Practice To Perceive
written by Ira Nayman
Scott (RW) literally bounces up and out of bed, apparently happy and eager to greet the day. He walks towards the bathroom. INT. SCOTT'S KITCHEN (RW) -- DAY A couple of eggs are dropped into a greasy pan over a weak flame on an old, unremarkable stove. Scott (RW) stands over the stove in a shabby housecoat, watching his food cook. He is cheerfully whistling "Whistle While You Work" to himself. The kitchen has a few plain cupboards, a stainless steel sink, a fridge and a couple of small appliances in a corner. Again, we have a dark and unappealing room. EXT. SCOTT'S APARTMENT (RW) -- DAY It is a run-down building on a run-down street in a run-down part of the city. Scott (RW), in a plain grey suit and shabby coat, walks out of the building to the street, which is littered with garbage. He seems cheerful about the day's prospects -- why is this man smiling? A couple of old, plain cars drive by. Then, a rusty old taxi appears. Scott hails the taxi and, when it stops in front of him, he gets in. INT. SCOTT'S OFFICE (RW) -- DAY The space is big, but the desk Scott (RW) sits behind is plain wood, with the varnish worn away in spots. The walls are grey and bare. It is a corner office, so there are windows on two walls. We are on the 20th floor; tall office towers can be seen out the windows. Many of the windows in these buildings are dark; one floor on one of the distant buildings is entirely boarded up. It is a grey day; a thick layer of smog hangs in the air. Scott (RW) has his feet up on his desk. On the other side of the desk stands LANCE CREVOTTE (RW) (34, average height and build, with the same grey pallour and bags under his eyes, and black glasses with thick lenses and heavy frames), who is reading from something in front of him which we cannot, at the moment, see .WAKER Mister Lamont? This is your seven o'clock wakeup call, Mister Lamont.
(off)
Scott (RW) weighs his response to this.LANCE (RW) ...and, don't forget the 30th anniversary gala on Saturday --SCOTT (RW) How could I possibly forget? Every minor starlet and publicity flack in Hollywood has been begging me for tickets!
(moans)LANCE (RW) With all due respect, sir, I think that's the wrong attitude to take. It's remarkable that the show has been on the air so long. It's an artistic achievement that you should take great pride in.
Scott (RW) turns his head abruptly and looks over his shoulder, as if trying to catch something out of the corner of his eye.SCOTT (RW) Lance, when you're --
INT. SCOTT'S OFFICE (VW) -- DAY The dimension of the office are the same, and the furniture and people are in precisely the same place. Otherwise, everything has changed. The office is now bright, with modern art tastefully decorating the walls. The desk is made of sturdy oak with a gleaming veneer. Outside, the sun is shining brightly and all the other office towers gleam. SCOTT LAMONT (VW) (tall, tan, great bone structure, looks to be in his 20s), wearing a designer suit, sits exactly where Scott (RW) sat. LANCE CREVOTTE (VW) (tall, tan, great bone structure, looks to be in his 20s), wearing a smart designer suit and fashionable glasses, stands exactly where Lance Crevotte (RW) stood, a clipboard floating in space in front of him. Scott (VW) turns his head back to Lance (VW).LANCE (RW) Scott? Is something wrong?
SOUND: intercom buzzer (even though there are no intercoms or phones in the room).SCOTT (VW) I, uhh...no. Nothing's wrong. I thought I saw something...LANCE (VW) About the anniversary...?SCOTT (VW) There's more honest emotion at an undertakers' convention. Of course, I wouldn't miss it for the world!LANCE (VW) (smiles) Of course. Uhh, I probably don't have to mention this, but today is the day Chuck finally --
Scott (VW) holds up a hand to stop Lance (VW).RECEPTIONIST (VW) Mister Lamont, call for you on line one.
(off, over Lance (VW))
Lance (VW) makes a sour face. Scott (VW) stifles a laugh.SCOTT (VW) Sorry to interrupt, Lance, but I have an incoming call.LANCE (VW) Of course.SCOTT (VW) Who is it, Anabeth?
(voice over)RECEPTIONIST (VW) Letitia Tendentious, Mister Lamont.
(off)SCOTT (VW) The Poison Pen.
(to Lance (VW)
Scott (VW) drops his smile.SCOTT (VW) (CONTINUING) Put her through, Anabeth.LETITIA (VW) Scott, Bubbelach! How are you?
(off)SCOTT (VW) Letitia, sweetie, so good to hear your voice once again!
(voice over, equally bubbly)LETITIA (VW) How's Carmen?
(off)SCOTT (VW) Carmen Allegra? Our star? She's...fine?
(voice over)LETITIA (VW) I hear she's coming down with the 48 Hour Contract Negotiations Flu.
(off)SCOTT (VW) I'm not a doctor, Letitia. Don't even play one on video. I couldn't possibly comment on your diagnosis.
(voice over)LETITIA (VW) Maybe you should get your eyes checked, dearie. You seem to have trouble seeing what's right in front of you.
(off)SCOTT (VW) Now, why would I go to all that expense when I have dear friends like you to advise me on my health?
(voice over)LETITIA (VW) I feel a whole new career opening up in front of me. I'll be in touch, honeybunny.
(off, laughs)
INT. RECEPTION -- DAY RECEPTIONIST (VW) (as young and perfect as anybody else in this world) sits in front of a huge Practice to Perceive logo on a wooden wall. The reception desk in front of her is large and ornate. And empty. The Receptionist wears a harness which holds a mirror six or so inches in front of her face.SCOTT (VW) I'm sure you will, bitch.
(to himself)
(to Lance (VW)) I want to see Carmen Allegra and her agent in my office immediately after the show goes off the air!
INT. SCOTT'S OFFICE (VW) -- DAY Scott (VW) is reading Electronic Variety (the paper is digital: the cover photo is a short film clip and the text is hyperlinked).RECEPTIONIST (VW) Practice Makes Perfect Productions. How may I help you?
(pause) I'm sorry, Mister BeoRaven, but she's busy writing. If you'd like to leave a messa -- Practice Makes Perfect Productions. How may I help you?
(pause) Mister Lamont is currently on a call -- you'll hold? Very well.
(pause) Practice Makes Perfect Productions. How may I help you?
Scott (VW) calmly turns the page.SCOTT (VW) Goddamit, Geronimo, why is that every time you disapprove of something on the show, you accuse us of undermining the moral fabric of society!
(voice over, heated)GERONIMO (VW) You think that's normal behaviour?
(off, indignant)SCOTT (VW) Who wants to watch normal behaviour? This is art!
(voice over)GERONIMO (VW) Art? Poor people eating each other?
(off)SCOTT (VW) Absolutely. The extremes of human behaviour --
(voice over)GERONIMO (VW) Cannibalism is certainly extreme -- extremely disgusting!
(off)
Lance (VW) enters, distressed. Scott (VW) puts the paper aside and holds up a hand to keep him from talking and mimes being on the phone with the other hand.SCOTT (VW) Well, I thought we were quite restrained.
(voice over)GERONIMO (VW) Restrained?
(off, disbelief)SCOTT (VW) It's not like we showed the actual dismemberment!
(voice over)
Pause. Scott (VW) turns his attention to Lance (VW), smiling.GERONIMO (VW) Oh, that's admirable. Look, Scott, the show's licence renewal comes up in a couple of weeks. If we get enough complaints --
(off)SCOTT (VW) Geronimo, half the politicians in the State will be attending the show's 30th anniversary gala celabration. Do you think they will appreciate it if the FVCC yanks our licence a couple of weeks later?
(voice over)
ANGLE ON: Scott (VW)'s POV of Lance (VW) and the room. At the bottom of the screen, FADE IN: tool bar, with buttons for Play, Pause, Stop, Fast Forward and Rewind. In the top right quarter of the screen, FADE IN: window with the Practice to Perceive logo, under which are written the words: "Studio Master. For authorized use only." At the top of this window are the familiar buttons with a line, two overlapping squares and an x. The button with the overlapping squares is depressed, and the the window fills the screen (with a slight black box around it). The overlapping squares change to a single square. The Play button is depressed. INT. DRUG DEN SET (P2P) -- NIGHT It is a bare room, covered in graffiti. A couple of figures slump in dim corners, drug paraphernalia strewn around them. From somebody's POV, we see MARIE (P2P), who is freaking out. In the top right corner of the screen, a window opens up which scrolls through the dialogue a second or two before it is spoken by the actors.SCOTT (VW) (CONTINUING) So rude of people to hang up without saying goodbye.
(to Lance (VW))LANCE (VW) We've got serious trouble, Scott.SCOTT (VW) What's up?LANCE (VW) It's Stallion. He -- well, I think you better see this for yourself. I've cued the playback to the relevant section of today's broadcast...SCOTT (VW) Thanks...
DIALOGUE reads: "CHUCK: You know I would never want to put your life in danger, Marie. I...I'll go..."MARIE (P2P) You gotta go, man! Man, you gotta go!
(whiny)CHUCK (P2P) I....I can't.
(off)MARIE (P2P) But, the cops, man! They're looking for you, man!CHUCK (P2P) I know. I'm sorry.
(off)MARIE (P2P) They can't find you here, man! I'm a three time loser -- they'll lock me away and throw the key in a deep, dark pit. Man, I'll never see the light of day again!
DIALOGUE reads: "MARIE: Bless you, Chuck. I'll never forget you."CHUCK (P2P) You know I would never want to put your life in danger, Marie. But, I can't go.
DIALOGUE reads: "Chuck dramatically walks out of the room."MARIE (P2P) Bless you, Chuck. I'll never -- what?
Pause button is depressed. FREEZE FRAME.CHUCK (P2P) I can't do it, Marie. I can't go.MARIE (P2P) But...but...
(blustery)CHUCK (P2P) I'm sure everything will work out for the best, Marie. It always does
Scott (VR) grunts. A menu appears in the middle of the screen. It has the heading, "Characters currently online," and a list of the 12 main actors and their characters on the show. Each name has a box next to it; currently, there is a check mark in the box next to Stallion's name. The check mark moves to the box next to Amber's name. ANGLE ON: Marie (P2P)'s POV. Chuck (P2P) is sitting back on a sofa, a strange twinkle in his eye. The last line in the dialogue box reads: "Play along with him until we can".SCOTT (VW) What the fuck is Terwillliger doing?
(off)LANCE (VW) I believe actors call it...improvisation.
(off)
The box with the X in the top right hand corner is depressed. INT. SCOTT'S OFFICE (VW) -- DAY Scott (VW) is fuming. Lance (VW) remains calm.SCOTT (VW) Smarmy bastard is laughing at us.
(off)LANCE (VW) Do you think he knows?
(off)SCOTT (VW) Of course he knows! It's been in all the tabloids for months!
(off)
Scott (VW) starts to cough.SCOTT (VW) When did this happen?LANCE (VW) Five minutes ago.SCOTT (VW) How are --
Scott (VW) hacks and gags like something is burning his throat.SCOTT (VW) (CONTINUING) How --
Scott (VW) holds up a hand. The hacking is already beginning to subside. In a couple of seconds, the coughing ends.LANCE (VW) Scott, are you...?
INT. DRUG DEN (P2P) -- NIGHT Chuck (P2P)'s POV. He has found a mirror (which has traces of white powder in lines) into which he can talk. In his dialogue box in a corner of the screen are the words: "career is finished! Do you understand? You won't be able to get a guest spot on the fucking Love Boat!"SCOTT (VW) Fine. I'm fine. What about the writers? How are they handling it?LANCE (VW) Oh, umm, Marie's confrontation with Franco and Arlene had to be moved to a new location, and the actors playing the cops who are supposed to kill Chuck are waiting in the alley.SCOTT (VW) We have to pay them whether or not they appear in today's episode. Shit! I want that fucker in my office the moment the show is over.LANCE (VW) You have a meeting with Carmen and her agent right after --SCOTT (VW) Keep them waiting! This is important!
DIALOGUE BOX: "Oh, very funny, asshole."CHUCK (P2P) Have you...have you ever noticed that nobody on a virtual reality show ever uses virtual reality to watch another show? Why is that, I wonder?
(mumbling)
A clock appears in the corner opposite the dialogue box. As the hand sweeps around the dial of the clock, 30 seconds are numerically counted down beneath it.CHUCK (P2P) (CONTINUING) I mean, what's real and what isn't?
Chuck (P2P) taps his head.CHUCK (P2P) (CONTINUING) That's the question, isn't it? The question. Reality. Fantasy. Fantasy. Reality. What's the difference? It's what's in here...
The clock ticks down to zero.CHUCK (P2P) (CONTINUING) That's what's real. We have to trust in what goes on behind our --
Chuck (P2P) looks around for a moment, uncertain. Then, he walks out the door of the room. INT. HALLWAY (P2P) -- NIGHT Lance (VW) is waiting for Chuck (P2P) on the other side of the door.DIRECTOR Clear!
(voice over, shouts)CHUCK (P2P) ...eyes. This is the only reality we know. In here. In our heads.
Chuck (P2P) breezes past him and walks down the hall. Lance (VW) follows him. As they walk, Chuck (P2P) morphs into STALLION (VW) (early 20s, great build, deep blue eyes).LANCE (VW) Stallion, Mister Lamont would like to talk to you.
Stallion (VW) rubs his thumb and forefinger together.STALLION (VW) I'm sure he does. But I've had a long day on the set. If anybody wants me, I'll be in my trailer.LANCE (VW) Laugh all you want, asshole, but you should be thankful I'm not a cop. We would be well within our rights to arrest your ass.
Stallion (VW) stops walking and considers for a moment. Then, he bursts out laughing. INT. SCOTT'S OFFICE (VW) -- NIGHT Scott is sitting in his chair, wearily rubbing his eyes. SOUND: a knock on the door. Stallion (VW) enters, followed by Lance (VW). Stallion (VW) stands in front of Scott (VW)'s desk. Lance (VW) closes the door and stands in front of it. Stallion (VW) affects an attitude of servitude.STALLION (VW) You know what this is?LANCE (VW) I have a black belt in karate. Don't force me to use it.
Stallion (VW) affects a bashful expression.STALLION (VW) Y'all wan'ed ta see me, Massuh Lamont, suh. Well, I'se heah.SCOTT (VW) You gwan be in a heap mo trouble iffen you don' drop da attitude, Stallion.
Stallion (VW) affects a feminine stance.STALLION (VW) Well, garsh, Mistuh Lamont, suh. T'weren't no disrespec' meant by it.SCOTT (VW) You signed, I say, y'all done signed a contract, boy. Don't that mean nothin' to ya?
Stallion (VW) opens his mouth and a loud laughtrack comes tumbling out. After a moment, Scott (VW) opens his mouth and an even louder foghorn cuts through the laughter. Stallion (VW) closes his mouth, and the laughter stops. Scott (VW) closes his mouth, and the foghorn stops.STALLION (VW) Ooh! I love it when you get all macho and shit. Whip me with that contract again!SCOTT (VW) Oh, you bitch! You know this has nothing to do with sexual orientation!
(matches his voice)
A chart opens up in their field of vision. Down the left side are the names of the 12 characters on the show. Across are seven fields filled with numbers. The numbers vary between 170 and 200 for all the characters except Chuck, whose numbers range from 60 to 80.STALLION (VW) Wow. You're good.SCOTT (VW) Cheap personality downloads don't impress me, Stallion. You're in violation of your contract. Consider yourself fired.STALLION (VW) That'll raise hell with continuity.SCOTT (VW) That's not your problem, is it?
(pause) STALLION (VW) Scott, I...I want to keep playing Chuck.SCOTT (VW) That became impossible the moment you went off book.STALLION (VW) You were going to kill me!SCOTT (VW) We were going to kill your character...STALLION (VW) I've been playing that character eight hours a day for the last 20 years. He is me.
Scott (VW) shakes his head. A graph replaces a chart in their field of vision. A line fluctuates at a high level for the first half of the graph, then slowly, bumpily, makes its way downwards in the second half of the graph.SCOTT (VW) The numbers speak for themselves, Stallion. Your character averages less than 72 million daily aggregate viewers.STALLION (VW) You aren't impressed? When was the last time you performed in front of 72 million people?
(weakly)SCOTT (VW) No, I'm not impressed. You get less viewers than the Lisa Terminator show.STALLION (VW) Lisa Terminator?LANCE (VW) Lisa Terminator is a 14 year-old girl who goes up to strangers on the street and asks them if they like her puppy.STALLION (VW) Is the puppy cute?SCOTT (VW) That's irrelevant.STALLION (VW) How am I supposed to compete with a cute fucking puppy?SCOTT (VW) Can we stick to the point, here, please?STALLION (VW) Okay, look. I've hit a dry spell. That's all. My numbers will get better.
Long pause. Stallion (VW) looks from Scott (VW) to Lance (VW) and back again, but he doesn't see a trace of pity.SCOTT (VW) No, Stallion. It's clear that your character is showing an irreversible decline in popularity. Will you please return to the show so we can kill him off?STALLION (VW) But...but...look. He may be a filthy, drug taking, schizophrenic murderer, but Chuck is my life.SCOTT (VW) Stallion, you owe it to the character to return to the script and let him go out with a bit of dignity.STALLION (VW) Being clubbed to death by corrupt police officers? You call that dignified?LANCE (VW) There's an informer among the writers, isn't there?SCOTT (VW) You know we can do a lot worse to your character if you don't cooperate.
Stallion (VW) nods absently. Lance (VW) steps aside and opens the door for him. He walks out of the room. Lance (VW) closes the door behind him and turns to Scott (VW).STALLION (VW) Okay. Tomorrow, I...I go back to the book.SCOTT (VW) I'm glad you've finally seen reason.STALLION (VW) To be, or not to be...I guess that question has been definitively asnwered.SCOTT (VW) Right.STALLION (VW) Tis a far, far better thing I do...SCOTT (VW) Okay.STALLION (VW) I regret that I have but one life to give --SCOTT (VW) Thank you, Stallion. You're doing the right thing.
(cuts him off)
Lance (VW) goes out and returns with CARMEN ALLEGRA (VW) (20ish, perfect features, huge mane of black hair), and ANDRASH POCHINKO (VW) (late 40s, but looks early 20s, gorgeous, in a slightly exotic way, with a feline way of moving), who stand across the desk from Scott (VW).LANCE (VW) Do you believe him?SCOTT (VW) Not a word.LANCE (VW) What are you going to do?SCOTT (VW) I'll have to talk to the...
(disgust)
Writers...LANCE (VW) Uhh, I hate to interrupt anybody insulting writers, but Carmen and --SCOTT (VW) Oh, hell! Go and get her!LANCE (VW) Yes, sir.
Everybody sits except Lance (VW), who silently maintains his position by the door.CARMEN (VW) You know my agent, Andrash Pochinko?
(icy)SCOTT (VW) I've met Andrash. Please. Have a seat.
Scott (VW) trails off as notices something shimmering along a wall to their side.SCOTT (VW) I understand you're not happy in your role as the biggest star in the Practice firmament, dear.CARMEN (VW) I'm not happy about being kept waiting half an hour. Dear.SCOTT (VW) I'm sorry, but it was unavoidable. I had to deal with a crisis -- a temperamental actor -- you know how they are.ANDRASH (VW) Mister Lamont, if you intend to insult my client --
(sighs)SCOTT (VW) Uhh, this doesn't seem to have begun well. Let's try again. The reason I asked for this...
The head and torso of a MAN IN BLACK (50ish, round-cheeked, bit of a pot, pasty complection) shimmer into view where you would expect the head and torso of a man of average height.SCOTT (VW) (CONTINUING) Umm...this meeting...CARMEN (VW) Scott?
Carmen (VW) and Andrash (VW) look in the same direction as Scott (VW).SCOTT (VW) What the hell --?
The Man in Black grins, then slowly brings a finger to his lips. Shh.SCOTT (VW) (CONTINUING) Who are you?
The Man in Black turns and heads towards the door. It opens, and the half figure starts to go through it. There is a momentary shimmer, after which the man is gone and the door is closed even though the man didn't close it.CARMEN (VW) Uhh, Scott, what are you looking at?
Andrash is starting to get uncomfortable with this good-natured speculation.SCOTT (VW) Did you see him?CARMEN (VW) Who?SCOTT (VW) The -- the man in bla -- he was standing right there...right...uhh...nobody. Nobody.CARMEN (VW) So help me, Scott, if this is some kind of bizarre negotiating tactic --SCOTT (VW) We're not negotiating anything...are we?ANDRASH (VW) Uhh, Carmen, maybe it would be best if you let me do the talking...SCOTT (VW) Look, the reason I've asked for this meeting is that I...I'm just concerned about the health of my star.ANDRASH (VW) Carmen takes all the usual health precautions, as stipulated in her contract.SCOTT (VW) So, we can expect her to grace our screens for years to come.ANDRASH (VW) Well...even healthy people get sick...SCOTT (VW) Who can predict the future?
Carmen furiously gets up and storms out of the room.ANDRASH (VW) Exactly.SCOTT (VW) I mean, the popularity of characters of mass entertainment is so...fragile...CARMEN (VW) What do you mean?SCOTT (VW) If you're out of the public eye for even a few days, well, fans are fickle and have short memories, don't they?CARMEN (VW) Are you for real? I've got higher ratings than any regular character in the history of this show!ANDRASH (VW) Carmen...
(gently)CARMEN (VW) If I'm gone from the show for five minutes, you'll have to hire a dozen new receptionists to handle the complaints!ANDRASH (VW) This is all very hypothetical, of course.
(hastily to Scott (VW))SCOTT (VW) Of course. Hypothetically speaking, what makes you think you'll be off the air if you get sick?CARMEN (VW) What?ANDRASH (VW) I beg your pardon?
(at the same time)SCOTT (VW) We have your voice patterns and physical appearance stored. Under the terms of the current contract, in case of illness we have the right to use another actor to inhabit your character for a period of no longer than 30 days.CARMEN (VW) So?SCOTT (VW) So, can you imagine what it would do to your character's popularity if she suddenly turned into a moralizing do-gooder?CARMEN (VW) What?SCOTT (VW) I was thinking she could start some sort of 12 step programme for --CARMEN (VW) You. Wouldn't. Dare.
(dark)ANDRASH (VW) Scott, I'd like to thank you for a most...umm, enlightening --
He follows Carmen out the door.ANDRASH (VW) (CONTINUING) Umm..right. Thanks.
INT. HALLWAY (VW) -- NIGHT Scott (VW) and Lance (VW) stand in front of a door in a hallway.SCOTT (VW) Do we have time for a bite before we meet with the writers?
(to himself)
INT. CLASSROOM -- NIGHT It holds about 150 with tiered seats with built in desks. The walls have thick black baffling (presumably to make it impossible to transmit information out of the room). About half the seats are filled (with gorgeous people, of course). Half of the people wear t-shirts with a character from the show on the front and the Practice to Perceive logo on the back, bomber jackets with the logo on the breast pocket or other clothing related to the show. There is a loud buzz in the hall, as of rambunctious children. Scott (VW) enters and walks up to a podium at the front of the room.LANCE (VW) I've never understood why you have such a problem with writers.SCOTT (VW) Fucking writers! Actors, I understand. They need love. Directors, I understand. They need control. Producers, I understand. We need money. But writers? Writers get no recognition, the pay is shit and everybody changes what they do at a whim. Why? Why would anybody do it?
(shudders)LANCE (VW) The art...?
(shrugs)SCOTT (VW) Funny.LANCE (VW) If you'd rather, I could --SCOTT (VW) Naah. Thanks for offering, but this is my job. You've had a long day -- time to go home.LANCE (VW) Well...sure, it's late, but still. Are you sure you can --SCOTT (VW) Pfah! A good producer is worth a dozen writers!
(waves a hand)
INT. DOORWAY OF SCOTT'S APARTMENT (VW) -- NIGHT Scott (VW) enters and drops his jacket on a chair inside the door. It's been a long day. INT. BEDROOM (VW) -- NIGHT Loosening his tie, Scott (VW) walks towards the walk-in closet. As he is about to open it, MARVELOUS (VW) (late 20s, looks early 20s, long blond hair, blue eyes, rake thin) jumps out and gives him a big hug.SCOTT (VW) As you're all aware, we have a problem with an actor who refuses to follow the script. Any --WRITER 27 (VW) Have a big rock fall from the sky and kill him.SCOTT (VW) Mmmm...no. It doesn't feel...organic to me. Other possibilities?WRITER 40 (VW) Can't you just morph a different actor's mouth onto Stallion's face and make it look like he's following the script?SCOTT (VW) The actors' union would demand my head on a platter. That's strictly forbidden by the latest collective agreement. Obstruction of craft --WRITER 6 (VW) Fucking lawyers.SCOTT (VW) Exactly. So --WRITER 32 (VW) How about bringing back Ron Borneo?SCOTT (VW) Isn't he supposed to be in jail for -- help me out here -- for life with no possibility of parole?WRITER 32 (VW) Maybe...maybe his gang could, like, bust him out of prison.SCOTT (VW) Yeah...yeah. Great scene -- lots of visual possibilities. And Ron Borneo would certainly want revenge on the man who ratted on him. That definitely --
(warming to the idea)WRITER 12 (VW) He's dead.SCOTT (VW) Who?WRITER 12 (VW) The actor who played Ron Borneo. Died three days ago when his helicopter lost power and slammed into a tanning salon.WRITER 11 (VW) Crashed would have gotten the point across.
(to Writer 12 (VW))WRITER 12 (VW) Hey! What were we taught about using dramatic verbs?
(to Writer 11 (VW)WRITER 32 (VW) You've got the actor's voice and body measurements stored on the system, don't you?SCOTT (VW) Yeah, but --WRITER 32 (VW) So, get somebody else to inhabit the character.SCOTT (VW) We can only get one actor to play the role of another using his or her likeness for a limited period of time in case of illness. The collective agreement does not allow us to do that for actors who died years after they left the series --
(shaking his head)WRITER 6 (VW) Fucking lawyers!SCOTT (VW) Yeah, well --
(weary)WRITER 27 (VW) A big rock! It falls from the sky! Destroys the whole building and kills everybody inside!SCOTT (VW) Look, if there are no other serious sugg --WRITER 43 (VW) How about reverse psychology?SCOTT (VW) What?WRITER 43 (VW) If Stallion won't do what we say, let's write the opposite of what we want him to do into the script. By going against the script, he'll be doing what we want him to.SCOTT (VW) Yes. Good. Good. Let's try that. Work with the Chuck team and have a preliminary draft on my desk by eight o'clock tomorrow morning.
(brightens)WRITER 27 (VW) So, you're not going for the rock falling from the sky concept?SCOTT (VW) I hate writers who get fixated on a single idea!
(mutters)
Marvelous (VW) kisses Scott (VW).MARVELOUS (VW) Surprise!
(shouts)SCOTT (VW) Marvelous!MARVELOUS (VW) Happy to see me, lover?SCOTT (VW) Of course.MARVELOUS (VW) You better be. I've been waiting here for hours!
She looks meaningfully at the bed. Scott (VW) grins.MARVELOUS (VW) (CONTINUING) Busy day?SCOTT (VW) Oh, yeah.MARVELOUS (VW) Too busy to...uuaahh?
Scott (VW) and Marvelous (VW) move to the edge of Scott (VW)'s bed, on which they sit. The room seems larger than before, with art on the white walls and a large window which gives a view of a flower garden beyond. Scott (VW) and Marvelous (VW) begin to kiss gently. After a couple of seconds, the scene splits in two, like an ameba multiplying. On the left hand side, Scott (VW) and Marvelous (VW) begin kissing passionately. On the right hand side, Scott (VW) and Marvelous (VW) are still kissing gently. On the left, Scott (VW) and Marvelous (VW) begin to hungrily undress each other. On the right, they continue to kiss. On the left, Scott (VW) climbs on top of Marvelous (VW); they are now deep into the sex act. On the right, they are still kissing, but Scott (VW) has begun to gently caress Marvelous (VW)'s breast through her blouse. On the left, Scott (VW) and Marvelous (VW) reach a glorious climax. On the right, they are still kissing. On the left, Scott (VW) rolls off Marvelous (VW) and flops on his back, exhausted. FREEZE FRAME: the left half of the screen, with Scott (VW) on his back, his left arm out, ready to embrace Marvelous (VW). We watch Scott (VW) and Marvelous (VW) on the right continue to kiss tenderly for a couple of seconds. FAST FORWARD: the image on the right. Scott (VW) finally puts his hand in Marvelous (VW)'s blouse. This is going to take forever! FASTER FORWARD: the image on the right is now a blur of colour. After several seconds, we return to NORMAL SPEED: Marvelous (VW), on top, and Scott (VW) are just about to climax. They do. Marvelous (VW) rolls off Scott (VW) to her right. The two images merge back into one: Marvelous (VW) falls into Scott (VW)'s waiting arm. START MOTION in the left half of the screen.SCOTT (VW) Never!
They cuddle. EXT. OFFICE TOWER (VW) -- DAY A dozen beautiful people mill about in front of the building. Most of them carry signs with slogans such as "Fantasy kills" and "Get real!" Most of the protesters are improbably dressed in colourful hippie garb.SCOTT (VW) Life is beautiful, isn't it?MARVELOUS (VW) Mmm...
VANCE PICKFORD (40ish, but looks 20ish) steps to the head of the group.PROTESTER 1 (VW) ...be amazed what it'll do for your hair!PROTESTER 2 (VW) I don't know. I'm happy with the conditioner I already --
The protesters hold their signs aloft and generally get their act together as Scott (VW) walks up to the building.PICKFORD (VW) Okay, everybody! Here he comes!
Scott (VW) arrives at the edge of the crowd. He is amused.PICKFORD (VW) What do we want?
(shouting)PROTESTERS (VW) Reality!
(shouting)PICKFORD (VW) When do we want it?PROTESTERS (VW) Now!
Scott (VW) snaps his fingers. A couple of people take a moment out of chanting to hiss at him.PICKFORD (VW) What do we want?PROTESTERS (VW) Reality!PICKFORD (VW) When do we want it?PROTESTERS (VW) Now!PICKFORD (VW) Get real! Get real!
(chanting)PROTESTERS (VW) Get real! Get real! Get real! Get real!
(chanting with him)
(continue) PICKFORD (VW) Stop playing dangerous games with reality!
(shouts over them)SCOTT (VW) I just produce an entertainment...
(shouts pleasantly)PICKFORD (VW) While people are watching your 'entertainment,' real problems are going unsolved.SCOTT (VW) We're just giving people what they want. If people didn't tune in, we'd be out of business like that.
They move to the side as the protesters continue to chant.PICKFORD (VW) Drug pushers can make the same claim. But do addicts have a real choice?SCOTT (VW) Good one.
(to himself)
(aloud) Vance, may I have a word?PICKFORD (VW) What? Oh, sure.
Scott (VW) walks into the building. Pickford (VW) goes back to the head of the group, pumping his fist to the rhythm of the chant.SCOTT (VW) As you know, the Thirtieth Anniversary Gala is tomorrow --PICKFORD (VW) You don't expect us to let up for that, do you?SCOTT (VW) Of course not. We could both use the publicity. It's just that, well, when you shop around the video feed of your protests, you'll probably find a tabloid show with a wider audience than you're used to.
(smiles)PICKFORD (VW) Really?
(pleased)
(tough) I mean, so?SCOTT (VW) So, you might want to...dress up for the occasion?PICKFORD (VW) Dress up?SCOTT (VW) I'm not suggesting black tie or anything -- far be it from me to presume to dictate any aspect of your protest --PICKFORD (VW) Damn straight.SCOTT (VW) Still, you want to be taken seriously...PICKFORD (VW) Mmm...
(nods) I'll see what I can do.SCOTT (VW) Good man.
Practice to Perceive OPENING CREDIT SEQUENCE The window doesn't entirely fit the screen; it has a black border around it. MUSIC: a sad, string-based classical piece. STILL PHOTO: MARTHA (P2P) (mid-20s but looks older, small, busty, garishly made up) in a dirty kitchen, boiling a pot of spaghetti with one hand while holding a young baby in her free hand. STILL PHOTO: MARK (P2P) (mid-30s, weaselly) has CHUCK (40ish, big bear of a man with an unkempt beard and wild eyes) in a headlock outside of a seedy bar. STILL PHOTO: a needle being pressed into a vein. STILL PHOTO: publicity still of Carmen Allegra (VW), which morphs across the screen so that beside it is a CLOSE UP of JANE (P2P) (30ish, haggard, short-cropped hair dyed yellow), standing behind the counter of a greasy spoon. SUPER TITLE: Carmen Allegra as Jane. STILL PHOTO: publicity still of JASON ANDERS (VW) (20ish, gorgeous), which morphs across the screen so that beside it is an image of Mark (P2P), standing in an alley with a pair of dice in one open hand. SUPER TITLE: Jason Anders as Mark. STILL PHOTO: publicity photo of OMEGA DESTINY (VW) (20s, beautiful), which morphs across the screen so that beside it is an image of FRANCO (P2P) (mid-30s, beefy looking guy with a blank expression on his stupid face) breaking into a car. SUPER TITLE: Omega Destiny as Franco. STILL PHOTO: publicity still of SOPHIA CRISSY (VW) (20ish, lovely blond), which morphs across the screen so that beside it is an image of ARLENE (P2P) (17, with an innocent face but a twisted smile) sitting at a grungy bar. SUPER TITLE: Sophia Crissy as Arlene. STILL PHOTO: publicity photo of AMBER MASON (VW) (20s, beautiful, red hair), which morphs across the screen so that beside it is an image of MARIE (P2P) (early 20s, looks 40, painfully skinny, long greasy hair), lying on the floor of a dark drug den, works by her side. SUPER TITLE: Amber Mason as Marie. STILL PHOTO: publicity photo of BRAD MONTANA (VW) (20ish, coltish good looks), which morphs across the screen so that beside it is an image of POPS (P2P) (60ish, leering expression on his face) standing on a street corner in a trenchcoat. SUPER TITLE: Brad Montana as Pops. STILL PHOTO: publicity photo of BENTON LARIVIERE (VW) (20ish, great cheekbones and deep blue eyes), which morphs across the screen so that beside it is an image of THE MAN IN THE SHADOWS (P2P), a creepy image of parts of a face obscured by the dark. SUPER TITLE: Benton Lariviere as The Man in the Shadows. STILL PHOTO: publicity photo of SHANNON PRESCOTT (VW) (20ish, beautiful), which morphs across the screen so that beside it is an image of AMY (P2P) (20ish, short, dumpy, plain), standing in her underwear in a tacky motel room. SUPER TITLE: Shannon Prescott as Amy. STILL PHOTO: publicity photo of Stallion Terwilliger (VW), which morphs across the screen so that beside it is a picture of Chuck (P2P), rooting around in a garbage can in an alley. SUPER TITLE: Stallion Terwilliger as Chuck. STILL PHOTO: publicity photo of LACEY CHAYNES (VW) (20ish, thin, lovely), which morphs across the screen so that beside it is a picture of Martha (P2P), standing in a tartish outfit on a street corner. SUPER TITLE: Lacey Chaynes as Martha. STILL PHOTO: publicity photo of BRADLEY BENFORD (VW) (20s, lean, hawkish but not unattractive look), which morphs across the screen so that beside it is a picture of RAY (P2P), a cop who stands next to a police cruiser looking menacing. SUPER TITLE: Bradley Benford as Ray.PICKFORD (VW) Get real! Get real!PROTESTERS (VW) Get real! Get real! Get real! Get real!
STILL PHOTO: publicity photo of RAVEN (VW) (20ish, beautiful native features), which morphs across the screen so that beside it is a picture of GRANNY MOSES (P2P) (mid-70s, looks ancient) sitting in a rocking chair smoking a corncob pipe.LANCE (VW) What if it doesn't work?
(voice over)
SUPER TITLE: And introducing Raven as Granny Moses. STILL PHOTO: image of the front of a crack house. FADE IN: Practive to Perceive logo.SCOTT (VW) If this doesn't work, I'll pull a fucking Howard Beale on his ass. Shh. Here it comes...
FADE OUT: image. FADE OUT: music. FADE IN: a menu in the middle of the screen. It has the heading, "Characters currently online," and a list of the 12 main actors and their characters on the show. Each name has a box next to it; currently, all of the boxes are empty. The Chuck box is immediately checked. INT. DRUG DEN (P2P) -- DAY Chuck (P2P) is sitting on the couch in the murky light of the drug den. The dialogue box for the screen, which anticipates the dialogue by a second, is in its usual corner.ANNOUNCER Oh, what a tangled web we weave
(voice over)
When first we practice to perceive!
Long pause as Chuck (P2P) struggles with his emotions.MARIE (P2P) Chuck, I...I'm so sorry I freaked out yesterday.
(off)CHUCK (P2P) We've all been under a lot of pressure lately.MARIE (P2P) No, really. You've stood by me through a lot worse.
(off)CHUCK (P2P) Yeah, well...MARIE (P2P) Of course you can stay here as long as you feel you have to.
(off)CHUCK (P2P) Thank you, Marie.(unscripted word) But...
They hug.SCOTT (VW) Here it comes...here it comes!
(voice over)CHUCK (P2P) I'll find a way to get us out of this. I swear.MARIE (P2P) Aww...
(voice over)
The pause button is depressed. FREEZE FRAME.SCOTT (VW) Son...of...a...bitch!
(voice over)
The minimize button is depressed. INT. SCOTT'S OFFICE (VW) -- DAY Scott (VW)'s POV of the room, with a small icon of a strip of film with the letters "P2P" underneath it in the top left corner of the screen. A second screen appears, filling the top right quarter of the screen. It has the logo of a show called Right Now.SCOTT (VW) (CONTINUING) Goddam actor is playing his lines as they were written!LANCE (VW) Sir?
(voice over)SCOTT (VW) How dare he follow the script? Fucker!
(voice over)LANCE (VW) I...I'm afraid there's more bad news, sir.
(voice over)SCOTT (VW) What now?
(voice over)
The Right Now logo expands to fill the screen. INT. TALK SHOW SET -- NIGHT Typically, there is a couch, a desk (behind which sits QUENTIN (VW) (20ish, lovely if a bit thin) and a studio audience (all gorgeous). The background of the set is an animated Mandelbrot Set or other fractal. Across the bottom of the screen is the following message: "Right Now is the property of Rezzie Dogs Productions. All rights reserved." In a top corner is a time code. Stallion (VW), in slacks and a Hawaiian shirt, sits, relaxed, on the couch.SCOTT (VW) He was on a talk show?
(off)LANCE (VW) Last night. I was watching Quentin and --SCOTT (VW) Terwilliger never does talk shows!
(off)LANCE (VW) Maybe he has a cause.SCOTT (VW) The only...cause Terwilliger has is his career. Okay. Show me the worst.
(off)
SOUND: applause, scattered cheers.QUENTIN (VW) So, you're still having fun?STALLION (VW) Oh, yeah. Chuck is a great character -- I could play him for another 25 years..
SOUND: applause dies down.SCOTT (VW) Cocky son of a --
(voice over)LANCE (VW) Wait. It gets worse.
(voice over)
SOUND: applause dies down again.QUENTIN (VW) But, do they want you for another 25 years?STALLION (VW) Well, it is true that I've been having... artistic differences with the producer over the direction my character should take --SCOTT (VW) I want that fucker Chuck dead! I would say we're way beyond artistic differences now!
(voice over, over him)
SOUND: audience laughter.QUENTIN (VW) I understand you've been having trouble with a fan. What --STALLION (VW) Fan...stalker, it's such a fine line...
The X button is depressed and the image vanishes. INT. SCOTT'S OFFICE (VW) -- DAYQUENTIN (VW) But, seriously --
Scott (VW) nods in agreement, but he is a deeply troubled man. INT. SCOTT'S APARTMENT (VW) -- DAY Scott (VW) is sitting on a sofa, his eyes closed. Marvelous (VW) stands behind him, giving his neck a massage.SCOTT (VW) You're sure we can't trust the writers?LANCE (VW) One of them must be telling Terwilliger what to watch out for. That's the only way he can know.SCOTT (VW) What can we do?LANCE (VW) The Gala is tomorrow night. Why don't we put on our thinking caps and put off making a decision until after?
Long pause.SCOTT (VW) Yes, yes, I know all about the Mother Complex, Doctor Watson. All we ever seem to talk about is the Mother Complex! Has it ever occurred to you that the pressure I feel is because I actually have a life full of pressure?
(pause) What do I want to -- I'll tell you. What about the dream I sent you this morning? Do you --
(offended) No, I didn't stage that dream before I sent it to -- No, no, no! It was recorded as I dreamt it two nights a -- Yes, I really do dream about Omega Destiny, Amber Mason and a crateful of watermelons!
(pause, subdued) Yes, certainly, trust between a patient and therapist is important. If you don't --
(pause) Right. See you next week.
Scott (VW) sighs. EXT. STREET (VW) -- DAY Scott (VW) and Marvelous (VW) are walking down a gorgeous tree-lined street.MARVELOUS (VW) You're tense.SCOTT (VW) Tell me about it.MARVELOUS (VW) Let's get some lunch.
Marvelous (VW) stumbles. Scott (VW) stops and catches her.MARVELOUS (VW) ...whose stupid idea it was for me to do a showing in a real gallery!SCOTT (VW) I didn't realize you were having so much trouble.MARVELOUS (VW) Well, yeah. If you make a mistake with a real canvas, you can't just hit the undo button and start all over -- you have to work around it.SCOTT (VW) Can't you just paint over it?
(pause) MARVELOUS (VW) It's not the same!SCOTT (VW) No. Of course not.MARVELOUS (VW) I don't know how people painted before home comput --
Marvelous (VW) straightens up.SCOTT (VW) Whoa. You okay?
Scott (VW) looks back to where she tripped and sees a BUM (RW) lying unconscious on the sidewalk. Scott (VW) shakes his head in disbelief. When he looks again, the Bum (RW) is gone.MARVELOUS (VW) Tripped on a crack. How silly of me.SCOTT (VW) Okay.
INT. RESTAURANT (VW) -- NIGHT Scott (VW) and Marvelous (VW) are sitting at a table in a very posh restaurant. They each have a glass of wine in front of them.MARVELOUS (VR) Let's -- honey? Are you okay?SCOTT (VR) Uhh...yeah. It's nothing...
(stunned)
INT. OLD FOLKS' HOME (VW) -- DAY It is a lovely place. GERMAINE (VW) (75, but looks to be in his 20s, with great cheekbones, blue eyes, perfect skin and long blond hair) is sitting in a wheelchair. A blanket covers most of his body. His head shakes uncontrollably. We see him from Scott (VW)'s POV.MARVELOUS (VW) ...wouldn't believe how...messy painting is! You know how I hate to get the least bit of dirt on my hands -- Scott, are you sure you're okay?SCOTT (VW) I...I went to see my father on Sunday.MARVELOUS (VW) How is he?SCOTT (VW) He'll never get better. You know that.MARVELOUS (VW) I'm sorry.SCOTT (VW) Can I show you what happened?MARVELOUS (VW) Oh! Uhh...
Germaine (VW) lifts his head to try to match Scott (VW)'s gaze, but there is no recognition in his dim eyes.SCOTT (VW) Dad? Dad? It's me. Scott.
(off, gently)
An OLD WOMAN (VW) (71, but looks 21) walks through the frame using a walker. Despite looking young, she is creaky and fragile, and she moves very slowly.SCOTT (VW) (CONTINUING) Dad?GERMAINE (VW) Scott?SCOTT (VW) That's right, dad.
(off)GERMAINE (VW) I have an uncle named Scott...SCOTT (VW) Your uncle died 20 years ago, dad.
(off)GERMAINE (VW) My uncle's name is Scott.SCOTT (VW) Dad. You --
(off)
SOUND: Scott (VW) sighs.GERMAINE (VW) I have a dog. His name is Sandy.SCOTT (VW) Dad! That was 50 years ago!
(off)GERMAINE Sandy has golden hair.
INT. RESTAURANT (VW) -- NIGHT Scott (VW) takes a healthy swig from his glass of wine and shrugs.MARVELOUS (VW) I'm so sorry, Scott.
(voice over)
WAITER (VW) (20s, gorgeous) places a plate with six shrimp on ice arranged around a bowl with suace in front of each of them.SCOTT (VW) He's my dad.
Scott (VW) notices that on his plate are six disgusting, muscley grey pieces of barely cooked flesh where the shrimp should be.SCOTT (VW) (CONTINUING) I remember...he was so vital when I was growing up. So...alive.MARVELOUS (VW) I know.SCOTT (VW) I remember, once, my dad --
The Waiter returns to the table.SCOTT (VW) (CONTINUING) Excuse me.
(louder) Excuse me?
Scott (VW) daintily picks up one of the pieces of meat between his thumb and second finger and holds it up in front of her.WAITER (VW) Sir?SCOTT (VW) What the hell is this?WAITER (VW) Uhh...the shrimp you ordered?SCOTT (VW) This disgusting crap is most definitely not what I ordered!WAITER (VW) Sir?
(blinking)SCOTT (VW) Take it back and bring me a proper plate of shrimp.MARVELOUS (VW) It looks okay to me.
The gross flesh visually crackles a bit, then turns into a succulent shrimp.SCOTT (VW) This? This looks the least bit edible to you?MARVELOUS (VW) Y...yes?SCOTT (VW) What's wrong with you people? Am I the only one who --
Scott (VW) throws the shrimp in his hand back onto the plate.SCOTT (VW) (CONTINUING) -- knows what shrimp is supposed to...uhh.
(confused) Oh. Yeah. I...I see what you mean.
The Waiter (VW) picks the plate up and walks away with it.SCOTT (VW) (CONTINUING) Uhh, you know, I don't really feel like seafood any more. Take it away.WAITER (VW) Very good, sir.
Scott (VW) realizes that he is shouting, and stops. Long, awkward pause.MARVELOUS (VW) Scott, are you okay?SCOTT (VW) I, uhh, I've been under a lot of pressure. Lately. At work, you know.MARVELOUS (VW) You've stopped taking the mood enhancers, again, haven't you?SCOTT (VW) For Chrissakes, Marvelous! I've got to produce an eight hour show, Monday to Friday, and six hours on Saturday and Sunday! My mind has to be shar --
INT. BOARDROOM (VW) -- DAY It isn't large, but it reeks of the style which only money can buy. This makes it all the stranger, then, that, although full of light, it seems to be lit by a single 60 watt bulb dangling from the ceiling by a cord. A half dozen executives, including Scott (VW) and Lance (VW) sit at the meeting table which dominates the room. Everybody has water and pads of paper with the Practice to Perceive logo at the top of every page in front of them. JULIAN WATERCRESS (VW) (60, but looks 20ish, broad shoulders, deep, booming voice) stands with his back to the room, contemplating. After a moment, he turns to face the assembled executives.SCOTT (VW) (CONTINUING) I, uhh, I promise I'll go back on them right after the 30th Anniversary Gala. Okay?MARVELOUS (VW) Okay...
Watercress (VW) takes a moment to focus. The smile returns to his face.WATERCRESS (VW) Gentlemen, I think that the phenomenal success of Practice to Perceive speaks for itself. We have tapped into something which connects with the video-watching public, lord love them. As I've said from the beginning, The greatest drug is the human imagination.LANCE (VW) How can one know the dreamer from the dream?EXEC 1 (VW) Isn't that dance?EXEC 2 (VW) How can one know the dreamer from the dance? That doesn't make any sense.LANCE (VW) You're missing the point.WATERCRESS (VW) Gentlemen, I think we're straying from what's important, here. Let's focus, shall we?
(annoyed)
Without warning, Watercress (VW)'s deep voice turns into a high-pitched croak.WATERCRESS (VW) (CONTINUING) Gentlemen, I met with the Board of Directors last night, and they asked me to --
Watercress (VW) takes a moment to focus. Lance (VW) gives Scott (VW) a "What the heck are you doing?" look. Scott (VW) shrugs.WATERCRESS (VW) (CONTINUING) Convey to you how happy they are with the continued success of the show. As you know, earnings have --SCOTT (VW) Julian, can I get you a glass of water or something?WATERCRESS (VW) What? Oh. No. I'm fine. As I was saying, earnings for the last quarter --SCOTT (VW) Are you alright?WATERCRESS (VW) I'll be fine when you stop interrupting.SCOTT (VW) But your voice --WATERCRESS (VW) The only problem with my voice is that I'm not hearing enough of it.
(annoyed, again)
EXEC 3 smiles and shrugs pleasantly.WATERCRESS (VW) (CONTINUING) Okay, fuck the quarterly earnings. Not your concern. All you need to know --
(voice returns to normal) Is that the Board is very, very happy and wants tonight's celebration to be the biggest party this town has ever seen. You've all earned it.
(pause) Matrix, you planning on having a good time?
INT. SCOTT'S BATHROOM (VW) -- DAY Scott (VW) is lathering up in a sumptuous shower. He rubs the soap along his arm; as he does so, his skin changes from gleaming pink and muscular to thin and grey. It takes Scott (VW) a second to notice. When he does, he jumps out of the shower, screaming.WATERCRESS (VW) (CONTINUING) I hate executives who act like lineless extras in videos!
(muttering)
Shaken, Scott (VW) looks at his face in the mirror over the sink. Perfectly normal. He reluctantly looks down at his arm. Still grey and sickly. With horrified fascination, Scott (VW) slowly brings the bar of soap up to his face. He hesitates for a moment, then decisively throws the soap in the sink and reaches for a towel. INT. SCOTT'S BEDROOM (VW) -- NIGHT Marvelous (VW), in a slinky black party dress which hasn't been zipped up in the back, stands in front of a full length mirror on the inside door of a walk-in closet. She turns this way and that, appraising her body. Scott (VW), in a tuxedo, is sitting on the end of his bed. He holds a small stack of cue cards in one hand.MARVELOUS (VW) Anything wrong, honey?
(off)SCOTT (VW) N...nothing. I...I'm fine.
Scott (VW) looks at the top card on the stack.SCOTT (VW) Thirty years is a long time in this industry. Over the years, Practice to Perceive's character...our characters...the characters...
(to himself)
Scott (VW) puts the cards down on the bed. He stands up and goes over to Marvelous (VW), who continues to examine herself in the mirror. He tries to zip her up, but can't do it while she's moving.SCOTT (VW) (CONTINUING) The characters have become a part of the lives of hundreds of millions of people across the planet.
(pause) Across -- no, throughout the world.MARVELOUS (VW) Honey. Zip me up?SCOTT (VW) Sure.
Marvelous (VW) stops, giving Scott (VW) the opportunity to zip her up.SCOTT (VW) (CONTINUING) Stop squirming.
Scott (VW) trails off as he watches Marvelous (VW)'s ass sag and spread. As it does so, the patch of fabric over it morphs from black satin to plain grey cloth.MARVELOUS (VW) Do you think I'm fat?SCOTT (VW) Fat? Don't be ridiculous! You're perf...
Marvelous (VW) turns to face him.SCOTT (VW) (CONTINUING) You...you're, umm...
Marvelous (VW) turns back to the mirror, putting her large ass back in Scott (VW)'s line of sight.MARVELOUS (VW) You do! You think I'm fat!SCOTT (VW) No. You're perfect. You know that.MARVELOUS (VW) You think so?
Scott (VW) desperately puts a hand on her shoulder and spins her so that she's facing him.MARVELOUS (VW) (CONTINUING) I know I've put on weight -- I can feel it. I feel like a cow.
Marvelous (VW) grins and gives him a big hug. The embrace ends and, arms around each other, they walk towards the door of the room. Marvelous (VW) takes Scott (VW)'s hand and moves it towards her (still too big) ass. Scott (VW) resists, but eventually gives in and tentatively puts his hand on her ass. INT. BALLROOM (VW/RW) -- NIGHT The room is full of round tables at which eight beautiful young people in the fanciest dress sit. They include all of the stars of the show, except Stallion Terwilliger. In the center of each table is a gorgeous bouquet of flowers. Various people are walking between tables, stopping to schmooze with people they know. Off to one side, a string quartet plays. They can be heard slightly above the buzz of crowd conversation, enough so that anybody paying attention to them can notice that there are a lot of sour notes, and sometimes a musician will lose the time and have to stop a moment to reorient him or herself. Scott (VW) and Marvelous (VW) sit at a table, picking at appetizers.SCOTT (VW) Marvelous!MARVELOUS (VW) What?SCOTT (VW) It's time to go.
(pause) I...I want to show you off.
Scott (VW)'s attention is drawn to a PUNKETTE (VW) (early 20s, gorgeous, but with spiky hair and black makeup). Here and there, the outline of her body seems to be...popping.MARVELOUS (VW) ...great turnout. You must be so proud.SCOTT (VW) What the hell is wrong with the music?MARVELOUS (VW) Oh, don't be like that. These people are here to help you celebrate the work you've been doing for the past 20 years --SCOTT (VW) Twenty-two. I've worked on the show for 22 years.MARVELOUS (VW) It's a great achievement. If I were you, I would be proud.SCOTT (VW) I'm fuckin' ecstatic.
The Punkette (VW) and the air around her are beginning to blister, like film stopped in a projector. Scott (VW) stares open-mouthed at her.MARVELOUS (VW) Oh! Is Senator Maverick here?SCOTT (VW) He was invited...
The blistering slowly fades, revealing the PUNKETTE (RW), who is more or less the same as she was, except she is actually in her 50s, and her skin has a gray pallour. Around her can be seen the outlines of a (RW) version of the ballroom, a version in which the tables and clothes are plain, the food ugly and the flowers shabby. The (RW) ballroom surrounds her like a nightmare aura, moving as she moves. Marvelous (VW), looks in the direction Scott (VW) is looking, and sees Punkette (VW).MARVELOUS (VW) I think it's great the way he's helped vastly increase world food production. You haven't forgotten that you promised to introduce me, have you? Scott?
Scott (VW) tears his horrified gaze away from Punkette (RW).MARVELOUS (VW) (CONTINUING) Oh, Scott, do you have to be so obvious?
Scott (VW) stands and reaches for her hand. ANGLE ON: SENATOR MAVERICK (VW) (mid-60s, but looks like he's in his mid-20s, tall, broad, booming voice), who is in full pontifical flight.SCOTT (VW) You want to meet the Senator?MARVELOUS (VW) Oh, yes, please.SCOTT (VW) Come on, then.
Scott (VW) and Marvelous (VW) walk up to the table.MAVERICK (VW) Oh, no, no, no. The President's personal life should remain private as long as it doesn't affect his work. And nobody, not the Special Prosecutor, not the press, not the President's foes in Congress, can argue that he is doing a bad job.
Senator Maverick (VW) turns his attention to Scott (VW).MAVERICK (VW) (CONTINUING) I have every confidence that --SCOTT (VW) Senator Maverick?
Senator Maverick (VW) pumps his hand vigorously.MAVERICK (VW) Mister Lamont! Good to see you!
Scott (VW) trails off because he has seen the Man in Black standing by a far wall, a drink in his hand, stuffing a canape in his mouth.MAVERICK (VW) Congraulations. Thirty years is a remarkable achievement in this business, and you were there for 22 of them. Well done!MARVELOUS (VW) No, Senator. This is just entertainment. Your support for bioengineered food -- that was a great achievement.MAVERICK (VW) Nonsense, young lady. Once bioengineered foods were proven safe, anybody with half a brain could see that it would be a crime to keep them from the hungry people of the world.SCOTT (VW) Senator, I would like to introduce my friend...
Somebody walks in front of the Man in Black. When the person passes, the Man in Black is gone. Marvelous (VW) nudges Scott (VW) in the ribs.SCOTT (VW) (CONTINUING) What the --?
Senator Maverick (VW) takes her hand and kisses it. Marvelous (VW) blushes, gloriously. SOUND: the quartet hits a particularly sour note.MARVELOUS (VW) Honey...!
(under her breath)SCOTT (VW) Uhh, this is my friend, Marvelous Amber.MAVERICK (VW) Marvelous in name, marvelous in form.
Senator Maverick (VW)'s image starts to bubble around the edges.SCOTT (VW) What the hell is wrong with --
Scott (VW) lurches away from the table.SCOTT (VW) (CONTINUING) Oh! Uhhh...
Scott (VW) rushes off.SCOTT (VW) (CONTINUING) I, uhh -- my speech -- gotta prepare --
ANGLE ON: Scott (VW), sitting at a table, his head on his hands. The appetizers are long gone, and a plate of dessert lies uneaten in front of him. Somebody puts a hand on his shoulder.MARVELOUS (VW) He's nervous. It's a big night for him.
(apologetic)MAVERICK (VW) That is one explanation, yes...
(thoughtful)
Scott (VW) looks up. Several people in the room are in their (RW) versions (various ages, but even the young 'uns have pallid grey skin and baggy eyes, plain clothes, etc), including all of the musicians. The plain (RW) ballroom clings to their bodies like a cheap halo. A small number of people are blistering.LANCE (VW) Scott? It's time for your speech.
(off)SCOTT (VW) I can't...LANCE (VW) We all get a little...stage fright in these situations. Once you get started...SCOTT (VW) Stage fright?
Lance (VW) begins to bubble.SCOTT (VW) (CONTINUING) You have no idea...LANCE (VW) Anything I can do, sir?
Lance (VW) begins to blister. Scott (VW) jumps out of his chair, knocking it over.SCOTT (VW) Go away.LANCE (VW) With respect, sir, people at these functions expect a --
The Man in Black pushes past a couple of people to stand next to Scott (VW).SCOTT (VW) Get the fuck away from me!
(shouting)LANCE (VW) Mister Lamont, really. I --SCOTT (VW) I can't take it any more! What's happening to me?
(screaming)
Scott (VW) turns to face him.MAN IN BLACK Mister Lamont?
The Man in Black holds out his hand and blows a powder in Scott (VW)'s face. It immediately softens, his body goes soft and he faints, falling to the ground. As the Man in Black backs away, people rush to Scott (VW), concerned, not seeming to notice the Man in Black at all. BLACK SCREEN SOUND: dripping water. After a couple of seconds, a hacking, gasping can be heard.SCOTT (VW) Aaah! What?MAN IN BLACK Relax.
INT. REAGAN INSTITUTE ROOM (RW) -- DAY SCOTT (RW) comes to in a small room made out of stones. It is dark and dank, not unlike a dungeon. He is lying on his back on a cot, covered with a plain cotton blanket. He is the one making the hacking sounds. On a second cot sits BRYANT McINTYRE (RW) (mid-50s, big, bluff, black, with a raspy voice). He watches Scott (RW) with curiosity.BRYANT (RW) It's a kind of burning, itching feeling in your throat, ain't it?
(voice over)
Scott (RW) sits up in the bed and takes deep breaths. Soon enough, the hacking subsides.BRYANT (RW) (CONTINUING) Don't know why, but all the new men seem to do it. Breath deep and the hacking will go away. Throat'll burn for a couple of days, but you'll get used to it.
Scott (RW) becomes aware of his surroundings. He jumps out of his cot, his back to the far wall, and starts to scream.BRYANT (RW) (CONTINUING) You really a big-assed virtual video producer?
Scott (RW), slowly getting a grip on his panic, stops screaming.BRYANT (RW) (CONTINUING) Shh...shh! Don't be screaming. Stop it! Stop it, or they'll come and give you something that'll put you out for another 48 hours.
Bryant (RW) laughs.SCOTT (RW) W...w...why?BRYANT (RW) Why what?SCOTT (RW) Prison. Why?
Scott (RW) runs to the door, a solid, heavy wooden door with thick metal bars set into a window. Out the window, he sees a dungeon hallway, with a few doors like the one he's standing at.SCOTT (RW) (CONTINUING) Why?BRYANT (RW) I hate to break it to you, son. But this ain't a prison. It's a hospital.SCOTT (RW) Hospital?BRYANT (RW) That's right. The Reagan Institute of Mental Health. There's irony there, but you probably don't know your history well enough to appreciate it.SCOTT (RW) A hospital?BRYANT (RW) So I said. From what the interns told me when they brought you in the other day, you went berserk at some party and attacked people with a dessert tray.SCOTT (RW) A hospital.
(looking around)BRYANT (RW) The boy is quick. Probably got you in for observation. Nothing to worry about, though.SCOTT (RW) No?BRYANT (RW) I been here 13 years, and they ain't observed anything worth a damn to 'em.
A couple of orderlies in plain grey step out of a room and lock the door behind them. They completely ignore him. SOUND: a couple of people start quietly moaning and one howls in response to Scott (RW)'s shouting.SCOTT (RW) Hey! Hello! There's been some mistake! I don't belong here!
The orderlies walk down the hallway, away from Scott (RW)'s room. He turns to face the other man in the room.SCOTT (RW) (CONTINUING) Hey! Listen! There's been a terrible, terrible mistake! Hey! You!
Past his shoulder, through the window in the door, the hallway morphs into a pristine white hospital corridor. There are coloured lines on the walls. The orderlies are still walking away, not having missed a stride, but are now attractive people in crisp white medical smocks. SOUND: moans and howling dissolve into pleasant hospital muzak.SCOTT (RW) (CONTINUING) This can't be real. What does this place look like for real?
Scott (RW) turns back to the door. The corridor immediately morphs back into the dungeon, and the music is replaced by moaning and howling.BRYANT (RW) Dunno.SCOTT (RW) What do you mean?BRYANT (RW) My neuro-chip was malfunctioning -- that's why I was brought here. I been hallucinating ever since. I never saw this place as it really is.
(shrugs)SCOTT (RW) Shit.
He vigorously rubs his hands together, then looks at the result.SCOTT (RW) (CONTINUING) Shit...
(pause) You're black.BRYANT (RW) You're perceptive.SCOTT (RW) You can't be black.BRYANT (RW) I know...
Scott (RW) turns to face Bryant (RW).BRYANT (RW) (CONTINUING) But the shit just don't rub off.
INT. DR. FLEECE'S OFFICE (RW) -- DAY It is small, but wood-lined, dark, but not nearly so dingy as the cells. There are a couple of degrees on one wall and a small, overflowing bookcase along another wall. Dr. MIRANDA FLEECE (RW) (50ish, small, growing wizened, wire frame glasses, grey hair and grey skin pallour) sits with her back to the desk and the room, wistfully staring out a window, which appears to give out on a grey vista. Scott (RW) anxiously sits on the other side of the desk. Long pause.SCOTT (RW) When we broke the genetic code, we could make perfect human beings. Ageless beauty. Tendency towards long-term health. Any physical characteristic we wanted, we could get. All the history books show that, within three generations, racial minorities had disappeared.
BRYANT (RW) I was never a one for history.
(shrugs)
(pause) Besides, you ain't exactly no Prince Charming yo'self.SCOTT (RW) I, uhh, I'm not ready to deal with that right now...
(sighs)
Dr. Fleece (RW) trails off. Pause.FLEECE (RW) Shame to be wasting such a beautiful day indoors, isn't it?SCOTT (RW) Uhh...yeah.FLEECE (RW) I've got a boat -- only a 20 footer, but with fusion drive. Amazing how a single innovation can completely transform the world, isn't it? No more dirty energy...
Dr. Fleece (RW) authoritatively turns and looks at the top of a folder on her desk.SCOTT (RW) Uhh, Doctor Fleece?FLEECE (RW) There's nothing I can do for you, Tom.SCOTT (RW) Scott.FLEECE (RW) What?SCOTT (RW) My name?
She turns back to the window.FLEECE (RW) Right. Scott.
Dr. Fleece (RW) turns and pins him with a penetrating gaze.SCOTT (RW) So, uhh, can you tell me what's wrong with me?FLEECE (RW) Psychologically? Probably the usual bundle of neurotic tendencies. Nothing that requires my attention.SCOTT (RW) Then, what...?FLEECE (RW) Your neurochip is malfunctioning. It's not receiving normal transmissions, and it seems to be sending signals to your brain which are causing you to hallucinate.SCOTT (RW) Why?FLEECE (RW) Well... If I had to guess, I would say that this video show you produce is the model for your hallucinations. You've been living with this alternate reality for so long that it seems better to live there than...well, who knows where?SCOTT (RW) Sure, sure, but, what I meant was, why is my neurochip malfunctioning?
Dr. Fleece (RW) holds up a hand to stop him and tilts her head slightly, as if listening to something which Scott (RW) cannot hear. Pause.FLEECE (RW) Human beings are not perfect, Scott. Why would you expect our creations to be?SCOTT (RW) But I --
Dr. Fleece (RW) turns back to the window.FLEECE (RW) Sorry, but I have an appointment with another patient.SCOTT (RW) But --FLEECE (RW) We'll talk again.
Scott (RW) reluctantly exits. INT. REAGAN INSTITUTE ROOM (RW) -- NIGHT Scott (RW) and Bryant (RW) are asleep in their cots. The Man in Black stands in the shadows by the door. Scott (RW) is restless, like he's having a bad dream. Occasionally, he gives a little cough. With a start, he wakes up. Sitting up, he notices the figure by the door. Scott (RW) wearily rubs his eyes.FLEECE (RW) (CONTINUING) Soon.
The Man in Black playfully nods his head.SCOTT (RW) Are you real?
The Man in Black laughs.SCOTT (RW) (CONTINUING) Who are you?MAN IN BLACK I'm your biggest fan...SCOTT (RW) If you think flattery will get you an autograph...
Scott (RW) shakes his head, trying to get rid of the fog.SCOTT (RW) (CONTINUING) Come on -- who are you?MAN IN BLACK Have you ever heard of the Transamerica Security Agency?SCOTT (RW) No.MAN IN BLACK Good. It doesn't exist.
Pause.SCOTT (RW) You work for an agency that doesn't exist?MAN IN BLACK Well, nobody can prove that I exist either, so it has a certain logic to it.SCOTT (RW) So, what does all this have to do with me?
(considers a moment)MAN IN BLACK We investigate every case of a neurotransmitter falling off the global grid --SCOTT (RW) You spy on people using their neurochips?MAN IN BLACK We prefer to think of it as monitoring citizens in order to better preserve the peace.
(defensive)SCOTT (RW) So, you've been monitoring me?MAN IN BLACK Only since your signal began to fade in and out.SCOTT (RW) So, you know what's happening to me?MAN IN BLACK Sure.
Pause.SCOTT (RW) So, what's been happening to me?MAN IN BLACK Your signal began to fade in and out.SCOTT (RW) Were you an asshole before you joined the government, or do they have special training for it?MAN IN BLACK Okay, okay. Your neurochip has failed. It no longer sends or receives signals.SCOTT (RW) So I've been told. But, why?MAN IN BLACK Tests are being conducted, but nobody really knows.SCOTT (RW) Do you know why I've been seeing the hallucinations I've been seeing?MAN IN BLACK Yes.
The Man in Black smartly raps on the door with the back of his hand.SCOTT (RW) Can you tell me?MAN IN BLACK No. That's classified information.SCOTT (RW) What?MAN IN BLACK You don't have a high enough security clearance to get access to that information.SCOTT (RW) But...but, it's my life, goddamit!MAN IN BLACK Mmm...you could always try a Freedom of Information Act request...SCOTT (RW) A what?MAN IN BLACK Kind of hard to get information from a government agency that doesn't exist, though.
(grins)
The door opens, and the Man in Black turns towards it.MAN IN BLACK (CONTINUING) I just had to make sure your neurochip had failed on its own. Some people experiment with -- well, there are some crazy fuckers out there, you know?
The Man in Black turns back towards him.SCOTT (RW) Wait...wait! One more question!
The Man in Black quickly and quietly slips out the door, which slams shut. INT. DR. FLEECE'S OFFICE (RW) -- DAY Dr. Fleece (RW) is sanding down a large wooden peg (something nautical, perhaps?) as Scott (RW) looks on. She is using Scott (RW)'s file to collect the sawdust. Long silence.SCOTT (RW) (CONTINUING) What did you do to me at the Gala?MAN IN BLACK The Gala? Oh, you mean the pixie dust?SCOTT (RW) Pixie dust?
(dubious)MAN IN BLACK The stuff I blew in your face?SCOTT (RW) You call it pixie dust?MAN IN BLACK Code names. What can I tell you?
(shrugs)SCOTT (RW) But, it's not...I mean...MAN IN BLACK No, no. It's nanotechnology -- robots the size of motes of dust. They get into your bloodstream through your nose and mouth. They go straight for your spine and shut down your central nervous system. Could last for a few minutes, could be a couple weeks -- it depends upon how much you inhale. You looked like you were about ready to freak out -- I've seen enough people in your condition that I can spot impending freak-out pretty quick -- so I had to do it. Sorry.SCOTT (RW) Pixie dust!MAN IN BLACK Any sufficiently advanced technology looks like magic.
(grins)
Dr. Fleece (RW) nods to herself, as if at an important insight. Pause.FLEECE (RW) The simple pleasures are the best, don't you think?
(not looking up)SCOTT (RW) I'm sorry.FLEECE (RW) Who needs virtual reality when you can feel the sun on your face and the breeze on your back?SCOTT (RW) Ask me again when you don't have access to virtual reality.
Dr. Fleece (RW) looks up at him for the first time.FLEECE (RW) Do you want it in technical terms or layman's terms?SCOTT (RW) Uhh, plain English?FLEECE (RW) The brain is a tyrant.SCOTT (RW) I'm sorry?FLEECE (RW) The eyes, the ears, the nose, even the skin think they have some say in the way we perceive the world. They're wrong. The brain has veto power over all of the senses -- and it exercises this power ruthlessly.SCOTT (RW) Ah. And this is supposed to help me -- how?FLEECE (RW) Straight up?
(sighs)SCOTT (RW) Yes.FLEECE (RW) You're fucked.SCOTT (RW) Ah. Well. I think it would be okay if you were a little more technical...FLEECE (RW) Right. Your neurochip is 15 per cent functional. Some unknown interference at the quantum level has disrupted everything but your basic autonomic body function connections. We have neither the tech nor the expertise to fix it.SCOTT (RW) So...I'm fucked.FLEECE (RW) You said it.SCOTT (RW) And the hallucinations?
INT. REAGAN INSTITUTE ROOM (RW) -- DAY Bryant (RW) and Scott (RW) are lying on their backs on their cots. Bryant (RW)'s eyes are closed. Scott (RW) is nervously drumming his fingers on the side of his cot. After a couple of seconds, Scott (RW) sits up and looks at Bryant (RW).FLEECE (RW) You have to appreciate...Scott, that all your life you've lived in a highly visually stimulating environment...SCOTT (RW) You don't know what's causing them, do you?FLEECE (RW) Haven't a clue.
(returns to sanding) Still, since we agree that you're basically fucked, everything else is just details, isn't it?
Scott (RW) throws himself back on his cot.SCOTT (RW) What are you thinking about?BRYANT (RW) Angelina Jolie.SCOTT (RW) She some kind of virtual stripper?BRYANT (RW) Twenty-first century actress. Man, don't you even know your own industry's history?
Pause.SCOTT (RW) History always gets shit ratings!
Pause. Bryant (RW) hauls himself off his cot and walks towards the window. He puts both hands on the metal grate which covers the window, and pulls. With a not especially loud "pop," the grate comes away from the window, raising some dust. Bryant (RW) drops it to the floor with a loud "clang." Scott (RW) jumps to attention.BRYANT (RW) So, what are you thinking about?SCOTT (RW) I'm thinking that if I don't get out of here soon, I will go crazy.BRYANT (RW) So, why don't you leave?SCOTT (RW) You think they'll let me just walk out of here?
Scott (RW) gets out of his cot and tentatively walks towards the window.BRYANT (RW) Who gives a shit what they'll let you do?SCOTT (RW) How...?BRYANT (RW) This place is falling to shit. Didn't you notice?
Scott (RW) eagerly opens the window and half climbs out. Then, he looks back at Bryant (RW).BRYANT (RW) (CONTINUING) You need me to open it for you, too?
And he's gone. EXT. STREET (RW) -- DAY It is rundown, ugly (ie: burnt-out, boarded up buildings, run-down facades, garbage in the street, etc.). Scott (RW) walks down the street (across the screen). As he passes, the street behind him morphs into a street in the virtual world (ie: pristine and gorgeous). By the time he has walked off the screen, the street has been completely transformed. EXT. ANOTHER STREET (RW) -- DAY Scott (RW) walks down the street. A grubby cab drives by, and he hails it. When it stops, Scott (RW) gets into the back seat. INT. CAB (RW) -- DAY The CABBIE is a non-descript middle-aged guy.SCOTT (RW) You're not coming?BRYANT (RW) Naah. Nothin' out there for me.SCOTT (RW) Oh.
(pause) Bye.
The Cabbie pulls down the post on the meter, but nothing happens. He frowns.SCOTT (RW) 1124 Cronenberg Drive, please.CABBIE (RW) Yes, sir.
EXT. STREET (RW) -- DAY Scott (RW) stands on the curb and watches as the cab pulls away. EXT. YET ANOTHER STREET (RW) -- DAY It is dreary and grungy. Scott (RW) walks down the street (across the screen). As he passes, the street behind him morphs into a street in the virtual world. SOUND: a cat screeches. Scott (RW) abruptly turns to hear where the sound was coming from. When he does, the images immediately reverse, so that the real world turns into the virtual, and the virtual turns into the real. After a moment, he turns back, and the images return to what they originally were. Scott (RW) walks off, leaving a virtual street in his wake. INT. SCOTT'S OFFICE (VW/RW) -- DAY Lance (VW) sits behind Scott's desk, his legs up on it. On the desk is a tray full of fresh fruit. Lance (VW) casually tosses grapes from the tray into his mouth.SCOTT (RW) Is there a problem?CABBIE (RW) I...uhh, don't seem to be receiving a signal from your neurochip...SCOTT (RW) Oh, uhh...CABBIE (RW) Can't access your credit info if I can't contact your neurochip. Can't take you if I can't access your credit info.SCOTT (RW) I know. I know what the problem is. Look, if you'll just take me to the building, I promise I'll get somebody to --CABBIE (RW) I'm sorry, sir, but company policy forbids --SCOTT (RW) Your company has a policy on this?CABBIE (RW) Cabbies gotta be prepared for a wide variety of situations.
(meaningfully) I got mace and a handgun in the glove compartment.SCOTT (RW) But, look, I have to get to --CABBIE (RW) Not my problem, is it?SCOTT (RW) Do you have any idea who I am?CABBIE (RW) Sure. You're the asshole who's trying to bum a free ride off me.SCOTT (RW) Alright, how about -- look. Do you know who Carmen Allegra is?CABBIE (RW) Man, yeah!SCOTT (RW) Want a date with her?
Scott (RW) walks into the room. Lance (VW) jerks his feet off the desk.LANCE (VW) "I stand between two worlds. I am at home in neither, and I suffer as a consequence."
(voice over)
(pause) What that means is ... -- I can't believe that I have to explain this! -- the artist...creates -- right? Beauty. Beauty comes out of the artist's suffering.
(pause) Sure, I've suffered! When Monique Matuschka left me last summer, I suffered plenty!
(long pause) Yes...yes...well, thank you, Letitia. Given the circumstances, I thought we handled that situation rather...yes, deftly. I -- what?
(laughs)
Oh, no. I have the full confidence of the Board. I am completely in charge.
(pause)
No, I hadn't heard that. It doesn't matter. I tell you, Letitia, I am completely in charge. Fully and completely in --
Scott (RW) stands in front of the desk. Whatever is in his line of vision lies in the (RW); the fruit, for instance, are dried out and unappealing. This includes Lance (RW) and the room itself, of course. The point at which Scott (RW)'s point of view ends is a soft blur, beyond which is the (VW). As Scott (RW) moves, the boundary between (RW) and (VW) moves with him.LANCE (VW) (CONTINUING) Oops. Gotta call you back. Bye.
(very fast)
Pause. Scott (RW) turns and walks out. Lance (VW) puts his feet back up on the desk and smugly pops a grape into his mouth.LANCE (?W) (CONTINUING) Scott. You're out. I mean, how are you feeling?SCOTT (RW) Fine. How's the show?LANCE (?W) You know...a juggernaut that keeps going on sheer momentum.
(brightens) Oh! We did find a solution to the Terwilliger problem, though.SCOTT (RW) You did?LANCE (?W) Oh, yeah. Cut that son of a bitch's signal off in mid-rant.SCOTT (RW) How did you explain that?LANCE (?W) A big rock fell out of the sky and crushed him.
(proud)SCOTT (RW) Oh. Very...uhh, deft.
LANCE (?W) Destroyed most of the slum building, actually. Man, the repercussions will take months to play out on the show!SCOTT (RW) So...can I have my desk back?
(sighs)LANCE (?W) Are you sure you're ready? A man in your condition...?SCOTT (RW) My condition?LANCE (?W) I heard your neurochip blew a gasket. Fritzed. Nothing but dead air between your ears -- you know what I mean.SCOTT (RW) Yeah. So?LANCE (?W) So, if your neurochip isn't functioning, you can't access the Comm Web.SCOTT (RW) I -- it's true. I can't. But --LANCE (?W) So, how are you going to monitor the show? How are you -- my god! How are you going to be able to...take calls?SCOTT (RW) I haven't figured out --LANCE (?W) Can't take calls! Scott, how can you be a player if you can't take calls?SCOTT (RW) I...
INT. DOORWAY OF SCOTT'S APARTMENT (RW) -- NIGHT Scott (RW) enters and drops his jacket on the floor. It's been a really long day. INT. BEDROOM (RW) -- NIGHT Scott walks towards the closet. As he is about to open it, MARVELOUS (RW) (late 20s, long dark hair, a little plump, not unattractively so, except by the standards of this futuristic world) jumps out at him and gives him a big hug.LANCE (VW) In charge. Taking calls and in charge. Completely.
Marvelous (RW) kisses Scott (RW), who returns the kiss unenthusiastically.MARVELOUS (RW) Surprise!
(shouts)SCOTT (RW) Marvelous...
(dismayed)MARVELOUS (RW) Happy to see me, lover?SCOTT (RW) Of course.
(unconvincing)MARVELOUS (RW) You better be. When I heard you were back, I rushed right over.
Marvelous (RW) looks meaningfully at the bed.MARVELOUS (RW) (CONTINUING) Hard day?SCOTT (RW) Oh, yeah.MARVELOUS (RW) Too hard to...uuaahh?
Marvelous (RW) pouts, melting Scott (RW).SCOTT (RW) Oh, Marvelous, I don't think...
Grinning, Marvelous (RW) starts to take his clothes off. They undress with little of the grace they displayed in the previous scene of lovemaking. Scott (RW) falls on his back onto the bed. Marvelous (RW) awkwardly climbs on top of Scott (RW). She grunts and groans, building to a climax, which is just as well since he has no energy to contribute. (This is much more animalistic sex than we previously experienced.) With one final cry, Marvelous (RW) falls on her back next to Scott (RW).SCOTT (RW) (CONTINUING) I could possibly refuse...
INT. SCOTT'S APARTMENT (RW) -- DAY Scott (RW) is furiously pacing his livingroom.MARVELOUS (RW) Life is great, isn't it?
(panting)
Scott (RW) stops dead in his tracks. His smile fades. A sick expression appears on his face as he realizes just how isolated his condition makes him.SCOTT (RW) Son of a bitch. Son of a bitch! SON OF A BITCH! Can't even tune in to SEE HOW THE BASTARD IS FUCKING UP THE SHOW! I...I...I'm gonna...gotta make some calls. I'm gonna ruin the little prick. I...I...
(distorted voice over)
(smiles) I'll call the Poison Pen. Yeah, that's it. I'll just...
INT. GUARDHOUSE (VW) -- DAY It is a small room with simple furniture. A GUARD (VW) (essentially a young, good looking Man in Black) sits behind a desk. He is looking past the camera at a point on the wall. It seems like he is daydreaming, but he starts to laugh, as if at a silent joke. SOUND: buzzer. Guard frowns, but begins to rise. EXT. GUARDHOUSE (RW) -- DAY The guardhouse is about the same dimensions as its VW counterpart, but it's a little shabbier. It stands in front of an up-to-date electrified fence. Scott (RW) presses a buzzer set into a brick column which is part of the fence. GUARD (RW) (short and grumpy, with the usual real world pallour, but still in black uniform) sticks his head out a window of the guardhouse.SCOTT (RW) (CONTINUING) What am I going to do? Shit, without a word processor, I can't even write my fucking memoirs!
Guard nods seriously and disappears into the guardhouse. EXT. MANSION (RW) -- DAY A long driveway leads to a large mansion. Trees all around. The mansion's glory has faded, but it still seems quite impressive. Scott (RW) is certainly impressed as he slowly walks up the driveway towards the mansion. EXT. PORCH (RW) -- DAY Scott (RW) walks up the porch steps towards the front door. Just before he gets there, the door opens. What strange magic is this? INT. LIBRARY (RW) -- DAY Senator Maverick (RW) sits behind a huge mahogany desk in a room filled with books, something we haven't seen to this point in the film. This is a truly wealthy man. The door opens. Scott (RW) walks in and looks around.GUARD (RW) Yeah?
(irritated)SCOTT (RW) Don't I know your brother?GUARD (RW) What?SCOTT (RW) I want to see Senator Maverick.GUARD (RW) The Senator's a busy man.SCOTT (RW) So am I.
(pause) So was I. Look --GUARD (RW) I'm sorry, but if you want to see the Senator, you'll have to make an appointment. If you call his secretary --SCOTT (RW) I can't call his secretary. That's the problem.GUARD (RW) I'm sorry, but I just can't --SCOTT (RW) Just tell him that Scott Lamont is --GUARD (RW) Scott Lamont? The producer of Practice to Perceive?SCOTT (RW) That's right.GUARD (RW) Man, I love your show. It hasn't been the same since Sarah Pocklington left it, of course --SCOTT (RW) Of course.
(smiles)GUARD (RW) I'd be honoured to announce you to the Senator, Mister Lamont...on one condition...SCOTT (RW) An autograph?GUARD (RW) Naah. You're only a producer.SCOTT (RW) Mmm...what, then?GUARD (RW) Get rid of that Stallion mutt -- he's bringing down the whole show.SCOTT (RW) You haven't seen the latest episode, have you?
(smiles again)
Senator Maverick (RW) holds up a hand to indicate to Scott (RW) to wait for a moment.MAVERICK (RW) Un hunh. Yeah. Right.
(seemingly to the air)
Senator Maverick (RW) sweeps a hand to indicate his mansion.MAVERICK (RW) (CONTINUING) Listen, Jake, if you don't help me out with this Clean Air Initiative, I'll stall your Appropriations Bill -- how badly do you want those potholes in Iowa fixed?
(pause) Hey, I've got the votes. You know that. But if you want to try your luck...
(pause) Yeah. You think about it and let me know. Soon.
(to Scott (RW)) Mister Lamont. I'm sorry you had to see that. The legislative process, like the scurrying of cockroaches, is best done in the dark.SCOTT (RW) Senator Maverick...MAVERICK (RW) How do you like my place?
INT. MANSION POOL ROOM (RW) -- DAY Like the rest of the mansion, it is a bit faded, but it still retains a lot of its grandeur. Scott (RW) and Senator Maverick (RW) stand near a large pool table, cues in hand, contemplating.SCOTT (RW) Is it for real?MAVERICK (RW) Better men than I have tried to answer that question.
(laughing)SCOTT (RW) Senator...?
(confused)MAVERICK (RW) I'm sorry, son. What you're going through...it's a terrible, terrible affliction.
(immediately sober)SCOTT (RW) What is?MAVERICK (RW) To see the world without illusions.
Scott (RW) takes a shot, but doesn't sink anything.MAVERICK (RW) How do you explain what you're seeing?SCOTT (RW) It's a hallucination. It's caused by my malfunctioning neuro-chip.
Senator Maverick (RW) takes a shot and sinks a ball.MAVERICK (RW) A hallucination?SCOTT (RW) That's right. Doctor Fleece says --MAVERICK (RW) A psychiatrist?SCOTT (RW) That's right.MAVERICK (RW) They have the worst grasp on reality!
(laughs)
Senator Maverick (RW) takes another shot and sinks another ball.SCOTT (RW) What are you saying?MAVERICK (RW) I'm sorry to have to be the one to tell you this, Scott. I really like your work. But the way you see the world now...this is the way the world really is.SCOTT (RW) No way!MAVERICK (RW) Sorry.
Senator Maverick (RW) moves around the table, takes another shot and sinks another ball.SCOTT (RW) But...but...what about...nuclear fusion?MAVERICK (RW) We never did get that one quite figured out. We still use what little oil and coal we have, and, of course, nuclear fission. Much dirtier than fusion, but what can we do?
Senator Maverick (RW) takes a shot and sinks a ball. Scott (RW) sinks heavily into a chair along one of the walls as the implications of what he's hearing sink in.SCOTT (RW) What about...genetic engineering? That's what's made us all perfect...MAVERICK (RW) Mmm...I'm afraid we oversold that one a bit. We are able to prevent a few genetic diseases, but that's about all.SCOTT (RW) I don't belie -- okay, bioengineered foods. We wouldn't be able to feed the world's population without them.MAVERICK (RW) You're right.SCOTT (RW) I am?MAVERICK (RW) We weren't able to feed the world's population.
Maverick (RW) looks at Scott (RW) for a moment, then lays his pool cue on the table.SCOTT (RW) I used to like this game...
INT. MANSION DINING ROOM (RW) -- DAY Scott (RW) and Senator Maverick (RW) are sitting at a corner of a long table in a large dining room. The light is filtered through high windows. There are faded paintings and drapery on the walls, including a couple of portraits of old men. The two men have glasses of wine in front of them.MAVERICK (RW) Are you hungry? I believe it's time for lunch.
A SERVANT wheels a cart with plates of food into the room.MAVERICK (RW) We kept consuming and consuming, you see -- we just...used the world up. We gambled that technology would save us. We lost.SCOTT (RW) This is horrible! People must be told!MAVERICK (RW) Why?SCOTT (RW) Why? Everybody is...is living in a fantasy world. There's a conspiracy to --MAVERICK (RW) A conspiracy?SCOTT (RW) There has to be a conspiracy.MAVERICK (RW) A half dozen people in a room deciding what everybody in the world will see and hear?
(amused)
The Servant places plates of stringy roast beef and mashed potatoes with a thin brown gravy in front of them. Scott (RW) looks at the meager food in front of him with distaste.SCOTT (RW) Uhh, something like that. Yeah.MAVERICK (RW) Conspiracy. What a...quaint notion.
Scott (RW) reluctantly cuts off a piece of meat. Senator Maverick (RW) heartily digs in.MAVERICK (RW) (CONTINUING) Go on. It doesn't get high marks for presentation, but I assure you that my chef is cordon bleu...
Scott (RW) looks at the piece of meat at the end of his fork with dismay and drops it onto his plate. EXT. MANSION PORCH (RW) -- DAY Scott (RW) and Senator Maverick (RW) sit on rocking chairs on the porch, drinks in hand, watching the sun go down very colourfully below the treeline.MAVERICK (RW) (CONTINUING) Scott, do you have any idea what it would take to maintain an illusionary world -- moment by moment, let alone year in and year out -- for 10 billion human beings?SCOTT (RW) But this doesn't make any sense if there isn't a conspiracy.MAVERICK (RW) No. Look. When we first started implanting the neurochip into people's heads, human beings learned very quickly that we could use it to...alter the way we saw things. Just a little. Here and there. Soften your lover's features? Why not? Spruce up your surroundings? Who could it possibly hurt? Get a little more pleasure out of your lovemaking...make your food a little tastier...make your job a little less tedious -- who could possibly resist such a power? No, there's no conspiracy here, Scott. Just billions of people making moment by moment decisions about how they want to perceive the world.SCOTT (RW) But its lies. All lies. People have to be told!MAVERICK (RW) They have a lot invested in their fantasies -- what makes you think anybody wants to listen?
(heavily)
(pause) I mean, look at you. You can now see the world as it really is. Is reality making you happy?
Maverick (RW) looks at him appraisingly for a couple of seconds.SCOTT (RW) It makes no sense. If we all see what we want to see, if we all have our own idea about reality, how can we possibly live with each other?MAVERICK (RW) Oh, we all agree on the basics. A table is a table. A drink is a drink. A body is a body. But the details, the details have always been...negotiable.SCOTT (RW) But --MAVERICK (RW) Beautiful sunset, don't you think?SCOTT (RW) What? Oh, sure. Gorgeous.MAVERICK (RW) The pollutants in the air refract the light as it comes through the atmosphere. Before the Industrial Revolution, sunsets like this didn't exist. Progress isn't all bad...SCOTT (RW) I want my defective chip replaced.
EXT. SENATOR MAVERICK'S DRIVEWAY (RW) -- DAY A beat-up cab sits in the driveway. Senator Maverick (RW) talks to the driver.MAVERICK (RW) Well, yes. Sooner or later, everybody in your position does. But you know that's not possible.SCOTT (RW) Goddamit, I'm rich and famous! For me, everything is possible!MAVERICK (RW) Scott, the neuro-chips are implanted in our brains when we are born. They grow into our brains as we grow. They become part of our brains. Even when they stop working, they still provide important neural connections. To remove your chip would be like randomly ripping wires out of a computer. At best, you would be lobotomized.SCOTT (RW) Yeah, yeah, okay. Can I get another chip -- a working chip put in my brain?MAVERICK (RW) You know that's not legal.SCOTT (RW) Can I do it?MAVERICK (RW) There's no telling what a second chip would do to your --SCOTT (RW) You don't understand. I can't live like this.MAVERICK (RW) You might not be able to live with a second chip.SCOTT (RW) Can I do it?MAVERICK (RW) Let me make some enquiries...
(sighs)
Senator Maverick (RW) goes to the open window of the back seat, where Scott (RW) is sitting.MAVERICK (RW) Take him wherever he wants to go. On my account.CABBIE (RW) Yes, sir.
Senator Maverick (RW) warmly pats his arm.MAVERICK (RW) You all set?SCOTT (RW) Thanks, Senator.MAVERICK (RW) Anything for a constituent.
(pause)
You are a Democrat, aren't you?SCOTT (RW) Uhh, well...
Scott (RW) looks blankly at him.MAVERICK (RW) It's never too late, son. See you at the polls in the next election.SCOTT (RW) Senator?MAVERICK (RW) Yeah?SCOTT (RW) How come you know how the world really...you know, all of this?MAVERICK (RW) As I told you, anybody can see the world the way it really is.SCOTT (RW) Sure, but why would anybody? Why do you?MAVERICK (RW) I consider it my civic duty.
Senator Maverick (RW) heartily slaps the roof of the cab twice, and off it goes. INT. SCOTT'S LIVINGROOM (RW) -- DAY Scott (RW) sits, hands folded in his lap for several seconds. What can he do? Suddenly, decisively, he gets up. EXT. OFFICE TOWER (RW) -- DAY Like most of the buildings in the real world, it is pretty shabby. The protesters are active in front of the building. However, they are now a variety of ages and they all have the grey pallour of the future. Oddly, they still wear the colourful clothing they had on the last time we encountered them. VANCE PICKFORD (RW) (40ish, a bit stooped and balding but otherwise good looking) is once again leading them.MAVERICK (RW) (CONTINUING) Somebody's gotta keep the underlying real world functioning. Politicians and sewer workers -- it's our job to keep the shit flowing.
(laughs) You take care, now.
Scott (RW) walks up to them with a sense of purpose. Pickford (RW) notices him.PROTESTERS (RW) Real people -- real world! Real people -- real world!
(shouting)
He waves an arm, indicating the whole scene. The protesters are unsure what to make of this.PICKFORD (RW) Hey, hey -- Scott Lamont! What about the relationship between violence in your program and --SCOTT (RW) You want reality?
(shouting at crowd)PROTESTERS (RW) Yeah!SCOTT (RW) None of this is real!
Pause as the stunned crowd takes this in.SCOTT (RW) (CONTINUING) Did you hear what I said?PICKFORD (RW) Scott? What --?
(concerned)SCOTT (RW) This beautiful world you all take for granted? It doesn't exist. It's a creation of your neurochips and your idle wishes for a better life. The world, the real world, is an ugly, awful place where everything is falling apart!
Scattered "No!"s and "What?"s.PICKFORD (RW) Do you know what this means?
(to crowd)
Realizing that any further action would be futile, Scott (RW), disgusted, walks away. INT. SCOTT'S KITCHEN (RW) -- DAY Scott (RW) moves some unappetizing food around on his plate. Disgusted, he puts a forkful in his mouth. INT. SCOTT'S LIVINGROOM (RW) -- DAY Scott (RW) sits, hands folded in his lap for several seconds. Then, out of boredom, he screams at the top of his lungs. INT. SCOTT'S LIVINGROOM (RW) -- NIGHT Scott (RW) has gotten himself a set of weights, which are strewn about the room. Although there isn't much weight on the bar, Scott (RW) breathes heavily as he pumps it. His intensity borders on the manic. SOUND: knock on the door. Scott (RW) puts the bar down, goes to the door and opens it. ANNE (RW) (early 20s, pretty) stands in the hallway. She wears a chauffeur's uniform.PICKFORD (RW) (CONTINUING) This man has worked in the virtual world for decades...now, he can't tell the difference between that and the real world! He's hallucinating that his imaginary world is real!SCOTT (RW) No, that's not --PICKFORD (RW) Get real! Get real!
(pumping fist)PROTESTERS (RW) Get real! Get real! Get real! Get real!
(chanting)SCOTT (RW) You don't understand...
(barely audible)PROTESTERS (RW) Get real! Get real! Get real! Get real!
Anne looks at him curiously.SCOTT (RW) Yes?ANNE (RW) Mister Lamont?SCOTT (RW) That's right.ANNE (RW) Senator Maverick sent me.SCOTT (RW) About bloody time!
Scott (RW) starts to answer, but stops himself. What, after all, is beauty?SCOTT (RW) (CONTINUING) I'm sorry, I...umm, you...you're very beautiful.ANNE (RW) Everybody is beautiful these days, Mister Lamont.SCOTT (RW) Not to me.
(taps his head) My neurochip doesn't work. I see people the way they really are. And, you...really are beautiful.ANNE (RW) What is beauty, after all, Mister Lamont?
(blushing)
Scott (RW) nods and walks out the door. EXT. INSTITUTE (RW) -- DAY The building is squat and non-descript. It is surrounded, however, by a high and complex system of electrified fences. An old Rolls Royce sedan drives up to the gate.ANNE (RW) (CONTINUING) I've been instructed to deliver you to a specific address.SCOTT (RW) Should I...?ANNE (RW) You won't be needing anything, sir.
The gates begin to open and the car starts to drive through. INT. HOSPITAL ROOM (RW) -- DAY The room is plain, but with a huge amount of medical technology (not all of which will be recognizable to viewers of ER). Scott (RW), in hospital whites, is laying in bed. DR. ARN SABA (RW) (mid-50s, Indian) hovers nearby. A stack of papers is piled on a hospital tray in front of Scott (RW), who is reading and signing them as quickly as he can.SCOTT (RW) What is this place?
(voice over)ANNE (RW) Haven't a clue. The Senator told me to bring you to this address, so here we are.
(voice over)
Scott (RW) signs a paper and turns to another one.SCOTT (RW) Where am I?SABA (RW) A medical research facility.SCOTT (RW) What's it called?SABA (RW) It would be better if you didn't know.SCOTT (RW) Better for who?
Scott (RW) looks up from his papers.SABA (RW) Better for everybody, I should say.SCOTT (RW) Bloody paperwork! I had to sign less papers when we renewed the entire cast's contracts three summers ago!SABA (RW) It's for your own protection.SCOTT (RW) Whose protection?SABA (RW) Mister Lamont, the operation you are about to undergo is highly...experimental in nature.
Scott (RW) smiles sourly and signs another piece of paper. INT. HOSPITAL ROOM (RW) -- NIGHT Scott (RW) is drinking from an almost empty glass of apple juice. Dr. Saba and a couple of other medical professionals stand around.SCOTT (RW) Whose protection?SABA (RW) We cannot guarantee a positive medical outcome.SCOTT (RW) So, whose protection?SABA (RW) Shall we say...our mutual protection?
(smiles blandly)
ANGLE ON: Scott (RW)'s POV. His eyes are fluttering.SABA (RW) We'll try to place the second chip as close to the first chip as possible. It won't develop in the same way, of course.SCOTT (RW) Of coursh.
(slurs)SABA (RW) In fact, we can't be certain that it will take at all. After the operation, you may find that there is no change...SCOTT (RW) I undersh...I und...yeah...
Scott (RW)'s eyes close. BLACK SCREENSABA (RW) The big fear, of course, is that the two chips will somehow interfere with each other in ways we cannot predict.
All sound fades out. Pause. SOUND: FADE IN: grating mechanical grinding sounds, fitfully starting and stopping, against a background of whooshing, like running water. Scott (RW)'s eyes flutter open. SURREAL LANDSCAPE The room is an ever-changing swirl of colours. Three vertical shafts of pure white light shine a ways off. The grating sound stops, then happens again, louder, then stops again. INT. HOSPITAL ROOM (VW) - NIGHT Dr. Saba (VW) and the two other doctors are standing by the head of his bed, in the same position in the frame as the shafts of light. Everything is clean and bright. Scott looks about groggily.SABA (RW) Naturally, we'll want to monitor you very closely when you come out of the anasthetic.
(voice over)SCOTT (RW) Unggh.
(voice over)SABA (RW) Okay, let's get him to the opera...
(voice over)
Realizing that he is trying to communicate, Dr. Saba turns towards Scott.SCOTT (VW) Whu…
INT. SCOTT’S OFFICE (VW) - DAY Lance (VW) is sitting behind the desk, feet up, passing an apple back and forth between his hands as he speaks to an image only he can see. The décor has changed.SABA (VW) Ah, Mister Lamont. How are we feeling?SCOTT (VW) Like hell.SABA (VW) Welcome back to the real world…
Pause. Scott (VW) enters, closing the door behind him.LANCE (VW) …what do you mean they’re saying they didn’t give us a permit to destroy the neighbourhood? You look at the contract, and you will see that it clearly states -
Pause. Scott (VW) waits patiently in front of the desk.LANCE (VW) (CONTINUING) Oh, you know? Then, what the hell is this? Extortion? We could move the whole project to New Jersey in the blink of an eye!
Lance (VW) abruptly turns towards Scott (VW).LANCE (VW) (CONTINUING) Yeah, well, I thought I did have a good relationship with the Mayor’s office. We’ll just have to see, won’t we?
SOUND: ringing.LANCE (VW) (CONTINUING) Scott! What a pleasure to see you.
(insincere)SCOTT (VW) I like what you’ve done to the office.LANCE (VW) Listen…I’d love to chat, but I’m really busy…
(snide) You really should have called, first…
Lance (VW) looks shocked. INT. SCOTT’S OFFICE (VW) - NIGHT The décor has returned to what it was. Scott (VW) sits behind the desk, totally in command. MARNIE RASMUSSEN (VW) (late 20s, looks early 20s and gorgeous) and ERNIE BUSH (VW) (late 40s, looks 20 and gorgeous) stand on the other side of the desk.LANCE (VW) (CONTINUING) Lance Crevotte speaking.
(over)SCOTT (VW) You’re fired, asshole.
(over)
Ernie (VW) is drowned out by metallic static which stops when he closes his mouth.SCOTT (VW) You’re telling me the city may actually have a case?ERNIE (VW) We did destroy three buildings, Scott.MARNIE (VW) They were derelicts…run down - the city should be paying us for getting rid of them.ERNIE (VW) They were structurally sound and could have been made habitable when the show was done with them.SCOTT (VW) You’re saying the city is telling us what we can and cannot do with buildings we own?ERNIE (VW) I’m saying -
The room melts. SURREAL LANDSCAPE A jumble of colours, some with the outlines of objects of the room, appear. Two shafts of white light appear in the positions that Marnie (VW) and Ernie (VW) occupied in the previous scene. SOUND: harsh metallic grating.SCOTT (VW) I, uh, I’m sorry, Ernie. Could you repeat that?ERNIE (VW) The city says we needed a permit to demolish the buildings.SCOTT (VW) Can’t we just agree to rebuild them when the season is over.ERNIE (VW) Unfortunately, it isn’t that simple. You see -
FADE TO BLACK: THE END of Practice to PerceiveSCOTT (RW) Oh, what now?
(voice over, dismayed)
