodnight, sweetheart.

                             GARY
                Goodnight.

      For a long beat, it's quiet.   Then we hear RUSTLING.

      A crib toy plays a short MELODY.   Then a slightly-digital
      voice speaks:

                          VOICE
                The cat says meow!
                The pig says oink!

      Gary smiles to himself.

                          VOICE (CONT'D)
                The cow says moo!
                The cow says moo!
                The cow says moo!

      Evidently, Jaden loves the cow.

                          VOICE (CONT'D)
                The dog says, nine. Nine. Nine.
                Nine.

                                                                  23.

       Gary looks back.     Did he just hear that?

       The phone RINGS.


159                                                                     159
       INT. KITCHEN - NIGHT [CONTINUOUS]

       Gary answers it on the third ring.

                               GARY
                   Hello.

       It's the parole system.

                             GARY (CONT'D)
                   Yes. Yes. Two trains run through
                   the forest.

       Music STRIKES. We see a sudden change in Gary's expression.
       He nearly drops the phone.

       Forcing himself not to panic, he pushes the button for
       speakerphone. He wants to make sure he's hearing it right.

                               MALE COMPUTER VOICE
                   Nine.    Nine. Nine. Nine.

       Gary backs away from the phone like it might sprout legs and
       jump on him. Suddenly, he backs into

       SOMEONE ELSE.

       He spins around, startled. He only catches a glimpse of THE
       MAN -- same height, same build, same everything. The Man is
       gone in half an instant, vanished into thin air.

       Gary bolts for the door.

       Reaching the foyer, Gary steps on a

       RAT TRAP,

       which SNAPS down on his toes. He SCREAMS, pulling it off.
       He looks around to find all eight traps are now on the main
       floor, rather than the second-floor walkway.

       Limping, he hops out the door.     We stay behind, looking out
       through the open door.


A160                                                                A160
       EXT. WILSHIRE BLVD. - NIGHT

       HEADLIGHTS FLARE as cars travel down Miracle Mile, bringing
       us to a Metro Bus stop -- a semi-enclosed bench with backlit
       signage.

                                                           24.

The far side of the shelter has a one-sheet for Crime Lab.
("This fall, Mondays are murder.") The bench side is a promo
poster for a show called Knowing. ("Some fates are chosen
for you.")

It's here we find Gary taking a seat, gingerly checking his
toes where the rat trap snapped. He's hobbled his way here
from the house, which is probably a block away.

There's only a little blood, but his toes really hurt.

Over Gary's shoulder, we see a blonde 8-year old girl
(Noelle) watching him with concern. She BANGS on the shelter
to get his attention. Gary nearly jumps out of his skin.

                     GARY
          Jesus!   You scared the shit out
          of...

She signs "What's wrong?"

                    GARY (CONT'D)
              (confused)
          What?

                    NOELLE
              (signed, subtitled)
          You're hurt.
                    GARY
          I don't speak that.   Sorry.   I
          don't...

She points to his toes.   Getting what she must mean...

                      GARY (CONT'D)
          I'm fine.    I'll be fine.

Looking around, he realizes that the little girl is out here
by herself.

                    GARY (CONT'D)
          Where are your parents?

She looks at him oddly, not really getting the question.

                    GARY (CONT'D)
          Your mom, your dad. Where are
          they?

                     NOELLE
               (signed, subtitled)
          Mom is at the car. Where you left
          her.
Again, Gary has no idea what she's saying.

                                                                  25.

                             NOELLE (CONT'D)
                       (signed, subtitled)
                   You're lost.
                             GARY
                   Look, you need to go back, okay?
                   You shouldn't be out here. It's
                   not safe.

       Noelle glances to her left.

       We hear BWOOP BWOOP as a police cruiser pulls over to the
       curb.

                             GARY (CONT'D)
                   Shit.

       We go to a WIDER ANGLE as TWO OFFICERS get out of the car.
       Gary looks back.

       Noelle is gone, though there's really nowhere she could have
       disappeared.

       Putting on his best face for the police...

                             GARY (CONT'D)
                   Evening, officers.

                                                    CUT TO:


B160                                                                B160
       INT./EXT.   POLICE CRUISER - NIGHT

       Handcuffed, Gary is placed in back.     He's reserving the right
       to remain silent.

                             MARGARET (PRE-LAP)
                   Once again, the idea of house
                   arrest is you stay inside your
                   house.


160                                                                     160
       INT. LIVING ROOM - DAY

       The same parole officer from earlier attaches a black anklet
       to Gary's left leg. We see that Gary's left foot also
       features bandaged toes.

                              MARGARET
                   Think of it like an electronic
                   leash. Basically, if you ever go
                   more than 100 feet from the base
                   station...

       She points to an electronic device by the wall.

                                                                 26.

                          MARGARET (CONT'D)
                ...the cops come, they throw your
                ass in jail. If you ever try to
                take it off, the cops come and
                throw your ass in jail. And if
                they ever detect drugs or alcohol
                in your system...

                          GARY
                ...the cops come and throw my ass
                in jail.

                          MARGARET
                No. I kick your ass. Then the
                cops come and throw your ass in
                jail.

      The parole officer smiles.

                          GARY
                Do I still have to answer the
                phone?

                          MARGARET
                No, I'll be doing that from now on.
                I'm moving into the guest room.

                          GARY
                I don't need a babysitter.

                          MARGARET
                Despite all evidence to the
                contrary. Don't worry, I'm a cool
                roomie. Who do you think taught
                Affleck how to gamble?

      The parole officer hits a test button on the anklet, which
      lets out a PIERCING ALARM.

                          MARGARET (CONT'D)
                Let's never hear that again.

                                                CUT TO:


161                                                                    161
      EXT. FRONT OF HOUSE - DAY

      Margaret walks heel-to-toe, counting her steps.

                            MARGARET
                97.   98.   99.

      With a piece of chalk, she draws a line on the concrete.    She
      looks back to Gary, who's waiting by the front door.

                                                               27.

                          MARGARET (CONT'D)
                Behold! The edge of your world.
                In the world.
                    (jumps over the line)
                Out of the world. In the world.
                Out of the world. Look at me, I'm
                dancin'!

      She starts doing the running man over the line.   Even Gary's
      dark mood is broken.


162                                                                   162
      OMIT


163                                                                   163
      EXT. BACK PATIO - NIGHT

      Margaret and Gary roast marshmallows over the propane grill
      to make s'mores. They're giggling.

                          GARY
                So the guy was like, "Do you know
                fencing?" And I say, of course.
                That's what it says on my headshot.

                           MARGARET
                Lies!

                           GARY
                Always.   So he says, "Foil or epi?"

                           MARGARET
                Epée.

                          GARY
                I say, I'm about equal in both.

                          MARGARET
                Which is true.

                          GARY
                So he tosses me this fucking Conan
                sword and goes after me. I'm just
                swinging, trying to stay alive.
                But I end up cutting his ear.

                          MARGARET
                You cut his ear off?

                          GARY
                Just a little. But I got the job.

      Margaret is confused.

                                                              28.

                           MARGARET
                Wait. You were in Pirates of the
                Caribbean?

                          GARY
                Yes. No. Not the movie, the ride.
                I was like, "Gar! Keep both hands
                inside the boat!"

      Margaret laughs so hard she coughs.

                                               CUT TO:


164                                                                 164
      INT. UPSTAIRS WALKWAY - NIGHT

      Ready for bed, Margaret leans out the guest bedroom door.

                          MARGARET
                Goodnight, fuckface.

      Gary looks out his door.

                          GARY
                Goodnight, you filthy whore.

      Both doors shut.

                                               CUT TO:


165                                                                 165
      EXT. HOUSE - DAY

      Establishing.

                          MARGARET (PRE-LAP)
                It's incredible.


166                                                                 166
      EXT. BACK PATIO - DAY

      Margaret and Gary sip their morning beverages, looking at
      something spectacular in the yard.

                          MARGARET
                It's incredible.

                          GARY
                I know. Whenever I see them, and I
                always feel like, damn...

                          MARGARET
                ...I was born at the wrong time.

                           GARY
                Exactly.

                                                                 29.

      We REVERSE to see the object of their awe: a giant
      inflatable jump-o-rama in the shape of a castle.

                                                  CUT TO:


167                                                                    167
      INT. THE CASTLE - DAY

      VARIOUS SHOTS: Gary and Margaret jump with all their might,
      bouncing off the walls, SCREAMING all the time.

      When both finally collapse, it becomes strangely tranquil.
      They're safe inside an inflatable paradise.

      Gary scoots over beside Margaret.     She puts her head on his
      arms. It's nice.

      Prelap:   A doorbell RINGS.

                                                  CUT TO:


168                                                                    168
      INT.   FOYER - DAY

      Gary opens the door to find Sarah.

                           SARAH
                 Where's the warden?

                              GARY
                 Groceries.

                           SARAH
                 Quite the little missus.

      She walks past him, into the house.


169                                                                    169
      INT.   LIVING ROOM - DAY [CONTINUOUS]

      Sarah crosses to the couch, picking up the baby monitor.

                           GARY
                 How's Jaden?

                           SARAH
                 Boring. We haven't had nearly the
                 grand old time you two have been
                 having.

      There's an edge to her voice.

                           GARY
                 You've been watching.

                                                                30.

                          SARAH
                Well. I don't want to meddle in
                your affairs.

                          GARY
                My affairs?

                          SARAH
                Everyone needs affection.    I get
                it.

      She's headed back for the door.

                            GARY
                I don't.    Are you seriously
                jealous?

                          SARAH
                The opposite. I just want to
                protect her.

                             GARY
                From what?

                          SARAH
                From you. Look at you. You date
                models. Actresses. Tennis
                players.

                             GARY
                Yeah.

                          SARAH
                On a scale of one to ten, you
                belong with the Nines. We both
                know you won't settle for less.

      With that, she's gone.

                                                 CUT TO:


170                                                                   170
      INT. KITCHEN - DAY

      Gary is trying to load dishes into the dishwasher, but has a
      hard time getting one bowl to fit.

                          MARGARET
                What are "the Nines?"

                             GARY
                What?

      He looks over.    Margaret holds up the orange sticky note by
      the phone.

                                                                31.

                           MARGARET
                 "Look for the Nines."

                           GARY
                 It's not mine.

                           MARGARET
                 It's your handwriting.

                           GARY
                 I didn't write it.

                             MARGARET
                 Okay.

      She puts it back down.    But she doesn't believe him.

                           MARGARET (CONT'D)
                 All-ee-all-ee-all-come-free.

                           GARY
                     (perplexed)
                 What?

                             MARGARET
                 Nothing.

                           GARY
                 Seriously, what?

                           MARGARET
                 Nothing. I thought you
                 were...forget it. Done.    Sorry.


171                                                                   171
      EXT. BACK YARD - DAY

      At the far edge of the property, Margaret and Gary play
      backgammon. Their mood is significantly more subdued.

      Margaret answers her RINGING cell phone.

                           MARGARET
                 Yhello? Hi. What?!
                     (to Gary)
                 I have to take this.

      He nods.   Margaret starts walking back to the house.

                           MARGARET (CONT'D)
                     (on phone)
                 Well, who thought it was a good
                 idea letting Courtney into a
                 pottery shop?

                                                                32.

      Left alone, Gary rolls the dice idly. He gets a 4 and a 5.
      Rolls again. 4,5. 3,6. 4,5. 3,6. 3,6. 3,6. 4,5.

      He keeps rolling, the wheels in his head starting to turn.


172                                                                   172
      EXT.   FRONT OF HOUSE - DAY

      Sarah is looking in through the living room windows, trying
      to spot Gary. Giving up, she turns back to the main steps,
      only to find...

      MARGARET,

      who doesn't look pleased.

                            MARGARET
                  I know who you are.

                              SARAH
                  Really.

                            MARGARET
                  I know what you are. And if you
                  come near him again...

                            SARAH
                  You'll what?

      Margaret lets that go unanswered.   There's obviously
      something big we're not privy to.

                            SARAH (CONT'D)
                  What are you going to do, M...

      She's forgotten Margaret's name -- if she ever knew it.

                            SARAH (CONT'D)
                  Sorry, what's he calling you?

                              MARGARET
                  Margaret.

                            SARAH
                  I like that. "Margaret."   Classic.

                            MARGARET
                  Why can't you just leave him alone?

                            SARAH
                  Alone? He's an actor. If nobody's
                  watching him, he doesn't really
                  exist.
                      (approaching)
                  And for the record, I'm not the one
                  deceiving him.
                            (MORE)

                                                                   33.
                            SARAH (CONT'D)
                  He's going to figure it out
                  eventually. And when he does, who
                  do you think he's gonna blame?

       Sarah lets her warning land, then walks past Margaret,
       heading back down the stairs.

       REVEAL Gary watching through the hole in the door.


A173                                                                 A173
       INT. FOYER - DAY

       Gary heard the whole conversation.   Or at least enough of it
       to be deeply freaked out.


173                                                                      173
       OMIT


174                                                                      174
       INT.   UPSTAIRS WALKWAY - NIGHT

       Margaret leans out her doorway:

                            MARGARET
                  Goodnight, ratface.

                               GARY
                  Goodnight.


175                                                                      175
       INT.   BEDROOM - NIGHT

       Gary sits in one of the upholstered chairs, staring at his
       still-made bed. It's impossible to know what he's thinking,
       but the wheels are turning.


176                                                                      176
       EXT. SIDE PATIO - MORNING

       Gary opens the newspaper to a page at random.   He starts
       circling things with a red Sharpie.

       MACRO CLOSE UP.    His pen circles the number nine every time
       it appears.

       As he flips the page, he spots Sarah looking in through the
       rounded trellis, just a few feet away. She's holding her own
       newspaper, still in the wrapper.

                            SARAH
                  Hey neighbor.

                               GARY
                  Hi.

                                                        34.

                    SARAH
          Sorry for the psychotic episode.
          I'll blame it on hormones.

                    GARY
          Okay.

                    SARAH
          Are you alright? You look a little
          Beautiful Mind-ish.

He almost deflects it, but decides to trust her:

                    GARY
          How many times should the number
          nine come up? Probablistically?

                    SARAH
          Probablistically?

                    GARY
              (annoyed)
          You know what I mean.

                    SARAH
          One time out of ten.

                    GARY
          How about every time?

He hands her the paper through the bars.

                    GARY (CONT'D)
          But they only show up when you look
          for them. Looking for them changes
          things.

Trying to find an explanation...

                    SARAH
          Some of these are prices. There's
          going to be a lot of nines when...

                    GARY
          There is something wrong with the
          world.

Sarah looks up slowly. She smiles for an uncomfortably long
beat. She's stalling, thinking.

                    SARAH
          You have an eyelash on your...
          here...

She steps forward, and motions for him to lean closer to the
bars. Brushing off the non-existent eyelash, she WHISPERS:

                                                                 35.

                           SARAH (CONT'D)
                 I can get you out of here.    But you
                 have to trust me.

                            MARGARET [O.S.]
                 Morning.



      MARGARET

      enters, carrying her tea. She sees Gary by himself, leaning
      near the bars of the trellis.

                           MARGARET
                 Everything okay?

                            GARY
                 Peachy.

                           MARGARET
                 Peachy's good. I like peaches.

      WIDER,

      we see that Sarah is flush back against the wall, out of
      Margaret's line of sight.

                           MARGARET (CONT'D)
                 You want coffee?

                            GARY
                 Sure.

      She turns and heads back into the house.    Once she's out of
      earshot...

                           GARY (CONT'D)
                 What do I do?

                           SARAH
                 You have to trust me.


177                                                                    177
      INT.   LIVING ROOM - DAY [A FEW MINUTES LATER]

      CLOSE ON a white plastic device mounted in the corner of the
      room, about ten feet up. It might be a smoke detector.

      Gary stares up at it, intently.    He steps forward.

      A little red light flicks on inside the unit. After a few
      seconds it turns off. It's some sort of motion detector.

      Gary tests it again, trying to move his arm slowly enough
      that the light never engages.

                                                         36.

Margaret enters, carrying two mugs.   She watches him warily.

                       MARGARET
          You okay?

                       GARY
          No.

                       MARGARET
          Oh.

                    GARY
          Tell me about the Nines.

                       MARGARET
          The Nines?

                       GARY
          The Nines.

                    MARGARET
          Sort of hard to start there...

                    GARY
          Try. And don't tell me I'm
          imagining it. They're showing up
          everywhere, and I want to know why.

Trying to formulate the simplest truthful explanation:

                    MARGARET
          Best guess? They're your
          subconscious trying to remind you
          who you are.

                    GARY
          I'm a Nine?

                    MARGARET
          Yes. It doesn't make a lot of
          sense of out context.
              (offering)
          Coffee?

He takes the mug, then reconsiders.   Maybe it's laced with
something.

                    GARY
          Why don't you drink coffee?   You're
          always drinking tea.

Frustrated, she takes his coffee back and drinks it. She'd
really like to drink the whole thing to prove her point, but
it's just too hot.

                                                              37.

                      MARGARET
          Happy?

She gestures for him to sit down.     Reluctantly, he does.    She
sits across from him.

                    MARGARET (CONT'D)
          You're not going to understand this
          yet, but we've known each other for
          like 25 years. One day when I was
          12, you called me out of the blue.
          And we've been talking ever since.

                      GARY
          Talking.

                    MARGARET
          On the phone. Usually.

                    GARY
          I never met you before I came here.

                    MARGARET
          You, Gary, never met me. But
          you're not always...
              (lacking the words)
          I can understand why you're a
          little confused.

                     GARY
          No.   I'm a lot confused.

                      MARGARET
          Theories?

                    GARY
          This is all a dream.

                      MARGARET
          No.

                    GARY
          I'm in a coma.

                      MARGARET
                (amused)
          No.

                    GARY
          Then I'm dead. This is Hell, or
          Purgatorium or something.

                    MARGARET
          Okay, a purgatorium is where Romans
          vomited. But no. This is as real
          as anything can be.

                                                                38.

                           GARY
                     (suspicious)
                 What does that mean?

      She sits forward in her chair.    By instinct, he sits back.

                           MARGARET
                 Everything is what it is. But
                 you're not who you think you are.

178                                                                   178
      NEW ANGLE (TIME JUMP)

      Gary gets up, headed for the front door.

                            MARGARET (CONT'D)
                 God, no!   Please, Gary, don't.

      But he's already outside.


180                                                                   180
      EXT.   FRONT WALKWAY - DAY

      He's walking towards the blue chalk perimeter line, headed
      for Sarah's house.

      Leaves fall lazily from the trees, counter-point to the
      tension.

      Margaret calls out from the arched windows.

                           MARGARET
                 You don't know what you're doing.

      She's almost at tears.   He stops at the edge of the chalk
      line.

                           GARY
                 What happens if I cross this line?

      The tear in her eye falls.

                           MARGARET
                 I don't know. But it's not good.

      He very deliberately steps over the line. We hear a thin
      BEEPING from the house-arrest anklet. He shoots her a look
      to say, is that all there is?

      But the BEEPING grows louder, deeper. It starts to come from
      all sides, booming, a nuclear-meltdown/self-destruct-sequence-
      activated DRONE.

      Gary suddenly realizes something very, very terrible is about
      to happen.

                                                         39.

                     GARY
          Oh shit.

The world ignites in white-hot atomic flames.

We see the blinding glare erupt behind Margaret, illuminating
through her skin, right to the bone.

The same flash catches a leaf in mid-air, sizzling through it
like an etched x-ray.

As the light hits Gary, we...

                                         CUT TO BLACK.

                                             40.




READER NOTE: Part 2 is a half-hour episode
of a Project Greenlight-style documentary
series called "Behind the Screen," which
tracks the progress of a one-hour TV drama
pilot from conception through delivery. In
keeping with the genre, it's very fast and
cutty.

INTERVIEW sequences are done to an off-
camera interviewer.

Some scenes are unscripted. The gist of
these scenes is summarized in italics.

                                                              41.

200                                                                  200
      TITLES OVER:

                                  Part Two:
                             REALITY TELEVISION



                                                  CUT TO:

201                                                                  201
      ANIMATED TITLES

      We RUSH IN on a television set, which spins around revealing
      a blinding constellation of pixels.

                             MELISSA (V.O.)
                   Previously, on "Behind the Screen."

                                                  CUT TO:


202                                                                  202
      EXT. STUDIO LOT - DAY

      GAVIN TAYLOR (30) walks to a meeting, with his laptop bag
      over his shoulder. He has a tidy, Banana Republic
      sensibility and an easy smile that belies his manic schedule.

                             SUSAN (V.O.)
                   Gavin Taylor's one of the best TV
                   writers out there.


203                                                                  203
      INT. SUSAN'S OFFICE - DAY

      Cluttered and corporate, with stacks of scripts and a few
      touches of arbitrary quirk. SUSAN HOWARD (35) and Gavin kiss
      hello.

                             SUSAN (V.O.)
                   Every network would kill to work
                   with him.


204                                                                  204
      INT. GAVIN'S OFFICE / GUESTHOUSE - DAY

      INTERVIEW.

                             GAVIN
                   "Knowing" is a one-hour drama about
                   a woman whose husband disappears.
                   She starts to believe that her
                   daughter is the key to a dark
                   conspiracy.

                                                              42.

205                                                                 205
      INT. CONFERENCE ROOM - DAY

      Gavin pitches his show to the NETWORK BOSSES.

                          GAVIN
                Basically, it's like "Rosemary's
                Toddler."


206                                                                 206
      EXT. STUDIO LOT - DAY

      Impromptu INTERVIEW.    Gavin is beaming.

                          GAVIN
                We sold it in the room.


207                                                                 207
      INT. KITCHEN - DAY

      Gavin leans into the speakerphone.

                          GAVIN
                Just tell me Roger liked the
                script.


208                                                                 208
      INT. SUSAN'S OFFICE - DAY

      Susan is on her speakerphone.

                          SUSAN
                You're shooting a pilot.


209                                                                 209
      INT. SUSINA COFFEESHOP - DAY

      Gavin has coffee with actress MELISSA McCARTHY (34), his best
      friend. He's pitching her the idea.

                          GAVIN (V.O.)
                Melissa McCarthy is my first and
                only choice for the lead.

                             MELISSA
                I love it.     I'll do it.


210                                                                 210
      EXT. FOREST - DAY

      An EPK-style INTERVIEW, on the set of the pilot.

                          MELISSA
                Gavin and I have been friends for
                forever.

                                                               43.

211                                                                  211
      EXT. WARNER BROS. LOT - DAY

      Melissa hangs out with her "Gilmore Girls" CAST and CREW.

                           MELISSA (V.O.)
                 It's really hard to leave a show
                 like "Gilmore Girls," but I really
                 believe in Gavin.


212                                                                  212
      INT. CONFERENCE ROOM - DAY

      Gavin, Susan and a LINE PRODUCER go over the figures.

                           GAVIN (V.O.)
                 The only way we can afford to shoot
                 the pilot is in Canada.


213                                                                  213
      INT. BEDROOM - DAY

      Gavin stacks up clothes on his bed, preparing to pack.

                           GAVIN
                 It's really hard to think about
                 leaving for six weeks.


214                                                                  214
      EXT. FOREST ROAD - DAY

      Gavin YELLS:

                           GAVIN
                 Action!

      A STEADICAM follows Melissa as she gets out the passenger
      door of a Toyota Prius, an alarmed look on her face.


215                                                                  215
      OMIT

216                                                                  216
      TITLE OVER:

      EPISODE 6: POST

                                               CUT TO:


217                                                                  217
      INT.   LAX / BAGGAGE CLAIM - DAY

      A DRIVER holds up a sign for "TAYLOR." Gavin approaches,
      waves to him. He has a laptop bag over his shoulder.

      TITLES identify him as:

                                                                44.

       Gavin Taylor
       Creator / Showrunner


218                                                                   218
       INT.   LAUNDRY ROOM / KITCHEN - DAY

       Gavin unlocks the door, entering from the driveway. He's
       hauling a massive wheeled duffle bag. (Note: This is the
       same house from Part One.)

       We hear the CLATTER of toenails on hardwood floors.   Gavin
       kneels down to greet...

                              GAVIN
                  Puggies!

       Gavin's PUGS pounce all over him.


219                                                                   219
       INT.   KITCHEN - DAY [MINUTES LATER]

       Gavin is on the cordless phone, talking with a friend as he
       sorts through massive piles of mail.

       On his left wrist, we notice the same green string bracelet
       Gary wore in Part One.

                            GAVIN (ON PHONE)
                  It's weird being back. It doesn't
                  feel like my house anymore.


A220                                                                 A220
       INT.   FOYER - DAY

       Gavin sits at the piano, pecking out a haunting melody he's
       been fiddling with. He grabs a red diskette and a Sharpie.

                            GAVIN (V.O.)
                  At this stage, you have the script
                  you wrote, and the film you shot,
                  but you don't know how it's all
                  going to come together. You just
                  know how you want it to feel.

       He writes "Knowing" on the diskette, and pops it into the
       Disclavier unit.


220                                                                   220
       INT. EDITING SUITE - DAY

       Susan, Gavin and the EDITOR watch the cut.   Susan is taking
       notes on a legal pad.

                                                 JUMP CUT TO:

       Susan flips to her next note.   TITLES list her position as:

                                                                  45.

      Susan Howard
      VP, Drama Development

                           SUSAN
                 I just don't know if you need the
                 cold open. People want to get
                 right to the story.

      ANGLE ON the Editor, bristling a bit.


221                                                                     221
      INT. HALLWAY - DAY [LATER]

      Impromptu INTERVIEW.

                           GAVIN
                 I invited Susan to see a rough cut
                 because I trust her taste.

      INTERCUT editing suite.

                           SUSAN
                 Could we be more clear why Mary is
                 so freaked out at that moment?

                          GAVIN
                 Wow. I thought it was pretty
                 obvious. And dramatic.

                           GAVIN [INTERVIEW]
                 More importantly, I trust her as a
                 barometer of Roger's taste.

                           SUSAN
                 I know. But that's Roger's big
                 thing this season. Never let the
                 audience be confused.

                                                 CUT TO:


222                                                                     222
      INT. EDITING SUITE - [LATER THAT] DAY

      The Editor hands Melissa a microphone.    TITLES list her
      simply as:

      Melissa McCarthy
      "Mary"

                           GAVIN
                 So we're trying to squeeze in a
                 wild line over this shot of Noelle.

      The monitor shows a three-second clip. It's Melissa and a
      eight year-old actress ("Noelle") in a car.

                                                        46.

Melissa's character looks alarmed by something the girl has
just done or said.

                    MELISSA
          What's the line?

                    GAVIN
              (quickly)
          How could you...

                      MELISSA
          Howkajew?

                      GAVIN
          Yeah.

                    MELISSA
          Howkajew. It sounds like kosher
          drug paraphernalia. Like, come on
          Shmuley! Have a toke on the
          Howkajew.

                     GAVIN
          I know. It's just for the test
          screening.

                    MELISSA
          They really think people won't get
          it?

                    GAVIN
          The dumb people might not.

                    MELISSA
          I didn't think we were making the
          show for dumb people.

A beat.

                                         JUMP CUT TO:

Melissa holds a microphone.

As video footage plays back, we hear three evenly-spaced
LOOPING BEEPS. Where the fourth one would be, Melissa says
the line.

                    MELISSA (CONT'D)
          Howkajew...
              (again)
          How could you...
              (again)
          How couldjew...

Finished, she hands the mic back to Gavin.

                                                                                  47.

                             MELISSA (CONT'D)
                   I feel so dirty.

                             GAVIN
                   That's how I like ya.

      Melissa giggles.

223-226                                                                           223-226
          OMIT


227                                                                                     227
      INT.    TESTING SERVICE THEATRE - DAY

      A MODERATOR explains how it all works to the RECRUITED AUDIENCE.

      The test begins.

      ANGLE ON a monitor.         We see a scene of Melissa (as "Mary") on
      a forest road.


228                                                                                     228
      INT.    TESTING SERVICE / FOCUS GROUP ROOM - DAY

      Through a one-way mirror, Gavin and Susan watch as the
      Moderator asks a group of twelve MALE VIEWERS about the pilot
      they just watched.

      Their comments are mostly positive. Gavin and Susan share relieved looks. She has a
      notepad, as always.

      One AGITATED MAN keeps staring at the mirror, right at Gavin.
      (We recognize him as the Parole Officer from Part One.)

                             GAVIN
                   That guy's looking at me.

                             SUSAN
                   He can't see you.

      As a test, Gavin waves his arm. The Agitated Man's
      expression changes slightly, but it's not clear whether it's
      in reaction or not.

      The Moderator directs her next question to the Agitated Man.

                             MODERATOR
                   How about you? Did you feel it
                   was...

                             AGITATED MAN
                   It's not real.

                             MODERATOR
                   And what do you mean by that?

                                                              48.

                             AGITATED MAN
                   The show's not real. Why can't you
                   see that? Jesus! Are you fucking
                   blind?
                       (looking at the mirror)
                   You think you're above it all,
                   don't you? You are trapped here
                   with the rest of them, brother.

      He stands up, pushing past the other people to come right up
      to the one-way glass. He stares directly at Gavin, even
      though he shouldn't be able to see him.

      He SHOUTS:

                              AGITATED MAN (CONT'D)
                   Get out.   Get out! Oblivio
                   accebit!

      Gavin backs away from the glass, freaked out.

                                                  CUT TO:


229                                                                  229
      EXT. STREET - [LATER THAT] DAY

      Impromptu INTERVIEW with Gavin, standing beside his Prius.
      He's clearly still shaken by the experience.

                             GAVIN
                   The guy was crazy. Obviously. The
                   show is kinda twisted, and it just
                   flipped something in him.

      Gavin sounds like he's trying to convince himself.

                             PRODUCER'S VOICE (O.C.)
                   What did he say?

                             GAVIN
                   Oblivio accebit. It's Latin.
                   "Oblivion approaches."

                             PRODUCER'S VOICE (O.C.)
                   What do you think it means?

                             GAVIN
                   Other than the world is coming to
                   an end? "Oblivio" also means
                   forgetting, forgetfulness.
                       (jump cut)
                   I think that's what I'm going to
                   do. Forget it.

                                                  CUT TO:

                                                                                   49.

230                                                                                       230
      INT. LIVING ROOM - NIGHT

      Gavin hosts a game night: good friends and lots of
      cocktails. The guests include Melissa and Susan, along with
      SAM, TOM, BRUCE, DANA, JON, KEVIN, JEFF, DAN, and CARL. (We
      don't show anyone's names.)

      They're playing Celebrity. We go several rounds, keeping the best of what's said.

                                                              CUT TO:


231                                                                                       231
      INT. KITCHEN - NIGHT

      Between rounds of Celebrity, party-goers mingle. Gavin is
      making a new batch of cocktails -- he obviously has a knack
      for it.

      Susan pours herself another glass of chardonnay.

                              SUSAN
                    Did you have a chance to look at
                    the cards yet?

                              GAVIN
                    From the screening?

      Melissa reaches in, grabbing the vodka.

                                  MELISSA
                    Pardon me.      Daddy needs his drink.

      She makes a quick Cape Cod.            From the other room, Sam YELLS:

                              SAM (O.S.)
                    Woman, where's my cocktail!

                              MELISSA
                        (yelling back)
                    I'm a-comin!
                        (to Gavin)
                    I still love you most.

      She gives him a quick peck, then dashes off with Sam's drink.

                              SUSAN
                        (continuing her thought)
                    People write stuff on the cards
                    they won't say in a focus group.
                    They get more specific.

      He SHAKES the mixer.

                              SUSAN (CONT'D)
                    Roger has this advice I always
                    remember.
                              (MORE)

                                                                50.
                             SUSAN (CONT'D)
                   Forget about anyone who scores you
                   in the Twos and Threes. They'll
                   never like your show.

      Gavin pours.

                             SUSAN (CONT'D)
                   Instead, look for the Nines.

                                GAVIN
                   The Nines.

                             SUSAN
                   They're the one who think your show
                   is almost the best thing they've
                   ever seen. They get your vision.
                   They just want it to be even
                   better.

      Melissa YELLS from the living room:

                             MELISSA
                   Round two is starting without you!

                             SUSAN
                   So you'll look at the cards?

                             GAVIN
                   Absolutely.

      Making his way back to the living room, he stops by the
      phone. Pulls out an orange Post-It and makes a note.

      As he leaves, we go in CLOSE to read it:

                        LOOK FOR THE NINES

                                                  CUT TO:


232                                                                   232
      INT. SUSAN'S OFFICE - DAY

      INTERVIEW.

                             SUSAN
                   Sometimes the numbers point things
                   out that you don't want to admit to
                   yourself. In this case, Melissa.

      INSERT:   Comment cards.

                                                        51.

                          SUSAN (CONT'D)
                Her overall scores were okay. But
                if you look at the people who
                scored the show highest, the one
                consistent dip was Melissa.

                                              CUT TO:


233                                                           233
      INT. RESTAURANT - DAY

      Susan and Gavin are having lunch.

                          GAVIN
                She doesn't have a ton to do in the
                pilot. There's so much to set up,
                you don't get a lot of Melissa-
                time.

                          SUSAN
                True. That's one of the challenges
                with a premise pilot.

                          GAVIN
                But the network still likes the
                show?

                          SUSAN
                Of course. Roger is your biggest
                cheerleader.

                          GAVIN
                How about above Roger?

                          SUSAN
                Roger calls the shots.

                          GAVIN
                After he consults with the Higher
                Powers.

                          SUSAN
                True.

                          GAVIN
                Do they like the show?

                          SUSAN
                They haven't seen it. They're
                watching all the pilots on Friday.

      A beat.

                          GAVIN
                Why are you focusing on Melissa?

                                                            52.

                    SUSAN
          Because she's the biggest concern.

                    GAVIN
          She's also the biggest star in the
          show.

                    SUSAN
          No, you're the biggest star. Roger
          made a huge deal with you, and he
          went along with casting Melissa
          when that wasn't his instinct.

                    GAVIN
          Well, hooray for Roger. I don't
          understand what you want me to do.

                    SUSAN
          Meet with someone.

                     GAVIN
          Who?

                    SUSAN
          Dahlia Salem.

Gavin drops his fork so that it will CLATTER on his plate.

                    SUSAN (CONT'D)
          The network has a holding deal with
          her.

                   GAVIN
          Yes. And you put her in Gatin's
          pilot.

                    SUSAN
          It's dead. It's dying. But the
          network loves Dahlia. So if she
          could jump over to your show...

                    GAVIN
          Replace Melissa and reshoot the
          pilot.

                    SUSAN
          Roger would pay for it.

Gavin is nauseous.   He has to take a drink to be able to
speak.

                    GAVIN
          So is this even about Melissa?

                                                                                             53.

                               SUSAN
                     It's about getting your show on the
                     air. That's all that matters in
                     the end.

                                                                     CUT TO:


234                                                                                                 234
      EXT. SUSINA COFFEESHOP - DAY

      Establishing.


235                                                                                                 235
      INT. SUSINA COFFEESHOP - DAY

      Gavin meets with Dahlia Salem. She's pretty, funny, and very cool.

      They talk about the other pilot (Gatin's), the role, and how fucked up it is to be having these
      double-top-secret conversations. It goes well. They seem to genuinely like each other.


236                                                                                                 236
      INT. SUSINA - DAY [LATER]

      Dahlia is gone.           INTERVIEW with Gavin.

                               GAVIN
                     I see why the network loves her.
                     It's just, I wrote the part for
                     Melissa. She's one of my best
                     friends. And in my head, I only
                     see Melissa for the role.
                         (jump cut)
                     Could Dahlia do it? Absolutely.
                     It could work. I just don't know
                     if I want it to work.


237                                                                                                 237
      OMIT


238                                                                                                 238
      INT. PC BANG - NIGHT

      A empty storefront in Koreatown, both walls lined with
      computers for the CUSTOMERS playing high-end videogames.                                 We
      see Gavin playing.

      His INTERVIEW is intercut with his intense focus on the
      screen as he plays "Bad Day L.A."

                               GAVIN
                     When I get stressed out, I play
                     videogames. It's my therapy. I
                     can't have them on my own computer,
                     because then I'd never write. So I
                     come down to Koreatown.
                         (jump cut)
                               (MORE)

                                                               54.
                          GAVIN (CONT'D)
                Videogames are better than real
                life. When you get stuck, you can
                always hit `reset.' Life needs a
                reset button.


239                                                                  239
      INT. KITCHEN - DAY

      Gavin's on the phone.

                          GAVIN
                If we're really going to replace
                Melissa, I want to hear it from
                Roger.


240                                                                  240
      INT. SUSAN'S OFFICE - DAY

      Susan talks to the speakerphone.

      INTERCUT GAVIN

                          SUSAN
                Roger's on a flight to London. But
                I talked with him before he left.
                He said yes on Dahlia.

                          GAVIN
                What does that mean?

                          SUSAN
                It means yes.

                          GAVIN
                Yes, replace Melissa?

                          SUSAN
                He wants your show on the air,
                starring Dahlia. I just got off
                the phone with her agents. They
                love it. She loves you.

                          GAVIN
                What about Melissa?

                          SUSAN
                You want me to call her agents?

                            GAVIN
                God no.    I'll tell her.

      Gavin hangs up.   We stay on his side of the conversation.

      In the background, we see the door to the driveway swing open
      by itself.

                                                              55.

      A beat later, it SLAMS shut.

      Gavin is understandably startled.

                                                   CUT TO:


241                                                                 241
      OMIT


242                                                                 242
      INT. REHEARSAL STUDIO - DAY

      Melissa, wearing a nun's habit, sings "As Long As He Needs
      Me." A PIANIST is rehearsing with her.

                           MELISSA
                As long as he needs me, I know where I
                must be...

      INTERCUT with on-camera INTERVIEW:

                           MELISSA (CONT'D)
                In-between the pilot and the
                series, I'm trying to squeeze in a
                one-woman show.
                    (edit)
                I've always been obsessed with
                nuns. They're sort of like God's
                fag-hags.

      Melissa spots Gavin entering and sings the rest of the song
      to him.

                                                   CUT TO:


243                                                                 243
      EXT. WEST HOLLYWOOD BAR - NIGHT

      Gavin and Melissa have martinis.

                          GAVIN
                I think my house is haunted.

                          MELISSA
                Your house is really old.

                          GAVIN
                1926. Ever since I got back, I
                feel like there's someone else
                there. And then last night, I
                thought I heard something. A woman
                singing.

                           MELISSA
                Shit.   Like a ghost?

                                                          56.

                    GAVIN
          I guess. And then I saw something.
          I ran into someone.

                       MELISSA
          The woman?

                    GAVIN
          It was a man. I think it was me.

A beat while Melissa processes.

                    MELISSA
          Your house is haunted by yourself?

                       GAVIN
          Yeah.

                    MELISSA
          Gavin, are you alright?

                       GAVIN
          No.    No.

He takes a long beat, psyching himself up.    What spills out
is heartfelt but clearly rehearsed.

                    GAVIN (CONT'D)
          The network wants to replace you.

                       MELISSA
          Oh my God.

                    GAVIN
          And I'm letting them, because I
          really want the show on the air. I
          have all these characters inside my
          head, and they want to live. I'm
          the only way they can. This is the
          only way they can. I have five
          seasons mapped out, and though it
          sucks, either you go away, or the
          show goes. I had to make a
          decision, and that's the decision I
          made. I'm sorry.

By the end of it, we can hear the emotion in his voice.
Melissa takes a beat to process.

                    MELISSA
          So it's done. Finished.   Decided.

                       GAVIN
          Yes.

                                                        57.

                    MELISSA
          I understand. It's not your fault.
          You're morally incapable of doing
          the right thing.

Gavin doesn't rise to the challenge.

                    MELISSA (CONT'D)
          Don't get me wrong. I think you do
          feel bad for me. But that's all
          you feel for me. You still see me
          as the fat girl you call on Friday
          night when a date falls through.
          Let's go to a movie! Let's go to
          Fubar! And if you meet a hot piece
          of ass, don't worry about Melissa,
          you can apologize tomorrow. Or
          don't! Same difference. It's not
          like we're actually friends.

                    GAVIN
          I don't want to do this on camera.

                    MELISSA
          No, because you can't control it.
          Your little puppets are off their
          strings, running around. Saying
          things you didn't write. Reality
          terrifies you.

                     GAVIN
          Reality.

                     MELISSA
          Yes.

                    GAVIN
          The reality is, you would not be
          here without me. I gave you your
          first few roles. And your career
          is a result of that.

With exaggerated relief...

                    MELISSA
          God, thank you. Thank you for
          finally playing that card. I
          always knew you were holding onto
          it, the "I invented Melissa
          McCarthy card." Congratulations,
          you win. The game is over.

She gets up to go, then decides she has one more thing to
say:

                                                             58.

                             MELISSA (CONT'D)
                   Don't you ever pity me again.

      She leaves him sitting at the table.

                                                   CUT TO:

244                      UPFRONTS                                  244
      TITLE OVER:

                                                   CUT TO:


245                                                                245
      INT. NETWORK CONFERENCE ROOM - DAY

      New MUSIC for a change of mood:     upbeat, excited.

      INTERVIEW:

                             SUSAN
                   Upfronts is the week each year when
                   the networks present their fall
                   schedule to advertisers.

                                                   CUT TO:


246                                                                246
      INT. GAVIN'S OFFICE - DAY

      INTERVIEW:

                              GAVIN
                   Sort of like, "Here's our new shit.
                   Like it?"
                       (edit)
                   Upfronts is a complete oxymoron,
                   because no one is remotely honest.

      INTERCUT SUSAN:

                             SUSAN
                   The schedule is a secret until it's
                   announced, so everything is still
                   in play.

      JUMP CUT:

                              GAVIN
                   But hey!   At least you're in New
                   York!

                                                   CUT TO:


247                                                                247
      INT. TOWNCAR / NEW YORK / DRIVING - DAY

      Gavin watches Manhattan roll by out the windows.

                                                                    59.

248                                                                       248
      EXT. MANHATTAN HOTEL - DAY

      Gavin tips the DRIVER and wheels his luggage into a
      skyscraper hotel.


249                                                                       249
      INT. MANHATTAN HOTEL HALLWAY - DAY

      Gavin opens the door to room 1909.


250                                                                       250
      INT. MANHATTAN HOTEL ROOM - DAY

      Gavin checks out the view.     We go CLOSE ON a card which
      reads:

                 Congrats!
              Love Roger, Susan, and everyone at the network

      It came with a fruit tray.


251                                                                       251
      INT. MANHATTAN HOTEL ELEVATOR - DAY

      Gavin, alone, is headed down to the lobby.      Impromptu
      INTERVIEW continues:

                          GAVIN
                It's surreal being here. None of
                this is how I planned it.

      The elevator stops at another floor. CAMERA doesn't look as
      the doors open, but Gavin spots someone he knows.

                              GAVIN (CONT'D)
                Hey you!

                              WOMAN'S VOICE
                God.    Hi.    Gavin.

      TURN to find Dahlia Salem.     She's hesitant to get on the
      elevator.

                          DAHLIA
                You're doing your...show.

      She means the camera filming them.

                          GAVIN
                Get on. Come join reality
                television.

      She steps on.    Hits the button for "Lobby."

                          GAVIN (CONT'D)
                When did you get in?

                                                              60.

                          DAHLIA
                Just now. This whole last 24 hours
                has been surreal.

                          GAVIN
                I just said surreal.

                          DAHLIA
                You're good? I wanted to call you.

                           GAVIN
                Please.   Call anytime.   I don't
                sleep.

                          DAHLIA
                I just felt weird about what
                happened.

      Not sure he's following...

                          GAVIN
                Did something happen?

                                                CUT TO:


252                                                                  252
      EXT. MANHATTAN STREET - DAY

      Near the hotel, Gavin is on his cell phone.

                          GAVIN
                So I just bumped into Dahlia Salem,
                star of my show...

      TITLES indicate Gavin's on the phone with his agents.

                          GAVIN (CONT'D)
                ... who tells me Gatin's show got
                picked up, so no, she won't be in
                my show, which makes me wonder,
                does my show even exist?

      As he listens to the other side, we hear a distant BOOM, and
      then a RUSH, like autumn leaves blowing down a street.

      Gavin reacts, though none of the PASSERSBY seem to hear it.

      Back to the conversation...

                          GAVIN (CONT'D)
                No, I've left word with Roger.
                I've left word with Susan. It's
                like they've dropped off the face
                of the Earth.

                                                                 61.

253                                                                    253
      INT. MANHATTAN HOTEL SUITE - DAY

      Susan is on her phone. At the same time, she's plowing
      through email on her Blackberry.

                             SUSAN (PRE-LAP)
                   Right now, the whole schedule's in
                   flux. You get these missives from
                   Roger and the Higher Powers...

      JUMP CUT

      INTERVIEW:

                             SUSAN (CONT'D)
                   ...but you're not sure what they
                   add up to. Right now, I can't say
                   for certain whether Knowing will
                   end up on the schedule at all.

                                                   CUT TO:


254                                                                    254
      INT. HOTEL GYM - DAY

      Gavin talks with JOHN GATINS (34), who's doing abs on an
      exercise ball.

      John Gatins
      Creator/Showrunner "Paradise Fields"

                               GATINS
                   Look,   I'm sorry. But I'm kind of
                   not.    I want my show on the air.
                   And I   think it was shitty for you
                   to go   after Dahlia behind my back.

                             GAVIN
                   I heard your show was gone.

                             GATINS
                   I "heard" you fired Melissa
                   McCarthy without having a backup.
                   Why would they pick up your show
                   when you don't have a star?

                             GAVIN
                   The network wanted Dahlia.

                             GATINS
                   Yeah, in my show. We tested right
                   before you. Our numbers were
                   through the roof.

                               GAVIN
                   Really.

                                                             62.

                           GATINS
                Really.   Who's your exec?

                          GAVIN
                Susan Howard.

                          GATINS
                She would know. She was there.
                Ask her.

                                               CUT TO:


255                                                                255
      INT. CONFERENCE HALLWAY - DAY

      Susan is on her cell phone. A cocktail party is in full
      swing nearby. We can hear the DIN and MUSIC, and see the
      occasional GUEST looking for the restrooms.

                            SUSAN
                      (on phone)
                I'm   at the UTA party. Yeah. Did
                you   hear about Ricky's assistant?
                She   literally shat herself. No, I
                saw   it.

      In the background, we see Gavin approaching. Susan spots him
      and seizes up a bit. She holds up a one-sec finger to him as
      she continues her conversation.

                          GAVIN
                I will break your fucking finger.

                          SUSAN
                    (to phone)
                I'll call you back.

      She hangs up. They look each other in the eye, daring each
      other to go first.

                          SUSAN (CONT'D)
                Roger wanted to talk to you
                personally.

                            GAVIN
                Bullshit.

                          SUSAN
                They're only picking up two dramas.

                          GAVIN
                The rest is, what, reality?

                          SUSAN
                You can go mid-season.

                                                        63.

                    GAVIN
          You can go to Hell.

                      SUSAN
          Wow.

She takes a beat, trying to size him up.

                     SUSAN (CONT'D)
          You think I deliberately sabotaged
          your show.

                    GAVIN
          Didn't you?

                    SUSAN
          G., I'm on your side. Trust me,
          I'm the only one who is trying to
          protect you.

            GAVIN                           SUSAN
Protect me from what?   You?    There is so much more going
You are psychotic.              on than you...

                    GAVIN
          All I want to know is why.

                    SUSAN
          You want a motive?

                      GAVIN
          Yes.

                    SUSAN
          This isn't "Crime Lab."   No one got
          murdered.

                    GAVIN
          My show did. So tell me why.

                    SUSAN
          I had to get you away from her.
          She was holding you back.

                      GAVIN
          Melissa.

                     SUSAN
          You had to give her up.
              (beat)
          C'mon, G. If she really mattered,
          you couldn't have betrayed her so
          easily.

                      GAVIN
          I didn't.

                                                                  64.

                          SUSAN
                What, you're the victim? The big
                Creator can't stand up to one
                little d-girl? It was your choice.
                I didn't make you do anything. I
                mean, do you have any principles?
                Do you believe in anything but your
                own ego?

                            GAVIN
                Fuck you.

                          SUSAN
                Your dialogue used to be sharper.
                Maybe Gatins could do a polish.

      He suddenly punches her, one hit to the face.   She drops
      hard.

      Gavin takes a step back.

      Tasting blood, Susan gets to her knees.   A wry smile.

                          SUSAN (CONT'D)
                Is that all there is?

      In the background, we see partygoers responding to the blow.
      Susan gets to her feet. She approaches Gavin, hands open.
      She's not going to hit him.

                          SUSAN (CONT'D)
                Do you feel like a man? Because
                I'll tell you a secret.

      She leans in very close to his ear.   There's a strange
      intimacy between them.

                          SUSAN (CONT'D)
                    (whisper)
                You're not.

      She walks away.   CLOSE ON Gavin.


256                                                                     256
      EXT. MANHATTAN SIDEWALK - DAY

      We move with Gavin as he walks. He's trying to get away from
      the camera, but it keeps following him.

      He reaches a crosswalk. He has to wait for the light.
      Finally, he looks INTO CAMERA:

                          GAVIN
                Look, I don't want to do this
                anymore. My show's not going to
                happen, so this show is over.
                          (MORE)

                                                          65.
                       GAVIN (CONT'D)
             Done. Gone. I`m not going to be
             your fucking puppet.

                       OFF-SCREEN VOICE
             Are you alright?

Gavin looks left, where an African-American woman is waiting
for the same crosswalk. (We recognize her as Octavia, the
streetwalker from Part One.)

                         GAVIN
             I'm fine.

                       OCTAVIA
             Who were you talking to?

Gavin looks back towards camera, a strange expression.

MUCH WIDER

We see Gavin and the woman on the corner. There's no camera
Gavin could have been talking to. He's understandably
perplexed: Where did the documentary crew go?

Was there ever anyone there?

Our CAMERA style has changed:    instead of handheld and jerky,
we're smooth and slow.

The MUSIC has completely changed, underscoring a sense of
creeping dread.

We HOLD for a long beat. The light changes. Still a little
unnerved, Octavia begins to cross the street.

Only then do we notice something unusual floating above her
head:

A SPHERE OF BLUE LIGHT.

WIDER, we see that everyone on the street has the same kind
of sphere floating a foot above their heads. No one seems to
see the lights other than Gavin.

Gavin looks around in uneasy fascination, as if he's just
landed on an alien world.

A beat, then he has an unsettling thought.

He slowly looks up. Above his own head, he sees the same
sphere of light -- only his is bright white. Pulsing.
Blinding.

                         GAVIN
             Oh God.

                                                                  66.

       We PULL BACK, RISING UP to a perspective above and behind
       Gavin. As we do, the edges of the frame creep in, revealing
       ICONS and unintelligible STATISTICS, changing moment by
       moment.

       A dialog box appears in the center of the screen, reading...

                                   Exit Now?
                         Unsaved changes will be lost.

                          [ Cancel ]          [ Exit ]

       An arrow slides back and forth between to the two options.
       Finally it lands on `Exit.'

       A CLICK.

                                                  CUT TO BLACK.

       FADE IN:


x177                                                                 x177
       INT.   LIVING ROOM - DAY [PART ONE]

       We're continuing an earlier scene from the end of Part One.

                            MARGARET
                  I can understand why you're a
                  little confused.

                             GARY
                  No.   I'm a lot confused.

                              MARGARET
                  Theories?

                            GARY
                  This is all a dream.

                              MARGARET
                  No.

                            GARY
                  I'm in a coma.

                              MARGARET
                        (amused)
                  No.

                            GARY
                  Then I'm dead. This is Hell, or
                  Purgatorium or something.

                                                         67.

                    MARGARET
          Okay, a purgatorium is where Romans
          vomited. But no. This is as real
          as anything can be.

                    GARY
              (suspicious)
          What does that mean?

She sits forward in her chair.   By instinct, he sits back.

                    MARGARET
          Everything is what it is. But
          you're not who you think you are.

                    GARY
          Okay, then. Who am I?

With practiced calm...

                    MARGARET
          You're a multi-dimensional being of
          vast, almost infinite power. You
          created this world on a whim, and
          decided to stick around to see how
          it turned out. You, this body
          you're in, is just one of your
          incarnations. Avatars. Call you
          what you will.

Not sure he follows...

                    GARY
          Are you saying I'm God?

                    MARGARET
          Technically, no. If God is a ten --
          a theoretical ultimate, that-which-
          no-greater-can-be-imagined --
          you're more of a nine.

                    GARY
          So what are you?

                    MARGARET
          Humans are sevens. Monkeys are
          sixes.

                    GARY
          What are the eights?

                    MARGARET
          Koalas. They're telepathic.    Plus,
          they control the weather.

She didn't mean to get on that tangent...

                                                          68.

                     MARGARET (CONT'D)
          What's important is that you,
          you're the big cheese. El Supremo.
          You could destroy the world with a
          single thought.
              (suddenly)
          Don't, incidentally. Just file
          that away. But the truth is, you
          hold all the cards: every church,
          every candle, every sacrifice --
          that's for you. When people pray,
          they're not praying because they
          want this thing or that thing.
          They just don't want to be
          forgotten.

                    MARGARET (CONT'D)
          So you understand, I would have
          told you earlier, but I didn't...

                    GARY
          Yeah.

                    MARGARET
          Okay.

                    GARY
          I understand. But I don't believe
          you.

He gets up to exit. (This is where we jump-cut time earlier.)

FREEZE FRAME.

                                         FADE TO BLACK.

                                                                 69.

300                                                                    300
      TITLE OVER BLACK:

                                   Part Three:
                                   KNOWING

      FADE IN:


301                                                                    301
      EXT. MEADOW - DAY

      In a WIDE SHOT, we see a vast field, bordered by green
      mountains. Unseen BIRDS call out from the trees, while
      insects CLICK and WHIRR.

      In the distance, we spot swatches of bright colors moving our
      way. It's a family: father GABRIEL (34), wife MARY (33) and
      daughter NOELLE (8). They're returning from a short day
      hike. Mary carries a small videocamera.

      Seeing that Noelle is already a ways down the path...

                            GABRIEL
                 Noelle!   Don't get too far ahead.

      Noelle turns around. Instead of speaking, she moves her
      hands in sign language. (She's mute, not deaf.)

                            MARY
                 No.   You had ice cream at lunch.

      Noelle begs to differ.   More signing.

                           GABRIEL
                     (to Mary)
                 Apparently frozen yogurt doesn't
                 count.

                           MARY
                 I'll make note.


302                                                                    302
      EXT. SMALL GRAVEL ROAD - DAY

      The family walks up to their car, a blue Toyota Prius.
      Gabriel sheds his daypack, trying to open the hatchback.    It
      won't lift.

      Mary goes to open the passenger door.      Locked.

                           MARY
                 Did you hit it?

                           GABRIEL
                 Shouldn't have to.

                                                             70.

He fishes the keys out of his pocket.     Presses the remote
entry button repeatedly.

Gabriel tries to open the driver's side door.      Locked.   Even
Noelle knows something's wrong.

Gabriel pulls the small mechanical key out of the fob.
Unlocks the door and climbs in. Opens the door for Mary and
Noelle.

                    GABRIEL (CONT'D)
          I think we left the overhead light
          on.

He taps it.   Moves the switch.

                     MARY
          Shit.

Noelle signs her made-up representation of "shit."

                     MARY (CONT'D)
          Noelle.

Gabriel slides the key into the slot.     Hits "START."
Nothing.

                    GABRIEL
          Battery is dead. Least the starter
          is.

Noelle leans forward, aware that this is something serious.

                    MARY
          How do we...?

                    GABRIEL
          We call the service.     That's all we
          can do.

                    MARY
          It's just the little battery that's
          dead, right? The big one is
          probably fine.

                     GABRIEL
          I guess.

                    MARY
          We can't jump it from one battery
          to the other? Cross-over somehow?

                    GABRIEL
          Who did you marry?      MacGyver?

                                                          71.

He gets out of the car, retrieving his cell phone. Mary
follows him out. Noticing that he's not dialing...

                    MARY
          Are you getting a signal?

                      GABRIEL
          No.    Do you?

She checks her phone.    A long beat.

                       MARY
          Yes!     One bar.

They're both relieved. Finding the AAA card in his wallet,
Gabriel takes the phone and dials.

It's at this moment we notice the familiar green string
bracelet around Gabriel's wrist.

In the back seat, Noelle KNOCKS on the window.   She signs,
asking if everything is okay.

                    MARY (CONT'D)
          We're okay. Daddy's calling people
          to help us.

Gabriel pulls the phone from his ear.   Looks at the screen.
Hits redial. Fuck.

                    GABRIEL
          The minute you try to place a call,
          the bar goes away.

                    MARY
          Keep trying.

                    GABRIEL
          Okay, I'll keep trying, Mary.   But
          it will keep happening.

                    MARY
          Well, what do you want to do?

                    GABRIEL
          I don't know.

He tries redial.

                    MARY
          Maybe if you hold it up higher.

Humoring her, he holds it at arm's length.   No good.

                                                                72.

                          GABRIEL
                The problem is we're boxed in.
                It's a canyon.

      A beat.

                          GABRIEL (CONT'D)
                Where we turned off the main road,
                it was more open. And higher, too.

                          MARY
                That's at least a mile.

                          GABRIEL
                I can run that.

                          MARY
                So...we stay here?

                          GABRIEL
                You okay with that?

                          MARY
                I don't think we have a choice, so,
                yeah. Go.

      Half a beat, while each waits for the other to think of a
      better plan. Neither does.

      Gabriel leans down next to Noelle's window.

                           GABRIEL
                Daddy's going to get a truck to
                help us out. You take care of your
                mom, okay?

      Noelle nods.

                          GABRIEL (CONT'D)
                I'll be right back.

      Gabriel gives Mary a quick peck and starts running down the
      road.

      We MOVE IN on Noelle, who smiles a little.

                                                 CUT TO:


303                                                                   303
      EXT. GRAVEL ROAD - DAY

      Gravel CRUNCHES under Gabriel's shoes as he runs.    He keeps
      an easy pace.

      In VARIOUS SHOTS, we get a sense of the distance he's
      travelling. He passes gulches, meadows and boulder fields.

                                                                 73.

      He finally arrives at the junction of the dirt road and a
      larger...


304                                                                     304
      EXT. PAVED ROAD - DAY [CONTINUOUS]

      Pulling out Mary's cell phone, Gabriel tries to get a signal.
      By his reaction, it's still iffy.

      He dials, but the call drops.    Tries again.   Just the same.

      He looks left.   Looks right.    Looks back down the dirt road.

      He decides to head off to the right, downhill.


305                                                                     305
      EXT. FURTHER DOWN THE ROAD - DAY

      We catch up to Gabriel as he's walking in the middle of the
      road, still trying unsuccessfully to get a signal.

      In the distance, he spots a patch of moving color: a female
      hiker. A moment's hesitation, then he YELLS out to her:

                             GABRIEL
                Excuse me!     Hi! Hello?

      She stops, turns.

      Gabriel jogs to close the distance. As we approach, we
      reveal SIERRA, 38. In the past 10 years, she's "made a fresh
      start" 12 times. In this incarnation, she's a wilderness-
      loving, Bush-hating, wildly-overeducated clerk at Trader
      Joe's in Venice.

                             GABRIEL (CONT'D)
                Excuse me.     Do you have a cell
                phone?

                          SIERRA
                No, I don't. There's no service up
                here.

                          GABRIEL
                    (re: his phone)
                Yeah, I'm finding that out.

                          SIERRA
                You can usually get a signal up at
                the ranger station.

                             GABRIEL
                Okay...

      She points in the opposite direction -- back the way he came.

                                                                74.

                     SIERRA
           You follow the road. It's
           probably... I don't know. You have
           a car?

                        GABRIEL
           It's dead.     That's why I need...

                        SIERRA
           Oh...

She pulls a stray hair back from her mouth.       Notices him
noticing her.

                        GABRIEL
           Yeah.

A beat.   She takes a subtle step closer to the center of the
road.

                     GABRIEL (CONT'D)
           Are you headed back to your car
           now? If you could give me a ride
           to a gas station, wherever...

She doesn't leap to extend an invitation.        It takes a beat
for Gabriel to figure out why.

                     GABRIEL (CONT'D)
           Oh. Hey. Look, I'm not some crazy
           Ted Bundy guy. I'm not going to
           rape you or kill you or anything.

She doesn't seem reassured.

                     GABRIEL (CONT'D)
           Of course, that's what Ted Bundy
           would say. Look, I'm a videogame
           designer.
               (fishing through wallet)
           My wife is an editor. My daughter
           is four.

He offers her a family photo.     She looks at it, but doesn't
take it.

                     GABRIEL (CONT'D)
           They're waiting back at the car,
           and I want to get some help before
           it gets dark.

                     SIERRA
           I can call somebody when I get to
           town.

Trying to temper his frustration...

                                                                75.

                          GABRIEL
                I believe you. I do. But you
                don't know where the car is. And
                the guy might not come. We can't
                be up here all night.

      Sierra backs away.

                             SIERRA
                I'm sorry.

                          GABRIEL
                Don't be sorry. Just help me out
                here.

                           SIERRA
                No.   I can't. I'm sorry.

      Once she feels she's reached a good distance, she turns and
      keeps walking.

                          GABRIEL
                Why won't you trust me?

      She doesn't turn back, heading down the road.

                                               TRANSITION TO:


306                                                                   306
      EXT. ROAD / INT. PRIUS - DAY

      Mary is sitting in the back seat of the Prius with Noelle,
      who's getting tired of her coloring book.

      Noelle signs something to Mary, who considers the request.

                          MARY
                Okay, but you have to be careful,
                understand? You have to use Big
                Girl hands.

      Noelle nods. Mary hands her the small video camera. Noelle
      has some trouble folding out the little screen, but
      eventually gets it open without any help from her mom.

                          MARY (CONT'D)
                Do you want to see where we were
                today?

      Noelle nods.

      Mary takes the camera back for a second, flipping it to
      playback mode and rewinding. The blocky video footage zips
      past.

                                                               76.

                          MARY (CONT'D)
                Okay, now hit play. This button.

      Noelle does. On the tiny screen, we see Noelle and her
      father eating lunch by a waterfall. (Mary is filming.)

                          MARY (CONT'D)
                There's you. And there's Daddy.
                You're a little movie star, huh?

      Noelle smiles.   Signs something.

                          MARY (CONT'D)
                He'll be back soon. Don't you
                worry.

                                                CUT TO:


307                                                                  307
      EXT. PAVED ROAD - DAY

      Gabriel continues walking, headed back in the direction he
      came. From behind him...

                           SIERRA (O.S.)
                Hey!

      He turns, finding her a ways back.   She approaches.

                          GABRIEL
                Were you following me?

                          SIERRA
                Once I was sure you weren't
                following me. I'm sorry, it's
                just...

                          GABRIEL
                You thought I was Ted Bundy.

                           SIERRA
                Kinda.

                          GABRIEL
                My name's Gabriel.   Bundy.

      She smiles.

                           SIERRA
                Sierra.

      They shake.

                          SIERRA (CONT'D)
                Weird that there's no cars.    At
                all.

                                                                   77.

                            GABRIEL
                 Yeah.

                           SIERRA
                 So, listen. I'm parked that way.

      She points off the road, through the forest.

                           SIERRA (CONT'D)
                 It's not that far. If you want,
                 I'll give you a ride to town.

                            GABRIEL
                 Really?

                            SIERRA
                 Yeah.   Make up some karma.

                           GABRIEL
                 Lead the way.

      She does. They cross off the pavement, descending into a
      dark forest.

                                                  TRANSITION TO:


308                                                                      308
      EXT.   FOREST - DAY

      Gabriel walks with Sierra. The trees here are taller,
      creating a cathedral-like ceiling above them.

                           SIERRA
                 Okay, confession.    I kind of
                 recognized you.

                            GABRIEL
                 Really?

                           SIERRA
                 I wasn't sure, but I think I saw a
                 picture of you in some videogame
                 magazine my boyfriend had. You're,
                 like, the shit.

                            GABRIEL
                 No.

                           SIERRA
                 You're like the Quentin Tarantino
                 of that world. A videogame God.

                           GABRIEL
                 Not really.

                                       78.

           SIERRA
Fine.

           GABRIEL
You seriously recognized me off of
one photo?

          SIERRA
I thought you were kinda hot.
Considering.

          GABRIEL
Considering..?

          SIERRA
Within the subset of videogame
people.

           GABRIEL
Okay.

          SIERRA
I wasn't masturbating to your
picture or anything.

          GABRIEL
Well, I guess I'm flattered.

          SIERRA
You should be. I'm stingy with
compliments.

          GABRIEL
So your boyfriend plays videogames?

          SIERRA
Ex-boyfriend. And yes. Way too
many. He used to play Evercrack
back in the day, but yours, well,
that was like...what's worse than
crack?

          GABRIEL
Super-crack?

           SIERRA
Sure.   He was this orc witch doctor
guy.

           GABRIEL
Shaman?

          SIERRA
Yeah. At one point he was spending
like, 40 hours a week gathering
"thunderleaf" or whatever.
          (MORE)

                                                                79.
                          SIERRA (CONT'D)
                Then I was his mule, hauling it
                around because he ran out of space.

                          GABRIEL
                You had an account?

                          SIERRA
                I was part of your world, and you
                didn't even know it.

                            GABRIEL
                Sorry.

                          SIERRA
                You can make it up to me.


309                                                                   309
      EXT. ROAD NEAR PRIUS - DAY

      Mary is pacing -- but trying not to look like she's pacing.
      She holds the other cell phone (Gabriel's), which she turns
      on and off, hoping that somehow she'll get a signal.

      Each time she turns it on, we hear the CHIMES.

      IN THE PRIUS

      Noelle is still playing with the video camera, watching
      footage of the hike. She decides to wind back further.

      CLOSE ON the blocky pixels rushing past.

      Noelle hits "play."   For now, we just hear the audio.

                          MAN'S VOICE
                ...I have five seasons mapped out,
                and though it sucks, either you go
                away, or the show goes. I had to
                make a decision, and that's the
                decision I made. I'm sorry.

      We reveal the screen. We're watching the argument between
      Gavin and Melissa from Part 2.

                          MELISSA (ON TAPE)
                So it's done. Finished. Decided.

                            GAVIN (ON TAPE)
                Yeah.

      Confused, Noelle looks out at her mother, Mary, who is still
      pacing with the cell phone.

                          MELISSA (ON TAPE)
                I understand.

                                                                 80.

                             GAVIN (ON TAPE)
                 You do?

                           MELISSA (ON TAPE)
                 I understand. It's not your fault.
                 You're morally incapable of doing
                 the right thing.

      Noelle REWINDS further.    Blocky pixels RUSH PAST as we...

                                                 CUT TO:


310                                                                    310
      EXT.   FOREST - DAY

      Sierra continues to lead the way. She seems confident where
      she's headed, even though there's no real path.

      During the conversation, we notice a small tattoo on her
      right shoulder blade: IX.

                           SIERRA
                 So you play a lot of characters at
                 once?

                             GABRIEL
                 A couple.    Most people do.

                           SIERRA
                 You're not most people. You
                 created the world. You know all
                 the secret codes.

                           GABRIEL
                 What, like `God mode'?

                           SIERRA
                 That's what you call it?

                           GABRIEL
                 That's when you have all the
                 powers, and you can't be killed.
                 It's fine when you're designing,
                 but it's really boring to play. A
                 game isn't fun unless there are
                 rules.

                           SIERRA
                 And you make the rules.

                           GABRIEL
                 Yes I do. I mean, you want to give
                 everyone freedom, but they can't
                 handle it. Half your players are
                 teenage boys, and it's like they're
                 programmed to be destructive.
                           (MORE)

                                                               81.
                              GABRIEL (CONT'D)
                    They deliberately crash the world
                    servers. They'd ruin everything
                    just to prove they could.


A311                                                                A311
       INT.   FOREST VALE - DAY

       Sarah offers Gary her water bottle, which he gladly takes.

       Out of nowhere...

                              SIERRA
                    Do you think I'm pretty?

       She stops, turning to face him.

                              GABRIEL
                    What?

                              SIERRA
                    Do you think I'm hot?   On a purely
                    physical level.

                              GABRIEL
                    Sure.

       He drinks.

                              SIERRA
                    That's a rave.

                              GABRIEL
                    Well, I don't know why you're
                    asking.

                              SIERRA
                    My ex-boyfriend, the orc, he says,
                    "What I like about you is that
                    you're not so hot that I'm afraid
                    of losing you."

                              GABRIEL
                    So where's the orc now?

                              SIERRA
                    He's dead. I spiked his water
                    bottle with a massive quantity of
                    GHB. He hallucinated, went into
                    convulsions and died.

       He screws the cap back on the water bottle and hands it back.

                              GABRIEL
                    Remind me not to piss you off,
                    Sarah.

                                                                   82.

                            SIERRA
                Sierra.

      He's surprised.    He could have sworn her name was Sarah.

                            GABRIEL
                Sorry.

                          SIERRA
                And what makes you think you
                haven't pissed me off already?

      She smiles, keeps walking.


311                                                                      311
      EXT. ROAD / INT. PRIUS - DAY

      Mary sits down in the front passenger seat of the car.
      Noelle is still in back, watching footage on the video
      camera.

                          MARY
                How are you doing, kiddo?

      Noelle doesn't look up.

                          MARY (CONT'D)
                I was thinking we could all go to
                El Cholo for dinner. How would you
                feel about some blue corn
                enchiladas? Should we ask Daddy
                when he gets back?

      Without looking up...

                          NOELLE
                He's not coming back.

      Mary is stunned. For her part, Noelle seems to have no idea
      she just spoke her first words.

      We hear three evenly-spaced BEEPS.    After the third one, Mary
      says:

                          MARY
                How could you...

      Mary flinches.    It's like someone walked over her grave.

      Noelle hands her the camera. The footage is cued to earlier
      in Part 2, where Gavin is having Melissa loop in a wild line:

                           MELISSA (ON TAPE)
                Howkajew. How could you. How
                could you.
                           (MORE)

                                                                  83.
                            MELISSA (ON TAPE) (CONT'D)
                     (beat)
                 I feel so dirty.

                           GAVIN (ON TAPE)
                 That's how I like ya.

      Mary backs out of the car, as if trying to get away from the
      video camera. But she's still holding it.

      She hits STOP.   Tries to collect herself.

      Noelle gets out of the car, but doesn't approach.      She signs,
      "Mommy?"

      Mary backs away.

                                                   CUT TO:


312                                                                     312
      EXT.   FOREST VALE - DAY

      Gabriel and Sierra stop for a moment, so he can pull off his
      outer shirt. For the first time, we see that Gabriel has a
      large tattoo on his back which looks like this:

                                     IX
      He's sweating a lot.

                           GABRIEL
                 Am I crazy, or is it getting
                 hotter?

                           SIERRA
                 Oh, you're crazy.

      She hands him back the water bottle.   He gladly drinks.

      When she takes the bottle back, she steps forward. The
      motion leaves them face-to-face. She pauses for a moment,
      just long enough for him to turn away.

      He doesn't.

      She kisses him. He doesn't really kiss back -- but he
      doesn't fight it, either.

      She puts a hand on his thigh, sliding up the inside.     Only
      when she reaches his crotch does he pull back.

                           GABRIEL
                 I have a wife. And a daughter.
                 They're waiting for me.

                           SIERRA
                 Where are they?

                                                                 84.

                           GABRIEL
                 Back at the car.

                           SIERRA
                 I mean, which direction?

                           GABRIEL
                 They're back...

      Gabriel turns, trying to get his bearing.      The trees BLUR.
      He nearly falls over.

      He manages to steady himself.

                           SIERRA
                 Face it, G.: You don't know where
                 they are. You don't know where you
                 are. We've been walking in circles
                 for an hour.

                           GABRIEL
                 Where's your car?

                           SIERRA
                 There is no car. That was all a...
                     (what's the word)
                 "pretense," I guess. An excuse to
                 get you alone.

      Wobbling, Gabriel sits down on a stump.   Sierra kneels down
      in front of him.

                           SIERRA (CONT'D)
                 Dizzy, huh? It's probably just the
                 GHB. In the water.

      She holds up the water bottle.

                                                  FLASH TO:


      QUICK FLASHBACKS FROM PARTS ONE AND TWO


313                                                                    313
      EXT.   FOREST - DAY

      Gabriel experienced the flashbacks.   He felt time move.

                           GABRIEL
                 What's happening?

                           SIERRA
                 I'm sorry it had to come this, G.
                 But it'll all be over soon.

                                                             85.

                           GABRIEL
                 You're trying to kill me.

                           SIERRA
                 No! No. This isn't a murder.
                 It's an intervention.

                                                 CUT TO:


      FLASHBACK SEQUENCE.

      Images to accompany previous dialogue...

                           SUSAN
                 I had to get you away from her. She
                 was holding you back. You had to
                 give her up.

                            GAVIN
                 Melissa?

                           SARAH
                 I can you out of here.    But you
                 have to trust me.

                           SUSAN
                 Do you feel like a man?   You're
                 not.


315                                                                315
      EXT.   FOREST - DAY

      Gabriel dry-heaves.   Sierra rubs his shoulders.

                           SIERRA
                 That's right. Just let it go.       Let
                 it go.

      She's genuinely empathetic -- she doesn't enjoy his
      suffering.

                           GABRIEL
                 Why are you doing this?

                           SIERRA
                 You did it to yourself.   Admitting
                 that is the first step.

      She comes around to face him. And now we see they're not
      alone. Two other familiar faces approach:

      THE PAROLE OFFICER/AGITATED MAN, and

      OCTAVIA.

                                                               86.

       They're Nines as well.

                           SIERRA (CONT'D)
                 You're a crack-head, G. The thing
                 is, this planet, these people,
                 they're your drug of choice.

                                                CUT TO:


99                                                                     99
       INT./EXT. VARIOUS LOCATIONS - DAY

       [The next sequence bridges multiple earlier scenes from Parts
       One and Two. Gary/Gavin/Gabriel has one conversation with
       Sarah/Susan/Sierra, but it's broken up among previous scenes
       and locations, sometimes for just a line.]

                           S.
                 It's not that hard to make a
                 universe. At first, you just
                 checked in every once in a while.
                 See how the Neanderthals were
                 doing. Move some continents
                 around. But then you got more into
                 it. Starting playing a couple of
                 characters of your own. Kings.
                 Slaves. Messiahs. Pretty soon,
                 you were playing 24/7.

                           G.
                 How long have I..?

                           S.
                 You've been gone for four thousand
                 years. Not that time means the
                 same for us, but...

                           G.
                 You came looking for me.

                           S.
                 That's what a girl does.

                            G.
                 Why now?


x107                                                              x107
       EXT. STREET - DAY [PART ONE]

       Streetwalker Octavia leans in Gary's car window.

                           OCTAVIA
                 Because you forgot who you were.

                                                                 87.

x228                                                               x228
       INT. TESTING ROOM - DAY [PART TWO]

       The Agitated Man leans up to the one-way glass.

                           AGITATED MAN
                 You forgot this wasn't real.


99                                                                     99
       INT./EXT. VARIOUS LOCATIONS - DAY

                           S.
                 We couldn't just storm in on a
                 fiery chariot. It's your universe.
                 We had to play by your rules. We
                 had to make you see how limited and
                 corrupt your little world was.
                 Don't get me wrong, this world is
                 nice. It's cozy. But do you
                 remember where you came from?

       A few beats while it comes back to him. Tears start to build
       in his eyes. What he's picturing is unspeakably beautiful.

                           G.
                 It was warm. And white.    Like...


x160                                                               x160
       INT. LIVING ROOM - DAY [PART ONE]

       The Agitated Man/Parole Officer attaches Gary's anklet.

                           AGITATED MAN
                 You can't describe it with human
                 words.


x108                                                               x108
       INT. MOTEL ROOM - DAY [PART ONE]

       Octavia leans over Gary, who has fallen off the bed.

                           OCTAVIA
                 You can't think it with human
                 thoughts.


99                                                                     99
       INT./EXT. VARIOUS LOCATIONS - DAY

                           S.
                 That's why you have to come back.
                 Come back with us. With me.


x256                                                               x256
       OMIT

                                                                   88.

316                                                                      316
       EXT.   GRAVEL ROAD / NEAR THE PRIUS - DAY

       Mary is sitting on the road. Noelle has her chin on her
       mother's shoulder, watching the videotape with her.

       ON SCREEN, with tinny audio: (from scene 177)

                             MARGARET
                  You could destroy the world with a
                  single thought.
                      (suddenly)
                  Don't, incidentally. Just file
                  that away. But the truth is, you
                  hold all the cards: every church,
                  every candle, every sacrifice --
                  that's for you. When people pray,
                  they're not praying because they
                  want this thing or that thing.
                  They just don't want to be
                  forgotten.

                                                   BACK TO:


A317                                                                 A317
       EXT.   ROAD / PRIUS - DAY

       Mary is still watching the tape. She realizes Noelle isn't
       watching over her shoulder anymore.

       Mary looks around.    Her daughter is nowhere to be seen.

                              MARY
                  Noelle?    Noelle!

                                                   CUT TO:


317                                                                      317
       EXT.   FOREST CROSSROADS - DAY

       Gabriel and Sierra are back at the junction where the paved
       road meets the gravel road.

                            GABRIEL
                  Maybe if I just cut back, didn't
                  get so involved...

                            SIERRA
                  We both know that'll never work.
                  Next week, you'll be back here
                  redesigning the pinecones. You
                  have to quit cold-turkey.

                              GABRIEL
                  I can't.

                                                                  89.

                           SIERRA
                  You can. But I can't force you to
                  leave. You have to want it.

       She takes his hand, running a finger through the green string
       bracelet around his wrist.

       She kisses him.   And then she's gone.

       Gabriel stands there for a long beat, considering his
       decision.


x103                                                                x103
       OMIT


318                                                                     318
       EXT.   GRAVEL ROAD / NEAR THE PRIUS - DAY

       Panicking, Mary calls out for --

                             MARY
                  Noelle!   Noelle!

       She's nowhere to be found.     Then, from behind her...

                            GABRIEL
                  She's here.

       Gabriel is walking up the gravel road, with Noelle holding
       his hand.

                            GABRIEL (CONT'D)
                  I didn't forget you guys.

       Mary regards him as a familiar stranger, a beloved imposter.

                            MARY
                  Everything okay?

                            GABRIEL
                  Absolutely. Let's go home.

       MUSIC BEGINS, a song that will carry us through the next
       sequence.


319                                                                     319
       INT.   PRIUS - DAY

       Gabriel climbs into the driver's seat. Both Mary and Noelle
       watch with interest as he pushes the "START" button. The car
       BEEPS and engages without any problem.

       Everyone fastens their seatbelts.

                                                               90.

320                                                                   320
      EXT.   FOREST ROAD - DAY

      The Prius drives down the gravel road. Mary tries to keep
      her eyes on the scenery, but they keep drifting over to
      Gabriel, trying to read what he's thinking.


321                                                                   321
      EXT.   CROSSROADS - DAY

      The Prius turns on to the paved road.   Headlights switch on.


322                                                                   322
      OMIT


323                                                                   323
      OMIT


324                                                                   324
      OMIT


325                                                                   325
      EXT.   HOUSE - NIGHT

      The metal gate at the top of the driveway swings open,
      SQUEALING on its rusty hinges.


326                                                                   326
      EXT.   DRIVEWAY - NIGHT

      Gabriel lifts the sleeping Noelle out of the car. Carries
      her into the house. Mary shuts the door behind them.


327                                                                   327
      INT.   NOELLE'S ROOM - NIGHT

      Taking off her shoes, Gabriel tucks Noelle into bed.   Turns
      on a nightlight for her.


328                                                                   328
      INT.   MASTER BATHROOM - NIGHT

      Gabriel brushes his teeth with an electric toothbrush while
      Mary reads a magazine on the toilet.


329                                                                   329
      INT.   BEDROOM - NIGHT

      Gabriel switches off the light. He spoons Mary, who kisses
      his hand. On both Mary and Gabriel's faces, we see anxiety.
      Things left unsaid.


330                                                                   330
      INT.   BEDROOM - NIGHT [LATER]

      Gabriel lies awake, staring at the ceiling.

                                                                91.

331                                                                   331
      INT.   STAIRWELL - NIGHT

      Gabriel's bare feet walk down the carpeted stairs.


332                                                                   332
      INT.   DINING ROOM - NIGHT

      Gabriel stares at the three paintings on the wall.


333                                                                   333
      INT.   KITCHEN / EXT.   BACK YARD - DAWN

      Gabriel stands in the doorway, looking out at the inky-blue
      sky. His eyes are red, tired. He hasn't slept at all.

      It's very quiet, except for the occasional precocious BIRD
      CALL.

      Mary enters from the living room, still in her pajamas.   He
      knows she's there. Neither wants to speak.

                           MARY
                 You need to go, don't you?

                            GABRIEL
                 No.   I can stay.

                           MARY
                 How long? Forever? Every day,
                 you'd know what you were missing.

      He smiles, a little.

                           MARY (CONT'D)
                 What happens? If you go.

                           GABRIEL
                 Worst-case scenario? Spontaneous
                 disintegration into a fiery void.
                 Oblivio accebit. The end of
                 everything.

                           MARY
                 That's all?

      Both smile.

                           GABRIEL
                 That probably wouldn't happen. The
                 basic structure of the universe
                 should hold. I guess I'm just
                 worried about the human factor.
                 You guys kill each other a lot.

                                                 92.

                    MARY
          In fairness, that's usually in your
          name. Plus we've gotten much more
          efficient at it.

A beat.

                    GABRIEL
          I like this world. I like my life,
          here, with you and Noelle...

                    MARY
          But it's not real. I'm not really
          your wife, you're not really my
          husband. On some level, it's all
          pretend.

                    GABRIEL
          It's not pretend. There's a reason
          you were there, in every version.
          You were my sister, my wife, my
          best friend...

                    MARY
          That's a little creepy.

                    GABRIEL
          I wanted you close. In one
          version, I even told you. I warned
          you that some day they might come
          for me, and...

                    MARY
          ...You'd have to leave.   How many
          versions were there?

                     GABRIEL
          Ninety.   This is the last one.

                     MARY
          Wow.

                    GABRIEL
          I've destroyed billions of people
          with a thought. Obliterated them.
          And you'd like to think it's
          painless...

                    MARY
          Stop. You don't have to explain, or
          apologize. Everything that is, is
          because of you. If that's all,
          that's enough.

With that, there's really nothing more to say.

                                                           93.

                      MARY (CONT'D)
          So.

                      GABRIEL
          So.

                    MARY
          Guess you don't really need to pack
          anything.

                      GABRIEL
          I'm good.

                    MARY
          You're great. It's been a
          pleasure.

                      GABRIEL
          Likewise.    I love you.

                    MARY
          Love you, too. Ya big lug.

He kisses her. It's not a big, passionate, movie-ending
kiss, but rather a fond kiss farewell. At the end of it, he
WHISPERS into her ear:

                    GABRIEL
          You're my favorite.

She smiles.

With two fingers, Gabriel BREAKS the green string bracelet
around his left wrist.

And in that moment, a film passes over him, like the boundary
between water and air.

He's stepped out of this dimension.

Mary is frozen with the same smile on her face, but we notice
that she and the kitchen around her have flattened out to two-
dimensional images.

She and everything around her has become like wallpaper,
slowly curling away, revealing emptiness beneath.

Gabriel collapses into a single, spiky sphere of light.

The light moves through the kitchen, creating waves that
ripple through the tissue-thin walls.

Picking up speed, the sphere rushes through the window,
heading west.

                                                                  94.

334                                                                     334
      EXT.   LOS ANGELES - DAY

      As the light flies out over Hancock Park, the mansions and
      skyscrapers seem unreal, like models.

      Reaching Santa Monica, we pass over the ferris wheel at the
      end of the pier.

      We dive into the blue ocean beneath us, which becomes only a
      swirling gray fog with a viscous thickness.

      We see three lights in the distance.    We join them, moving
      with them.

      Further ahead, more lights, circling. It's a loose spiral
      made of stars, resembling nothing so much as the number 9.

      As we get closer and closer, we...

                                                  MATCH CUT TO:


      A PALE EYE,

      opening.    We are...


335                                                                     335
      INT.     KITCHEN - MORNING

      Hands reach up, expecting to find glasses, but there are
      none.

      As we PULL OUT, we reveal it's not Mary, Melissa or Margaret,
      but a fourth person -- just slightly different from any of
      them. We'll call her M.

      She looks first to the spot where Gabriel was standing.

      Empty.

                             MAN'S VOICE (O.S.)
                   Honey, do we have nutmeg?

      M looks over at husband Ben, who is busy making pancakes,
      reading from a recipe.

                                M 
                   We should.

      Coming around from behind Ben, Noelle checks through the
      spice drawer. M watches her with cautious fascination.

                             BEN
                   Cinnamon, too.

                                                         95.

M catches her reflection in the toaster.   Notices she looks
different than she expected.

                    NOELLE
              (to Ben)
          If I had a horse...

Noelle turns back with the spices, handing them to Ben one at
a time.

                    NOELLE (CONT'D)
          I would name her Cinnamon.

                       BEN
          Really.

                    NOELLE
          And if I had another horse...

                       BEN
          Nutmeg?

                       NOELLE
          No, Flash.

                       M 
          Sweetie?

She beckons Noelle over. Tucks back the little girl's hair.
Keeping her voice low enough so Ben can't hear:

                    M  (CONT'D)
          This is going to sound really
          strange, but...what's my name?

Noelle only gives her a half-crazy look.

                    NOELLE
          Mmmmmmmmmm-Mommy.

Noelle smiles.   M smiles too, a little embarrassed.

                      M 
          Right.    Exactly.

Noelle looks her right in the eye.

                    NOELLE
          He's not coming back. But it's
          gonna be okay. He put the pieces
          together, it's like...

                    M 
          The best of all possible worlds.

Noelle taps her nose.

                                                          96.

                       BEN
            Honey? Is it supposed to stick
            like this?

Sharing a look...

                      M 
            We should help him.

Noelle agrees.   They head over to assist.

We MOVE ACROSS the family as they work on the pancakes,
Noelle directing how big the ears on hers should be.

We leave them in the middle of a messy kitchen, gooey
pancakes, and a good life.


FADE OUT.




                             THE END

                                                                97.


     ADDITIONAL MATERIAL

     The following scene (Scene 99) is the conversation between S
     and G that plays near the end of Part Three. The plan is to
     shoot this scene in almost every setup of the film that
     involves both characters -- be it in Part One, Two or Three.

     So we'll be shooting this scene a lot. We'll then be
     intercutting the best of all these moments to create one
     sequence.


99                                                                    99
     INT./EXT. VARIOUS LOCATIONS

                         S.
               It's not that hard to make a
               universe. At first, you just
               checked in every once in a while.
               See how the Neanderthals were
               doing. Move some continents
               around. But then you got more into
               it. Starting playing a couple of
               characters of your own. Kings.
               Slaves. Messiahs. Pretty soon,
               you were playing 24/7.

                         G.
               How long have I..?

                         S.
               You've been gone for four thousand
               years. Not that time means the
               same for us, but...

                         G.
               You came looking for me.

                         S.
               That's what a girl does.

                           G.
               Why now?

                         S.
               We couldn't just storm in on a
               fiery chariot. It's your universe.
               We had to play by your rules. We
               had to make you see how limited and
               corrupt your little world was.
               Don't get me wrong, this world is
               nice. It's cozy. But do you
               remember where you came from?

     A few beats while it comes back to him. Tears start to build
     in his eyes. What he's picturing is unspeakably beautiful.

                                    98.

          G.
It was warm. And white.   Like...

           S.
You can't describe it with human
words. You can't think it with
human thoughts.
    (beat)
That's why you have to come back.
Come back with us. With me.