Читать книгу War/Peace - Part II - Clarissa Daisy Huntsman - Страница 2
Episode One: Waiting On*
Оглавление1 Waiting On The World to Change - John Mayer (http://www.youtube.com/watch?v=oBIxScJ5rlY&ob=av3e)
******
INT. LONE STAR RESTAURANT (POSSIBLY IN SALT LAKE CITY) - BAG ROOM - NIGHT
(CASSIE, CLARISSA, CLARE)
THE FIRST IMAGE WE SEE IS OF THE LATE CASSIE, CLARISSA'S SISTER. CLARISSA IS WATCHING FOOTAGE OF CASSIE ON HER iPHONE.
CASSIE (OLD FOOTAGE)
This is great. I'm here sis. Sydney Football Stadium. It's amazing.
WE SEE THE STADIUM. IT'S FULL OF PEOPLE. EMINEM IS ABOUT TO TAKE THE STAGE. HE'S ON THE SYDNEY LEG OF HIS 2011 TOUR.
CASSIE (OF)
As you can see I'm right behind the security fence. I got such a good view of him. Dad's gonna wanna watch this.
FINALLY WE SEE CLARISSA, HOLDING THE iPHONE. A TEAR IS ROLLING DOWN HER CHEEK. SHE HAS HER EARPHONES IN AND IS WEARING A HOODIE. THE HOOD COVERS HER EARS, A STYLE REMINISCENT OF CASSIE IN THE MUSIC VIDEO "ME & U" [1.] OR ETHAN HUNT IN THE FINAL SCENE OF "MISSION IMPOSSIBLE - GHOST PROTOCOL [2.].
CLARE ENTERS THE ROOM
CLARE
Your mission, should you choose to accept it . . .
CLARISSA WIPES A TEAR AWAY IN SUCH A MANNER IT APPEARS AS THOUGH SHE IS SCRATCHING HER FACE. SHE REMOVES HER EARPHONES AND LOOKS UP.
CLARE
. . . is to make food. Come on Ethan Hunt, we got work to do.
CLARISSA SMILES
CLARISSA
You lot are so lost without me.
CLARISSA AND CLARE EXIT THE ROOM.
******
1 Nemec, A. [Writer], Appelbaum, J. [Writer], Bird, B. [Director], & Cruise, T. [Actor]. (2011). Mission: Impossible - Ghost Protocol. Hollywood, California: Paramount Pictures.
2 Me & U - Cassie (http://www.youtube.com/watch?v=2qgKIaxiPLY&ob=av2e)
******
INT. LONE STAR RESTAURANT - KITCHEN - NIGHT
(CLARISSA, CLARE, MATT, DYLAN, JESSICA)
CLARISSA WALKS BRISKLY TO THE FOOD PREPARATION COUNTER. THERE IS LOTS OF BANGING AND SHOUTING. ALL THE WORKERS IN THE KITCHEN ARE BUSY; TO THE LEFT OF CLARISSA DYLAN IS WASHING DISHES IN THE DISH AREA, TO THE RIGHT MATT IS SPRINKLING CHEDDAR ONTO A PLATE FULL OF CHIPS. ABOVE HER HEAD A NEW ORDER IS BEING PRINTED.
CLARISSA RIPS THE PIECE OF PAPER FROM THE SMALL PRINTER.
A DING SOUNDS.
CLARISSA
Matt, grab the cheese bread for me from the oven. But first chuck two schnitzels into the basket. We got two steak sandwiches, two parms, and a Caesar salad. So we're gonna need two burger buns in the oven too.
CLARISSA PASSES THE SLIP OF PAPER TO CLARE. CLARISSA LIFTS A LARGE CIRCULAR PLATE FROM THE HIGH SHELF IN FRONT OF HER AND TROTS TO THE FRONT OF THE KITCHEN. SHE PICKS UP SOME LETTUCE AND PUTS IT ON THE PLATE.
AGAIN A SLIP OF PAPER EMERGES FROM THE PRINTER. CLARISSA TAKES THE PLATE OF LETTUCE BACK TO HER BENCH AND THEN RETRIEVES THE SLIP.
MATT RETURNS WITH THE CHEESE BREAD.
CLARISSA
Once you've cut that, I need two regs, and some chips dropped.
MATT
Yep.
CLARISSA TURNS AROUND AND REMOVES A LARGE PLATEFUL OF CHIPS FROM A HIGH OVEN. SHE HOLDS IT FROM BELOW IN THE MIDDLE WITH THE TIPS OF FOUR FINGERS AND RETRIEVES A LARGE PLATE FROM THE HIGH SHELF WITH HER OTHER HAND BEFORE PLACING THE PLATE OF HOT CHIPS ONTO THIS SECOND ONE AND BOTH ONTO THE MAIN COUNTER.
CLARISSA
Runners!
JESSICA - A WAITRESS - WALKS IN.
JESSICA
You won't believe what the customers are talking about out there? We got some liberals at one side of the restaurant and some conservatives on the other side. I'm expecting a massive food fight any minute now.
CLARISSA
Good. Then it's not gonna matter if the chips get cold.
JESSICA
Which means I get to have a drink while you continue to cook.
CLARISSA
Nice try. You're taking these out. And while you're out there, tell 'em you're a liberal conservative [1.] [2.]; don't take sides whatever you do.
DYLAN
What if the conservatives hear "liberal" before she gets a chance to finish?
JESSICA
The chips "are" sides.
CLARISSA
Ha ha.
JESSICA TAKES THE PLATES OF CHIPS AWAY.
CLARISSA LOOKS UP AT THE CLOCK.
CLARISSA
It's nine. That's my shift. Clare - you got Matt for the night.
DYLAN
That's me too.
CLARE
Matt, you're on dish.
CLARISSA
Bye guys.
CLARE
Bye.
DYLAN
See ya.
MATT
See ya.
CLARISSA WAVES BYE AND THEN REMOVES HER APRON. AS SHE WALKS TO THE FRONT OF THE HOUSE SHE PLACES THE HOOD BACK OVER HER HEAD.
******
1 Weber, C. R., & Federico, C. M. (2011). [Abstract]. Moral Foundations and Heterogeneity in Ideological Preferences. Unpublished Manuscript, Louisiana State University and University of Minnesota, America. Retrieved through personal correspondence with Christopher Federico 24th November, 2011.
2 Weber, C. R., & Federico, C. M. (2011). [p. 25, <p> 2]. Moral Foundations and Heterogeneity in Ideological Preferences. Unpublished Manuscript, Louisiana State University and University of Minnesota, America. Retrieved through personal correspondence with Christopher Federico 24th November, 2011.
******
INT. BATHROOM OF CLUB - NIGHT
(CLARISSA, EMILY)
THE GIRLS ARE AT A CLUB SOMEWHERE IN SALT LAKE CITY. THIS IS THE FIRST TIME WE SEE EMILY. SHE IS A CLOSE FRIEND OF CLARISSA. THEY ARE BOTH APPLYING MAKE-UP AND GAZING INTO THE MIRROR. CLARISSA STARTS TO FUMBLE THROUGH HER PURSE.
CLARISSA
Em, do you have any mints?
EMILY
Probably. You know we don't need them. They should be locking "our breath" in pretty little droplets.
CLARISSA
Not if I eat anchovies.
EMILY
What is it with you and anchovies?
CLARISSA
You know I can't resist umami [1.]. Anchovies have it [1.], and that intoxicating taste. Soon as I see them on a menu at a bar I just gotta order them. Plus they're high in omega-3 [2.]. I've had anchovies in almost every country I've been to. I still wonder why the manager at Lone Star doesn't wanna add them to the Caesar Salad. I told her I'll cover the cost.
EMILY
Still don't get why you work there. You don't need the money.
CLARISSA
Maybe I like it. People are great, atmosphere's great, the interactions are art [3.]. Same reason we come here. And I'm never gonna lose touch with ordinary people and live in a silly little bubble like dad.
EMILY
I know. I know. But if you did then I'd be in the bubble with you, right?
CLARISSA
You'll always be in my bubble.
CLARISSA PECKS EMILY ON THE CHEEKS.
CLARISSA
Mess your hair. We don't wanna look like a million bucks . . . or too clean [4.].
EMILY SMILES. SHE RUNS SOME FINGERS THROUGH HER HAIR, AND THEN CLARISSA'S. THEY LEAVE THE BATHROOM HAND IN HAND.
******
1 Hirsch, M. L. (2011). Yum's the word. Psychology Today, 44 (4), 46-47.
2 Henrich, S. (2011). The fat chronicles. [Fish fanatics]. Psychology Today, 44 (4), 48.
3 Sehgal, T. [Artist], & Simonini, R. [Writer] (2011). Immaterial guy. Psychology Today, 44 (4), 30-31.
4 Ryerson, N. (2011). Virtuous reality. Psychology Today, 44 (4), 44. [Now that's 4play. Lol.]
******
INT. NIGHTCLUB - NIGHT
(CLARISSA, EMILY, MATTHEW)
CLARISSA AND EMILY SIT AT A TABLE ON THE HIGH LEVEL IN A SPLIT LEVEL CLUB. THEY HAVE A CLEAR VIEW OF THE DANCE FLOOR AND THE BAR. THEY BOTH SIP ON BACARDIS.
[1.]
CLARISSA
More guys than girls. You know that they're short 163 million females in Asia? - that's the entire female population of the States [2.].
EMILY
What? Why?
CLARISSA
Sex selection [2.]. Parents choosing sons over daughters. What it means is that there are a lot of lonely guys in Asia. Fortunately things are a little different here in America; parents want daughters [2.]. And if women outnumber men in the States then that's a fine argument for polygyny, but if you look at the situation from a global perspective then this is an argument just as firm for polyandry. Dad doesn't get that.
EMILY
Your dad's in favor of polygamy?
CLARISSA
Polygyny. But not publicly. Obviously.
EMILY
Oh. Right.
CLARISSA
Guy. Nine o'clock.
EMILY TURNS HER HEAD LEFT. A GUY SITS AT THE BAR. HE TWIRLS HIS FINGER IN WHAT LOOKS LIKE MARTINI. EVERY NOW AND THEN HE LOOKS UP AND SURVEYS THE DANCE FLOOR. HE TAPS HIS KNEE BUT APPEARS TO HAVE MISPLACED THE BEAT, AND EVERY TIME HE GAZES AT THE BAR IT'S AS THOUGH HE'S SEARCHING HARD FOR IT. HE APPEARS NERVOUS.
[3.]
CLARISSA
Try and get his attention. Poor guy. He looks so lost.
EMILY
Sure. But I ain't helping strays all night.
CLARISSA
Just until he's fit enough for us to release him back into the wild.
CLARISSA SMILES. EMILY LAUGHS.
CLARISSA
He's looking. Now. Wink. Wave.
EMILY FOLLOWS SUIT. THEY EACH WINK AND WAVE AT THE GUY. THE GUY GRINS. HE NERVOUSLY APPROACHES THE TWO GIRLS. EVERY STEP HE TAKES APPEARS REHEARSED, PLANNED, QUITE CONTRIVED. HIS GAZE HITS THE GROUND LIKE TORRENTIAL RAIN BUT EVERY NOW AND THEN ITS CUTE SHADOW BRUSHES THE SILKY CHEEKS OF CLARISSA AND EMILY.
MATTHEW
Um . . . is this seat taken? I don't mean to be rude, I was just wondering if . . .
CLARISSA
. . . you could sit down?
EMILY
We winked at you, and waved at you.
MATTHEW
Me?
CLARISSA
Yes. Silly. Come on.
CLARISSA OFFERS MATTHEW HER HAND.
CLARISSA
I'm Clarissa, and this is my friend Emily. You are?
MATTHEW SHAKES CLARISSA'S HAND AND TAKES A SEAT.
MATTHEW
Um . . . Matthew.
CLARISSA
Matthew. I work with a guy named Matt. Common name. What brings you here Matthew?
MATTHEW
Travelling.
EMILY
You're not from around here?
MATTHEW
I'm from Florida. I'm having a look at out of state universities.
CLARISSA
You do have the internet don't you?
MATTHEW
Well, yeah. But I wanted to travel.
EMILY
So you could find bars where you can sit and stir Martinis huh, Bond?
CLARISSA EASILY READS THE SLIGHT DISCOMFORT ON MATTHEW'S FACE. TO HIM REJECTION'S A WIND AND DISTANCE IS A COMFY COAT.
CLARISSA
Ignore her. What she means to say is; She would like you to touch her breasts the way you did that Martini.
EMILY
Clarissa!
MATTHEW LAUGHS. HE LOOKS DOWN AT THE TABLE.
CLARISSA
What do you study?
MATTHEW
Just Arts. Thinking of Philosophy. I like creative writing a lot.
EMILY
No need for a pen. Just take film, take pics, or record voice. Even right here, right now; this is something you can write . . . like, not even “about”, you could just write down every word we say.
MATTHEW
That's true.
CLARISSA
What type of creative writing. Comedy, drama?
MATTHEW
I guess drama.
EMILY
Comedy's the way to go; Two and a Half Men, Seinfeld, South Park . . .
[4.]
MATTHEW
I love those shows. But I can't write that well. I wanna write the script for a show like Skins one day but . . .
CLARISSA
But you need inspiration.
MATTHEW
Well, I was gonna say that I'm not good enough but . . .
CLARISSA PUTS A FINGER TO MATTHEW'S LIPS
CLARISSA
Write.
MATTHEW REACHES INTO HIS POCKET. EMILY GRABS HIS ARM, SHAKING HER HEAD.
CLARISSA
No Matthew. Setting the scene right here in this club, and without prescribing us any illegal acts, write us. Write this scene.
MATTHEW
Are you . . . serious? Really?
CLARISSA AND EMILY NOD.
MATTHEW
I guess . . . like . . . I would touch your cheek.
CLARISSA TAKES MATTHEW'S HAND AND PLACES IT AGAINST HER CHEEK.
MATTHEW
Even though we have never seen one another before I'm drawn into this triangle as though the bond between two good friends is contagious . . .
CLARISSA LEANS TOWARD MATTHEW. MATTHEW TAKES A DEEP BREATH.
EMILY
Don't lose your breath now, Matthew. You're controlling the speed.
MATTHEW
The . . . their lips touch.
CLARISSA TOUCHES MATTHEW'S LIPS WITH HERS. MATTHEW'S SILENT, SO THE SCENE REMAINS STATIC . . . 10 SECONDS . . . 20. THEN MATTHEW TOUCHES CLARISSA'S CHEEK AGAIN.
EMILY
You're not narrating that touch.
MATTHEW REMOVES HIS LIPS FROM CLARISSA'S AND SMILES. CLARISSA SHRUGS.
CLARISSA
Short story.
MATTHEW
I'm sorry. It's silly.
CLARISSA
Not the kiss I hope.
MATTHEW
No. My writing.
CLARISSA
But you're writing with your body and your body's just fine. So are your lips. Guess you are a Bond.
MATTHEW
Thanks.
EMILY
Can I write something?
MATTHEW
Of course.
EMILY GRABS MATTHEW'S ARM AND PULLS HIM TOWARD HER. THEN SHE TOO PRESSES HER LIPS AGAINST HIS.
CLARISSA
Ok, Matthew. Feel the testosterone now?
MATTHEW
Ha ha. Um . . . yeah.
CLARISSA
Good, coz we gotta go. But we need you to promise us you'll ask some of these beautiful girls if you can buy them a drink . . .
CLARISSA POINTS AT THE BAR. THEN SHE AND EMILY STAND.
CLARISSA
Ok?
MATTHEW
Yeah. Uh . . . It was nice meeting you. Um . . . are you on Facebook?
CLARISSA STEPS AWAY FROM THE TABLE.
CLARISSA
No. Because my dad might be President one day. But maybe then. Bye.
CLARISSA AND EMILY HURRY OFF. MATTHEW REMAINS AT THE TABLE, SPEECHLESS. HE EXHALES.
******
1 Like I Love You - Justin Timberlake, Clipse, and Pharrell Williams (http://www.youtube.com/watch?v=FQ3slUz7Jo8&ob=av2e)
2 Hvistendahl, M. (2011). Unnatural selection. Psychology Today, 44 (4), 80-87.
3 Yeah - Usher, Lil Jon, and Ludacris (http://www.youtube.com/watch?v=AyIX_Pn7Ij0)
4 We Made You – Eminem and Dina Rae (http://www.youtube.com/watch?v=RSdKmX2BH7o&ob=av2e)
5 McGarr, E. (2007). Anchovy power! Those yucky little fish could save your life. Columbia News Service (Online). Retrieved January 4, 2011 from http://jscms.jrn.columbia.edu/.../mcgarr-eatyouranchovies...
******
EXT. SALT LAKE STREETS - NIGHT
(CLARISSA, EMILY)
CLARISSA AND EMILY HAVE LEFT THE CLUB. THEY ARE WALKING DOWN A BUSY MAIN STREET, BRIGHTLY LIT AND PACKED WITH PEOPLE. THE NIGHT LIFE IS LOUD AND LIVELY.
EMILY
That was amazing Clarissa.
CLARISSA
Yeah. That guy's gonna remember that kiss for the rest of his life. But I'm thinking I should maybe cool it on the Presidential speak.
EMILY
Why? You never told the guy your dad's name.
CLARISSA
I feel like if I'm not careful I'm gonna lose all this. Just one damn reporter and I'll be in the public eye. Then I'll have to kiss goodbye my job at Lone Star, and this night life. But . . .
CLARISSA TILTS HER HEAD BACK AND STARES UP AT THE SKY. THEN SHE BRINGS IT DOWN SO THAT HER GAZE PENETRATES THE HAZE OF EXCITEMENT ONCE AGAIN.
CLARISSA
Sometimes I so just wanna find some reporter and totally fuck him just to see what happens.
EMILY
If he's cute that's fine by me.
CLARISSA
But then I'll be put under house arrest, cut off from everyone [5.] [6.] [7.]; probably even you. And no matter how good my dad's place is it's no substitute for these streets [5.] [6.] [7.].
EMILY
But you'll be the next Lindsey Lohan.
CLARISSA
But then my dad won't be the next president.
EMILY
You really have that much influence?
CLARISSA
No. But the media does. And if I do something sleazy then they're bound to make sure it reflects badly on dad. Spin. Just like the advertisers telling us what we gotta buy to be happy. Fact is, though, Americans are getting more and more depressed [1.] [2.] [3.]. We don't know what we want so we buy whatever they tell us to and forget about our communities, experiences, relationships and all that [8.] [9.]. I would seriously hate to be locked away in a lonely mansion. I need to go out and know I can get that chemical rush [4.] again and again.
EMILY
Which is why you and I gotta find guys we can fall in love with for the night . . . but try not to mention who you are.
CLARISSA SMILES.
CLARISSA
I can try. But it's hard not to blurt it out.
EMILY
Well, either you keep it a secret or you'll find yourself stuck in a nuclear family, no way out.
CLARISSA STOPS WALKING. SHE BOWS HER HEAD.
EMILY
Clarissa!
CLARISSA WIPES AN EYE. SHE TAKES A DEEP BREATH.
EMILY
Clarissa! Are you ok?
CLARISSA LOOKS AT EMILY. HER GAZE SPEAKS A THOUSAND WORDS. AND THEY ECHO OFF THE SALT WATER DROPLETS THAT REST IN HER EYES.
CLARISSA
Um . . . sorry. Don't mention "nuclear" please.
EMILY
Oh. Cassie. Clarissa, I'm so sorry.
CLARISSA TAKES ANOTHER DEEP BREATH. SHE LOOKS AROUND.
CLARISSA
Pick a club, any club.
EMILY POINTS TO THE ONE RIGHT IN FRONT OF THEM AND THEN THEY BOTH WALK TOWARD IT.
*****
1 Sandler, L. (2011). ["As Andrew Oswald, who studies the intersection of economics and happiness at the University of Warwick, in Britain, states, "The U.S.A. has, in aggregate, apparently become more miserable over the last quarter of a century."]. The American nightmare. Psychology Today, 44 (2), 70-77.
2 Eyunni, A. (2011). [Abstract]. On the Determinants of Happiness. Social Science Research Network. Retrieved January 6, 2011 from http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1889222
3 Oswald, A. (2006, January 19). [p. 1]. The Hippies Were Right all Along about Happiness. Financial Times (Online). Retrieved January 6, 2011 from http://www.andrewoswald.com/docs/fthappinessjan96.pdfSandler, L. (2011). [""Here we look to that incredible emotional rush when you've just fallen in love, which we know physiologically doesn't stay that way--it can't," says sociologist Linda Waite, who studies marriage at the University of Chicago."]. The American nightmare. Psychology Today, 44 (2), 70-77.
4 Carlin, F. (2011). ["Now that Americans have their dream homes, many are setting up substitute institutions in the living room--and taking on the roles of preacher, teacher, and boss. There are many reasons we're increasingly home-centric, among them an overarching sense that Americans, being Americans, want the freedom to educate and support themselves and their children in the way they see fit, not the way that supposed authority figures would have it. But a possible consequence is that all of this insular socializing puts even more pressure on families, cutting them off from the diversity and connectedness of the proverbial village."]. Stay-at-home nation: Is public life moving indoors? Psychology Today, 44 (2), 74.
5 Sandler, L. (2011). ["Add to that, he [Andres Duany] says, the loss of authentic connections that comes from the distinctly American notion of homeownership that plays a key part in fulfilling the dream: you purchase a private realm--your home--to replace a public sphere that no longer exists."]. The American nightmare. Psychology Today, 44 (2), 70-77.
6 Duany, A., Plater-Zyberk, E., & Speck, J. (2010). [Blurb]. Suburban Nation: The Rise of Sprawl and the Decline of the American Dream (2nd Ed.). New York, America: Farrar, Straus and Giroux. Blurb retrieved January 6, 2011 from http://books.google.com.au/books?id=aBNu7zLlcRcC&dq=Suburban+Nation:+The+Rise+of+Sprawl+and+the+Decline+of+the+American+Dream+%E2%80%9D&hl=en&sa=X&ei=XWQGT5LBAemImQXRnpzwBw&ved=0CDEQ6AEwAA
7 Sandler, L. (2011). [""The more people focus on a materialistic pathway to happiness, the less happy they tend to be, and the less happy they make others," he [Tim Kasser] says."]. The American nightmare. Psychology Today, 44 (2), 70-77.
8 Kasser, T., & Ryan, R. M. (1993). [Abstract]. A dark side of the American dream: Correlates of financial success as a central life aspiration. Journal of Personality and Social Psychology, 65 (2), 410-422. doi: 10.1037/0022-3514.65.2.410 Retrieved January 6, 2011 from http://psycnet.apa.org/journals/psp/65/2/410/
9 Chemical Rush - Brian McFadden (http://www.youtube.com/watch?v=PnrSosAHlrY)
10 Numb - Linkin Park (http://www.youtube.com/watch?v=kXYiU_JCYtU&ob=av2n)
11 Sandler, L. (2011). The American nightmare. Psychology Today, 44 (2), 70-77.
******
INT. NIGHTCLUB - NIGHT
(CLARISSA, EMILY)
EMILY'S AT THE BAR. CLARISSA IS RIGHT BEHIND HER. THE CLUB IS CROWDED, THE NOISE DEAFENING AND ATMOSPHERE ELECTRIC. AND, IN AN EFFORT TO MAKE SPARKS FLY CLARISSA SIGNALS HER CHOICE OF LIQUID TO EMILY: SHE DRAWS A HALF SUN IN THE AIR WITH HER FOREFINGER. EMILY TURNS TO THE BARMAN.
EMILY
. . . and a Tequila Sunrise thanks.
THE BARMAN PREPARES A TEQUILA SUNRISE. CLARISSA SCANS THE CLUB GROUND. SO DO WE. AS USUAL THERE EXISTS A STAGE, A DANCE FLOOR, A BAR AND AN ELEVATED EATING AREA. UNLIKE THE LAST CLUB THERE ARE MORE FEMALES THAN MALES HERE. THE LIGHTING IS DIM AND STROBES DOT AND DASH THE SKY CONTINUALLY LIKE EXCLAMATION POINTS THAT CAN'T BE IGNORED. THE CONTAGION OF EXCITEMENT DEFINITELY FILLS THE AIR.
CLARISSA
Yeah! I'm loving this place!
EMILY TAKES THE TWO DRINKS FROM THE BAR. SHE HANDS ONE TO CLARISSA.
EMILY
Introductions!
THE TWO MAKE THEIR WAY TOWARD THE CLOSEST TABLE.
CLARISSA
What?
EMILY
Introductions. Let's say we're in the public eye, and we're the stars of a new reality TV show. How do you introduce yourself? What do you say to the camera? Or to me? And what do I say? And what do we wear? What do we drink?
CLARISSA
You said "reality"?
EMILY
Yeah.
CLARISSA
Then the answers are already in our hands, on our bodies, and jumping from our lips.
EMILY
But it's the first time I've had this drink. I don't know if it's my favorite yet, or even if I like it.
EMILY STARES AT THE GLASS. CLARISSA GLANCES AT HER WATCH.
CLARISSA
12 o'clock!
EMILY
He better be hot this time.
CLARISSA
Not a direction. It's 12 already. I got an early shift tomorrow.
EMILY
What time?
CLARISSA
9.
EMILY
Which gives us nine hours to drink, to wander over to the dance floor and to find a guy or two.
CLARISSA PICKS UP HER PHONE. SHE STARES AT THE SCREEN. SHE SMILES.
CLARISSA
Wanna go to New York?
EMILY
What?
CLARISSA READS ALOUD THE MESSAGE ON HER PHONE.
CLARISSA
Hi, my little angel. Just letting you know that I'll be in New York for the next three days. The flights are on me if you and Emily would like to visit. I miss you very much. We can spend some time together in between my speeches. I'll be speaking about . . .
CLARISSA TURNS THE PHONE OVER. SHE REMOVES THE BACK COVER.
EMILY
Is the battery flat?
CLARISSA REMOVES THE BATTERY AND THEN THE SIM CARD. SHE PUTS THE SIM CARD IN HER POCKET.
EMILY
Clarissa?
CLARISSA PLACES THE BATTERY BACK INTO THE PHONE, THEN CLIPS THE COVER INTO PLACE LIKE THE SMALL GADGET IS SOME KIND OF IKEA BMW FRESH OFF THE PRODUCTION LINE.
CLARISSA
Oh no. I seem to have lost my phone.
CLARISSA TOSSES THE PHONE ONTO AN EMPTY TABLE SEVERAL METRES AWAY.
EMILY
Clarissa; how'd the message end? New York would be great but aren't you meant be going back to University of Utah soon?
CLARISSA
Speech on foreign affairs. I don't know if I really wanna go. It's up to you Emily. Tell you what; if we wanna prepare for this imaginary reality show you were talking about then we'll have to sample everything from the bar - so we know our favorite drinks.
CLARISSA DOWNS HER TEQUILA SUNRISE.
EMILY
Ha. Clarissa!
CLARISSA STANDS UP. SHE PLACES A HAND ON EMILY'S SHOULDER.
Come on Em; let's purchase some more poison.
EMILY
Your call.
EMILY DOWNS HER DRINK AND STANDS UP ALSO.
EMILY
Does this mean we're not sleeping tonight?
CLARISSA
You bet.
THEY RETURN TO THE BAR.
******
1 My Culture – 1 Giant Leap, Maxi Jazz, and Robbie Williams (http://www.dailymotion.com/.../xbzb7_1-giant-leap-my...)
2 My Culture – 1 Giant Leap, Maxi Jazz, and Robbie Williams (http://www.youtube.com/watch?v=J05X-vtB_X4)
3 We Are All Made Of Stars – Moby (http://www.youtube.com/watch?v=xAh6fk0KD1c&ob=av3e)
******
INT. NIGHTCLUB - LATER NIGHT
(CLARISSA, EMILY, CITIZEN 1, CITIZEN 2)
CLARISSA IS TIPSY. SHE TILTS HER HEAD TO THE LEFT AND WE SEE THE CLUB SCENE STUMBLE. IT ALMOST TRIPS.
CLARISSA
Emily - I don't don't like straight tequila. I don't like it because it makes my head tilt and I don't mind my head tilting but only when I tell it to . . . I don't want these slimy tequila tics in my head tellin' it how to hang.
EMILY
And I don't like vodka vermin.
CLARISSA
I don't like spin. I get dizzy.
EMILY
I'm gonna spin like a politician. Wanna dance?
CLARISSA
Girl . . . you . . . cannot even . . . stand and I'm so . . . off my head I'll be dancing like a poli . . .
EMILY
Like Boris Yeltsin.
CITIZEN 1
Yeah, so we just gonna sit back and watch as they fly more planes into our buildings?! Look son, that plane hit the Empire State dead on! What a shot. Which tower do you think they'll sink next?
THE CAMERA PANS TO THE BAR AND CAPTURES TWO MEN, HEAVILY INTOXICATED.
CITIZEN 2
No no no! Why don't we fuckin' sit back and watch countries get bombed!? Look son, it's bye bye Iraq! Bye bye Afghanistan!
CITIZEN 1
Oh ok! So we let them all in!? Fuckin' open country! Bring all your n**** friends and t****heads and we'll all drink cocktails as we plan the next attack! Fuck it, we already got ourselves a n**** president!
CITIZEN 2
Obama's more American than you'll ever be, you fuckin' f*****! He's bringin' our troops back home, instead of leaving 'em there to rot.
THE FIRST GUY STANDS. HE KICKS HIS STOOL TO THE GROUND.
CITIZEN 1
Don't you ever tell me I'm not American! I'm born and bred Texan. My parents are from Texas, my grandparents, their parents, their parents. Where the fuck are you from you fuckin' ape!?
THE SECOND MAN STANDS.
CITIZEN 2
From right here in Utah for your information. And my son is in Afghanistan right now fighting for our beautiful country. And I'll exclude you from that "our" if you don't mind.
CITIZEN 1
Oh I very much mind!
THE FIRST GUY PICKS UP A BOTTLE. HE CRACKS IT ON THE BAR. HE POINTS IT AT THE SECOND GUY.
CLARISSA
Em, tell the DJ I want "Everybody (Backstreet's Back)"!
EMILY
Clarissa! What are you doing?
CLARISSA
You know.
CLARISSA WINKS. THE CAMERA'S SO SHY IT DOESN'T KNOW WHERE TO LOOK. A SECURITY GUARD RUNS TOWARD THE MAN WITH THE BOTTLE. CLARISSA HOPS ONTO THE STAGE. EMILY RUSHES OVER TO THE DJ. THE SECOND MAN TAKES TWO OR THREE STEPS BACK. THE CAMERA'S SPINNING BUT WHEN IT COMES TO A STOP ITS GAZE IS ON CLARISSA AND CLARISSA'S ON STAGE NEXT TO A POLE.
A GUY HANDS CLARISSA A MICROPHONE. AND ALREADY SOME CURIOUS HEADS ARE TURNING. THE MUSIC STARTS. CLARISSA SINGS, WRAPS HER LEGS AROUND THE POLE, AND THEN PLANTS THEM BACK ON THE GROUND LIKE THEY'RE ELASTIC BANDS.
CLARISSA WINKS - THIS TIME AT THE AUDIENCE. SHE BEGINS TO SING THE BACKSTREET BOYS' "EVERYBODY (BACKSTREET'S BACK)" REPLACING ANY PLURAL PRONOUNS WITH SINGULAR "I"'S, HIGHLIGHTING HERSELF, HER DANCING, HER SINGING, HER BODY. CHATTER BUILDS UP; EXCITED CHATTER. IMMEDIATELY THE MAN DROPS THE BOTTLE. HE RAISES HIS HANDS. AND EVEN THOUGH WE CAN'T HEAR HIM WE CAN TELL HE'S PLEADING WITH SECURITY TO LET HIM STAY. SECONDS LATER HE AND THE SECOND GUY ARE SHAKING HANDS, PATTING EACH OTHER ON THE BACK, AND DOING EVERYTHING SHORT OF KISSING. CLARISSA HOPS OFF THE STAGE BUT CONTINUES TO SING. SHE STROLLS ELOQUENTLY THROUGH THE CROWD, HIDING HER DRUNKENNESS WELL BEHIND THIS VEIL OF SMOOTH STROLLING AND SINGING.
THE CROWD CHEERS.
THE CAMERA FINDS EMILY AND SITS ON HER TABLE, STARING AT HER BEAUTIFUL FACE AND WAITING FOR HER TO SAY SOMETHING. YOU COULD MISTAKE THE SOUND OF CLAPPING FOR THE TAPPING OF THIS CAMERAS FIGURATIVE FEET.
EMILY
This is why we need a female president.
******
1 Mosh - Eminem (http://www.youtube.com/watch?v=Ox0Q4YIdnGI)
2 Everybody (Backstreet's Back) - Backstreet Boys (http://www.youtube.com/watch?v=6M6samPEMpM)
3 It's Goin' Down – X-Ecutioners, Mike Shinoda, and Mr. Hahn (http://www.youtube.com/watch?v=PcRKsu5H97E)
4 Sherman, J. (2011). Zoom. Psychology Today, 44 (2), 52-53.
5 Bartz, A. (2011). The I's have it. Psychology Today, 44 (4), 11.
6 McCarthy, L. [Writer], Shilton, G. M. [Director], Priestley, J. [Actor], & Novick, J. [Actress] (1996, November 6). The Things We Do for Love: Beverly Hills, 90210. [Television series]. Los Angeles, California: Fox Broadcasting Company. [Liberal/Conservative].
******
EXT. UTAHN STREETS - NIGHT
CLARISSA IS ON THE PHONE - EMILY'S - TO HER BOSS AT LONE STAR. EMILY WALKS ALONGSIDE HER. THE STREETS ARE A LITTLE LESS CROWDED THAN EARLIER IN THE NIGHT.
CLARISSA
Yeah, I know it's 4 in the morning but your phone was on and you answered and it's me so I know your happy. . . . Yeah. Plus I'm a little wasted so I'm being silly. But look - something has suddenly come up and I need to go to NY for a few days. I wanted to give you five hours notice before my next shift. . . . Really? That's cool? Thanks so much Clare. It won't be too busy anyway, ay? . . . Yeah. Goodnight.
EMILY
I can't believe you rang your boss! At this time of night. What did she say?
CLARISSA
I'm fired.
EMILY
What!?
CLARISSA
Just kidding. It's all good. Everyone in the kitchen is oddly happy lately. Could be because I hide my paycheck in various unusual places. Everyone seems to keep finding money in the strangest of spots. I'll admit that putting a fifty in the oven may not have been a smart idea. Now it's practically the size of a 50 cent coin. I could just put it all in the tip jar but then people will know it's me.
EMILY LAUGHS.
EMILY
How much have you hidden? Wait . . . Wouldn't the fifty have caught fire?
CLARISSA
Oh yeah . . . it was an Australian fifty. I've hidden hundreds of dollars . . . mostly American.
EMILY
Girl, you are so crazy.
CLARISSA
But that's why you love me.
EMILY
Yep. So we're off to New York. You serious? How soon?
CLARISSA
Soon as. Maybe today. Say . . . 10. How's that? You gotta pick your pocket.
EMILY
Huh?
CLARISSA
Pick what you wanna put in your pocket. See . . .
CLARISSA TAKES A SILVER CARD OUT OF HER POCKET.
CLARISSA
Here's my Globe card [1.]. Got almost 10 grand on it. I think that's the limit. It's all we need. And our passports and whatever else we can fit into our pockets.
EMILY
I need perfume . . . and . . . um . . . make-up . . . that's all, I think.
CLARISSA
I just need a phone with internet. Yours'll do . . . until I find a better one in NY. Are there any stores still open now?
EMILY
I . . .
EMILY LOOKS AROUND
EMILY
. . . don't know.
THE CAMERA GOES LOOKING FOR AN OPEN STORE. IT SCAMPERS ALONG THE FOOTPATH, PEERING INTO WINDOWS ONE BY ONE.
CLARISSA
A 24/7! Let's go.
THEY WALK TOWARD A STORE . . . THE NAME STILL A BLUR . . .
******
1 I Ain't Thru – Keyshia Cole and Nicki Minaj (http://www.youtube.com/watch?v=jdLAvOMHpqo)
2 Miami To Ibiza – Swedish House Mafia and Tinie Tempah (http://www.youtube.com/watch?v=LCH1AsUydSc)
3 Cash Passport Globe (http://www.cashpassport.com/1/en/Globe/FAQ/)
******
OPTIONAL SCENE
EXT. UTAHN STREETS - NIGHT
EMILY AND CLARISSA SPIN AROUND BEFORE THEY REACH THE STORE, AND THEN PRESS THEIR BACKS AGAINST A NAKED WALL. CLARISSA BENDS ONE LEG, PRESSES HER FOOT TO THE WALL AND WAITS LIKE A SEAGULL FOR EMILY TO PULL A FEW BRIGHT PINK PILLS [1.] [2.] FROM HER POCKET.
CLARISSA
Sweet.
EMILY GIGGLES. SHE HANDS CLARISSA THE PILLS. CLARISSA TOSSES THEM INTO HER MOUTH.
EMILY
One girl. One.
CLARISSA POKES OUT HER TONGUE. TWO PINK PILLS DOT THE RED MUSCLES; SMALL BRIGHT PINK POLKA DOTS. EMILY SMILES, AND RETRIEVES ONE WITH A NEAT LICK, A FINE BRUSH STROKE. THEY EACH SWALLOW. THE CAMERA APPEARS TO SHRUG, THEN GLANCES ONCE MORE AT THE STOREFRONT. STILL THE NAME IS A BLUR.
THEY WALK INSIDE.
******
1 Bartz, A. (2011). Bitter pills. Psychology Today, 44 (2), 17.
2 Srivastava, R. K., & More, A. T. (2010). [Abstract]. Some aesthetic considerations for over the-counter (OTC) pharmaceutical products. International Journal of Biotechnology, 11 (3), 267-283. Retrieved January 10, 2012 from http://inderscience.metapress.com/content/14417k1234k5v811/
3 Smith, S. [Director], Rehem, S. [Director], Elsley, B. [Creator], & Brittain, J. [Creator] (2011). Skins: North America. 172 Drury lane, London: Company Television Limited.
4 Pillmatic – Gym Class Heroes (http://www.youtube.com/watch?v=W2L6RrwuOV4)
OR
1 Bartz, A. (2011). Wising up to dummy pills. Psychology Today, 44 (2), 39.
2 Kaptchuk, T. J., Friedlander, E., Kelley, J. M., Sanchez, M. N., Kokkotou1, E., Singer, J. P., Kowalczykowski1, M., Miller, F. G., Kirsch, I., & Lembo1, A. J. (2010). [Background; Conclusion]. Placebos without Deception: A Randomized Controlled Trial in Irritable Bowel Syndrome. PLoS ONE, 5(12), e15591. doi:10.1371/journal.pone.0015591 Retrieved January 10, 2012 from http://www.plosone.org/.../info%3Adoi%2F10.1371%2Fjournal...
******
INT. STORE - NIGHT
(CLARISSA, EMILY, MIKAYLA)
CLARISSA IS ON THE PHONE TO A BOYFRIEND. EMILY IS BROWSING.
CLARISSA
Tony, how are you? . . . I woke you? You mean you ain't partying? C'mon dude. . . . Well, we're heading to NY to trace dad's campaign trail and - like - we'll be needing a guy to fuck if we get bored [1.] [2.]. . . . Yes, all expenses paid. You in? . . . Where are you now? . . . New Jersey. That's easy. Could you meet us at JFK midday? . . . Sweet. Oh - get some sleep, yeah? . . . Love you. So does Em.
EMILY
I'm ditchin' him if we find someone hotter.
THE STORE OWNER APPROACHES THE GIRLS FROM BEHIND, SMILING.
MIKAYLA
Ladies, could I please see some ID?
CLARISSA
What? But this is a clothes store. You don't spray the garments with alcohol do you?
MIKAYLA
Trust me, you'll wanna show me your ID . . . if you are who I think you are.
CLARISSA
I don't like to show my ID to strangers unless it's absolutely necessary. We just need some new clothes.
EMILY
Who is it you think she is?
MIKAYLA
Are you a daughter of Jon Huntsman?
EMILY SHRUGS.
EMILY
Looks like your cover's blown, Clarissa.
CLARISSA PULLS HER ID FROM A POCKET. SHE FLASHES IT AT MIKAYLA.
MIKAYLA EXTENDS A HAND.
MIKAYLA
My name's Mikayla.
CLARISSA SHAKES HER HAND, SO DOES EMILY. THEN CLARISSA SWEEPS HER GAZE ACROSS THE STORE.
MIKAYLA
Don't worry, we're alone.
CLARISSA
I'm Clarissa. This is my friend Emily. You know my dad?
MIKAYLA
I'm helping fund his campaign [3.] [4.]. We all are - the staff. He's asked us to look out for you girls. Follow me. I have some things to show you.
MIKAYLA LEADS THE WAY DOWN SOME STAIRS INTO SOME KIND OF BASEMENT.
CLARISSA STOPS, BARELY HALFWAY DOWN.
CLARISSA
Wait a second. Your turn to show us some ID. My dad would have given you his campaign card. Probably a gold one too.
MIKAYLA
Oh. So sorry. Here . . .
MIKAYLA PULLS A GOLD CARD FROM HER POCKET AND SHOWS IT TO THE GIRLS.
CLARISSA
Thanks.
THEY ALL CONTINUE DOWN THE STAIRS.
MIKAYLA
You girls are heading to New York, huh?
CLARISSA
That's right.
MIKAYLA
When are you leaving?
CLARISSA
We don't plan. We just arrive at the airport and get the next flight. We could get a private plane if we wanted but I don't think we need it yet . . . so long as people like you don't go telling everyone who we are. Ha ha.
MIKAYLA
No no. Certainly not. We respect your privacy.
CLARISSA
Thanks.
MIKAYLA
You girls are gonna love this. These bras are state-of-the-art and totally stunning. They're part of an opera wardrobe. 100 per cent water soluble [5.]. They look like butterfly wings.
MIKAYLA LIFTS A SMALL BRA FROM A BENCH.
CLARISSA
Wow! That's beautiful. Can I . . .?
MIKAYLA
Go ahead. Be careful though. They're so delicate - like fabric glass.
CLARISSA
Fabric diamond. Wow - this feels good.
MIKAYLA
You won't find these on display upstairs - or in any store for that matter. They cost us way too much. And if just one person gets their sweaty palms on them . . . yours are clean, right?
CLARISSA
The bra's still visible so I'm guessing my palms aren't too bad. I love how thin this is.
CLARISSA LETS HER HANDS DRIFT FROM THE UNDERSIDE OF THE BRA AND CAPTURES IT AS IT SETTLES AGAIN ON HER PALMS.
CLARISSA
Feather thin. And what's that say . . .?
MIKAYLA
Oh - that's just our store's logo . . .
CLARISSA
Oh, I see . . .
EMILY
But if it dissolves in water then you won't be showing it off for long . . .
I NOD.
CLARISSA
And can I fold this? . . . maybe place it in a waterproof, resealable plastic bag that I can fit in my pocket . . .?
MIKAYLA
A small plastic cylinder. You can roll it up and place it in one, like it's a poster.
CLARISSA
And I'm a poster girl. I'll take it. One for Emily also.
EMILY
Clarissa! Are you sure?
CLARISSA
Trust me.
MIKAYLA
Take photos, girls. Maybe we'll get some posters made up for the store. Now, another thing. You need perfume, right?
MIKAYLA WALKS OVER TO A CUPBOARD. ON IT SIT AROUND TWENTY SMALL GLASS BOTTLES.
MIKAYLA
Heard of oestradiol [6.] [7.]? That's the active ingredient in this perfume. Scientifically proven to enhance the attractiveness of your smell. Of course, all "you" really need to do is mention your name and guys are all over you . . .
CLARISSA
Well, yeah. We're actually not looking for perfume right now. But I'm loving the bras. Do you have anything else made out of this material?
MIKAYLA
No. Unfortunately not.
CLARISSA
That's cool. I'll be sure to drop in again next time I'm here. We'll just take the two bras.
MIKAYLA
Certainly. I won't waste your time then. Right back up the stairs, girls.
CLARISSA AND EMILY MAKE THEIR WAY BACK TO THE GROUND FLOOR.
EMILY
Bras that dissolve in water?
CLARISSA
Yeah! Do you see the potential?
MIKAYLA
Here are the cylinders they were delivered to us in.
MIKAYLA HANDS BOTH CLARISSA AND EMILY A PLASTIC CYLINDER. SHE WALKS OVER TO THE CASHIER.
MIKAYLA
That's $200. Will that be cash or credit?
CLARISSA
Neither. VISA.
CLARISSA PASSES MIKAYLA HER GLOBE CARD.
CLARISSA
Don't you know anything about how people like myself carry cash?
MIKAYLA
Now I do. Nice card. Sign here please.
MIKAYLA SLIDES A SLIP OF PAPER TOWARD CLARISSA.
CLARISSA
I prefer to type in my pin.
MIKAYLA
Certainly. Yep.
CLARISSA TYPES IN THE FOUR DIGIT PIN AND THEN NODS. THE RECEIPT PRINTS AND MIKAYLA PASSES IT TO CLARISSA.
MIKAYLA
Enjoy the trip girls. Say hi to your dad for me, Clarissa.
CLARISSA
You bet. All the best.
THE GIRLS LEAVE THE STORE.
******
1 Hooper, R. (2011). They have friends with benefits... New Scientist, 212 (2842), 6-7.
2 Gomes, C. M., & Boesch, C. (2011). [Abstract]. Reciprocity and trades in wild West African chimpanzees. Behavioral Ecology and Sociobiology, 65 (11), 2183-2196. doi: 10.1007/s00265-011-1227-x Retrieved January 10, 2011 from http://www.springerlink.com/content/b571247151351141/
3 Martinez-Carter, K. (2011). In the Red, White, and Blue: Political involvement boosts bottom lines. Psychology Today, 44 (2), 12.
4 Lux, S., Crook, T. R., & Woehr, D. J. (2011). [Abstract]. Mixing Business With Politics: A Meta-Analysis of the Antecedents and Outcomes of Corporate Political Activity. Journal of Management, 37 (1), 223-247. doi: 10.1177/0149206310392233 Retrieved January 10, 2012 from http://jom.sagepub.com/content/37/1/223.short
5 Storey, H. [Artist], & O'Callaghan, T. [Writer] (2011). Fashioning the future. New Scientist, 212 (2842), 50-51.
6 Hamzelou, J. (2011). The wax and wane of the sexual brain. New Scientist, 212 (2842), 12.
7 Christensen, A., Dewing, P., & Micevych, P. (2011). [Abstract: Complicated, but essentially this just highlights the importance of oestradiol/estradiol]. Membrane-Initiated Estradiol Signaling Induces Spinogenesis Required for Female Sexual Receptivity. The Journal of Neuroscience, 31 (48), 17583-17589. doi: 10.1523/JNEUROSCI.3030-11.2011. Retrieved January 10, 2011 from http://www.jneurosci.org/content/31/48/17583.short
8 I'm On – Trae The Truth, MDMA, Lupe Fiasco, Big Boi, Wale, and Wiz Khalifa (http://www.youtube.com/watch?v=qX8erLf0jTM&feature=g-logo...) [“I used to have dark nights now it’s bright lights/Daytime bus pass, now it’s night flights/Had a poor man swag now it’s priced right/Always wanted a piece of the pie, now it’s sliced right” - Trae The Truth].
9 Whenever, Wherever – Shakira (http://www.youtube.com/watch?v=weRHyjj34ZE&ob=av3e)
10 You Need Me, I Don't Need You – Ed Sheeran, Wretch 32, and Devlin (http://www.youtube.com/watch?v=ZXvzzTICvJs&feature=relmfu)
******
OPTIONAL SCENE
EXT. UTAHN STREETS - NIGHT
(CLARISSA, EMILY, MIKAYLA, GUARD)
CLARISSA PULLS A BRA – A NORMAL ONE, ALL SCREWED UP, LOOKING LIKE A SCRUNCHY – FROM HER LEFT POCKET. SHE NUDGES EMILY.
CLARISSA
Whoa! I am sooooo out of it . . . this swam into my pocket like it's liquid or something . . .
EMILY
Liquid doesn't swim, silly. You mean; like it's a squid.
CLARISSA
How much does squid cost?
EMILY
I . . . don't know.
MIKAYLA
Oi! You girls! Get back here now! Security! She stole a bra!
GUARD
Ladies! Stop right there.
CLARISSA NODS TO EMILY.
CLARISSA
Run!
THEY EACH TAKE OFF DOWN THE BUSY STREET, DARTING IN BETWEEN PEOPLE. AFTER TEN OR TWENTY STRIDES THEY'RE WELL CLEAR OF THE GUARD: A BRA COULDN'T BE WORTH MUCH MORE THAN A FEW METRES OF GROUND . . . ESPECIALLY FOR A FAT GUARD. AFTER ALL, IT'S ONLY A FOOT LONG.
CLARISSA STARTS TO LAUGH. SO DOES EMILY.
CLARISSA
Why did I just steal a bra?
EMILY
Beats me.
CLARISSA
Damn pink pills.
******
1 Keep It On A Low – Dot Rotten (http://www.youtube.com/watch?v=0FBoBYWm-zk&feature=relmfu)
2 Make The World Go Round – Nas, Chris Brown, The Game (http://www.youtube.com/watch?v=u2de0RBcqiE&feature=related)
3 Dance With Me Tonight – Olly Murs (http://www.youtube.com/watch?v=F3EG4olrFjY&feature=related)
******
EXT. STATE STREET - NIGHT
(CLARISSA, EMILY)
CLARISSA AND EMILY ARE WALKING DOWN STATE STREET IN SALT LAKE CITY. CLARISSA HAS A JOINT IN HER HAND. SHE PASSES IT TO EMILY.
EMILY
City Cab, UTE Cab, or Yellow Cab [1.]?
EMILY PLACES THE JOINT BETWEEN HER LIPS.
CLARISSA
And spend the next half hour with a strange male cab driver? I don't think so. Bus stop's right here. We'll get the 453 [2.].
EMILY BLOWS SOME HASH HOLES INTO THE AIR. SHE PUTS HER PHONE AWAY AND WALKS SLOWLY TOWARD THE BUS STOP SIGN LIKE IT'S SOME KIND OF FLAG POLE LEFT BEHIND BY MEMBERS OF A STRANGE, FOREIGN NATION.
EMILY
Will they let us on? We're as high as where we're headed.
CLARISSA TAPS A SMALL SHEET OF PAPER THAT'S STRAPPED TO THE POLE WITH STICKY TAPE.
CLARISSA
They better. The next one's in five minutes at 5:51 and if we miss that we gotta wait until the pm . . . if we don't move . . . but we'll move. All we gotta do is follow Temple Street to the airport. We ain't too many squares away. This city's as gridded as NY.
EMILY
But your silly small mind can't comprehend the scale. Remember when you said it would take half an hour tops to walk down Manhattan, last time we were there? You said it was just a small grid. It's one of the largest cities in the world!
CLARISSA TWIRLS AROUND THE POLE [3.].
CLARISSA
Sometimes I like to square dance. Never know who you might meet. But since it's night we're soooo getting the bus. Probably a whole heap of international students from UU rushin' to the airport.
EMILY
You're just gonna try and chat to random people aren't you? [4.]
CLARISSA
Watch me. Hide the weed! The bus is coming.
WE HEAR THE BUS. WE SEE EMILY HASTILY TOSS THE JOINT AND THEN PUSH THE REMAINING WEED DEEPER INTO HER POCKET. THE BUS ROLLS UP THE ROAD LIKE A FINGERS ROLL UP SOME DOPE IN A PAPER NOTE - SMOOTHLY SO AS NOT TO TEAR A HOLE IN THE BLISSFUL NIGHT. THE SCENE ROLLS UP ALSO.
******
1 Cabs in Utah; City Cab – 801-363-5550; UTE Cab – 801-359-7788; Yellow Cab – 801-521-2100
2 Buses in Utah: Utah Transit Authority - 801-287-4636 (http://www.utabus.com/) Route 453 (http://www.rideuta.com/ridinguta/routes/schedule.aspx...) [5:51am bus from 600 South and State Street. Arrives at airport at 6:17am].
3 Whelpley, J. [Writer], Brinckerhoff, B. [Director], & Kendall, K. [Actress] (1996, September 4). A Mate for Life: Beverly Hills, 90210. [Television series]. Los Angeles, California: Fox Broadcasting Company. [Exotic dancer].
4 Selby, E. A. (2011). [Breaking free]. The help that harms. Psychology Today, 44 (5), 57-58.
5 Let's Roll - Yelawolf and Kid Rock (http://www.youtube.com/watch?v=WjF4eOnjCLE&ob=av2e)
6 Young, Wild and Free - Snoop Dogg, Wiz Khalifa, and Bruno Mars (http://www.youtube.com/watch?v=Wa5B22KAkEk)
7 Single - Yo Gotti (http://www.youtube.com/watch?v=sReikbwRZDo)
******
EXT. BUS 453 [2.] - NIGHT
(CLARISSA, EMILY, BUS DRIVER, ROBYN, BUS GIRL, BUS GUY)
CLARISSA SMILES AT THE BUS DRIVER.
CLARISSA
Hi. Could we please have two singles to go to the airport?
EMILY
Preferably young and handsome.
CLARISSA
Shut up Emily. Pay no attention to her, driver; she's high.
EMILY
Clarissa!
BUS DRIVER
That's $4.50, girls. And try not to light up on the bus. I wouldn't feel right kicking you two off the bus so early in the morning.
EMILY
All good. Her dad's a millionaire. We'd just get a cab.
CLARISSA
Emily!
CLARISSA HANDS THE DRIVER A TWENTY.
BUS DRIVER
Do you have anything smaller?
CLARISSA PATS THE GUY ON THE SHOULDER AND RIPS THE TICKETS FROM THE MACHINE.
CLARISSA
Keep the change buddy.
CLARISSA AND EMILY WALK DOWN THE AISLE.
BUS DRIVER
Fair enough. But no gettin' trippy on the trip.
CLARISSA
Hear that Em?
EMILY
Yes.
EMILY STICKS HER TONGUE OUT AT CLARISSA.
THE CAMERA SCANS THE SEATS. THE BUS IS RATHER FULL FOR FIVE IN THE MORNING, ALBEIT WE'RE SEEING IN SIX. AND SEVERAL SEXY BODIES SIT UP BACK.
CLARISSA
Hey people! Anyone heading to NY? JFK? We're with the NYPD. We're on the hunt for a suspected drug trafficker.
BUS DRIVER
They're two intoxicated Utah teens. Don't listen to them . . . unless you're as bored as I am.
A YOUNG GIRL IN THE BACK SEAT PUTS UP HER HAND.
ROBYN
I am Sweden returning. But first New York.
CLARISSA
Brilliant.
CLARISSA AND EMILY TAKE A SEAT JUST IN FRONT OF THE GIRL.
CLARISSA
What's your name?
ROBYN
Robyn.
CLARISSA
Hi Robyn. I'm Clarissa. This is Emily. Were you studying at the University of Utah?
ROBYN
Yar. Exchange. Physics.
CLARISSA
No way. That's cool. I'm doing Psych. Did you like it?
ROBYN
Very nice experience. I do not want to go.
EMILY
Aww. Doesn't matter. You'll love New York. Have you been there before?
ROBYN
No. I can't wait.
EMILY
What plane are you getting?
ROBYN REMOVES A TICKET FROM HER HELLO KITTY [3.] KNAPSACK.
ROBYN
Um . . . US 12 [1.]. Leaves at 5 past 7 [1.].
CLARISSA
Nice. Sounds great. We're getting that too. You wouldn't have the number for the airport would you?
ROBYN
No . . . sorry.
EMILY
Try 8015752945. It's the liaison officer. Should be well connected, right?
EMILY TOSSES CLARISSA THE PHONE.
CLARISSA DIALS THE DIGITS, SMILES AND FIDGETS WITH THE CELL 'TIL IT'S FIGURATIVELY SEALED TO HER EAR, LIKE SHE'S JUST SOLD SOMETHING SPECIAL. SHE RAISES HER BROWS AT EMILY AND THEN BEGINS TO SPEAK.
CLARISSA
Hello, how are you? . . . I'm excellent. Thanks. Just wondering if I could talk to someone about booking a flight? Sorry, couldn't find the right number. . . . Yep . . . Hi. . . . I'm so good. Thanks. I was wondering if I could get 2 seats on the US 12 flight [1.] that departs for JFK at 5 past 7? . . . Oh, that's fine, I'll pay double. That's four times coz I'm getting two tickets. The name's Clarissa Huntsman by the way. My daddy's expecting me in New York to watch him give a speech. He'll be pleased to see me when I get there. Still need to tell him what plane I'm catching and how quickly I made the booking. Sorry, what was your name? . . . Katy. . . . That's excellent. Thank you. . . . I'd rather not give out my VISA number over the phone, is it ok if I pay on arrival? I should be there in about 15 minutes. . . . Thank you. Can I ask for Katy? . . . Fantastic. See you soon.
CLARISSA TOSSES THE PHONE BACK TO EMILY.
EMILY
You got tickets?
CLARISSA
"We" got tickets. Too easy.
ROBYN
You two will be on same flight? That is nice.
CLARISSA
That's right. And we'll be your Lonely Planet [5.] guide the whole ride and flight if you like.
EMILY
Yeah. We looove New York. Anything you wanna know we can tell you. We're pretty V.I.P. in the city.
CLARISSA
We're V.I.P. whenever and wherever we wanna be. But yeah - we well know NY.
EMILY
What's your perfume Robyn? It's beautiful, like musky fruit. Is it from Sweden?
CLARISSA
Ha ha. I'm picturing a pretty pink fruit salad now . . . and cherry lips, lots of lips.
ROBYN
No. It is not from Sweden. But it is popular there. It is Hello Kitty Eau de Parfum spray [4.].
ROBYN HOLDS UP THE BOTTLE. IT'S TINY; TRAVEL SIZE, LIKE A POCKET PEN WITH PLEASANT-SMELLING INK.
CLARISSA
It's tiny!
CLARISSA TILTS HER HEAD TO ONE SIDE.
CLARISSA
Robyn?
ROBYN
Yar.
CLARISSA
Can we copy you again?
EMILY
How much would you like for the perfume?
CLARISSA
Emily! Thanks a lot. Now I feel like Gwen Stefani exploiting a poor Harajuku Girl. What she means to ask, Robyn, is: "are you planning on doing some shopping at JFK or Salt Lake City airport? Will you be able to pick up some more perfume there?
ROBYN
No no. Too expensive. I don't have much to spend.
CLARISSA
Well . . .
CLARISSA PULLS A HUNDRED OUT OF HER SMALLER "CHANGE" JEANS POCKET. SHE TURNS TO EMILY.
CLARISSA
Forgot I had that there.
SHE TURNS BACK TO ROBYN.
Would you like a hundred for your kitty for any Hello Kitty?
ROBYN LAUGHS. SHE HOLDS UP THE FRAGRANCE SHELL; THE BOTTLE.
ROBYN
This? But it is half empty.
CLARISSA HOLDS THE HUNDRED BETWEEN HER FORE- AND MIDDLE FINGERS.
CLARISSA
Half full.
ROBYN
Ah . . . yeah. Thank you.
THE EXCHANGE TAKES PLACE AND CLARISSA'S AS HAPPY AS A FIEND WHO'S FOUND A FIX.
EMILY
Clarissa, you're such a . . .
CLARISSA
Kitty cat? I know.
CLARISSA TILTS HER HEAD BACK ALA CHRISTINA AGUILERA. SHE SPRAYS SOME KITTY ON THE NAPE OF HER NECK.
THE CAMERA CRAWLS SILENTLY ALONG THE WINDOW PANES OF THE BUS AND EVENTUALLY SETS ITS SIGHT ON A WOMAN APPROACHING A YOUNG MAN. HE HAS MORE LEGROOM THAN SHE DID.
BUS GIRL
Um . . . do you mind if I sit here? It's a little cramped where I was.
BUS GUY
No. Not at all. Be my guest. . . Um, sorry - that sounds silly.
THE GIRL SMILES AND SITS DOWN.
BUS GIRL
It doesn't sound silly. I'll be your guest. What's for dinner? Ha ha. I like your cologne by the way.
BUS GUY
Thanks. You smell nice too.
THE GIRL TOUCHES HER SHOULDER IN AN EFFORT TO BE FLIRTATIOUS WHILE SIMULTANEOUSLY ECLIPSING HER FINE FIGURE WITH HER ARM IN THE MANNER OF A SHY GIRL; SHE'S STILL A LITTLE SHY, A LITTLE NERVOUS.
BUS GIRL
But I have nothing on. I mean - I have clothes on. Obviously. Ha.
BUS GUY
Then it must be your natural scent. Beautiful girl like you, I ain't surprised. Are you English? Is that an English accent?
BUS GIRL
Oh, you're so sweet. Thank you. Yeah. Close. I'm from Swansea, in Wales. You're American, right?
BUS GUY
Salem, Oregon. But, funny - my cologne is actually London Playboy [6.].
BUS GIRL
Ha ha. Ok Hugh Grant. Oregon; is that near America?
BUS BOY
You're so cute. Oregon's a state, just under Washington. Top left.
THE GIRL LAUGHS.
BUS GIRL
Sorry. I'm so silly.
BUS GUY
No you're not. Many people haven't heard of it. It sounds like another country. Sounds a little Greek.
BUS GIRL
Sounds like "pentagon". Oh . . .
THE GIRL TOUCHES THE GUY'S ARM.
BUS GIRL
is the Pentagon in Oregon? Sorry, I sometimes touch arms when I speak. Silly habit.
THE GUY SMILES.
BUS GUY
That's cool. No, the Pentagon's not in Oregon. I don't even know where it is. I've never been asked to visit. Ha ha.
THE CAMERA CRAWLS BACK TO THE PANE BESIDE THE TWO PROTAGONISTS.
CLARISSA
Emily! Oh my god! Front of bus. Those two just met. It'll be so sweet if they kiss.
EMILY
Oh. That's adorable.
THE CAMERA LOSES ITS FLY-LIKE GRIP ON THE WINDOW PANE AND FLIES AWAY FROM THE BUS. WE SEE FIRST THE BUS, THEN THE ROAD IT'S ON, AND FINALLY THE SALT LAKE CITY AIRPORT [1.] AND ALL ITS SURROUNDINGS FALL INTO VIEW AND PLACE LIKE PIECES FROM A JIGSAW PUZZLE OF A ROUTE.
******
1 Salt Lake City International Airport (http://www.slcairport.com/arrivals-and-departures.asp) [US 12 departing to New York JFK at 7:05am].
2 Buses in Utah: Utah Transit Authority - 801-287-4636 (http://www.utabus.com/) Route 453 (http://www.rideuta.com/ridinguta/routes/schedule.aspx...) [5:51am bus from 600 South and State Street. Arrives at airport at 6:17am].
3 Hello Kitty (http://www.sanrio.com/)
4 Hello Kitty Fragrance (http://www.sephora.com/browse/product.jhtml?id=P276338)
5 Lonely Planet (http://www.lonelyplanet.com/)
6 London Playboy (http://www.perfumereviews.org.uk/.../london-playboy.../)
7 Tilt Ya Head Back - Nelly and Christina Aguilera (http://www.youtube.com/watch?v=D9Yc3pv-uI0&ob=av3e)
8 Harajuku Girls - Gwen Stefani (http://www.youtube.com/watch?v=-HjCAvzeY-E)
9 Single - Yo Gotti (http://www.youtube.com/watch?v=sReikbwRZDo)
******
INT. SALT LAKE CITY - AIRPORT - DAY
(CLARISSA, EMILY, ROBYN, BUS GUY, BUS GIRL, BUS GUY'S GIRL, RUNNER)
CLARISSA, EMILY, AND EVERYONE ELSE HAVE ARRIVED AT THE AIRPORT. CLARISSA, EMILY AND ROBYN ARE GLANCING UP AT THE DEPARTURE TIMES. MEANWHILE, SEVERAL METRES AWAY, BUS GUY IS ABOUT TO MEET HIS GIRLFRIEND . . . AND HE HAS A FRIEND WITH HIM.
CLARISSA
We got just over half an hour. Robyn, you have luggage so you better hurry on ahead. We don't wanna hold you up. We'll see you on the plane. Anything you want from a store? It's on us.
ROBYN
Oh . . . thank you. Um . . . I don't know.
EMILY
Can we get you surprises? Please please please.
ROBYN
Yeah. Thank you so much. So, I must go.
CLARISSA
Terminal one. Follow the signs.
ROBYN
Yes. Bye.
ROBYN HURRIES OFF. HER BAGS ARE SMALL BUT CHECK-IN WILL STILL TAKE SOME TIME. CLARISSA PATS HER POCKETS.
CLARISSA
Ahhhhh; travelling light. Don't you love it? Passport, your phone, some Hello Kitty, and a soluble bra. We gotta get to terminal one in the next 15 minutes. That's our time limit. But first, we're finding the California Pizza Kitchen [1.]. Last time I was here, no anchovies; only artichokes and asparagus . . . but you never know. Maybe they've ordered some in . . .
EMILY
There's no way they'll be able to make a pizza for us in time.
CLARISSA
Then we get a pasta . . . or a salad. How long can it take?
CLARISSA TAKES EMILY'S PHONE OUT OF HER POCKET. SHE DIALS A NUMBER.
CLARISSA
8 0 1 5 7 5 2 6 2 7. C'mon; answer, answer . . . Hi there, how are you? We've just arrived at the airport and we have a flight at 5 past 7. I'm in a hurry. Could I order a pizza over the phone? . . . Do you have anything with anchovies [2.]? . . . Never mind, artichokes [2.] will do. I'll get that one with the artichoke sauce . . . Yeah, Roasted Artichoke and Spinach. How long will that take? . . . 10 minutes. Excellent. Thank you. See you soon.
CLARISSA PRESSES THE END-CALL BUTTON.
EMILY
You're pushing it. Concourse D is the totally opposite direction to terminal one.
CLARISSA
All good. Now - it's every girl for herself. If I miss the flight, I'll get the next one - you too. Just order the ticket online; you know my VISA number, right?
EMILY
Yeah, but . . .
CLARISSA
Sweet. But you'll be fine. We'll both make it. It's just fun to run by a time limit. How long?
EMILY
12 minutes.
CLARISSA
It's minus 12. Your mission, should you choose to accept it, is to retrieve some goods for Robyn. Look for the cutest things you can find. We'll meet at check-in, terminal one at 0.
EMILY
Minus 11 now.
CLARISSA
We go.
THEY BOTH NOD AND TURN TO FACE THE BULK OF THE BODY OF THIS SNAKE OF AN AIRPORT.
BUS GUY'S GIRL
Who is this?
CLARISSA AND EMILY STOP DEAD IN THEIR TRACKS. THEY TURN AROUND.
BUS GUY
I met her on the bus. She's so friendly. Her name's . . .
BUS GUY'S GIRL
I don't give a fuck what her name is! You just kissed her on the cheek . . . and you just met her?
BUS GIRL
Hang on! You have a girlfriend?
BUS GUY'S GIRL
Oh, he certainly does. Together two years, you slut!
BUS GIRL
Wait! I didn't know.
BUS GUY'S GIRL
Oh really; so this prick here failed to mention to you that he happens to be meeting his girlfriend at the airport.
BUS GUY
Please, . . .
BUS GUY'S GIRL
Don't you dare say my name you douche! You gonna play around? We're through. You and I; we're through.
BUS GUY
I love you.
BUS GUY'S GIRL
Wait! Who!? Who the fuck are you even talking to? I can't see where you're looking! Are you looking at her or me? You fuckin' piece of shit. You is fuckin' white trash; you know that!? Fuckin' white trash!
BUS GIRL
Yeah, dude. So much for the shy, sensitive Hugh Grant! You're a fuckin' sleaze! You know that? I'm outta here. Why don't you buy some more cologne so you come pick up some sluts on the flight? Fuck you!
BUS GUY'S GIRL
Bye. Have a lonely, miserable life.
THE TWO GIRLS WALK AWAY. THE GUY STANDS UP.
BUS GUY'S GIRL
Don't you dare follow us. It's over. Fuck off!
THE GUY SITS DOWN.
CLARISSA GLANCES AT EMILY.
CLARISSA
Change of plan. What are we at?
EMILY
Minus 9.
CLARISSA
Give me a fifty.
EMILY HANDS CLARISSA A FIFTY. SHE NODS AT A PASSING MAN.
CLARISSA
Hey mate, how are you? Look here's a fifty. I've ordered a pizza from California Pizza Kitchen. Do you know where that is?
RUNNER
Uh . . . yeah.
CLARISSA
I need you to run over there, retrieve the Artichoke and Spinach pizza and meet me at terminal one. If you do I'll give you another twenty. And you can keep all the change. Sound good?
RUNNER
Ok. Sure.
CLARISSA
In 8 minutes! Go.
HE RUNS OFF.
CLARISSA
Emily, get the stuff from the store. I'm taking to this guy, ok?
EMILY
Ok. See you at the terminal?
CLARISSA
Yep.
CLARISSA WANDERS OVER TO THE GUY FROM THE BUS. HE'S CRYING.
CLARISSA
Hi dude. I saw what happened.
THE GUY LOOKS UP.
BUS GUY
Uh . . . I was silly. They were both so nice . . .
CLARISSA PUTS A HAND ON HIS SHOULDER.
CLARISSA
You're only human. You got it bad. I heard some of the conversation you two sparked up on the bus. It was magical. I love those moments. Don't you?
THE GUY SMILES.
CLARISSA
What's your name?
BUS GUY
Stanley.
CLARISSA
What flight are you getting, Stan? Can I call you that?
BUS GUY
Yes. Sure. US 12. To JFK.
CLARISSA
Excellent. Me too. My name's Clarissa. You have to check-in, yeah?
THE GUY STANDS UP. CLARISSA RISES ALSO.
BUS GUY
Oh God! I forgot! Am I too late?
CLARISSA
We'll make it. Let's go. It's terminal one.
CLARISSA AND STANLEY RUSH OFF. THE CAMERA RUNS ALONGSIDE THEM, TRYING HARD TO STAY OUT OF THEIR WAY.
BUS GUY
Her ticket! I forgot to give it to her!
CLARISSA
Your girlfriend? Your ex?
BUS GUY
Yeah . . . but I don't really want to see her . . . I'm not chasing her . . .
CLARISSA
No. You're running with me. This is serendipity Stanley. You and I were meant to meet. And those two girls were meant to lose their seats on this flight because Emily - my friend - and I . . . we need them. God works in mysterious ways.
BUS GUY
Really? You haven't got tickets yet?
CLARISSA
We will. We're paying double.
BUS GUY
Thank you Clarissa. Wait - here's one . . .
HE HANDS CLARISSA HIS EX'S TICKET.
CLARISSA
Keep it for now. In case she turns up.
CLARISSA HOLDS STANLEY'S HAND.
CLARISSA
But if she doesn't then you're riding with us. That cool?
BUS GUY
That's amazing. You're amazing.
THE CAMERA SPINS AROUND. IT SURVEYS THE SCENE; LEFT, THEN RIGHT, SEARCHING FOR EMILY OR THE GUY WHO SHOULD BE BRINGING THE PIZZA. IT'S MINUS 5 NOW.
THE CAMERA TRIES TO RUN TOWARD CONCOURSE BUT STUMBLES AND FALLS.
HECTIC.
******
1 California Pizza Kitchen (http://www.cpk.com/menu/#Appetizers)
2 Hirsch, M. L. (2011). Yum's the word. Psychology Today, 44 (4), 46-47.
3 Amazing - Inna (http://www.youtube.com/watch?v=q3NwJF28wjU&feature=related)
4 Breakaway - Kelly Clarkson (http://www.youtube.com/watch?v=c-3vPxKdj6o&ob=av2e)
5 Heart Skips A Beat – Olly and Rizzle Kicks (http://www.youtube.com/watch?v=j5dFe-WKuPs&feature=related)
6 Heaven - Live (http://www.youtube.com/watch?v=z_nImUzRv0w&ob=av2e)
******
INT. SALT LAKE CITY - AIRPORT - DAY
(EMILY, RUNNER)
EMILY LEAVES A NEWSAGENT, JUST IN TIME TO LOCK EYES WITH THE RUNNER - THE "PIZZA-DELIVERY BOY" WHO CLARISSA ASKED TO RETRIEVE A PIZZA. SHE SMILES. HE STOPS.
EMILY
She likes things done fast.
RUNNER
Oh. Hey. You're one of the girls I need to get this to.
EMILY
Well, no. You gotta get it to the other one - Clarissa. And now . . .
EMILY WINKS.
EMILY
You're gonna have to beat me if you want an extra ten bucks.
RUNNER
Really?
EMILY TAKES OFF TOWARD TERMINAL ONE.
RUNNER
You got it.
"PIZZA BOY" STARTS RUNNING. THE CAMERA APPEARS TO NOD. IT GLANCES UP AND THEN DOWN LIKE IT'S A HORSE WAITING TO RUN. IT APPEARS TO SHRUG AND THEN TAKES OFF AFTER THE RUNNER, EMILY HELD FIRMLY IN ITS PERIPHERAL GAZE.
******
1 I Run - Slim Thug and Yelawolf (http://www.youtube.com/watch?v=OU6_WCVi5fY)
******
INT. SALT LAKE CITY - AIRPORT - DAY
(CLARISSA, KATY)
KATY - THE WOMAN BEHIND THE COUNTER - HANDS CLARISSA HER TWO BOARDING PASSES.
CLARISSA
Thank you so much, Katy. Have a great day.
KATY
It was a pleasure meeting you Clarissa. You and your friend have a safe flight. She'll be here in a minute, right? I certainly can't ask them to hold the flight.
CLARISSA
She'll be here. So will my pizza.
CLARISSA TURNS TO STANLEY - THE BUS GUY.
CLARISSA
How exciting. It's minus one minute. We're waiting for Emily and the boy with my pizza. Any second now they'll appear. Now, we're hoping Emily arrives first because I haven't got any spare notes to give the guy for . . . and I promised him an extra twenty.
THE CAMERA APPEARS TO JUMP UP AND DOWN WITH EXCITEMENT. IT'S VERY RESTLESS, AND MOVING ABOUT, ANXIOUS. IT PEERS LEFT, THEN RIGHT . . . WE NOTICE WHAT APPEARS TO BE A DROP OF SWEAT RUNNING DOWN THE LENS. IT WANTS TO MOVE BUT IT CAN'T - IT NEEDS TO STAY BY CLARISSA'S SIDE.
******
1 Mr. Taxi - Girls' Generation (http://www.youtube.com/watch?v=fhseD2tRLUY) [English translation: http://ridlocepheid.wordpress.com/.../mr-taxi-%E5%B0%91.../]
******
INT. SALT LAKE CITY - AIRPORT - DAY
(-)
EMILY SMILES. SHE CLEARS A LINE OF CHAIRS. THE GUY WITH THE PIZZA SIDESTEPS THE SET LIKE IT'S ON FIRE, AND RUNS WHILE THE CAMERA SLIDES JUST BEHIND, LIKE THEY'RE BOTH IN FLIGHT; AND THE PIZZA, RUNNER, AND THE GIRL GLIDE TOWARD THE BRIGHT LIGHTS OF TERMINAL ONE.
NOW EMILY LAGS BEHIND - A FEW STRIDES SHORT OF "PIZZA BOY" - AND SO HE DECIDES TO STRUT, JUST FOR A SECOND. HE SLOWS HIS PACE AND WALKS LIKE A WAITER - PIZZA BOX BALANCING ON THE TIPS OF FOUR FINGERS, TOO SURE HIS TIP IS NO LESS THAN FOUR OR FIVE SIMPLE STRIDES AWAY.
EMILY LAUGHS. SHE QUICKENS HER PACE. SHE TAILS THE GUY FOR ONE, TWO SECONDS, AND THEN RELIEVES HIM OF HIS DUTY AS LEADER.
IT'S MINUS ZERO THIRTY, AND THE SECONDS CONTINUE TO COUNT DOWN LIKE THEY'RE HORSE-RACING COMMENTATORS.
THE CAMERA TRIPS . . . CLUMSY . . .
******
1 Run - The Knux and Kid Cudi (http://www.youtube.com/watch?v=W_zflryd-I8)
2 Need for Speed The Run -- Run For The Hills Gameplay Trailer (http://www.youtube.com/watch?v=DvQi2LzUouY)
******
INT. SALT LAKE CITY - AIRPORT - PASSENGER RUNWAY - DAY
(CLARISSA, EMILY, BUS GUY, FLIGHT ATTENDANT)
THE CAMERA HOVERS LIKE A HELICOPTER . . . LIKE A HONEYBEE . . . AND THEN FOLLOWS CLARISSA, EMILY AND STANLEY DOWN THE PASSENGER RUNWAY TOWARD THE ENTRANCE TO THE PLANE. THEY'RE WALKING FAST. THE PLANE IS DUE TO DEPART. BUT EMILY - WELL, HER FACE IS COVERED IN CHOCOLATE BECAUSE THE RACE DIDN'T END TOO WELL.
EMILY
Clarissa - my face is covered in chocolate! First impressions matter. I'm gonna be walking onto that plane with a face covered in chocolate! Everyone's gonna see me.
CLARISSA LAUGHS.
CLARISSA
Yeah. This'll be awesome.
EMILY
Haven't you got a tissue . . . or something?
CLARISSA
Nope. Gotta use the plane restroom, girl. Why'd you get chocolate anyway? So not good for my skin [1.] [2.].
EMILY
In case you forgot, it was for Robyn.
CLARISSA
Not good for "her" skin either. Plus she'll share it . . .
CLARISSA GLANCES AT THE BOX
CLARISSA
. . . What's left. Sweet thought though. Oh girl - you should have seen you fall! Pizza guy was an excellent runner. I can't believe you thought you'd beat him. Now you look like a plane that flew too fast into an ash cloud [3.]. Ha ha. Gotta know when to slow down, girl.
EMILY
That chair appeared out of nowhere.
CLARISSA
No. It was visible. I saw it. You'll need red, green or blue light to render it invisible [4.] [5.], and it would have had to have been - like - a couple millimeters in length [4.] [5.].
EMILY TILTS HER HEAD TO ONE SIDE.
EMILY
Your friend?
CLARISSA
Oh.
CLARISSA PATS STANLEY ON THE BACK.
CLARISSA
This is Stanley. You know - the guy you were watching on the bus. Stanley, Emily. Emily, Stanley.
EMILY SMILES - HER FACE SWEET AS CHOCOLATE.
CLARISSA HANDS HER BOARDING PASS TO A FLIGHT ATTENDANT.
FLIGHT ATTENDANT
Thank you. Enjoy your flight.
EMILY HANDS HER PASS TO THE ATTENDANT.
CLARISSA
Guess it's bye bye honeybee?
FLIGHT ATTENDANT
Thank you. Have an excellent flight.
BUS GUY
Honeybee?
STANLEY HANDS HIS TICKET TO THE ATTENDANT.
CLARISSA
What we call Deseret . . . which is what we call Utah . . .
EMILY
Can we . . . be your honeybees Stanley?
EMILY GIGGLES.
CLARISSA SMILES.
CLARISSA
Bees don't have chocolate all over their face.
BUS GUY
They have black and yellow stripes though . . . and your skin is the perfect honey color.
EMILY
How sweet.
BUS GUY
I shouldn't have left the other ticket back there. I'm not sure I wanna see that girl again.
FLIGHT ATTENDANT
Thank you sir. Enjoy your flight.
THE THREE WALK TOWARD A BRIGHT WHITE LIGHT THAT IS THE PLANE ENTRANCE.
EMILY
We're the last passengers. All is sweet Stan.
EMILY TURNS AROUND.
EMILY
Bye honeybee!
CLARISSA TOUCHES STANLEY'S NOSE.
CLARISSA
Buzz buzz.
******
1 A spoonful of sugar helps your skin age prematurely. (2011). New Scientist, 212 (2843), 16.
2 Noordam, R. Gunn, D. A., Tomlin, C. C., Maier, A. B., Mooijaart, S. P., Slagboom, P. E., Westendorp, R. G. J., de Craen, A. J. M., & van Heemst, D. (2011). [Abstract]. High serum glucose levels are associated with a higher perceived age. Age (Online). doi: 10.1007/s11357-011-9339-9 Retrieved January 17, 2011 from http://www.springerlink.com/content/l08t8476q6433q44/
3 Marks, P. (2011). Ash ahoy! Now dodge it. New Scientist, 212 (2843), 19.
4 Perkowitz, S. (2011). Reverse swing. New Scientist, 212 (2843), 36
5 Zhang, B., Luo, Y., Liu, X., & Barbastathis, G. (2011). [Abstract]. Macroscopic invisibility cloak for visible light. Physical Review Letters, 106 (3). doi: 10.1103/PhysRevLett.106.033901 Retrieved January 17, 2011 from http://0-prl.aps.org.library.newcastle.edu.au/.../i3/e033901
6 Black And Yellow - Wiz Khalifa (http://www.youtube.com/watch?v=UePtoxDhJSw&ob=av3e)
7 Honey To The Bee - Billie Piper (http://www.youtube.com/watch?v=lFDtlHmiJYo)
8 Walk Of Life - Billie Piper (http://www.youtube.com/watch?NR=1&feature=endscreen...)
9 I Love You Always Forever - Donna Lewis (http://www.youtube.com/watch?v=SqdWTeXWvOg&ob=av2e)
******
INT. US 12 FLIGHT 453 - DAY
(CLARISSA, EMILY, ROBYN, BUS GUY, ATTENDANT)
THE GIRLS AND GUY WALK DOWN THE PLANE AISLE. CLARISSA'S SEARCHING FOR ROBYN.
BUS GUY
How did you get pizza onto the plane?
EMILY RETURNS FROM THE RESTROOM.
CLARISSA LOOKS AT EMILY AND SMILES.
CLARISSA
I couldn't take the box on but - after some cash exchanged hands - I was allowed to take the pizza in a plastic bag.
BUS GUY
You paid them? How much? And you paid double for two tickets as well.
CLARISSA WINKS AT STANLEY
EMILY
There's Robyn. Robyn!
EMILY WAVES.
ROBYN SMILES. SHE RAISES A HAND.
EMILY WALKS OVER TO ROBYN'S SEAT.
EMILY
Sorry Robyn; I bought you some chocolates but . . .
EMILY HOLDS UP A SQUASHED BOX. ON THE LID ARE THE WORDS: "ROCKY MOUNTAIN CHOCOLATE FACTORY" [1.].
EMILY
. . . I kind of fell.
ROBYN SMILES.
ROBYN
Awww. Are you ok?
EMILY
Yeah. It was just silly. There may still be a few good ones.
ROBYN
Ha ha. Thank you Emily. That was so sweet.
ROBYN TAKES THE BOX.
ROBYN
Funny girl. Box is really nice though.
EMILY
Thanks. If you'd like some pizza you can come and get some when we're airborne. Clarissa and I are just up there . . .
EMILY POINTS OUT THEIR SEATS.
EMILY
See ya.
ROBYN
Bye. Thank you.
EMILY JOINS CLARISSA AND STANLEY. SHE TAKES THE AISLE SEAT. CLARISSA HAS THE WINDOW SEAT AND STANLEY THE MIDDLE.
EMILY
Ahhh. Time to buzz off.
STANLEY SMILES. HE LOOKS AT EMILY AND THEN CLARISSA.
BUS GUY
There's something I don't know about you two.
CLARISSA
Emily, what doesn't Stanley know about us?
EMILY
A lot. Considering we just met. But we're just your average Utah girls. Not much to tell really. Hold tight, coz we're taking off . . . either the seat or our legs Stanley. Up to you.
STANLEY SHAKES HIS HEAD IN DISBELIEF.
BUS GUY
Um . . . wow.
STANLEY EXHALES.
AN ATTENDANT'S VOICE SOUNDS OVER THE SPEAKER.
ATTENDANT
Ladies and gentlemen, the Captain has turned on the Fasten Seat Belt sign. If you haven’t already done so, please stow your carry-on luggage underneath the seat in front of you or in an overhead bin. Please take your seat and fasten your seat belt. And also make sure your seat back and folding trays are in their full upright position . . .
EMILY
Seat belt, Stan. My arm won't suffice. You're so cute.
BUS GUY
Oh . . . sorry.
STANLEY BLUSHES.
******
1 Rocky Mountain Chocolate Factory (https://rockymountainchocolatefactory.com/.../portalHome)
2 Kiss The Stars - Pixie Lott (http://www.youtube.com/watch?v=8s6duvbnC0A)
******
INT. US 12 FLIGHT 453 - DAY
(CLARISSA, EMILY, ROBYN, BUS GUY, FLIGHT ATTENDANT)
THE PLANE IS AIRBORNE AND CLARISSA AND THE GANG ARE CHATTING. ROBYN IS SITTING IN WHAT WAS A VACANT SEAT JUST ACROSS THE AISLE FROM THE OTHER THREE.
ROBYN
Well . . . I just finished a course on quantum mechanics. Have you heard about entanglement [5.] [6.]? Two particles - very small, very far apart; one moves and the other moves in the same way. They are entangled.
CLARISSA
Yeah. I read about that. And the information might be travelling through another dimension, or many [7.]. Or maybe something's connecting the two particles but we can't see it coz it's in another dimension.
EMILY
Perhaps we are all entangled. And we must all move like synchronized dancers or swimmers to untangle ourselves.
CLARISSA
That's if we "want" to detangle ourselves.
EMILY LINKS ARMS WITH STANLEY, THEN RESTS HER HEAD ON HIS SHOULDER.
BUS GUY
Well, I can't argue with that. So, have you girls lived in Utah your whole life?
CLARISSA
Nope. I was adopted. I'm from Tibet. Emily's from France. But we're boring. Where are you from? Do you come from a typical nuclear family?
BUS GUY
Yeah. You know; a mum, dad, brother. They live in Oregon. That's where I'm heading after New York.
CLARISSA
All American guy. How'd you like Utah? Was this your first visit?
BUS GUY
Yeah. It's my first. I love it. I was kind of getting a little bored yesterday . . . but then I met that girl on the bus and now you guys. So many nice people here. Well . . . that girl "was" nice at first . . .
CLARISSA
She was nice. They both seemed nice; your girlfriend and her. It's just . . .
EMILY
Honeybee's so big and empty that it's so nice when you find people and . . . you wanna fly to them, stick to them . . . the air becomes like liquor. It's as natural as breathing to want to feel her body, her heart beat and be close to her. It's situational - it's the context -, when the scene is just so nice, when it feels so right. There are perfect moments like this that we just need to - like - live. It's how you know you're alive, how you know that someone is watching over you. But then comes another special moment with another, different special woman.
CLARISSA
Don't mind her Stanley, she's rambling again.
BUS GUY
No. I like it. You speak so well. Are you a poet?
EMILY GIVES STANLEY A QUICK KISS ON THE LIPS.
CLARISSA
It's nice to see the bigger picture . . .
CLARISSA TAPS HER WINDOW AND THEN LOOKS OUT. EMILY AND STANLEY LOOK OUT ALSO. THE CAMERA EAGERLY DASHES OVER TO THE GLASS. IT'S A CLEAR SKY AND SOME OF AMERICA IS VISIBLE. CLARISSA SMILES. SHE LEANS BACK INTO THE CHAIR.
CLARISSA
Like . . . my dad loves to adopt. And I'm so glad he adopted me. I'm so grateful. When you actually stop to think about it, the world doesn't really need more children [1.], not yet. Not when so many are starving in Third World countries. But at the same time it seems rather silly for people to be having an abortion when there are so many families out there who would absolutely love to have a child. It's like - if we think of ourselves as one big family and we just share things . . . then that would be so nice.
EMILY
Yeah - and if we're getting political here then think about our carbon footprint. All those in power need to tread lightly because sooner or later the little people - or little feet so to speak - may accuse them - rightly - of legal negligence and take them to court [2.] [3.]. Because those in power should be doing something right now . . . but fuck all was achieved at the climate talks in Durban [4.]. But we're all entangled so the little feet can tap away and justice will be served. Ha ha.
ROBYN
And if people work together . . . we can make it to Mars. We need hundreds of billions of dollars [8.] . . . but if people worked for free . . . or something other than cash . . .
CLARISSA
Such as . . . love. Who doesn't want love?
EMILY
So simple. Why doesn't daddy let you run the world, Clarissa?
CLARISSA
Women in positions of power. That's pretty much unheard of . . . in Utah at least. Maybe one day.
BUS GUY
Wait. Who is your dad anyway? Someone special.
CLARISSA
Not yet. He will be. Maybe.
A FLIGHT ATTENDANT IS PUSHING A CART DOWN THE AISLE. SHE STOPS IN BETWEEN ROBYN AND THE REST OF THE GANG.
FLIGHT ATTENDANT
Can I get you all anything to drink?
CLARISSA
Anything that tastes like honey?
EMILY LAUGHS.
FLIGHT ATTENDANT
No. Sorry.
CLARISSA
Then I'll have water please.
EMILY
Me too.
CLARISSA
You don't have any anchovies on the plane, do you?
FLIGHT ATTENDANT
No. I'm afraid not.
CLARISSA
Worth a try.
CLARISSA AND EMILY TAKE THEIR GLASSES.
CLARISSA HOLDS HERS UP.
CLARISSA
To honeybee.
EMILY SMILES AND DOES THE SAME, THEN TOUCHES HER GLASS TO CLARISSA'S.
EMILY
To honeybee.
******
1 Horn, R. E. (2011). To save the planet, listen to everyone. New Scientist, 212 (2843), 28-29.
2 Thorniley-Walker, R. (2011). Climate blame [Letter]. New Scientist, 212 (2843), 30.
3 Thorniley-Walker, R. (2011). [Abstract]. Carbon footprint and risk assessments. Proceedings of the ICE - Energy, 164 (4), 147-160. doi: 10.1680/ener.2011.164.4.147 Retrieved January 17, 2011 from http://www.icevirtuallibrary.com/.../ener.2011.164.4.147
4 Pearce, F. (2011). Our climate's dangerous decade. New Scientist, 212 (2843), 8-9.
5 Perkowitz, S. (2011). Freakiest link. New Scientist, 212 (2843), 37.
6 Salart, D., Baas, A., Branciard, C., Gisin, N., & Zbinden, H. (2008). [Abstract]. Testing the speed of 'spooky action at a distance'. Nature, 454 (7206), 861. doi: 10.1038/nature07121 Retrieved January 17, 2011 from http://0-proquest.umi.com.library.newcastle.edu.au/pqdweb...
7 Dada, A. C., Leach, J., Buller, G. S., Padgett, M. J., & Andersson, E. (2011, in press). [Abstract]. Experimental high-dimensional two-photon entanglement and violations of generalised Bell inequalities. Quantum Physics. doi: 10.1038/nphys1996 Retrieved January 18, 2011 from http://arxiv.org/abs/1104.5087
8 Klerkx, G. (2011). Life's a blast. New Scientist, 212 (2843), 45-47.
9 Grace - Simon Webbe (http://www.youtube.com/watch?v=BUzYkyL2a7M&ob=av2e)
10 Love Story - Taylor Swift (http://www.youtube.com/watch?v=8xg3vE8Ie_E&ob=av2n)
11 Honey Bee - Blake Shelton (http://www.youtube.com/watch?v=xZjosn2u1gA)
12 When We Stand Together - Nickelback (http://www.youtube.com/watch?v=76RbWuFll0Y&ob=av3e)
13 Set It Off - Timomatic (http://www.youtube.com/watch?v=4J6v3PBlb0c)
14 International Love - Pitbull and Chris Brown (http://www.youtube.com/watch?v=CdXesX6mYUE&ob=av3e)
15 Happy Birthday - Flipsyde and Piper (http://www.youtube.com/watch?v=V2DxJW6ytSs)
******
INT. US 12 FLIGHT 453 - DAY
(CLARISSA, EMILY, ROBYN, BUS GUY)
STILL IN THE SEATS, WE'RE SEEING THE FOUR MATES CHATTING. EMILY HAS HER TRAY DOWN. IN HER HAND IS A LEAD PENCIL AND SHE'S SKETCHING SOMETHING WE CAN'T QUITE SEE. CLARISSA GLANCES AT STANLEY'S BAG.
CLARISSA
What? You've got a guitar in there?
BUS GUY
A small one. Yeah.
ROBYN
How did you fit a guitar in there?
CLARISSA
Well, you're playing it. Now.
BUS GUY
No. I'm not good. I don't sing. I just play . . . but I'm really not good.
CLARISSA
What's your favorite song to play? Think quick. Best song.
BUS GUY
Um . . .
STANLEY LOOKS AROUND.
BUS GUY
Can I play on the plane?
CLARISSA
What song? Come on.
BUS GUY
I like "I'm Yours [2.]" by Jason Mraz. Have you heard of it?
CLARISSA
Who hasn't? Beautiful. And I just happen to know the lyrics. Go on.
BUS GUY
Really?
CLARISSA LOOKS AROUND.
CLARISSA
Is there anyone here who doesn't love "I'm Yours [2.]" by Jason Mraz?
A FEW PEOPLE CLAP.
CLARISSA NODS.
CLARISSA
Then all is good. Get the guitar out of that bag.
STANLEY SMILES. HE UNZIPS A SMALL SATCHEL AND PULLS OUT A TINY GUITAR - NO MORE THAN A METER IN LENGTH.
HE LOOKS AROUND.
CLARISSA PLACES A HAND ON STANLEY'S BACK.
HE BEGINS TO STRUM; "I'M YOURS [2.]", HITTING THE CHORDS JUST RIGHT.
AND CLARISSA BEGINS TO SING, PITCH PERFECT.
EMILY SMILES AND CONTINUES TO DRAW.
ROBYN NODS HER HEAD TO THE BEAT. THE PASSENGERS ARE DRAWN INTO THE ATMOSPHERE . . . BY STANLEY . . . BY EMILY . . .
STANLEY FINISHES THE SONG. HE SMILES AT CLARISSA.
BUS GUY
Your voice is amazing.
CLARISSA
Thank you.
SEVERAL PASSENGERS CLAP AND A FEW CHEER.
CLARISSA
That's Stanley on guitar. I'm Clarissa. Thank you.
BUS GUY
Emily, that's stunning. Is that Clarissa?
WE SEE EMILY'S SKETCH. IT'S OF THE FOUR OF THEM AND A FEW OTHER PASSENGERS ON THE FLIGHT. THEY'RE SITTING - JUST AS THEY ARE NOW - BUT THE CHAIRS STAND IN A FIELD, SURROUNDED BY HORSES, SOMEWHERE IN THE STATE OF UTAH. IN THE BACKGROUND IS A RANCH.
STANLEY SHAKES HIS HEAD.
BUS GUY
You girls are amazing.
CLARISSA
That's the farm in Utah where we spent much of our childhood.
EMILY
It's the place that's beautiful; it's not too hard to sketch a pretty picture when you're sketching a paradise. I'm just like a Sketching Fool [1.]: software programmed just right to produce art. Yeah? It's just - I don't know - I love sketching when I'm around people . . . nice people like you guys. It's a social thing. We're all part of the sketch, we all create it - together. Know what I mean? Like we create the atmosphere . . .
CLARISSA
Emily . . . that "is" really good. That's one of your best sketches.
EMILY SMILES.
EMILY
All in the wrist; don't you feel like we own the mood right now, on this flight? All of us.
EMILY LOOKS AROUND.
EMILY
We can stick to ourselves or we can . . . mingle.
EMILY TOUCHES STANLEY'S ARM.
EMILY
And we can control the temperature . . . how do you feel, Stanley?
BUS GUY
Perfect.
******
1 de Lange, C. (2012). [". . . Colton asks the Painting Fool [software that paints like a human] to tap into online social networks for its inspiration: hopefully this way it will choose themes that will already mean something to us."]. Creative sparks. New Scientist, 213 (2847), 42-45.
2 I'm Yours - Jason Mraz (http://www.youtube.com/watch?v=EkHTsc9PU2A&ob=av2e) ["We're just one big family"]
3 Head Over Feet - Alanis Morissette (http://www.youtube.com/watch?v=iBgP44KEf3Q) ["You're the best listener that I've ever met/You're my best friend/Best friend with benefits"]
4 When I Look At You - Miley Cyrus (http://www.youtube.com/watch?v=8wxOVn99FTE&feature=related)
5 I Need A Girl - Trey Songz (http://www.youtube.com/watch?v=wu0OhvncLXU&ob=av2e)
6 Firth, N. (2011). Talk to the wrist. New Scientist, 213 (2847), 17.
******
INT. US 12 FLIGHT 453 - DAY
(CLARISSA, EMILY, ROBYN, BUS GUY)
THE GIRLS AND GUY ARE STARING AT THE SCREENS IN FRONT OF THEM - AIRLINE MEDIA; EASILY DIGESTIBLE LIKE THE FOOD, AND ALWAYS NICE.
BUS GUY
You like rap?
CLARISSA
Well, yeah . . .
BUS GUY
Ever listen to Eminem?
CLARISSA GLANCES OUT THE WINDOW. SHE TAKES A DEEP BREATH.
CLARISSA SCRATCHES HER FOREHEAD AND STANDS UP.
CLARISSA
Um . . . Hey, I just gotta go to the toilet. Sorry. Emily - I notice you have something in your pocket.
CLARISSA LOOKS UP AND THEN BACK DOWN AT EMILY.
CLARISSA
My make-up. You wanna pass it to me?
EMILY REALIZES WHAT'S UP. IRONICALLY, THE VERY STUFF THAT IS MEANT TO RELAX YOU NOW SENDS A SHARP SHIVER DOWN THE SPINES OF BOTH EMILY AND CLARISSA.
THE CAMERA BEGINS TO PANIC. IT TREMBLES A LITTLE. IT RISES AND HOVERS ABOUT THE GIRLS. IT SURVEYS THE PLANE FLOOR, THE PEOPLE, AND LOCATES THE FLIGHT ATTENDANTS. THEY ARE SOME DISTANCE AWAY . . . BUT THEY'RE WALKING IN THIS DIRECTION; SOME OF THEM - ONE? TWO?
ROBYN NOTICES CLARISSA'S WORRIED EXPRESSION. AND EMILY'S.
ROBYN
What's wrong?
CLARISSA
Nothing. Just not feeling too well. Emily . . .
CLARISSA PLACES HER HAND NEXT TO EMILY'S POCKET.
CLARISSA LOWERS HER VOICE.
CLARISSA
Don't look up. Just pass it to me.
EMILY FISHES THE DOPE BAG OUT OF HER POCKET. SHE SLIDES IT STRAIGHT INTO CLARISSA'S PALM. CLARISSA POCKETS IT AND MAKES HER WAY TOWARD THE RESTROOM.
ROBYN TRACKS CLARISSA WITH HER GLANCE.
EMILY
Don't look, Robyn.
STANLEY PUTS HIS MOUTH CLOSE TO EMILY'S EAR.
BUS GUY
Emily; what's the matter? Was it something I said?
EMILY
Oh . . . um . . . sort of. Oh - shit! Yeah, maybe it was. I wasn't thinking straight. Sorry. Look - it's not your fault, you couldn't have known. Um . . . you know how Eminem performed in Australia in December . . . just before the . . . ?
BUS GUY
Yeah. Before Sydney was attacked by North Korea . . . he got out just in time.
EMILY
Clarissa's sister didn't. Cassie. She was in Australia to see Eminem. She went to his shows and . . . she stayed. We don't know exactly what happened to her; Clarissa lost contact with her not long after the Eminem shows in Sydney. Oh . . . crap . . .
EMILY RAISES TURNS AROUND.
EMILY
Guys, just stay here please. I've gotta go check on her. Please don't follow me, I don't want the flight attendants getting concerned.
EMILY TAPS STANLEY ON THE SHOULDER, AND THEN STANDS UP AND WALKS TOWARD THE RESTROOM.
THE CAMERA FOLLOWS HER TO THE DOOR. THEN ROLLS ITS EYE-LENS BACK AND WE SEE THE ROOF AND ONLY HEAR EMILY'S VOICE.
EMILY
Clarissa!
******
1 Fuck Forever - Babyshambles (http://www.youtube.com/watch?v=pOpz_3O5Lho)
2 Mollin, L. [Writer], Chalmers, C. [Director], Ziering, I. [Actor], & Gauthier, D. [Actor] (1997, February 26). Straight Shooter: Beverly Hills, 90210. [Television series]. Los Angeles, California: Fox Broadcasting Company. [OD].
******
INT. US 12 FLIGHT 453 - RESTROOM - DAY
(CLARISSA, EMILY)
THE CAMERA GLANCES AT CLARISSA AND THEN AT THE DOOR. AGAIN WE HEAR EMILY, AND SEVERAL TAPS ON THE DOOR - LIKE A TRICKLE OF WATER INTO A STREAM. YEAH - THE CAMERA'S A LITTLE HIGH; IT CAN DETECT THE SMALLEST OF THC PARTICLES IN THE AIR. CLARISSA TILTS HER HEAD BACK AND SMILES. WE FOLLOW THE MOTION AND FEEL AS THOUGH WE'RE DIVING BACKWARDS INTO A COOL POOL.
EMILY
Clarissa, can I come in?
CLARISSA SMILES. SHE STANDS UP, PULLS THE DOOR HANDLE AND THEN PULLS EMILY INTO THE SMALL CABIN. THEN SHE SLAMS THE DOOR.
EMILY SHAKES HER HEAD.
EMILY
Whoa! Clarissa, I don't think this is a good idea. We're on a plane.
CLARISSA
Just one joint, babe. Wanna share?
CLARISSA HOLDS THE BLUNT IN THE AIR AND FIDDLES WITH IT LIKE IT'S A PEN AND SHE'S ABOUT TO WRITE A SONG. EMILY DECIDES TO SING ALONG. SHE LOCKS THE DOORS, LOOPS A LOCK OF HAIR WITH A LITTLE FINGER AND LAUGHS LIGHTLY. THEN SHE TAKES THE JOINT AND PROCEEDS TO GET LIGHTLY HIGH.
CLARISSA
Stanley's quite a free spirit wouldn't you say?
EMILY
Yeah. He's sweet.
CLARISSA
Wanna ask him to join the mile high club for me sis? I know they say you shouldn't mix alcohol with weed . . . like, remember my 20th? I got so totally wasted . . .
EMILY
How can I forget? You're such the sexy vixen aren't you?
CLARISSA
Run life fast enough and it ain't gonna get you down, you ain't gonna fall. Sex, drugs, rock n roll; we got the dope, we had the dope Mraz track, now I need the bloke. Get out there, girl, now and score me some.
EMILY SMILES AND STANDS.
CLARISSA
Whoa! Check your breath. Don't want the flight attendants thinkin' something's up. Ha. Up. Oh - and spray on some of my Hello Kitty [1.].
CLARISSA TOSSES EMILY THE BOTTLE. EMILY CATCHES IT AND SPRAYS SOME OF THE PERFUME UNDER EACH OF HER ARMS.
EMILY
Here goes.
EMILY POPS A MINT INTO HER MOUTH - XXX [2.] -, BITES IT, AND BENDS DOWN. SHE BLOWS INTO CLARISSA'S FACE. CLARISSA SMILES AND NODS.
EMILY
Wish me luck.
CLARISSA
You won't need it.
EMILY SMILES, TAKES A DEEP BREATH, TILTS HER HEAD TO ONE SIDE, AND LEAVES THE RESTROOM.
******
1 Hello Kitty Fragrance (http://www.sephora.com/browse/product.jhtml?id=P276338)
2 XXX Extra Strong Mints (http://www.canyouhandlethem.co.uk/)
3 The Vibe - Kero One and Niamaj (http://www.youtube.com/watch?v=wlhAUbbvvXg)
4 Do It - Bucky Jonson, Golden, Nic Nac, and 777 (http://www.youtube.com/watch?v=M8OHiBmLH68)
5 Wild Ones - Flo Rida and Sia (http://www.youtube.com/watch?v=xScsmPyspLg)
6 Under The Influence [Chorus only] – Eminem (http://www.youtube.com/watch?v=aW8NRI81yaU)
7 Theron, C. [Actress], Oswalt, P. [Actor], Cody, D. [Writer], & Reitman, J. [Director] (2011). Young Adult. Los Angeles, California: Paramount Pictures.
8 Harold and Kumar - Smoking on the plane (http://www.youtube.com/watch?v=gs6gFPFdOhQ)
******
INT. US 12 FLIGHT 453 - DAY
(EMILY, FLIGHT ATTENDANT (MALE), BUS GUY)
EMILY EMERGES FROM THE RESTROOM AND QUICKLY CLOSES THE DOOR BEHIND HER. A MALE FLIGHT ATTENDANT APPROACHES HER.
FLIGHT ATTENDANT
Is everything ok, mam? The lady looked rather nervous when she entered the restroom.
EMILY SMILES.
EMILY
Yes. She is nervous. Excited also. Um . . . got a strange question for you . . .
EMILY PULLS A TWENTY OUT OF HER POCKET.
EMILY
You wouldn't happen to keep any condoms on board would you? Like - my friend and her boyfriend are . . . you know.
THE FLIGHT ATTENDANT BREATHES A SIGH OF RELIEF. EMILY LAUGHS.
SHE SMILES SWEETLY AND TILTS HER HEAD THE WAY IT WASN'T.
FLIGHT ATTENDANT
Not sure if I should be doing this but follow me.
EMILY TRACES THE ATTENDANT'S PATH.
FLIGHT ATTENDANT
Make sure she sprays the room after . . .
EMILY
She smells as sweet as I do. Don't tell me you wouldn't love to go in there afterwards? Far better than after someone's taken a crap.
FLIGHT ATTENDANT
Ha ha. Well, I can assure you I won't be sneaking in post session.
EMILY SMILES HER MISCHIEVOUS SMILE.
EMILY
Really? You know you want to. Ha ha. I'll be keeping my eye on you.
THE ATTENDANT HANDS EMILY A STRIP OF CONDOMS - MAYBE SIX.
FLIGHT ATTENDANT
Hope they're a good size. They're all we have.
EMILY SHOWS THE GUY THE TWENTY.
FLIGHT ATTENDANT
They're on the house . . . plane. But tell your friends to keep it down, ok?
EMILY
Yeah. Ha ha. But only the noise. Thanks dude.
EMILY MAKES HER WAY TO STANLEY AND THE CAMERA FOLLOWS CLOSE BEHIND.
STANLEY TURNS AROUND.
BUS GUY
Is everything ok Emily?
EMILY
Just fine Stanley.
EMILY BENDS DOWN TO WHISPER INTO STANLEY'S EAR. SHE SLIPS THE CONDOMS INTO HIS POCKET.
EMILY
Clarissa needs you right now Stan. How do you feel about that?
BUS GUY
Sure. Do I go see her?
EMILY
She's horny Stan.
STANLEY TAKES A DEEP BREATH.
BUS GUY
Really?
EMILY
You good? You up?
STANLEY NODS. HE'S SPEECHLESS. HE STANDS.
EMILY
What you need is in your pocket. If anyone asks, you're her boyfriend. Yeah.
AGAIN STANLEY NODS. HE SMILES AND STROLLS TOWARD THE RESTROOM. THE CAMERA FOLLOWS SHEEPISHLY.
BUS GUY
Um . . . Clarissa . . .
STANLEY TAPS THE RESTROOM DOOR. CLARISSA OPENS IT JUST A LITTLE.
CLARISSA
I need you to make me feel good, Stanley. Really good. Ok?
BUS GUY
I'll try.
CLARISSA PULLS STANLEY INSIDE AND SLAMS THE DOOR IN THE CAMERA'S GLASSY FACE. IT RETREATS AND CLOSES ITS EYES.
******
1 Theron, C. [Actress], Oswalt, P. [Actor], Cody, D. [Writer], & Reitman, J. [Director] (2011). Young Adult. Los Angeles, California: Paramount Pictures. [Mavis and Matt make out].
2 Unusual – Classified and Joe Budden (http://www.youtube.com/watch?v=P4kOLAN2O0A)
******
INT. JFK INTERNATIONAL AIRPORT - TERMINAL 4, LEVEL 1 - DAY
(CLARISSA, EMILY, BUS GUY, ROBYN)
STANLEY'S IN CLARISSA'S EMBRACE, AND ROBYN IN EMILY'S. IT'S TIME FOR TWO PAIRS TO SPLIT. WE'RE IN TERMINAL 4 OF JFK INTERNATIONAL AIRPORT. SHOULD YOU VENTURE INTO JFK THIS WILL MOST LIKELY BE WHERE YOU'RE DIRECTED TO OR WHERE YOU END UP. IT'S WHERE IT'S ALL AT.
CLARISSA
It was so nice meeting you, Stanley.
CLARISSA KISSES STANLEY ON THE LIPS AND SMILES.
BUS GUY
I won't forget you.
CLARISSA
No. You certainly won't.
CLARISSA LOOKS AT EMILY. EMILY SMILES AND NODS. CLARISSA PULLS OUT HER THIN WALLET AND REMOVES A CARD.
CLARISSA
Stanley, this is one of my father's political campaign cards. Now, I'm not giving this to you to try to persuade you to vote for the guy or anything, but just so that you have something to remember me by . . . don't be too shocked if you see me on national television later in the year, Stanley.
CLARISSA PASSES THE CARD TO STANLEY.
BUS GUY
Huh? Who is your father?
CLARISSA
It's on the card.
STANLEY GLANCES AT THE CARD.
BUS GUY
Jon Huntsman. Hey - I've heard of him . . .
CLARISSA
My name's Clarissa Huntsman. I'm one of his adopted daughters. You don't have to believe me; sooner or later you'll see me on television. I'm sure of it. Just know - when you see me - that you and I shared a special moment and that I'll never forget you. You'll return to Utah one day, Stan?
BUS GUY
Of course. I can't believe this. Ha ha. I made out with a famous chick! This has to be one of the best days of my life.
ROBYN
So this is why you got the airline tickets so easily.
EMILY
Yeah. Clarissa loves over the phone negotiations.
ROBYN
It was so nice meeting you both. Could I take a card too?
CLARISSA
Sure.
CLARISSA HANDS ROBYN A CARD.
CLARISSA
You'll be following his campaign? You may catch me on CNN.
ROBYN
Yeah.
ROBYN GIVES CLARISSA A HUG AND EMILY STANLEY.
CLARISSA
We'll meet again someday. Oh - and if you wanna get to Manhattan the best way is probably by train. You don't wanna get a taxi - it's, like, about $50.
EMILY TAKES OUT TWO $50 NOTES. SHE PASSES ONE TO STANLEY AND ONE TO ROBYN.
EMILY
Here's 50 anyway, for each of you. We got a lot, so don't worry 'bout it.
BUS GUY
Thanks.
ROBYN
Thank you.
CLARISSA
You deserve it. Both of you. And if you're stickin' around here for a while - you can even sleep here at the airport if you like but it's kind of boring - then you can either store your luggage for $16 a day just over there, or get it wrapped in plastic so it doesn't get stolen [1.], but that's - like - $30. Total rip-off. This is why Emily and I didn't bring luggage with us. Um . . . but I would say catch the AirTrain [3.] first. Totally free. It just covers the airport terminals 24/7. The station's one level up. Then get the A Train to Manhattan. But if you end up on the Long Island Rail Road you'll be paying - like - $14 to get to Manhattan [3.], and it's real annoying coz this stupid conductor approaches you and . . . like, last time we were here Emily and I bought MetroCards [2.] and put on $20 each and the conductor still charges you an extra $14. Really annoying. Mainly coz we had to get out our wallets again.
EMILY
Clarissa!
CLARISSA
Hmm?
EMILY
Stop rambling. They'll make it to NY alright. You're - like - playing their mother or something, girl. What do you say, guys? Anything else you need to know?
BUS GUY
I'm cool. Thanks again.
CLARISSA WINKS AT STANLEY.
CLARISSA
Thanks Stan.
ROBYN
Yeah. See you.
THEY LEAVE THE GIRLS, THE SCENE, AND POSSIBLY THE ENTIRE SCREENPLAY. THE CAMERA SEARCHES FOR THE TIME, BUT CAN'T FIND IT, AND SO FOCUSES ITS ATTENTIVE LENS AGAIN ON CLARISSA AND EMILY.
CLARISSA
Now what?
EMILY SCANS THE SCENE WITH HER EYES, AS THE CAMERA SCANS HER EYES; THEN THE CAMERA SCANS THE VERY SAME SCENE IN THE VERY SAME WAY AND WE FIND OURSELVES SWIMMING THROUGH JFK.
EMILY SHRUGS.
CLARISSA SMILES.
CLARISSA
We find anchovies.
AGAIN THE CAMERA LOOKS AROUND, BUT BY THE TIME IT'S READY TO RETURN ITS GAZE TO CLARISSA AND EMILY THEY HAVE DISAPPEARED. IT SHRUGS AND FALLS TO THE GROUND LIKE LITTER; OBSERVATIONS ALL BUT LOST, LEFT LYING ON A METAPHORICAL CUTTING-ROOM FLOOR . . . NO DIRECTOR IN SIGHT . . .
******
1 Baggage Protection Service (https://www.securewrap.com/services.php?languageid=1)
2 MTA MetroCard (http://www.mta.info/metrocard/)
3 John F. Kennedy International Airport: AirTrain JFK (http://www.panynj.gov/airports/jfk-airtrain.html)
4 Life, Love & Laughter - Donavon Frankenreiter (http://www.youtube.com/watch?v=6TyA0Rs2Ydo&ob=av2e)
******
INT. SALT LAKE CITY - LONE STAR RESTAURANT - KITCHEN - DAY
(DYLAN, BRANDON, STEVE, JESSICA)
IT'S LUNCH HOUR AT LONE STAR AND WE FIND OURSELVES IN THE KITCHEN. IT'S NOT TOO BUSY. DYLAN IS ON DISH, BRANDON'S CHUCKING SOME FRIES INTO A BASKET, MATT - WHO HAS NO LINES IN THIS SCENE - IS STUDYING A WHITE ORDER TAG, AND STEVE AND JESSICA ARE GETTING READY TO RUN ORDERS TO FRONT OF HOUSE. STEVE WANDERS OVER TO A ROSTER ON THE WALL.
STEVE
Where's Clarissa today?
BRANDON
I'm telling you there's something about that girl.
STEVE
Yeah. She has a life.
STEVE SHRUGS. HE LOOKS AT JESSICA.
STEVE
Guess we're the runners today. Doesn't look like it will be a busy lunch anyway.
BRANDON TOSSES A CHIP INTO THE BIN BY DISH.
DYLAN
Jazz beat the Timberwolves! 108 98 [1.].
BRANDON
Minnesota? Nice.
DYLAN
Millsap at the end; he was scoring like he was chuckin' chips into a bin . . .
BRANDON
But I bet he was right next to the ring . . . I'm all the way over here, and the bin's all the way over there . . .
MATT TAKES ANOTHER GLANCE AT THE WHITE TAG AND WANDERS OUT BACK AND OFF CAMERA.
DYLAN
You saying you better than Paul Millsap?
BRANDON
I score like Millsap in my sleep.
DYLAN
Yeah, that's the only way you score, bro; in your sleep.
DYLAN LIFTS A BASKET OF FRIES FROM THE FRYER.
THE CAMERA FLIES AROUND LIKE A FLY. IT ATTEMPTS TO LAND ON A CHIP, JUST BEFORE THIS CHIP FALLS FROM THE FRYER BASKET ONTO THE FLOOR.
BRANDON POURS THE REMAINING FRIES INTO A ROUND BASIN AND PLACES THE BASIN ON THE BENCH. HE LOOKS DOWN.
BRANDON
Hey - that's a curly fry . . .
DYLAN
Destroy it. That's an Arby's [2.] fry.
STEVE
Arby's ain't so bad. I used to work there.
DYLAN
For the enemy?
STEVE
Hey - they're a little more popular than us.
DYLAN
Fast food. Of course it is. But we make "good" food here.
BRANDON TOSSES STEVE THE CHIP.
STEVE SMILES.
JESSICA
Looks like a ring.
DYLAN DROPS A PAN.
JESSICA
Pick the pan up, D.
DYLAN
Huh?
JESSICA
Beat.
JESSICA HOLDS UP THE FRY. SHE BEGINS TO SING - “LOVEFOOL [3.]” BY THE CARDIGANS. DYLAN SMILES. HE LINES UP SEVERAL PANS ON THE DISH BENCH.
BRANDON RUSHES TO THE FRONT OF THE KITCHEN; HE FILLS TWO CRYSTAL WINE GLASSES JUST THE RIGHT SIZE WITH WATER TO JUST THE RIGHT LEVELS [4.]. HE RUNS HIS FINGERS ALONG THE RIMS, ONE THEN THE OTHER, IN STEADY WAVES OF TWO AS THE SONG DICTATES, PUNCTUALLY, AS THOUGH STROKING THE BREASTS OF A BEAUTIFUL WOMAN JUST RIGHT.
DYLAN CARRIES THE BEAT LIKE A GROUSE [5.] [6.]. JESSICA THE RING.
SHE CONTINUES TO SING.
STEVE SMILES . . .
******
1 Utah Jazz (http://www.nba.com/jazz/)
2 Arby's: Curly Fries (http://www.arbys.com/menu/sides.html)
3 Lovefool - The Cardigans (http://www.youtube.com/watch?v=bUIElvJRyNU or http://www.youtube.com/watch?v=ivNdGBxNx8M&feature=related)
4 Wine Glass Music (http://www.youtube.com/watch?v=phqymc8anO0)
5 I'm no Ringo Star but I do have my own style. (2012). New Scientist, 213 (2848), 14.
6 Garcia, M., Charrier, I., Rendall, D., & Iwaniuk, A. N. (2012, in press). [Abstract]. Temporal and Spectral Analyses Reveal Individual Variation in a Non-Vocal Acoustic Display: The Drumming Display of the Ruffed Grouse (Bonasa umbellus, L.). Ethology (Online). doi: 10.1111/j.1439-0310.2011.02011.x Retrieved January 24, 2011 from http://onlinelibrary.wiley.com/.../j.1439-0310.2011.../full
7 Clap Again - Akon (http://www.youtube.com/watch?v=ahq6UAbGABM&feature=related)
******
INT. LONE STAR RESTAURANT - BACK/CUTLERY - DAY
(MATT, SAMANTHA)
CUT FROM LAST SCENE TO THIS ONE.
WE'RE AT BACK, IN THE CUTLERY SECTION. JESSICA'S RENDITION OF THE CARDIGANS' "LOVEFOOL [1.]" CAN STILL BE HEARD.
MATT PUTS SOME CHEESE BREAD INTO THE OVEN. HE PRESSES ONE BUTTON, THEN ANOTHER.
BEHIND HIM, SAMANTHA IS FOLDING NAPKINS AROUND CUTLERY.
SAMANTHA
Don't talk much do you?
MATT TURNS AROUND
MATT
Ha. No. Sorry
SAMANTHA
But you've got a lot to say.
MATT
Um . . . yeah . . .
SAMANTHA PUTS DOWN THE CUTLERY, SHE TURNS AROUND AND GRIPS THE BENCH WITH HER HANDS. SHE SMILES. SHE OFFERS MATT A HAND, HER LEFT.
HE TAKES IT.
MATT
Matt.
SAMANTHA LAUGHS.
SAMANTHA
I know your name, silly. And I want your right hand.
SHE PUSHES HERSELF AWAY FROM THE BENCH. MATT PLACES HIS RIGHT HAND IN SAMANTHA'S LEFT.
SAMANTHA
Can I show you something? It's not work related.
MATT
Sure.
SAMANTHA TAKES MATT DOWN THE HALL TOWARD THE FRIDGE.
SAMANTHA
It's not busy. After all; they got time to sing. We'll tell 'em this was a little orientation for you. But we'll keep this between you and I, ok?
MATT SMILES.
THEY TURN THE CORNER.
MATT
Sure.
SAMANTHA
You have a lot to say; you can say it, Matt. I've read your rap on Facebook. I think it's amazing . . .
THEY REACH THE END OF THE KITCHEN AREA AND SAMANTHA OPENS THE DOOR TO THE BACK PASSAGEWAY WHICH LEADS TO THE HILLY EXTERIOR OF CENTERVILLE.
******
1 Lovefool - The Cardigans (http://www.youtube.com/watch?v=bUIElvJRyNU or http://www.youtube.com/watch?v=ivNdGBxNx8M&feature=related)
2 Beautiful - Christina Aguilera (http://www.youtube.com/watch?v=eAfyFTzZDMM&ob=av2e)
3 Braff, Z. [Director, Writer, and Actor], Portman, N. [Actress]. (2004). Garden State. Century City, Los Angeles, United States: Fox Searchlight Pictures.
4 Let Go - Frou Frou (http://www.youtube.com/watch?v=xgcIpKL86Jk or http://www.youtube.com/watch?v=6kLkNICTdgc&feature=related)
******
INT. SALT LAKE CITY - LONE STAR RESTAURANT - KITCHEN - DAY
(-)
STILL SINGING, JESSICA HOPS ONTO THE BENCH AT THE FRONT OF THE KITCHEN. SHE REACHES OUT FOR STEVE; WITH ONE HAND IN HERS STEVE CLIMBS ONTO THE BENCH.
DYLAN CONTINUES TO TAP, AND BRANDON TO RUB.
THE SCENE IS MAGICAL, LIKE CRYSTAL WATER, AND STEVE AND JESSICA FLOW TOGETHER.
JESSICA PLACES THE CHIP RING ON STEVE'S FINGER.
******
1 Marry Me - Train (http://www.youtube.com/watch?v=ghZt2cILcCU)
******
INT. LONE STAR RESTAURANT - BACK CORRIDOR - DAY
(MATT, SAMANTHA)
MATT AND SAMANTHA STROLL DOWN THE HALLWAY HAND IN HAND.
MATT
You read the rap? Oh. Sorry. It's . . .
SAMANTHA
Beautiful. Clarissa read it too.
MATT
Oh . . . wow . . .
SAMANTHA REMOVES HER LONE STAR SHIRT. BENEATH IT SHE HAS ON A DRESS, TIE-DYED. SHE TOSSES THE SHIRT BEHIND SOME BOXES AND CONTINUES WALKING.
MATT
"You're" the one who's beautiful. Sorry . . . it's just . . .
SAMANTHA
Stop apologizing Matt. All I'm hearing from you in kitchen is "sorry".
SAMANTHA PUTS A FINGER TO MATT'S MOUTH.
SAMANTHA
Don't be. Stop censoring yourself. You don't even gotta talk; you can play James Dean [1.]. But if you wanna then whatever you wanna say . . .
SAMANTHA TAKES A JOINT FROM HER POCKET AND HANDS IT TO MATT.
SAMANTHA
. . . you can say . . . just between you and I.
MATT SMILES.
MATT
Really? Weed? I had no idea you were . . .
SAMANTHA
Like - the tie dye didn't give it all away? Look - you won't tell the others, ok? Clarissa's cool though. But her and I; we got our own secret refuge here that no one else knows about. But she wants you to know, and so do I.
SAMANTHA OPENS ANOTHER DOOR. THEY WALK OUTSIDE.
******
1 James Dean: - Dean, J. [Actor]., Osborn, P. [Writer], Steinbeck, J. [Writer], & Kazan, E. [Director]. (1955). East of Eden. Burbank, California, United States: Warner Bros.; - Dean, J. [Actor]., Stern, S. [Writer], Shulman, I. [Writer], & Ray, N. [Director]. (1955). Rebel Without a Cause. Burbank, California, United States: Warner Bros.; - Dean, J. [Actor]., Ferber, E. [Writer], Guiol, F. [Screenplay Writer], Moffat, I. [Screenplay Writer], & Stevens, G. [Director]. (1956). East of Eden. Burbank, California, United States: Warner Bros.
2 Speak - Lindsay Lohan (http://www.youtube.com/watch?v=O3PyTr3-QNE)
******
INT. SALT LAKE CITY - LONE STAR RESTAURANT - KITCHEN - DAY
(STEVE, JESSICA)
STEVE
Yes. Yes, of course. I love you.
JESSICA
I love you too.
THEY KISS; BRANDON AND DYLAN CLAP. THE ATMOSPHERE'S ELECTRIC. THE SOUND ECHOES OFF THE WALLS LIKE A QUETZAL'S CRY [1.].
AN AUDIENCE FORMS FRONT OF HOUSE.
STEVE AND JESSICA WALK TOWARD THE DOOR.
THE AUDIENCE CHEERS. THAT'S PERHAPS A WIN FOR MONOGAMOUS MINNESOTA, BUT UTAH JAZZ PLAYS NOW OUT THE BACK OF LONE STAR . . . AND IT'S SO SMOOTH . . .
******
1 Zuckerman, W. (2012). If pyramids could talk. New Scientist, 213 (2848), 10.
2 These Words - Natasha Bedingfield (http://www.youtube.com/watch?v=e5RuGj0g1tk&ob=av2e)
******
EXT. OUT BACK OF LONE STAR; A SMALL CLEARING - DAY
(MATT, SAMANTHA)
SAMANTHA SITS DOWN ON A LOG AND PULLS MATT DOWN WITH HER.
MATT
This is beautiful. How does no one know about this place?
SAMANTHA
No one cares. Look . . .
SAMANTHA POINTS TO THE HILLS THAT GENTLY STROKE THE HORIZON, SOFT FINGERS OF UTAH'S HAND.
SAMANTHA
And listen . . . can you hear the birds? No matter how much noise they make in there, it can't compare to the noise of nature. Matt; I wanna tell you about Clarissa, but first I want you to tell me what's on your mind. I want you to tell me what you're feeling inside.
SAMANTHA MOVES CLOSER TO MATT.
MATT PLACES FOUR FINGERS ON HER CHEEK. HE TAKES A DEEP BREATH.
MATT
Can I show you?
SAMANTHA NODS.
THEY KISS.
******
1 Human Touch - Bruce Springsteen (http://www.youtube.com/watch?v=85cNRQo1m3A&feature=related)
******
EXT. HARLEM - CNR W 124 STREET AND LENOX AVENUE - DAY
(KABIR KHAN, CLARISSA, EMILY, TEEN, CAMERA, TEEN 2)
ACCLAIMED DIRECTOR KABIR KHAN [1.] SMILES. HE HAS SPOTTED CLARISSA AND EMILY.
KABIR KHAN
Girls, girls! Smile!
CLARISSA AND EMILY TURN AROUND. THEY SMILE AND WAVE.
CLARISSA
Tourists draw more attention than the locals here.
A FLASH.
THE GIRLS TURN TO FACE NORTH DOWN THE STRETCH OF LENOX AVENUE.
KABIR PLACES WHAT LOOKS LIKE A LARGE CAMERA ON THE GROUND. "BOXIE KABIR [1.] [2.]" IS ITS NAME AND IT'S QUITE INTELLIGENT, CAPABLE OF WALKING UP TO PEOPLE AND ASKING THEM QUESTIONS, RECORDING THEIR ANSWERS, AND FILMING THEM IN THE MANNER OF KABIR KHAN HIMSELF. IT IS OUR NEW DIRECTOR AND WE GLADLY MOVE WITH IT DOWN THIS BUSY STREET IN HARLEM.
CLARISSA AND EMILY WALK ON. CLARISSA PUTS A CELL TO HER EAR. SHE BOUGHT IT SOMEWHERE IN NEW YORK BUT WE CANNOT QUITE MAKE OUT THE MODEL. SHE HAS - NO DOUBT - INSERTED HER SIM INTO THE SLIM THING BECAUSE SHE IS RECEIVING A CALL FROM UTAH.
CLARISSA
Hi Samantha, how are you? How are things at the Star? . . . Oh my God, are you serious? He's with you now? . . . He's there. You've shown him? . . .
CLARISSA LOWERS THE PHONE LOOKS AT EMILY.
CLARISSA
We got Matt; the new guy working at Lone Star. He's so sweet. He's in the secret garden with Samantha. She's gonna give him the brief. I knew we'd have Matt moment I saw him. He's so sweet. I feel all bubbly inside now . . .
SHE PUTS THE PHONE TO HER EAR AGAIN. CLARISSA AND EMILY RUN ACROSS WEST 125TH STREET.
CLARISSA
Can you put him on? . . . Hi Matt, how are you? . . . Yeah, hippies we are. Whole 'nother world, isn't it? There's a little something more to our lifestyle; Samantha will explain. I'm so glad she's taken you out back. It's beautiful, isn't it? . . . Bet you thought Lone Star was just a shack in the middle of nowhere, right? . . . You're high, ay? . . . Make sure they don't catch you high on the job. We're putting a lot of trust in you Matt, but we know you're cool. We love you, ok? Always . . . Oh, and Matthew - I like flower bracelets, by the way. The white ones look so pretty against my skin. . . . Ha ha. . . . Bye. Mwah. . . . Thank you for calling, Samantha. Hey - you guys better get back to work. The lunch shift ain't over. . . . Yeah. Bye. Love you.
CLARISSA HANGS UP.
SHE ROLLS HER EYES.
CLARISSA
Steve proposed to Jessica. Made a big song and dance about it. Wonder how long that will last. A few months?
EMILY
Awwwww. Well, at least they're happy for now.
CLARISSA
We might be proposing to Matt; Samantha and I. What do you think? It's such a good feeling when we find someone. Like with Stanley, but we couldn't ask him to come back to Utah with us.
EMILY
It's so sweet. I hope he says "yes".
THEY CROSS WEST 126TH.
EMILY
Hey - is that the one? Over there?
EMILY POINTS ACROSS THE ROAD.
CLARISSA
Sylvia's [3.]! That's the one. Perfect. It's open. The Woods family is so nice. Their foundation actually gives scholarships to kids around Harlem, support for four years. Food's amazing as well. I'm so glad to be doing this . . .
CLARISSA PULLS A SLIP OF PAPER FROM HER POCKET.
CLARISSA
Come on Em!
THEY CROSS LENOX AVENUE.
THE CAMERA STOPS. IT GLANCES UP.
A FEW TEENS APPROACH IT.
TEEN
What's up with that?
CAMERA
How are you mate?
TEEN
Wow. Shit! It talks! That's dope. I'm great. How you doin'?
CAMERA
I'm really good. Can you carry me across the road please? I will be very grateful.
THE GUY LOOKS AT HIS MATES. THEY LAUGH.
TEEN 2
Do it bro.
TEEN
Ok. Sure.
WE RISE INTO THE AIR. WE FIND OURSELVES FLOATING ACROSS LENOX. SYLVIA'S [3.] GETS BIGGER AND BIGGER.
******
1 Khan, K. [Director], & Srivastava, S. [Screenplay Writer] (2009). New York. Mumbai, India: Yash Raj Films.
2 Marks, P. (2012). Tell me a story and I'll make you a movie star. New Scientist, 213 (2848), 20Sylvia's Restaurant (http://www.sylviasrestaurant.com/about_us.html)
3 Empire State Of Mind - Jay Z and Alicia Keys (http://www.youtube.com/watch?v=0UjsXo9l6I8&feature=related)
4 Mere Sang (Remix) - Sunidhi Chauhan (http://www.youtube.com/watch?feature=endscreen&NR=1...) English translation: http://forum.hindilyrics.net/showthread.php?t=1624
5 Hey There Delilah - Plain White T's (http://www.youtube.com/watch?v=h_m-BjrxmgI&ob=av2e)
******
INT. SYLVIA'S RESTAURANT - DAY
(CLARISSA, EMILY, WOODS 1, WOODS 2, TEEN 1, TEEN 2)
CLARISSA AND EMILY WALK INTO THE SMALL RESTAURANT. BUT IT'S SLIGHTLY LARGER THAN THEY THOUGHT IT MIGHT BE; CLARISSA NODS UPON NOTICING AN ADJOINING ROOM. WE SEE IT ALSO; TO THEIR RIGHT, JUST BEYOND A SMALL DISPLAY CABINET WHEREIN PRODUCE BEARING THE SYLVIA NAME SITS: NUMEROUS SPICES; MIXTURES FOR SOUTHERN FRIED CHICKEN AND PEACH COBBLER, STUFF WHICH YOU CAN EAT TO ESCAPE FROM THE HUSTLE AND BUSTLE OF THE BIG APPLE INTO A PEACEFUL DEEP SOUTH - A MESMERIZING, HYPNOTIC MELTING POT THAT IS THE SOUTHERN STATES.
WOODS 1
Hello.
IT'S INEVITABLE: SLIGHT APPREHENSION. TWO WHITE FOLK WANDER INTO A HARLEM RESTAURANT. WHAT MIGHT THEY BE DOING? CHECKING TO SEE IF THE PLACE IS SUITABLE FOR THEIR UPPER CLASS FRIENDS? PERHAPS CALCULATING HOW MUCH THEY WILL BE WILLING TO PAY IN ORDER TO BUY OUT THE OWNERS OF SUCH A FINE ESTABLISHMENT? OR PERHAPS THEY ARE HEALTH INSPECTORS? WHICH SHOULDN'T MATTER SINCE THE PLACE IS CLEAN . . . BUT SHOULD A SINGLE COCKROACH BE SPOTTED, OR EVEN PLANTED . . . WHAT THEN? SINCE 1962 THIS RESTAURANT HAS BEEN HERE. 1962 - 50 YEARS! IT'S NOT CLOSING DOWN. NO WAY. IT WILL NOT BE SOLD!
CLARISSA
Hello. How are you?
WOODS 1
Very well. Yourselves?
CLARISSA
Excellent.
CLARISSA WALKS UP TO THE COUNTER WITH EMILY.
CLARISSA
This place is beautiful. I've been wanting to come here. It's hard to find places like this in the heart of New York.
WOODS 1
Yeah. Well, think of this as New York's soul. Where are you from? Are you two tourists?
EMILY
Sort of. We're from Utah.
WOODS 1
Utah? That's nice. That's why you like the peaceful places then. Would you like to see the menu?
CLARISSA
How can we come all the way up to Harlem and not try your southern fried? I think I'll take two pieces of that.
EMILY
And you do ribs, right?
WOODS 1
Of course.
EMILY
That sounds great.
THE LADY SMILES.
WOODS 1
Excellent choices.
EMILY NUDGES CLARISSA.
EMILY
I can't wait. C'mon.
CLARISSA SHAKES HER HEAD.
CLARISSA
Um . . . we're gonna have to get that to take-away if that's ok. Emily here is excited about getting some place.
WOODS 1
Yes. That's ok. So that comes to . . .
CLARISSA
Less than 50?
CLARISSA PLACES A FIFTY ON THE COUNTER.
WOODS 1
Yes.
CLARISSA
Then that's yours. Don't worry about it. We actually got something we want to ask you.
WOODS 1
Oh. thanks. Um . . .
THE LADY TURNS AROUND
WOODS 1
Two fried chickens and a ribs!
SHE TURNS BACK TO CLARISSA AND EMILY.
WOODS 1
Yes?
CLARISSA
Your foundation . . . you offer scholarships to kids so they can study at university?
WOODS 1
Oh, yes. You know about that? Yes, we help however we can. But I'm afraid it's only for children from Harlem.
CLARISSA
Oh, we know.
CLARISSA LOOKS AT EMILY. THEY BOTH SMILE.
CLARISSA
That's what we think is so great. The very people we see on the streets here could one day be studying at some of the top universities in the States.
EMILY
Yale. Harvard.
WOODS 1
Oh. Ha ha. I would like to think so, girls. But I'm afraid those particular ones are a little too expensive even for those with scholarships. There are plenty other great ones though.
CLARISSA
But you know how to pick the kids, right? You can tell whether someone has potential or if someone's really keen?
THE LADY SMILES. SHE LOOKS OUTSIDE.
WOODS 1
Funny you should ask. See that young boy?
CLARISSA AND EMILY TURN AROUND. JUST OUTSIDE ARE THREE TEENAGERS WATCHING A SMALL METAL BOX. THEY LAUGH. ONE CROUCHES IN FRONT OF THE BOX AND STRIKES A POSE. HE PUTS A HAND TO HIS MOUTH AND BEGINS TO BEAT BOX.
CLARISSA
Yeah.
WOODS 1
The one beat boxing . . . he wants to be a musical engineer. He loves rapping and beat boxing but he wants to know the ins and outs of making fine music. His friends laugh at him when he talks about it but he often comes in here and talks about infusing rap into soul and jazz . . . combining genres . . . crazy ideas.
WOODS 2
Like James P. Johnson. Ha ha. He's a clever kid. He knows what he wanna do!
WOODS 1
Says he wants to be like Timbaland. Can't say I listen to much of that guy's work but he's certainly popular with the kids. And what amazes us is just what he knows about the equipment available at different universities in the States. He can tell you - right off the top of his head - where you can find the most state-of-the-art equipment and best recording studios. He's even got the names and numbers of faculty members he's written to. The only thing that kid don't have is cash. But there are so many just like him. He missed out one one of our scholarships this year I'm sorry to say.
CLARISSA DIALS A NUMBER ON HER CELL.
EMILY
Awww. He really sounds keen.
WOODS 1
Oh. He is.
CLARISSA PUTS THE PHONE TO HER EAR.
CLARISSA
It's Clarissa. Can I speak to dad? . . . Dad. I'm at Sylvia's in Harlem. Do you think it's ok if I . . . ? . . . Yeah. Here she is . . .
CLARISSA PASSES THE PHONE TO THE LADY BEHIND THE COUNTER.
WOODS 1
Who . . . ?
SHE PUTS THE PHONE TO HER EAR. CLARISSA PLACES A SLIP OF PAPER ON THE BENCH, FACE DOWN.
WOODS 1
I'm sorry, what did you say your name was? . . .
EMILY PUTS ONE OF JON HUNTSMAN'S CAMPAIGN CARDS ON THE BENCH AND SMILES. THE LADY DOESN'T NOTICE AS SHE'S CONCENTRATING ON THE CALL. SHE TURNS AROUND.
WOODS 1
Um . . . people; I think we have Jon Huntsman on the phone. And . . . What? . . . Oh my God! . . .
SHE JUMPS. SHE TURNS BACK TO CLARISSA AND EMILY. THEN TURNS THE WHITE SLIP OF PAPER OVER. . . . AND SCREAMS . . .
WOODS 1
Oh my God! Are you serious? Oh my goodness! Guys! Guys! Will you look at this?
THE STAFF EMERGE FROM THE KITCHEN. CLARISSA SMILES. SHE GLANCES AGAIN AT THE GROUP OF TEENS OUTSIDE. SO DO WE.
WOODS 1
Get that boy in here now! Get them in here!
EMILY OPENS THE DOOR.
EMILY
Guys, could you come in here a minute?
THEY LOOK AT EACH OTHER, AND THEN AGAIN AT THE METAL BOX.
TEEN 1
Have you seen this thing? This be a walking, talking camera! I ain't never seen anything like this.
EMILY
Bring it in with you.
A SECOND BOY PICKS UP THE CAMERA. BUT WE'RE STILL INSIDE; WE WATCH THE STAFF, THEN FOCUS ON THE MAIN LADY BEHIND THE COUNTER. SHE'S STILL ON THE PHONE.
WOODS 1
Thank you. Thank you so much. You have no idea how much this means to us. You will come, right? Anytime. You will visit? . . . Yes. We look forward to it.
NOW SHE HAS A TEAR IN HER EYE. SHE SMILES AT CLARISSA AND HANDS BACK THE PHONE.
WOODS 1
Thank you.
CLARISSA NODS. SHE MOVES AWAY FROM THE COUNTER.
CLARISSA
Is this the boy?
THE LADY TAKES THE BOYS HANDS.
TEEN 1
What are you doing lady? You're acting strange today. You crying?
WE SEE THE OTHER TEENS; THEY ARE ABOUT TO STEP INSIDE WITH THE CAMERA.
******
1 Whatever You Like - T. I. (http://www.youtube.com/watch?v=nQJACVmankY)
2 We Do What We Can - Sheryl Crow (http://www.youtube.com/watch?v=zgudApovkQw)
3 Sylvia's Restaurant (http://www.sylviasrestaurant.com/about_us.html)
4 Harlem Strut - James P. Johnson (http://www.youtube.com/watch?v=HE0kNEiTc_A)
5 Home Alone 2: Turtle Doves Symbol (http://www.youtube.com/watch?v=AUKAKReQgF8)
******
INT. LONE STAR RESTAURANT - BACK/CUTLERY DAY
(MATT, SAMANTHA, DYLAN)
SAMANTHA AND MATT RE-ENTER THE STAR INTERIOR. YEAH - THEY'RE A LITTLE HIGH BUT TRYING NOT TO LET IT SHOW. THEY'RE LAUGHING THOUGH.
SAMANTHA
No word, ok? It's forbidden [1.] [2.].
MATT
Thank you.
DYLAN WALKS INTO THE CUTLERY AREA FROM DISH.
DYLAN
What's forbidden?
SAMANTHA
The back door. Can't let no outsiders know how to get into Lone Star from the back now, can we?
DYLAN
Ha ha. You like the back door, Sam?
SAMANTHA
Not as much as you, Dylan.
DYLAN
Where were you guys? You missed the whole . . . proposal. I mean - they have literally left us here alone. They've all gone off to celebrate. I can't even text while on the job, and these guys can gossip, and even propose to one another . . . and just decide to take the arvo off . . . and the boss goes with them . . .
SAMANTHA
Proposal? You here alone? You're right; the boss has lost it. So have Steve and Jessica.
DYLAN
Hey. I got this place in check. Front of house, back of house, I'm flyin'. I've already been workin' the hardest, since I work in dish. I gotta clean every single dish that's used, and everything that's used. You're gonna love it, Matt; you'll be the dish dude the days I'm off.
MATT
Sounds good.
SAMANTHA
Nice. I'll be in cutlery. We're practically side by side.
MATT SMILES.
DYLAN
Hey, who was that girl in here before? She was scooping ice out of the storage bin to put with the soup bags.
SAMANTHA
I don't know. I never got her name. She's new.
DYLAN
She's the most beautiful girl in the world.
SAMANTHA
Oh, come on; you say that about every girl . . .
SAMANTHA TURNS TO MATT.
SAMANTHA
. . . and to every girl. The thing you gotta know about Dylan is that he cannot keep his mouth shut. Whatever's on his mind . . .
DYLAN
You love it. You love what's on my mind. And I ain't just saying it. She really is "The Most Beautiful Girl in the World". Says so on her Facebook page.
SAMANTHA
You've seen her Facebook page? Then what's her name?
DYLAN
That "is" her name; "The Most Beautiful Girl in the World".
MATT
Nice. Has a ring to it. But I bet people have trouble getting her attention.
DYLAN
So here's what we do. Next time she's here, she'll be by Antarctica . . .
DYLAN TURNS TO MATT.
DYLAN
That's what we call the ice bin.
DYLAN TAPS THE BIN, TO MATT'S LEFT AND DYLAN'S RIGHT.
DYLAN
I'll be in Africa.
HE SIGNALS DISH.
DYLAN
Now, some guy in Australia - on grill - tries to throw a frozen chip into the bin by Africa - Madagascar. He misses. I run onto the court - dive into the sea so to speak - to grab the chip just as this beautiful cheerleader is walking by with ice on a tray. And whoa! - we bump into each other! Not only do I break the ice but I also put the ice back into the sea and stop global warming . . .
MATT
But it's broken already . . .
DYLAN
Yes, so then I ask her name . . .
MATT
And I pick up the ice . . . coz winds are slow so everything's freezing over [4.] [5.], so we want to raise the temperature . . . and I toss the cubes into the bin like I'm playing for the Utah Jazz . . . And the crowd goes wild . . .
SAMANTHA RAISES HER HAND.
SAMANTHA
Listen Turk and J.D. [3.]; not everything needs to be made into a song and dance. You're as bad as the others. You do realize that I can just ask her what her name is? I "will" be working front of house with her. But if you want me to keep her name from you so that yous can cause the poor girl to fall over in order to introduce yourselves then . . .
DYLAN TURNS HIS HEAD. HE SMILES.
SAMANTHA
What?
DYLAN
Hi.
THE GIRL - THE TOPIC OF CONVERSATION - SMILES AT DYLAN AS SHE PASSES BY. SHE STROLLS OVER TO THE ICE BIN AND LIFTS THE LID.
MATT SMILES. HE SHAKES HIS HEAD.
MATT
Looks like bar is still running. And they need ice. Hey newbie, what's your name?
SHE DOESN'T ANSWER, NOR LOOK UP.
MATT TAPS HER SHOULDER. SHE TURNS AROUND TO FACE MATT. SHE SMILES AND TILTS HER HEAD TO ONE SIDE. SHE HAS THE MOST BEAUTIFUL, LARGE, BLUE EYES THAT SEEMINGLY BLOW KISSES INTO THE OTHERWISE STALE AIR.
MATT
What's . . . your name?
THE GIRL SHOWS MATT HER RIGHT PALM, MOVING HER HAND GRACEFULLY, AND THEN PUTS THE FOREFINGERS AND MIDDLE FINGERS OF EACH OF HER HANDS TOGETHER AND TAPS THOSE OF HER RIGHT ON THOSE OF HER LEFT TWO TIMES AS THOUGH FORMING TWICE A BEAUTIFULLY SCULPTURED "X" THAT CAN BE SEEN FROM ABOVE.
MATT GLANCES AT DYLAN, THEN SAMANTHA.
THEY SMILE.
******
1 Ball, P. (2012). [Ménage à trois]. Forbidden reactions. New Scientist, 213 (2848), 30-34.
2 Olah, G. A., Surya Prakash, G. K., Wade, K., Molnár, Á., & Williams, R. E. (2011). [p. 1, <p> 1]. Hypercarbon Chemistry (2nd ed.). Hoboken, New Jersey, United States of America: John Wiley & Sons, Inc. Retrieved January 28, 2011 from http://books.google.com.au/books?hl=en&lr&id=Ttg0Q1YHc_oC...
3 Lawrence, B. [Creator], Braff, Z. [Actor], Faison, D. [Actor] (2001-2010). Scrubs [Television series]. Rockefeller Center, New York City: National Broadcasting Company (NBC) AND Upper West Side, Manhattan. New York City: American Broadcasting Company (ABC).
4 Archer, C. L., & Caldeira, K. (2009). ["Climate model simulations for highly idealized high-altitude wind power scenarios show little effect on the climate when deployed at levels comparable to total global electricity demand, but, with much greater deployment, the Earth’s surface cooled, precipitation decreased, and sea ice cover increased." In other words: More windmills = less free wind = cooler earth]. Global Assessment of High-Altitude Wind Power. Energies, 2, 307-319. doi: 10.3390/en20200307 Retrieved January 28, 2012 from http://www.mdpi.com/1996-1073/2/2/307
5 Ananthaswamy, A. (2012). [Generate energy, cool the planet]. How clean is green? New Scientist, 213 (2849), 34-38.
6 Me & U - Cassie (http://www.youtube.com/watch?v=2qgKIaxiPLY&ob=av2e)
7 Rude Boy - Rihanna (http://www.youtube.com/watch?v=e82VE8UtW8A)
8 In Praise Of The Vulnerable Man - Alanis Morissette (http://www.youtube.com/watch?v=gNG-uPTUq1M)
9 What's Your Name - Usher and will.i.am (http://www.youtube.com/watch?v=cu84u18i6SE)
10 All About Tonight - Blake Shelton (http://www.youtube.com/watch?v=znyAB7WOvkA&ob=av2n)
11 Why Don't We Just Dance - Josh Turner (http://www.youtube.com/watch?v=IH1Z9DEDqpk&ob=av2e)
12 All I Wanna Do - Sheryl Crow (http://www.youtube.com/watch?v=X5ouOa9k0gE)
13 Feels Like Today - Rascal Flatts (http://www.youtube.com/watch?v=aiRSqhYZlWo&ob=av2e)
14 Break The Ice (Dance remix) - Britney Spears (http://www.youtube.com/watch?v=F1SDVPE7rH8)
******
EXT./INT. SYLVIA'S RESTAURANT - DAY
(TEEN 1, TEEN 2, CLARISSA, EMILY, WOODS 1, TEEN 3)
WE'RE STILL OUTSIDE, US TEENS, SCRUTINIZING THIS WEIRD, SHINY, WALKING, TALKING CAMERA [2.].
ONE BENDS DOWN AND RAPS, AS ANOTHER BACKS HIM WITH A BEAT.
TEEN 2
Introduction/
Outside a luncheon/
Like I am actually invited to a function/
Fuck that - we got rap/
We a stadium act/
And if you got a fuckin' problem you can stay where you at/
We layin' the facts/
Everyone be sayin' we wack/
But when I'm sayin' anything I'm getting paid with chick's racks/
And a little bit of booty's how my eyes have a snack
TEEN 1
This ain't North New York/
It's Harlem, bitch!/
And if you from the south side then you ain't part of it/
We start the shit spitting when we rap like this/
We drip like slick bitches when we spit like this/
Girls comin' round/
Coppers wanna gun me down? We split/
They say we too fuckin' loud but we be proud of it/
This sound's the shit, now the fuckin' ground be mist/
We so crisp . . .
EMILY OPENS THE DOOR.
EMILY
Guys, could you come in here a minute?
THE THREE TEENS LOOK AT EACH OTHER, AND THEN AGAIN AT THE METAL BOX.
TEEN 1
Have you seen this thing? This be a walking, talking camera! I ain't never seen anything like this.
EMILY
Bring it in with you.
THE SECOND BOY PICKS UP THE CAMERA.
IT'S KIND OF A BIG DEAL, AS WE'RE INVITED INTO SYLVIA'S - ACTUALLY INVITED. WE MOVE AS THE CAMERA; WE "ARE" THE CAMERA [2.], AND THE ONE WHO HOLDS IT [1.]. SMALL AS WE ARE, EVERYTHING APPEARS LARGE AND DISTANT [1.]: THE COUNTER IN SYLVIA'S KITCHEN, THE WHITE FOLK, THE ENTIRE CIRCUIT BOARD OF NEW YORK CITY, THE PROSPECT OF FAME, FORTUNE, AND EVEN ATTENDING UNIVERSITY. BUT WE'RE AHEAD OF OURSELVES; THE TEENS DON'T KNOW THIS YET.
THE GUYS SHRUG. THE FIRST TEEN WALKS INSIDE. THE OTHERS, STILL OUTSIDE, SURVEY THE SCENE: IT'S A RESTAURANT THEY'LL GO TO EVERY NOW AND THEN, WHEN THEY CAN AFFORD A TREAT, BUT IT'S NOT OFTEN THEY SET FOOT IN HERE. STRANGELY, IT'S MAINLY RICH, WHITE TOURISTS WHO WIND UP HERE, NOT TOO MANY OF THE LOCALS.
THE FIRST TEEN APPROACHES THE COUNTER.
CLARISSA
Is this the boy?
THE LADY BEHIND THE COUNTER TAKES THE BOYS' HANDS IN HERS.
TEEN 1
What are you doing lady? You're acting strange today. You crying?
WE GET A BETTER VIEW OF THE SCENE AS THE CAMERA - AND THUS THE OTHER TEENS - APPROACHES THE COUNTER.
WOODS 1
Jerome, these young girls have bought you a present; and us. Got anything planned this year?
TEEN 1
Lady, you know what we do, where we be hanging. We be on these streets.
WOODS 1
But how about university? Tell me again where the best recording studios are?
TEEN 1
There's Middle Tennessee, University of Arizona, even New York University . . . What? Can I visit one?
THE BOY LOOKS AT CLARISSA AND THEN EMILY.
TEEN 1
Are you two singers?
CLARISSA
Even better.
WOODS 1
You know the scholarship you applied for?
TEEN 1
Oh, that was silly. I knew I didn't have a chance.
WOODS 1
You do. Jerome, you pick a university, we fund it. That's four years of undergrad.
TEEN 1
Shit! You for real?
HE STUDIES CLARISSA'S FACE. SHE NODS.
TEEN 1
Damn! Most beautiful girl I seen in ages, drops into this town and pays for my degree. You like an angel or something?
CLARISSA SMILES. SHE HUGS JEROME, AND THEN GAZES INTO HIS EYES.
CLARISSA
You won't forget me?
TEEN 1
One way to be sure.
CLARISSA WINKS, LICKS HER LIPS, THEN LOCKS THEM WITH JEROME'S.
HER CELL RINGS.
SHE PULLS AWAY.
CLARISSA
Gotta go. Now don't be sayin' no shit about people from the south, right? I heard your rap out there.
TEEN 1
For sure. Wow!
CLARISSA GLANCES AT EMILY. SHE HOLDING UP A PLASTIC BAG: I “HEART” NY. SHE HAS THE LUNCH.
CLARISSA
Bye all. We'll be back someday.
TEEN 1
Sure hope so.
WOODS 1
Thank you girls.
CLARISSA WAVES, PUTS THE CELL TO HER EAR, AND LEAVES THE STORE. EMILY BLOWS SOME KISSES TO JEROME. SHE DISPLAYS THE PEACE SIGN AND TILTS HER HEAD TO THE LEFT.
WITH THAT, THEY'RE GONE.
JEROME'S SPEECHLESS.
TEEN 2
I think we gotta get a meal here now. To celebrate.
JEROME'S STARING OUT THE WINDOW.
TEEN 3
Jerome! Yo, Jerome!
TEEN 2
Pussy whipped.
THEY LAUGH.
******
1 van der Hoort, B., Guterstam, A., & Ehrsson, H. H. (2011). [Abstract]. Being Barbie: The size of one's own body determines the perceived size of the world. PLoS ONE, 6 (5), e20195. doi: 10.1371/journal.pone.0020195 Retrieved January 29, 2012 from http://www.plosone.org/.../info%3Adoi%2F10.1371%2Fjournal...
2 Marks, P. (2012). Tell me a story and I'll make you a movie star. New Scientist, 213 (2848), 20.
3 Sylvia's Restaurant (http://www.sylviasrestaurant.com/about_us.html)
4 Mouth - Merril Bainbridge (http://www.youtube.com/watch?v=8YIIM1EVDqg)
******
EXT. HARLEM - CNR W 125 STREET AND LENOX AVENUE - DAY
(CLARISSA, EMILY)
CLARISSA IS TALKING ON HER CELL TO SAMANTHA. AND EMILY'S CELL IS RINGING.
CLARISSA SIGNALS THE CITY CENTER AND THEY HEAD THAT WAY.
EMILY
Hello . . . Mr Huntsman? . . .
EMILY LOOKS AT CLARISSA.
CLARISSA
. . . you know, you did kind of ring me when I was in the middle of something. I love keeping things rolling though. Scene to scene; you know how it is . . . Yeah, I gave a check to Sylvia's, and kissed a guy, whatever feels right [1.] [2.]. . . . I guess I don't hesitate, don't contemplate, just go ahead and do it [1.] [2.], that's how I get so much done . . . Yeah, but this is only when I'm in NY - it's the big apple! If I'm in honeybee then I'm totally chilled. I like it both ways . . .
EMILY
Clarissa; I've got your dad on the line.
CLARISSA GIVES EMILY THE THUMBS UP.
EMILY
Oh . . . she's on the phone. . . . Yeah sure, I'll let her know. . . . Joseph Rotblat [4.]? You'll be speaking about him? Can't say I've heard of him. Clarissa may have . . . Yeah. Hang on, I'll look him up . . .
EMILY TYPES THE NAME INTO HER PHONE.
CLARISSA TAKES THE PHONE FROM EMILY.
CLARISSA
Whoa, Em! Don't tell my dad to hang on.
SHE PUTS THE PHONE TO HER EAR.
CLARISSA
You're a busy man, aren't you dad? . . . Ha ha . . .
CLARISSA HANDS EMILY HER [CLARISSA'S] PHONE. SHE LOOKS UP.
CLARISSA
Look him up on this. . . . Yeah dad, I'm at Harlem now - as you know. I'll be at the city in no time. Will this Joseph guy be with you? . . . Oh, died in 2005; yeah - that'd make it a little difficult . . . So, where will you be? Haven't seen you in - like - two weeks now . . . Liberty State Park? New Jersey. Jersey Shore territory. Ha ha. I'm guessing Mary Anne, Abby, and Liddy are with you? [6.] . . . Sweet. Hey; that's where you announced you were running for President, right?
EMILY
Joseph Rotblat - critic of the nuclear arms race. Sounds like a smart guy . . .
CLARISSA
Oh . . . you're talking about nuclear weapons? . . . Yeah, I know . . . look, I'll see you there, ok? Yeah. I gotta go. Bye daddy. Love you.
EMILY
Everything ok?
CLARISSA HAS A BLANK EXPRESSION ON HER FACE.
CLARISSA
Did you see that camera . . . in Sylvia's? The one the guys were looking at [5.]? How cool was it? It must just follow people. All these people . . .
CLARISSA LOOKS AROUND.
CLARISSA
They all have a story, you know [3.]. If I had a camera . . . I'd be filming everyone else, know what I mean? I wouldn't even be filming myself. They're all more interesting than I am . . . I don't even wanna go to this . . . this speech thing to be honest. I don't know if I want cameras up in my face. Do you want camera's up in your face, Em?
EMILY
Could be fun. I don't know . . .
WE TAKE A FEW STEPS BACK . . . WE DON'T WANNA GET UP IN CLARISSA'S FACE OR NOTHING. WE LOOK AROUND . . . BUT SHE AND EMILY ARE THE MOST INTERESTING PEOPLE ON THIS PARTICULAR BLOCK . . . WE SHOULD KEEP FOLLOWING THEM, RIGHT? SUDDENLY, WE'RE THE PAPARAZZI. LET'S FACE IT . . . WE LOOK DOWN AT THE GROUND IN SHAME . . . MAYBE WE'LL CATCH UP WITH THESE GIRLS LATER . . .
******
INT. LONE STAR KITCHEN - DAY
(CLARE)
THE KITCHEN IS FULL: JESSICA, CLARE, BRANDON, STEVE, DYLAN, MATT AND SAMANTHA. BRANDON IS PREPARING A MEAL AT THE BACK, DYLAN ON DISH, MATT STACKING, AND THE REMAINING FOUR ARE ON THE FLOOR AT THE FRONT.
NOW - THERE ARE TWO TYPES OF LARGE PLATES AT LONE STAR: THE LARGE OVAL ONE, AND THE LARGE ROUND ONE. PRESENTLY, MATT CARRIES A HEALTHY STACK OF THE LARGE ROUND ONES AND IS WEARING A MILK PITCHER ON HIS PINKY LIKE IT'S A RING.
THE MOOD IS HIGH AND THE ENTIRE FLOOR IS BUZZING WITH ENTHUSIASM.
MATT HOLDS THE PLATES AT WAIST LEVEL AND FROM THE PITCHER WE CAN SURVEY THE ENTIRE SCENE. MATT WALKS AWAY FROM DISH AND TOWARD THE LADIES AT THE FRONT OF THE KITCHEN. AT FIRST HE CAREFULLY CALCULATES HOW TO MAKE EACH STEP PERFECT BEFORE TAKING IT; ALREADY HE HAS ON HIS FEET NON-SLIP SHOES, AND HE'S NOT SLIPPING SO THIS IS GOOD.
HE ROUNDS THE BEND AND SMILES AT NO ONE IN PARTICULAR.
HE HOLDS THE PLATES A LITTLE HIGHER IN ANTICIPATION OF THE REMAINDER OF HIS WALK PAST THE GIRLS TO THE HIGH STACK OF ROUND PLATES UP THE AISLE AND TO HIS RIGHT.
THEY'RE LAUGHING, GIGGLING, CHATTING.
WE BASICALLY JUST HEAR STATIC BECAUSE WE'RE CONCENTRATING ON THE WALK . . . ONE STEP, TWO, LEFT, RIGHT, LEFT, RIGHT.
AND MATT PASSES THE GIRLS.
CLARE
Yeah, we got one. Ok, so this is how the Lone Star bar dance goes. Watch my feet.
AND MATT DOES.
WHY?
HE GLANCES AT HER FACE, AND THEN DOWN AT HER FEET.
THE BENCH - BEGGING FOR THE PLATES - IS JUST TO HIS RIGHT . . . BUT HE'LL MAKE THAT LEFT, THEN HE'LL HEAD BACK TO DISH. YEAH. SIMPLE.
PIROUETTE?
HE RESTS THE PLATES ON THE FINGERTIPS OF HIS RIGHT HAND.
HE LIFTS ONE FOOT . . .
SHIT!
WE DON'T SEE MUCH, GIVEN THAT THE PLATES OBSCURE OUR VIEW AT FIRST. BUT THE PLATES ARE FALLING. NO DOUBT THEY'RE FALLING.
AND JUST BEFORE WE FALL - GIVEN WE HAVE EMBODIED THE PITCHER - WE HEAR THE LOUDEST CRASH: ONE, TWO, THREE PLATES - A NOISE WHICH CUTS THROUGH THE AIR LIKE A SIREN - AND THEN MORE.
THE KITCHEN STAFF BLOCK THEIR EARS.
THE WAITING STAFF FRONT OF HOUSE RUN OUT BACK.
SO DO SEVERAL CUSTOMERS.
MATT
Sorry.
******
1 Round Round - Sugarbabes (http://www.youtube.com/watch?v=FHh86ySgKrA&ob=av2e)
2 You Spin Me Round - Eiffel 65 (http://www.youtube.com/watch?v=muODEQjXM2c&feature=related)
3 Club Love - The Cataracs (http://www.youtube.com/watch?feature=endscreen&NR=1...)
******
INT. LONE STAR KITCHEN - DAY
(CLARE, BRANDON, JESSICA, SAMANTHA)
NOW THE KITCHEN IS EMPTY - BUT FOR FOUR. THE FLOOR IS PRACTICALLY SPOTLESS, IT'S CLOSING TIME, AND THE STAFF ARE CHATTING.
CLARE
I don't know about Matt.
SAMANTHA SMILES.
SAMANTHA
Got a new record, didn't he? Wait - I mean . . . broke several . . .
CLARE
Samantha, it ain't funny. Yeah, we all drop plates but he was waiting to place them up on the counter . . . waiting because I was standing there. All he had to do was ask me to move. And he was holding them in one hand. That's so silly . . .
SAMANTHA
So he's a little shy. So what? That's why we got Clarissa here, that's why we got Dylan. All situational [1.]; around the right people and he's extroverted, the wrong people and he's introverted. It's psychology 101. Hey - he's good at dish; he can stay on task for however long you like [2.].
CLARE
Yeah. That's great, but think about it; there are a million ways introversion can get him in trouble here. The other day, he didn't fill the dish washer with water before turning it on. The filament almost caught fire. And all coz he didn't ask no one how to do it. He didn't even know there was a fill setting. And there's the salad's - countless times he's put ranch sauce on the dish instead of Caesar, or salsa on the nachos instead of chili. And if he doesn't ask people to move - that just screams accident. And he's taken food - cheese breads - without asking. Now, that's usually not bad but you need to ask, otherwise it's like stealing. I just think that he might be a liability.
SAMANTHA
Or he might be learning . . . I don't know. Is he making these mistakes again and again?
CLARE LOOKS AT BRANDON.
BRANDON
Not . . . really.
JESSICA
Knowing him, he's probably running events through his head, especially after dropping the plates. Isn't that what introverts do? Turn everything into a song and dance in their mind? Rumination and stuff. He's probably writing a story [4.] about the day or something.
SAMANTHA
Leave it to me, Clare. I'll have a chat to him.
CLARE
Really? Ok - but I got my staff to think about here. Some of them have said they feel uncomfortable around him. That may not be his fault but we need cohesion. Know what I mean?
SAMANTHA
Cohesion's [5.] my middle name. Trust me, I know. So does Clarissa [5.]. When she's back we'll have a chat to Matt, ok?
CLARE
Fine. Thanks guys. I appreciate it.
******
1 Sommers, S. [Writer], & Korones, S. [Reviewer] (2012). Situations matter. Psychology Today, 45 (1), 22.
2 Cain, S. [Writer], & Korones, S. [Reviewer] (2012). Just be quiet (Quiet: The Power of Introverts in a World That Can't Stop Talking). Psychology Today, 45 (1), 23.
3 Rufus, A. [Subject], & Brown, H. [Writer of article] (2012). ["In short, those with low self-esteem might be subtly choosing to gather proof of their unworthiness rather than enjoying their bright moments. That's useful information - it can help counter a downward spiral of thoughts. Disciplining oneself to question critical thoughts that discount good wishes or events - a cognitive behavioral technique - can break patterns of self-doubt and rumination."]. The boom and bust ego. Psychology Today, 45 (1), 66-73
4 Rothbart, D. (2012). One-way ticket to love. Psychology Today, 45 (1), 36-37.
5 Givertz, M. [Assistant professor of communication studies], Webber, R. [Article writer], & Eccles, A. [Photographer] (2012). ["There is no such thing as two people meant for each other. It's a matter of adjusting and adapting."]. Are you with the right mate? Psychology Today, 45 (1), 56-65.
6 Closing Time - Semisonic (http://www.youtube.com/watch?v=xGytDsqkQY8)
7 Unwell - Matchbox Twenty (http://www.youtube.com/watch?v=WziA88-n02k&ob=av2e)
******
INT. NJTRANSIT BUS 125 - DAY
(CLARISSA, EMILY, JULIAN, TOURIST 1, TOURIST 2)
CLARISSA AND EMILY ARE WALKING DOWN THE AISLE OF THE 125 BUS TO NEW JERSEY JOURNAL SQUARE [6.]. THEY HAVE JUST BOARDED. EMILY LEADS.
TO THE LEFT ARE SOME EXCITED TOURISTS, AND THIS IS WHERE CLARISSA'S GAZE IS DIRECTED AS SHE HURRIES TO THE BACK OF THE BUS.
IT'S WHERE OUR GAZE IS DIRECTED ALSO, WHICH IS WHY WE DON'T SEE THE BOOK OR THE BOY TO CLARISSA'S RIGHT UNTIL IT'S TOO LATE . . .
CLARISSA FEELS SOMETHING HARD AGAINST HER THIGH, AND THEN THIS VERY THING HITS THE GROUND. SHE LOOKS DOWN: A BOOK [1.]. THEN SHE LOOKS TO HER RIGHT.
JULIAN
Oh . . . sorry.
CLARISSA
No. My fault.
SHE BENDS DOWN AND PICKS UP THE BOOK.
CLARISSA
I wasn't looking where I was going.
SHE HANDS IT TO THE BOY.
JULIAN
Thanks.
BUT THE BOY'S NOT TOO HAPPY - WE CAN SEE TEARS IN HIS EYES, PROBABLY NOT BECAUSE THE BOOK WAS KNOCKED FROM HIS HANDS . . .
CLARISSA
Are you ok?
JULIAN
Uh . . .
HE FAKES A SMILE AND NODS.
JULIAN
. . . Yeah. Thanks. I'm just . . . a lot has happened lately . . .
THE BUS BEGINS TO MOVE.
CLARISSA
You here with anyone?
JULIAN
No.
CLARISSA
Come and sit with us up back. There's some spare seats. Or you can read if you like, but it's hard to read on a bus. Last time I tried I got pretty sick.
JULIAN
Uh . . . sure.
JULIAN STANDS UP AND FOLLOWS CLARISSA TO THE BACK OF THE BUS. EMILY'S ALREADY IN THE BACK SEAT, ON THE LEFT. CLARISSA TAKES THE RIGHT SIDE, AND JULIAN TAKES THE SEAT IN FRONT. IT'S COMPLETELY FREE SO HE SITS WITH HIS BACK TO THE WINDOW, FACING THE AISLE.
TOURIST 1
West 39th Street. Take a shot. Take a shot.
CLARISSA SIGNALS EMILY.
CLARISSA
This is my friend Emily. I'm Clarissa.
JULIAN
I'm Julian. Nice to meet you. Where are you two headed?
CLARISSA
Jersey. Where else? Ha ha.
JULIAN
Oh, of course.
TOURIST 1
You have to take a shot of Hell's Kitchen.
TOURIST 2
Yeah. Yeah. Got it.
CLARISSA
I've gotta see my dad. We're from Utah though. Looking forward to going back, actually . . . Julian . . .
CLARISSA LEANS FORWARD. JULIAN'S TRYING NOT TO MAKE EYE CONTACT, GIVEN HIS ARE WET.
CLARISSA
Hey, is something wrong? You ok?
EMILY
Hey Julian! Give us the scoop. Girl troubles, right? Did some bitch walk away from you? Ha ha.
JULIAN
Uh . . . no . . .
JULIAN LOWERS HIS VOICE.
JULIAN
I'm scared. Um . . . you girls can't do anything. I shouldn't be telling you this. It's silly. Tell me about your dad.
CLARISSA PUTS A HAND ON JULIAN'S SHOULDER.
CLARISSA
No. You're more interesting. Please. Whatever it is, we're listening. We've got the whole trip to Jersey. Half an hour, right?
JULIAN
Yeah. Um . . .
JULIAN SHAKES HIS HEAD. HE HOLDS UP THE BOOK.
JULIAN
. . . probably won't believe me but some of this book is about me. That makes it a little hard to read.
CLARISSA LOOKS AT THE BOOK.
CLARISSA
“Finding Jolie [1.]”? Nice title. Really? You're in this?
JULIAN
I was a . . . like . . . I worked on the streets in San Fran. And . . . I just had this crazy boss [7.] and . . . I've quit now. It sounds so stupid but . . . well . . . this guy was a nightmare. He used to beat me. And like . . . he was locked up but I just heard that he's been released. I just feel like I'm the one on the run now. I feel like wherever I go he could be there. I can't relax. It sounds so silly. I take bus after bus, train after train, I go cross country, but no matter where I go I can't bring myself to stay anywhere . . . I gotta keep moving all the time. I know I must sound silly . . .
CLARISSA
Julian, that's horrible. It doesn't sound silly at all. Where's your home?
JULIAN TAKES A DEEP BREATH.
JULIAN
I'm sorry; you don't need to hear all this.
EMILY LEANS ON JULIAN'S SEAT.
EMILY
Yeah, we do. Thanks for telling us. Seriously; where's your home? Do you live with your parents?
JULIAN
I haven't seen them in years. They weren't all that nice. I . . . don't really have a home. Not at the moment. I was staying with a friend of mine back in San Francisco, but the boss knows where the apartment is. I wanted to leave but she didn't want to leave . . . She's ok - I chat to her on Facebook . . . but I don't want to go back. I don't feel comfortable living there. Do you ever get the feeling that you might not have long to live? Arrrgh! It;s so stupid. I know I sound silly . . . I'm being paranoid.
TOURIST 1
Take a shot of that! Now. Take a shot!
CLARISSA
Why do they keep saying: "Take a shot"? It's "photograph", "Take a photo". Why say "Take a shot"? It sounds so fuckin' lame.
EMILY
You ok, Clarissa?
CLARISSA
Yeah. Of course. I'm just pissed off that a guy like Julian has to feel so shit, and live his life in fear, because the whole justice system sucks.
JULIAN SMILES. HE NODS.
JULIAN
Thanks. But it's not your problem. That's the way it is, you know.
TOURIST 1
Did you get a shot of the water?
TOURIST 2
It's just water.
TOURIST 1
New York water. It's special. Get the bridge too.
EMILY SEES THE LOOK ON CLARISSA'S FACE.
EMILY
They're like paparazzi aren't they?
CLARISSA NODS. SHE BOWS HER HEAD.
CLARISSA
Em; wanna go back to Utah?
EMILY
Yeah. Of course. Straight after we see your dad we're heading home, right?
CLARISSA
No. I mean; we head home now. Is that cool with you?
EMILY
Um . . . yeah, sure. I go where you go. You know that.
CLARISSA
Julian; Utah's the middle of nowhere. Wanna come with?
JULIAN
What?! I just met you and . . .
CLARISSA
Think about it. You got the whole trip.
CLARISSA TURNS TO EMILY.
EMILY
What? You just . . .
CLARISSA
Did you hear about Leslie Carter? Died yesterday of an overdose.
EMILY
That Backstreet Boy's sister?
CLARISSA
Yeah. Overdose. Sound familiar? Amy Winehouse. Micheal Jackson. Jimi Hendrix. Janis Joplin. Ike Turner. Even Brittany Murphy. I remember that day - I was at Rugby, in England. It was raining; I pick up a paper at the train station and read that this beautiful actress has died. That young woman from Clueless, the daughter in King of the Hill, Eminem's chick in 8 Mile. I was - seriously - so depressed that day. And then there's . . .
TOURIST 1
And make sure you get that shot. Make it panoramic.
CLARISSA
. . . Mahatma Gandhi, Notorious B.I.G., Tupac Shakur, Robert Montanez - Akon's manager, Dimebag Darrell, Jam Master Jay, John F. Kennedy, Robert F. Kennedy, Martin Luther King Junior, John Lennon, and Ronald Reagan but he was lucky enough to survive . . .
CLARISSA HAS PANIC IN HER VOICE. HER MIND IS RACING LIKE A RUNAWAY BUS [5.] AND SHE'S FEELING LIKE SHE'S ON BOARD ONE. JUST NOW THE BUS TAKES A CORNER A LITTLE TOO FAST.
CLARISSA
God!
EMILY
Clarissa, what's wrong? Calm down girl; what is it?
CLARISSA
Look - I like living in the fast lane - new experiences all the time and all [2.] [3.] - but . . . I don't want that lane to be my father's campaign trail. I just . . . I don't want it. I don't care what my sisters do; that's up to them, but . . . I just can't do it. I mean - how can you be sure there ain't no snipers on the sideline? Did you know that people tried to assassinate both Roosevelts, Hoover, Truman, Nixon, Ford, Carter, Reagan, Clinton, both Bush's, and even Obama? Bullets have even been fired directly at the White House.
EMILY
No.
CLARISSA
Well, I do. It's all I think about some nights. I just can't get to sleep. I don't want to live that life.
JULIAN
But how could you? You're not a president.
CLARISSA NODS. SHE LOOKS AT EMILY.
CLARISSA
You're right. I'm nobody. Isn't it great? You're nobody, too, Julian. And it's great. Seriously, it's fantastic. You know - in some cultures they organize time itself around simple face-to-face encounters [4.] like the one we're having right now. This . . .
CLARISSA TAPS JULIAN'S SHOULDER.
CLARISSA
This is what life's about, you know. Encounters like this. Emily, call my dad and tell him I'm heading back to honeybee. Julian, have you ever been to honeybee?
JULIAN
Honeybee?
CLARISSA
That's a no.
CLARISSA SMILES.
THE BUS TAKES ANOTHER TURN, THIS TIME A LITTLE SLOWER.
******
1 Goldenberg, J. L. (2011/2012). Finding Jolie. Florida: Existential Press.
2 Geddes, L. (2011). The clock in your head. New Scientist, 212 (2833), 45-46.
3 Stetson, C., Fiesta, M. P., & Eagleman, D. M. (2007). [Abstract]. Does time really slow down during a frightening event? PLoS ONE, 2 (12), e1295. doi:10.1371/journal.pone.0001295 Retrieved February 3, 2012 from http://www.plosone.org/.../info%3Adoi%2F10.1371%2Fjournal...
4 Sinha, C. (2011). A life without time. New Scientist, 212 (2833), 47.
5 Yost, G. [Writer], Whedon, J. [Writer], de Bont, J. [Director], Reeves, K. [Actor], & Bullock, S. [Actress] (1994). Speed. Fox Plaza, Century City, Los Angeles, California, United States: 20th Century Fox.
6 NJTransit: Bus 125 (http://www.njtransit.com/sf/sf_servlet.srv...)
7 Cassutt, M. [Writer], Paré, J. [Director], Young, V. [Actor - as Noah Hunter], Stewart-Bowden, J. [Actress], & Irizarry, V. [Actor] (1997, November 19). Deadline: Beverly Hills, 90210. [Television series]. Los Angeles, California: Fox Broadcasting Company. [Noah Hunter's fame and Erica's predicament].
8 Real To Me - Brian McFadden (http://www.youtube.com/watch?v=cDJXUNiPVqs)
9 I Don't Want To Be - Gavin DeGraw (http://www.youtube.com/watch?v=8gFCW3PHBws)
10 Fade Away - The Other Half (inc. Leslie Carter) (http://www.youtube.com/watch?v=-1fioySlSrg)
******
EXT. JERSEY SHORE - MONMOUTH BEACH - DAY
(CLARISSA, EMILY, JULIAN)
"I'M GOING TO JERSEY SHORE, BITCH!" SNOOKI SAID . . . AND KEEPS SAYING [8.]. SO WE DID TOO. WE'RE HERE NOW, AND MAYBE A LITTLE AIRBORNE EVEN THOUGH WE HAVEN'T BEEN SMOKING DOPE. WE - AS A NEW STATE-OF-THE-ART CAMERA - ARE HOVERING ABOVE THE SHORE. PERHAPS THIS IS ILLEGAL, PERHAPS WE'RE INVADING SOMEONE'S AIRSPACE [5.], PERHAPS WE HAVE NO FILMING PERMIT [9.], BUT WHAT DO WE KNOW? WE'RE ONLY AN INANIMATE OBJECT. AND AN AWESOME ONE FOR THAT MATTER: AN UNCREWED AERIAL VEHICLE - UAV FOR SHORT [5.]. AND WE'VE FINALLY CAUGHT UP WITH CLARISSA AND THE CREW. IT'S THE MORNING AFTER THEIR RIDE TO JERSEY AND THEY'RE NOT ON A PLANE OUT OF HERE JUST YET. SOMETHING ON OUR SKIN STARTS TO CRACKLE. WE'RE DESCENDING. AS WE FALL WE SEE CLARISSA, EMILY, AND JULIAN AS THEY WALTZ ONTO THE FAMOUS JERSEY SHORE, OR PART THEREOF.
CLARISSA
Leave the magazine on a table, Em.
EMILY HOLDS UP AN ISSUE OF "NEW SCIENTIST".
EMILY
Your letter was published [11.]. Don't you wanna keep it?
CLARISSA
I travel light. Besides, if I wanna see a copy I can just access the archives online. Let other people read it.
EMILY NODS AND BACKTRACKS TO A SHORE-SIDE TABLE. CLARISSA TURNS TO JULIAN.
CLARISSA
So Julian, what do you think? You've had the night to ponder. Are you coming to live with us in Utah?
JULIAN
Are you serious? You really don't mind?
CLARISSA
Of course we don't. So I take it from your eyes that's a yes.
JULIAN SMILES.
CLARISSA
Yeah. I knew it! No one can resist honeybee. It's so beautiful.
JULIAN
Oh, but I haven't got enough money for the flight.
CLARISSA
Julian, I told you who I am. Money isn't an issue anymore. When you're with us we cover everything. Anything short of a brand new BMW each day is totally fine. Seriously, forget about cash. We refer to that as "card" and that's always in my pocket.
JULIAN
Wow. Thanks.
EMILY RETURNS. SHE SPOTS US - THE DRONE [5.].
EMILY
Hey, what's that?
EMILY'S POINTING AT US. WE LOOK AT CLARISSA. SHE SHAKES HER HEAD WITHOUT EVEN GLANCING IN OUR DIRECTION.
CLARISSA
It's a drone [5.]. Don't touch it or it'll follow us.
EMILY SMILES. SHE PATS US ON THE HEAD LIKE WE'RE A POODLE AND WE FOLLOW THE THREE AS THEY TRAVERSE THE SHORE.
CLARISSA
I can't believe we almost forgot about Jersey Shore [8.]. How can we go to Jersey and not visit the shore?
EMILY
Then you know what we gotta do next? We gotta make like Snooki and The Situation and head to Miami [8.]!
CLARISSA
Miami?
EMILY
Miami! It's en route to Utah . . . sort of . . . if we stick to the shoreline.
CLARISSA
Well, ask Julian. He's with us now.
EMILY
Oh my god! That's so good.
EMILY GIVES JULIAN A HUG.
EMILY
You are going to love Utah. I'm so happy for you. You'll be seeing it for the first time. So, how 'bout Miami as a first stop? You're with us now so you don't have to worry about your old boss no more.
JULIAN
Yeah. Yeah. I love Miami.
EMILY
Miami! Whoo! We'll have to visit the gelato joint the Jersey [8.] guys worked at [10.]!
CLARISSA LIES DOWN ON THE SAND. THE OTHERS FOLLOW SUIT. CLARISSA ROLLS OVER ONTO HER STOMACH. SHE QUICKLY DRAWS A LINE IN THE SAND WITH HER FOREFINGER.
CLARISSA
Julian, do you notice anything different between the sand to the left and right of this line?
JULIAN
No. Not really.
CLARISSA
Em?
EMILY
Nope. It's the same sand.
CLARISSA
Exactly.
CLARISSA PICKS UP A HANDFUL AND LETS THE GRAINS TRICKLE THROUGH HER FINGERS.
CLARISSA
And state borders are just like the line I drew; completely arbitrary. We're in Miami right now if we wanna be.
LIKE A MIRAGE A MIAMI BACKGROUND APPEARS. BUT THIS DISAPPEARS JUST AS QUICKLY.
CLARISSA
Borders only exist in our minds [3.] [4.] [12.]. And think about how often we impose a border between states, nations, . . . people. Like monogamy. What's with that [2.]? It ain't natural. And just imagine if instead of seeking closure through conflict nations sought closure through cooperation [1.]. I'm sure there are so many seeds for every grain of sand on this beach [7.], enough to feed the entire world. Instead we're always fighting. But now . . . now we have Twitter [6.]. Now the grains of sand are gonna rule the world with their tweets. Ha ha. Ain't that a sweet sound?
EMILY'S WATCHING THE CLOUDS. JULIAN ALSO. HE NODS.
EMILY
The clouds are telling me we need gelatos. Just can't figure out what flavor; vanilla? Coconut? White chocolate? White truffle? I wonder where we can find a light blue cone.
CLARISSA
Julian, Emily clearly has her head in the clouds. So I guess it's just you and me. Maybe we can walk to Miami and leave her lying here.
EMILY
I'm too cute. No one can leave my side. Now, about that gelato . . .
CLARISSA SMILES.
CLARISSA
You've always gotta have your cone.
EMILY PLAYFULLY SHOVES CLARISSA.
EMILY
Hey; if you can't smoke . . .
WATER COVERS OUR LENS. THE IMAGE BLURS AND THEN TURNS BLACK.
******
1 Golec, A., & Federico, C. M. (2004). ["Many people crave simplicity. A high need for closure, or simplicity, only seems to lead to competitiveness when an individual or group disagrees with another and has a hostile conflict schema (ie: when competitiveness is the "normal" response). Should cooperation be considered the obvious dominant response then the need for simplicity can be satisfied through cooperation and not competition."]. Understanding responses to political conflict: Interactive effects of the need for closure and salient conflict schemas. Journal of Personality and Social Psychology, 87 (6), 75-762. doi: 10.1037/0022-3514.87.6.750 Retrieved February 3, 2012 from http://psycnet.apa.org/journals/psp/87/6/750/
2 Triedman, E. [Writer], Whelpley, J. [Writer], Rhodes, M. R. [Director], & Priestley, J. [Actor] (1998, January 21). The Elephant's Father: Beverly Hills, 90210. [Television series]. Los Angeles, California: Fox Broadcasting Company. ["You are forgetting one very important thing - my man - and that is that we are men, homo sapiens. It's not in our nature to be with one woman . . . Does the mighty elephant live with one elephant woman? No. He doesn't. You know what he does? He lives by himself, by his own terms . . ."]. Available on YouTube (8 minutes and 19 seconds into the clip: http://www.youtube.com/watch?v=vmQPAY6UzRQ).
3 Blame your brain for your bias. (2012). New Scientist, 213 (2850), 17.
4 Molenberghs, P., Halász, V., Mattingley, J. B., Vanman, E. J., & Cunnington, R. (2012, in press). [Abstract]. Seeing is believing: Neural mechanisms of action–perception are biased by team membership. Human Brain Mapping (Online). doi: 10.1002/hbm.22044 Retrieved February 5, 2011 from http://onlinelibrary.wiley.com/doi/10.1002/hbm.22044/full
5 Marks, P. (2012). Drones for all take to the skies. New Scientist, 213 (2850), 20-21.
6 Mason, P. [Interviewee], Else, L. [Interviewer] (2012). The revolution will be tweeted. New Scientist, 213 (2850), 28-29.
7 Campbell, M. (2012). [Vavilov's seeds]. Lost. New Scientist, 213 (2850), 42.
8 Polizzi, N. [Actress, reality star], DelVecchio, P. [Actor, reality star], Sorrentino, M. [Actor, reality star], Farley, J. [Actress, reality star], Ortiz-Magro, R. [Actor, reality star], Giancola, S. [Actress, reality star], Guadagnino, V. [Actor, reality star], Pivarnick, A. [Actress, reality star], & Salsano S. [Developer] (2010). Jersey Shore: Season 2. [Television series]. 9560 Wilshire Blvd, 5th Floor, Beverly Hills, California: 495 Productions.
9 'Jersey Shore' cast not angry with NJ city's snub. (2012). MSN: Entertainment (Online). Retrieved February 5, 2012 from http://tv.msn.com/tv/article.aspx?news=700317
10 Lecca Lecca Gelato Caffé (http://leccaleccagelatocaffe.com/)
11 Huntsman, C. D. (2012). Art needs a heart [not] (letter). New Scientist, 213 (2850), 31.
12 RSA Animate - The Empathic Civilisation (http://t.co/uLAAOsjG) [6 minutes, 8 seconds in: Empathy].
13 Today - Skiggy Rapz and Tienus (http://www.youtube.com/watch?v=SO3z_IjwErE)
14 Lunenfeld, P. (2011). Curing cultural diabetes. New Scientist, 211 (2819), 26-27.)
15 Rigby, B. (2011). One man's hacker... (letter). New Scientist, 211 (2819), 30.)
16 Citizen Of The Planet - Alanis Morissette (http://www.youtube.com/watch?v=TmnLBPENNys)
******
EXT./INT. CNR MAIN STREET AND PORTER LANE - DAY
(SAMANTHA, MATT)
"DRONE ONE, WE'VE SPOTTED MATT. DO YOU COPY? CORNER MAIN STREET AND PORTER LANE!"
"DRONE TWO, COPY THAT. SAMANTHA HAS BEEN SPOTTED ALSO. INSIDE A CAR; BLACK COAT WITH BRIGHT FLOWERS. CAN'T MISS IT."
AS THE SECOND DRONE WE DESCEND, JUST SLIGHTLY, TO GET A BETTER VIEW OF OUR MALE PROTAGONIST: CLOVERFIELD-STYLE [4.] WE WATCH AS HE WANDERS DOWN PORTER LANE.
AS THE FIRST DRONE WE'RE RACING AFTER THE CAR - BLACK WITH BRIGHT FLOWERS LIKE POLKA-DOTS, MANY OF THEM WITH BEAUTIFUL YELLOW PETALS AND A SPHERICAL ORANGE CENTER; WITH OUR GAZE WE LATCH ONTO THE CAR, THEN IT ESCAPES US, AND THEN WE LATCH ONTO IT AGAIN, BOSTON LEGAL-STYLE [5.]. THIS IS DANGEROUS FLYING NO DOUBT.
AS THE SECOND DRONE WE NOW HAVE MATT'S BACK. WE SURF THE AIR JUST BEHIND HIM.
AS THE FIRST, WE RACE AFTER THE CAR. WE'RE STILL ON MAIN.
THE CAR SWERVES AND SO DO WE. WE'RE PRACTICALLY HOLDING ONTO THE BOOT NOW, AS THOUGH WE'RE PURSUING PRINCESS DIANA THROUGH A TUNNEL.
THE CAR TAKES A LEFT: PORTER LANE!
WE'RE TOO SLOW. WE MISS THE TURN.
WE BACKTRACK AND THEN TURN RIGHT.
WE DESCEND AND SPEED UP; IN HOT PURSUIT OF THE CAR BOOT.
AS THE SECOND DRONE, AGAIN, WE'VE NOW SPOTTED THE CAR. WE ASCEND SO AS TO CAPTURE THE ROOF.
SAMANTHA HAS SPOTTED MATT AND THE CAR STOPS.
SO DO WE.
BUT, AS THE FIRST DRONE, WE DID NOT EXPECT THE CAR TO STOP JUST YET. WE SEE IT ALL TOO LATE.
TO AVOID SLAMMING INTO THE BOOT WE ASCEND.
THEN WE COME FACE TO FACE WITH THE SECOND DRONE.
WE SLAM INTO IT [2.] [3.], AND TOGETHER WE FALL ONTO THE CAR ROOF.
LIKE A STINGER, AN ARM OF THE SECOND DRONE'S GETS STUCK IN THE ROOF. FROM THE ARM SEVERAL CAMERIC MARBLES FALL ONTO THE BACKSEAT. AND WE'RE INSIDE. SAMANTHA IS DRESSED IN ALL-NATURAL ATTIRE; A TIE DYED SHIRT AND SHORTS MADE FROM HEMP.
SAMANTHA
Matt! Need a lift?
MATT SMILES.
MATT
Hi Samantha. Yeah, sure.
SAMANTHA
Sammi, now. I'm the sweetest bitch you'll ever meet [7.].
MATT LAUGHS AS HE HOPS IN.
MATT
And we're going to Jersey Shore [7.], right?
SAMANTHA
If that's what you wanna call Lone Star. Hey, you want a lift you just give me a call, K brother?
MATT
Yeah. Wasn't sure if you were busy.
SAMANTHA
I'm never busy. That's not how we roll. I got something for you.
SAMANTHA DRIVES FORWARD.
SAMANTHA
Two things, actually. Open the glove box.
MATT CLICKS HIS SEAT BELT IN AND THEN POPS THE BOX OPEN. INSIDE WE SEE A BOX OF CARDS AND A SILICONE WRISTBAND [6.]. THE WRISTBAND IS BEAUTIFUL; ON ONE SIDE BRIGHT FLOWERS, ON THE OTHER BLACK AND YELLOW STRIPES.
MATT
It's beautiful! Thank you.
SAMANTHA STOPS THE CAR.
SAMANTHA
You're welcome.
SHE TOUCHES MATT'S CHEEK. MATT LEANS TOWARD HER AND THEY KISS.
SAMANTHA PULLS HER HEAD BACK, SMILING.
SAMANTHA
I can see the look in your eyes, just now. Don't get attached. Ha ha.
MATT SMILES.
MATT
No. You just take my breath away.
SAMANTHA
Yeah. You're new to this. Of course I do. Look; I want you to kiss me again, but with Clarissa on your mind. Got it?
MATT NODS.
MATT
Too easy.
AGAIN THEY KISS. THEN SAMANTHA RUBS HER NOSE AGAINST MATT'S.
SAMANTHA
Perfect, right?
MATT EXHALES. AGAIN HE SMILES.
SAMANTHA
The bracelet's for your ankle. For now. Don't be wearing it on your wrist at Lone Star. Our secret. Don't get me wrong - we still may ask others to join us but we gotta get to know them a little better. There's nothing we wanna do more than build our family, but we have to be careful. America don't quite get us . . . not yet. Oh - I want you to know that we ain't a cult. I gotta come right out and say that coz I wanna be upfront about it. We don't care what you believe in, what political party or parties you follow, and all that. But . . . see the cards? They're the cards I play. They're the scoop on my views and Clarissa's and Emily's; they're evolving all the time of course. Pick 'em up, have a flick through.
MATT
Wow. Like - personalized playing cards?
MATT TAKES THE BOX OF PLAYING CARDS OUT OF THE GLOVE BOX. HE OPENS THE BOX.
SAMANTHA
Yeah. You'll love 'em.
SAMANTHA TAKES MATT'S ARM. SHE LEANS AGAINST HIM. SHE TAKES THE BOX, AND REMOVES THE CARDS.
SAMANTHA
Matthew, welcome to our family.
SHE KISSES MATTHEW AGAIN.
MATT
Wow - this is like a proposal. I feel like jelly.
SAMANTHA
You're so sweet. That's honey, running through your veins. Ha ha. So, it's a yes?
MATT
Of course. I love you Sammi.
SAMANTHA
I love you too.
MATT
I gotta know this. You gotta tell me more about Clarissa's dad. I can't believe he's running for president.
SAMANTHA
Sends a sweet chill through your body doesn't it? Do you feel tingly inside?
MATT
Well yeah, but that's mainly because you're leaning against me.
MATT HOLDS UP THE QUEEN CARD.
MATT
Is that Clarissa?
SAMANTHA
In cartoon form. Yes, that's her. She's our queen, more or less. She tells us so much about the political scene. She has all the insider's information. But - first and foremost - she's our best mate. We love her. Don't get me wrong; I'll disagree with some things she says, but we always discuss things together. We have a vision for America that's just remarkable, and together can change things for the better. It's just so exciting. Ok, here's the joker . . .
SAMANTHA TAKES A JOKER FROM THE PACK. SHE HOLDS IT UP.
SAMANTHA
See this? He's a lawyer. Lawyers are a joke. They make a mockery of America, the constitution, and everything it stands for. Paradoxically, shows like Boston Legal [5.] - even though they are comedies - actually depict lawyers that are far better, and far more human, than most real lawyers. Real lawyers are trained to lie, to use facts selectively, and to win any argument [1.]. On the whole, they're a joke. Hence, they are represented by the "Joker".
MATT NODS.
HE HOLDS UP THE JACK.
SAMANTHA GRABS IT OFF MATT. SHE TAKES A DEEP BREATH.
SAMANTHA
Don't show this one to Clarissa, whatever you do. I don't think she's ready, just yet. This represents a guy named Jackson Curtis. Clarissa met him on her tour of Australia in December . . .
MATT
Before the . . .?
SAMANTHA
That's right. He died before the new year began. I'm not sure anyone in Sydney survived the blast. But he was a great guy. He was a hippie, like us, and he tried to bring people together. In fact, Clarissa's sister Cassie, was probably with him during his last days. I would have loved to have met him . . . No doubt, North Korea is a real threat to us all. We have to keep that in mind.
SAMANTHA QUICKLY SLIPS THE CARD BACK INTO THE DECK.
MATT HOLDS UP A TEN OF SPADES.
SAMANTHA
Ahhh, yes. Each spade represents the burying of a scientific concept beneath religious ideology [1.], which we're completely against. A religion - any religion - needs to evolve through time. We're Mormons - obviously - but that does not mean we do not look to science to guide us through life. After all, through science and healthy experimentation we can better understand how any God performs. It's fascinating. Clarissa's dad knows that, but unfortunately a lot of people disagree with him [1.], especially the religious right. But we reach out . . .
SAMANTHA HOLDS UP THE THREE OF HEARTS.
SAMANTHA
Free love. Of course. It's what we passionately believe in. It's what just feels right. We know it's what God wants. It's just . . . so obvious.
SHE TOSSES THE CARDS ASIDE AND THEN TURNS OFF THE ENGINE.
MATT AND SAMANTHA LOCK LIPS AGAIN.
SAMANTHA GRABS MATT AS SHE FALLS ONTO THE BACKSEAT. THEY LOCK LIPS AND BODIES, AS WE - AS CAMERIC MARBLES - FALL ONTO THE FLOOR.
THE SCREEN GOES BLACK.
******
1 Otto, S. L. (2011). ["Former Utah governor Jon Huntsman argued that "the minute that the Republican party becomes the anti-science party, we have a huge problem". Huntsman has since been marginalised by Republican pundits."; "Less than 2 per cent of [Congress'] 535 members have professional backgrounds in science . . . Lawyers are trained to win arguments . . . that means using facts selectively for the purposes of winning, not to establish the truth."; "[in the 1940s] University tenure programmes were developed that rewarded research and publication but not public outreach. Scientists who did reach out to the public were often viewed poorly by their peers."]. Decline and fall. New Scientist, 212 (2836), 38-41.
2 Marks, P. (2011). Video 'radar' to stop drone mid-air collisions. New Scientist, 212 (2836), 24.
3 Dey, D., Geyer, C., Singh, S., & Digiona, M. (2011). [Abstract]. A cascaded method to detect aircraft in video imagery. The International Journal of Robotics Research, 30 (12), 1527-1540. doi: 10.1177/0278364911412807 Retrieved February 7, 2011 from http://ijr.sagepub.com/content/30/12/1527.short
4 Reeves, M. (2008). Cloverfield. Los Angeles, California, United States: Paramount Pictures.
5 Kelley, D. E. [Creator] (2004-2008). Boston Legal. [television series]. California, United States: 20th Century Fox Television.
6 Wristbands America (http://www.wristbandsamerica.com/) (AAC ID Solutions (http://www.wristbands.com.au/novelty/silicone_wristbands.htm)
7 Giancola, S. [Actress, reality star], Polizzi, N. [Actress, reality star], DelVecchio, P. [Actor, reality star], Sorrentino, M. [Actor, reality star], Farley, J. [Actress, reality star], Ortiz-Magro, R. [Actor, reality star], Guadagnino, V. [Actor, reality star], Pivarnick, A. [Actress, reality star], & Salsano S. [Developer] (2010). Jersey Shore: Season 2. [Television series]. 9560 Wilshire Blvd, 5th Floor, Beverly Hills, California: 495 Productions.
8 David Letterman Jon Huntsman - 2011.12.21 (http://www.youtube.com/watch?v=dOLtBQVrZhI...)
9 Lonely No More - Rob Thomas (http://www.youtube.com/watch?v=7spBU4Yv8fE)
10 Would You Be Happier? - The Corrs (http://www.youtube.com/watch?v=GaXoLVSNV5I)
11 Love Today - MIKA (http://www.youtube.com/watch?v=AWiccrTB4LM&ob=av2e)
12 Where You Are - Rascal Flatts (http://www.youtube.com/watch?v=6hTK6VhkW3w)
13 I Want You - Savage Garden (http://www.youtube.com/watch?v=oqGnsP4wOf0)
14 I Want You (Bastone Club Mix) - Savage Garden (http://www.youtube.com/watch?v=T_dYQNnfqfI)
******
EXT. LONE STAR - OUT BACK - DAY
(SAMANTHA, MATT)
NEAR LONE STAR, BUT HAVING NEVER WALKED PAST THE ACTUAL BUILDING, SAMANTHA AND MATT LIE FACING THE SKY IN THEIR SMALL HIPPIE HIDEAWAY. MATT BLOWS SOME DOPE SMOKE OVER THE CAMERA LENS AND THEN PASSES THE SPLIFF TO SAMANTHA.
SAMANTHA
It kind of "is" Jersey Shore [7.] in there. It's hella crazy, this monogamy business. . . . That's why I like watching the show; you see how silly monogamy is. All the arguments are about who's hooking up with who. Who cares? Who wouldn't want to hook up with whoever? And they basically kick Angelina out coz she acts like a slut and calls everyone "fake". She's right. They are.
SAMANTHA LAUGHS.
SAMANTHA
Just like all the monogamous people. Too blind to see the true path to happiness [3.]; companionship [4.], intimacy [5.], exploration [5.], the pursuit [3.] of some profound goal like . . . becoming a first daughter . . . presidency. And this . . .
SAMANTHA SQUEEZES MATT'S HAND. SHE SUCKS ON THE WEED WRAP AND THEN PASSES IT BACK TO MATT.
MATT
Easy as X Y Z - the color of a honeybee . . .
SAMANTHA LAUGHS.
SAMANTHA
Whoa. You tripping.
MATT
No. Yeah. Maybe. But some people associate different colors with different letters [1.] [2.] and for them X Y Z is the pretty colors of . . .
MATT TOUCHES SAM'S CHEEK.
MATT
. . . a honeybee.
SAMANTHA GIGGLES. SHE STRETCHES AND TURNS TOWARD MATT AS HE INHALES. HE PASSES THE PAPER TO SAMANTHA.
SAMANTHA
Oh, you're so sweet. They're our colors; black and yellow. Hey - do you follow sports at all? Like Utah Jazz?
SAMANTHA INHALES AND THEN BLOWS SOME RINGS OF DOPE SMOKE.
MATT
No. Not really.
SAMANTHA
It's such a great feeling when your team's winning. You feel like you've accomplished something, even if you're just standing on the sidelines. But imagine if you "are" part of the team. Imagine if you can actually make a real difference. Like - we're practically related to someone running for presidency, Matt! Can you believe it? Barack Obama made the White House black, now it's our turn to add some yellow. This is so exciting.
AGAIN MATT KISSES SAMANTHA, HIS LIPS SLIDING THROUGH SOME RINGS . . . SWISH! SAMANTHA GRABS HIM AND PULLS HIM ON TOP OF HER. SHE PUTS OUT THE CIGARETTE.
SAMANTHA
You've got a role to play in Lone Star, k? You're the shy guy. Sure - you're high, but you gotta play shy . . . so we don't get busted for smoking weed . . . and so no one suspects you may somehow be related to someone who might become the most powerful man in the world . . .
SAMANTHA LAUGHS.
MATT
Yeah. I can't believe you haven't told them.
SAMANTHA
You feel good, right? Loose.
MATT
Yeah.
SAMANTHA
Sweet. Coz Clare thinks you're a little introverted [4.]. You know, after the whole plate thing.
MATT
Oh. Really?
SAMANTHA
Yeah. But weed does wonders. You'll be totally fine now.
SAMANTHA GIGGLES AGAIN.
SAMANTHA
You're too high to selectively filter [3.] information now. So you'll be thinking positively. And that's when you're thinking clearly. And we gotta be, coz our job's to listen, intimately [5.], and to listen well to what people say, what people do . . . so we know who to approach next . . . but if you start thinking that "everyone's" a honeybee - and transferring my personality onto them [6.] - then just resist the urge to ask them if they actually are. Even if they're chatting about honey. Keep this secret. K, Matt? For now.
MATT
I promise. I'd never do anything to ruin what we have here.
SAMANTHA
Nothing can ruin this. But we can never be too careful. I love you Matt.
AGAIN THEY KISS.
SAMANTHA
We'll change into new uniforms. I've keep some here. Then we're going in. Ready?
MATT
Ready.
******
1 Ryerson, N. (2011). Technicolor type. Psychology Today, 44 (3), 20.
2 Spector, F., & Maurer, D. (2011). [Abstract]. The colors of the alphabet: Naturally-biased associations between shape and color. Journal of Experimental Psychology: Human Perception and Performance, 37 (2), 484-495. doi: 10.1037/a0021437 Retrieved February 9, 2012 from http://psycnet.apa.org/journals/xhp/37/2/484/
3 Marano, H. A. [Article writer], Lubetkin, B. [Clinical psychologist] (2011). [Happiness]. Clues to character. Psychology Today, 44 (3), 54-61 & 86.
4 Marano, H. A. [Article writer], Lubetkin, B. [Clinical psychologist] (2011). [Friendship]. Clues to character. Psychology Today, 44 (3), 54-61 & 86.
5 Marano, H. A. [Article writer], Lubetkin, B. [Clinical psychologist] (2011). [Intimacy]. Clues to character. Psychology Today, 44 (3), 54-61 & 86.
6 Raskin, M. K. [Article writer], & Gabbard, G. [Professor quoted] (2011). [""Transference . . . It's like having a movie projector in your head that plays out the relationship you had with someone in your past onto the face of someone else. This can lead you to assume someone is thinking something they are not or to expect them to act in specific ways.""]. The idea that wouldn't die. Psychology Today, 44 (3), 78-85.
7 Giancola, S. [Actress, reality star], Polizzi, N. [Actress, reality star], DelVecchio, P. [Actor, reality star], Sorrentino, M. [Actor, reality star], Farley, J. [Actress, reality star], Ortiz-Magro, R. [Actor, reality star], Guadagnino, V. [Actor, reality star], Pivarnick, A. [Actress, reality star], & Salsano S. [Developer] (2010). Jersey Shore: Season 2. [Television series]. 9560 Wilshire Blvd, 5th Floor, Beverly Hills, California: 495 Productions.
8 Sorrentino, M. [Actor, reality star], Giancola, S. [Actress, reality star], Polizzi, N. [Actress, reality star], DelVecchio, P. [Actor, reality star], Farley, J. [Actress, reality star], Ortiz-Magro, R. [Actor, reality star], Guadagnino, V. [Actor, reality star], & Salsano S. [Developer] (2010). Deja Vu All Over Again: Jersey Shore Season 2. [Television series]. 9560 Wilshire Blvd, 5th Floor, Beverly Hills, California: 495 Productions. ["The Situation" is pretty shit].
9 Klugar, B. (2011). Memoir madness (Skit). Psychology Today, 44 (3), 96. [lol].
10 Matousek, M. (2011). My muse (with benefits). Psychology Today, 44 (3), 35-36.
11 Hirsch, M. L. (2011). Identity cleft. Psychology Today, 44 (3), 50-51.
12 Valentine - Kina Grannis (http://www.youtube.com/watch?NR=1&feature=endscreen...)
13 That Girl - David Choi (http://www.youtube.com/watch?v=qDTKAHk_T5k...)
******
EXT. FLORIDA - SOUTH BEACH - DAY
(CLARISSA, EMILY, JULIAN)
TORTYRA SLOSSONIA - THAT'S OUR NAME, OUR SPECIES. WE FLY, AS A SINGLE INSECT, UNDETECTED ABOVE A BEAUTIFUL SUNNY STRETCH OF MIAMI'S SOUTH BEACH. THEY'VE STRUCK A CHORD WITH US; OUR CONTROLLERS. AND - AS THE SOLITARY MOTH - WE GLIDE THROUGH THE AIR UNDER REMOTE CONTROL [1.] [2.]. YOU'LL FIND A NEURAL PROBE IF YOU LOOK CLOSELY AROUND OUR VENTRAL NERVE CORD [1.] [2.], WITH SOME GOLD INSIDE IT [1.] [2.], AND CONNECTED TO THIS A DEVICE THAT CAN PICK UP RADIO SIGNALS [1.] [2.]. AND NOW WE FEEL A CURRENT OF SEVERAL MICROAMPERES RUNNING THROUGH OUR NERVE CORD AND WE FOLLOW OUR ABDOMEN TO THE LEFT AND DOWNWARDS [1.] [2.] AS WE SURREPTITIOUSLY ZOOM IN ON CLARISSA, EMILY AND JULIAN. INSIDE OUR ABDOMEN A FUEL CELL CONVERTS TREHALOSE TO GLUCOSE, OXIDIZES THE GLUCOSE AND EXTRACTS ELECTRONS TO GIVE US THE POWER [1.] [3.] TO REMAIN TRULY DIRECTIVE AND ATTENTIVE. NOW WE HOVER ABOVE THE TRIO AS THEY STROLL ALONG THE SOUTH BEACH SHORELINE.
CLARISSA
What's that?
SHE POINTS TO WHAT APPEARS TO BE A LARGE ROCK BEHIND SOME SHRUBS.
CLARISSA
Oh, a Classic Moth.
JULIAN
What's that?
CLARISSA
An old boat. I thought it was a person for a minute.
EMILY
Clarissa; we're on the beach now. Do you wanna . . .?
EMILY TOUCHES HER POCKET.
CLARISSA
Oh. Ha ha. The bras.
CLARISSA TAPS JULIAN'S SHOULDER.
CLARISSA
You'll love these.
BOTH CLARISSA AND EMILY REMOVE THEIR SHIRTS. JULIAN, SURPRISED, OPENS HIS MOUTH.
CLARISSA
Can you hold these babe?
JULIAN NODS. THEY PASS THEIR SHIRTS TO HIM. CLARISSA GIGGLES, SCANS THE MIAMI SANDS QUICKLY WITH HER GAZE AND THEN BOTH HER AND EMILY REMOVE THEIR BRAS AND PASS THEM TO A BEMUSED JULIAN. HE LAUGHS. THEY REMOVE THE CYLINDERS FROM THEIR POCKETS AND THEN THE WATER-SOLUBLE BRAS [4.] FROM WITHIN. AND THEY PUT THEM ON.
CLARISSA
Wow this feels good.
EMILY
Yeah.
JULIAN
What are they made of?
CLARISSA LAUGHS.
CLARISSA
Don't know. But apparently it dissolves in water.
JULIAN
What! Really?
EMILY
Yep. Beautiful right?
JULIAN NODS.
CLARISSA
Now we are definitely dressed for Lecca Lecca [5.].
THEY CONTINUE DOWN THE SHORE.
EMILY
Hey Julian; favorite chick in Jersey Shore? Sammi, Snooki?
JULIAN
Oh, um . . . I like Vinny.
CLARISSA
Yeah, but who do you find the most attractive? That's who I'm playing when I walk into the gelato joint.
JULIAN
Um . . . Vinny. He's so cute.
CLARISSA
Yeah, but . . .
EMILY
Clarissa! I'm gonna stop you there.
EMILY SMILES. SHE PUTS HER ARM AROUND JULIAN.
EMILY
I think our new friend here is gay.
CLARISSA PUTS A HAND OVER HER MOUTH.
CLARISSA
Oh my god! I'm so sorry. Really?
JULIAN NODS.
JULIAN
Sorry.
EMILY
No. Don't be sorry. This is excellent. We've just established that all three of us are searching for Vinnys. Ha. Wow.
CLARISSA
Yeah. Hey, you should have told us sooner. You don't have a boyfriend, right?
JULIAN
No. My friend back in San Fran was a she. Look, I still think you two are stunning of course . . .
EMILY PULLS JULIAN CLOSE AND HUGS HIM.
EMILY
Say no more gorgeous. There are plenty of gay guys in Salt Lake. A lot of them in their closets, but still plenty. This is so cool.
CLARISSA
Oh my god! A new perspective! I've gotta give Samantha a call. We can totally use Julian's help [6.] with the letter.
CLARISSA PRESSES A BUTTON ON HER CELL AND PUTS IT TO HER EAR. EMILY TURNS TO JULIAN.
EMILY
We're sending a letter to Psychology Today. I'm the main author but we're all contributing [6.]. It's about the experience of meeting a girl from Utah; what does Hara Marano - she edits the magazine - think about it?
JULIAN
That sounds pretty cool.
CLARISSA
Sammi, how are you? . . . That's awesome! Hey, do you have the letter? Have you sent it yet? . . . That's so good! Read out what we have. We might add to it. . . .
CLARISSA LOOKS UP.
CLARISSA
Hey Em, can you type this up?;
I have a question for you which may seem a little odd but I would love to get your opinion as I regularly read your column and think the advice you give is excellent. Recently I met a girl in New Jersey. Age-old tale, right? But there was something peculiar about this girl and this peculiarity - even though I couldn't quite put my finger on the source - was what first attracted me to her. Her dress sense is a little different to mine in that she dresses very plainly, very simply. She's amazingly carefree, vivacious, energetic, playful and fun to be around and I think I may have fallen in love with her. She's so intelligent and always has something interesting to tell me, but not often is it something as fascinating as what she told me just three days after we first met; she's a Mormon and she told me in confidence (though she is aware of and supports me writing this letter) that she is a firm believer in the practice of polygamy, even though she stresses that it is now not commonly practiced among those of her faith. I find this girl fascinating and her philosophy on life illuminating. I am just wondering if my predicament is unusual and what your take on the situation is. Thanks. Smiley face, signed . . . Matt?
EMILY
Should we add something about the problems associated with monogamous relationships?
CLARISSA
Nah. Don't want it sounding argumentative or pretentious. What do you think Julian?
JULIAN
It's so nice. But I think you forgot to mention how friendly the two of you are . . .
EMILY
One. It's about one girl.
CLARISSA
Ha ha. Take your pick.
JULIAN
Yeah. Well, I'm drawn to you two, your philosophy, your way of life, even though . . .
EMILY
Even though you don't wanna have sex with us?
JULIAN SMILES AND NODS.
CLARISSA
And that - my friend - is why your input is extra special. Thanks Sammi. Love you.
CLARISSA HANGS UP AND PUTS THE CELL BACK INTO HER POCKET.
FIRST THEY FEEL A FEW SMALL DROPS, THEN THE RAIN GAINS SOME WEIGHT, LIKE IT'S THE FINGERS OF JOSEPH SMITH GUIDING THE TRIO WHILE UNDER THE CONTROL OF A GREATER POWER. CLARISSA LAUGHS.
CLARISSA
Uh oh.
THE BRAS [4.] ACTUALLY BEGIN TO DISSOLVE.
EMILY POINTS AHEAD.
EMILY
There's Lecca Lecca [5.]! They have shirts! Let's go!
THEY RUN TO THE GELATO JOINT.
AND AS FOR US; A RAINDROP HITS OUR HEAD AND WE'RE KNOCKED UNCONSCIOUS BECAUSE WE NO LONGER HAVE ENOUGH INDEPENDENT CONTROL OF OUR BRAIN TO AVOID RAINDROPS. SUCKS TO BE A DUMB MOTH!
******
- International Love - Chris Brown and Pitbull (http://www.youtube.com/watch?v=CdXesX6mYUE)
- Miami - Will Smith (http://www.youtube.com/watch?v=IwBS6QGsH_4&ob=av2e)
- I'm In Miami Bitch - LMFAO (http://www.youtube.com/watch?v=64sGfoWEN-8)
[1.] Ananthaswamy, A. (2012). Go fly a cyborg moth. New Scientist, 213 (2851), 21.
[2.] Tsang, W. M., Stone, A. L., Otten, D., Aldworth, Z. N., Daniel, T. L., Hildebrand, J. G., Levine, R. B., & Voldman, J. (2012). [Abstract]. Insect-machine interface: A carbon nanotube-enhanced flexible neural probe. Journal of Neuroscience Methods, 204 (2), 355-365. doi: 10.1016/j.jneumeth.2011.11.026 Retrieved February 11, 2012 from http://www.sciencedirect.com/.../pii/S0165027011007035
[3.] Rasmussen, M., Ritzmann, R. E., Lee, I., Pollack, A. J., & Scherson, D. (2012). [Abstract]. An Implantable Biofuel Cell for a Live Insect. Journal of the American Chemical Society, 134 (3), 1458–1460. doi: 10.1021/ja210794c Retrieved February 11, 2012 from http://pubs.acs.org/doi/abs/10.1021/ja210794c
[6.] Weinberger, D. (2012). Why untidiness is good for us. New Scientist, 213 (2851), 30-31.
[4.] Storey, H. [Artist], & O'Callaghan, T. [Writer] (2011). Fashioning the future. New Scientist, 212 (2842), 50-51.
[5.] Lecca Lecca Gelato Caffé (http://leccaleccagelatocaffe.com/)
- Life Is A Rollercoaster - Ronan Keating (http://www.youtube.com/watch?v=VsN5MtKtWcg)
- The Way You Make Me Feel - Ronan Keating (http://www.youtube.com/watch?v=VcTvhRM07Cs&ob=av2e)
- Giancola, S. [Actress, reality star], Polizzi, N. [Actress, reality star], DelVecchio, P. [Actor, reality star], Sorrentino, M. [Actor, reality star], Farley, J. [Actress, reality star], Ortiz-Magro, R. [Actor, reality star], Guadagnino, V. [Actor, reality star], Pivarnick, A. [Actress, reality star], & Salsano S. [Developer] (2010). Jersey Shore: Season 2. [Television series]. 9560 Wilshire Blvd, 5th Floor, Beverly Hills, California: 495 Productions.
******
INT. LECCA LECCA* - DAY
(CLARISSA, EMILY, JULIAN, ENZO, BABE, BOYFRIEND, GIRLFRIEND)
IN THE HIGHEST OF SPIRITS, THE TRIO WALK UP TO THE LECCA LECCA [1.] CREAM COUNTER. CLARISSA'S ARMS HIDE HER BREASTS, AND EMILY'S HERS. A TRAIL OF BRA [2.] LINES THE ENTRANCE LIKE COKE . . . LIQUID SPILLED. BEHIND THE COUNTER ARE ENZO AND A HOT BABE WHO LOOKS A LITTLE LIKE ANGELINA (IF ONLY FOR THE SAKE OF ALLITERATION IN THE LOVELY LECCA [1.]). STANDING AT ONE CORNER OF LECCA [1.], LIKE LOVERS, IS A COUPLE; GAZE FIXATED ON CLARISSA AND EMILY, SPECIFICALLY THEIR ARMS.
CLARISSA
You sell shirts, right? We kind of need a couple.
ENZO
Ha ha.
BABE
Oh my. Emergency at Lecca Lecca [1.]!
EMILY
Our bras literally melted.
CLARISSA - WITH ONE ARM STILL HIDING HER BREASTS - TAKES HER VISA OUT OF HER POCKET AND PLACES IT ON THE COUNTER.
CLARISSA
Twelve large actually. Two for us here, and ten for some mates back home. Here's the address.
CLARISSA TAKES A LONE STAR CARD OUT OF HER POCKET AND PLACES IT NEXT TO THE VISA.
ENZO
Twelve shirts?
BABE
Cool. I'll grab your two.
SHE HEADS OUT BACK.
ENZO
Lone Star? You are thinking of adopting our uniform, no?
CLARISSA
If I can convince them. Ha ha. Oh, that'll be savings.
CLARISSA POINTS AT THE SWIPE TERMINAL. ENZO NODS, THEN OFFERS HER A RECEIPT FOR HER TO SIGN, AND A PEN. AFTER A FEW SECONDS OF THOUGHT ("HE COULDN'T CARE LESS ABOUT STEALING CLARISSA'S SIGNATURE BECAUSE HE ALREADY OWNS AN AWESOME JOINT WHERE JERSEY SHORE [3.] WAS FILMED"), SHE SIGNS. HE GLANCES AT THE COUPLE IN THE CORNER AND THEN BACK AT CLARISSA.
ENZO
Peace and quiet. Wow! Those two were arguing before you stepped inside.
CLARISSA SMILES.
CLARISSA
Another oh-so-happy nuclear couple I guess.
ENZO
Nuclear couples. Ha ha. You have seen Jersey Shore [3.], no?
CLARISSA
Yeah. Of course. We like to laugh at them. What were they like as employees?
ENZO
Like I tell everyone; a nightmare! The only work they really did was for the camera. But the promotion - just what we needed. You will not find better gelato in America. And now everyone knows.
EMILY
Gelato! Of course! Oh my god! - remember that tiramisù at Jamie's Italian in Oxford [5.] with the orange sauce? So good.
CLARISSA
Yeah.
EMILY
I'll have tiramisu, in a cup. One scoop.
CLARISSA
Yeah. Me too. Julian?
JULIAN
Make that three.
CLARISSA
Cups are awesome. They provide more protection than cones.
EMILY
From ice cream?
CLARISSA
Yeah. Obviously. I'm not stupid enough to rely on only a cup for anything else.
CLARISSA AND EMILY LAUGH.
BABE
Two large. Here you are girls. Thank you.
CLARISSA AND EMILY TAKE THE SHIRTS, LETTING THEIR ARMS DOWN IN THE PROCESS. CLARISSA SMILES.
CLARISSA
We're in Miami. What's a bit of flesh every now and then? But now we cover up . . .
EMILY
Because you should always use protection . . .
AGAIN THEY LAUGH.
CLARISSA TYPES HER PIN AGAIN AND THE BABE HANDS HER THE RECEIPT. ENZO PUTS THE CUPS ON THE COUNTER. THE GIRLS PULL THE SHIRTS OVER THEIR BODIES.
GIRLFRIEND
Oh, so now you're looking at me, now that you can't see her breasts?
BOYFRIEND
You were looking too.
GIRLFRIEND
Don't make this about me! You're the one who kissed that girl last night!
BOYFRIEND
She was crying. She needed me. I keep telling you it was the situation.
GIRLFRIEND
That'd be right; you're a typical sleaze just like The Situation [3.]. That why you wanted to come here? To pick up chicks? Couldn't give a fuck about me!
BOYFRIEND
Look, I'm sorry, ok. It won't happen again. Let's get some ice cream. We'll sit down, we'll talk.
GIRLFRIEND
No no no. There is no "we" anymore. Start speaking in first person because "I" am gone.
THE GIRL LEAVES THE STORE.
BOYFRIEND
I'm not chasing you Selena. Fine! Leave. Just don't come running back!
THE GUY PUTS HIS HANDS ON HIS HEAD AND LEANS BACK AGAINST THE WALL [4.].
BOYFRIEND
I think I'll be needing a two scoop tiramisù. In a cone!
EMILY LOOKS AT THE GUY AND WINKS.
EMILY
She's not irreplaceable.
CLARISSA
No one is.
BOYFRIEND
Thanks girls.
JULIAN SMILES.
JULIAN
He kind of looks like Vinny.
CLARISSA HOLDS UP HER CUP AND SIGNALS THE DOOR.
CLARISSA
Wanna join us?
THE GUY NODS. HE PASSES A NOTE TO ENZO.
BOYFRIEND
Sure guys, I'd love to. Keep the change mate.
ENZO SMILES AND HANDS OVER THE CONE.
ENZO
Take care now.
BOYFRIEND
Yep.
CLARISSA
I wanna try a date gelato. I want heaps of dates in my cream.
EMILY AND CLARISSA CHUCKLE.
JULIAN SHAKES HIS HEAD.
THE GUY TAKES THE CONE AND HIS LEAVE; THE QUARTET EXIT THE STORE.
******
- Who Says? - Selena Gomez & The Scene (http://www.youtube.com/watch?v=BzE1mX4Px0I&ob=av2e)
- Irreplaceable - Beyoncé (http://www.youtube.com/watch?v=2EwViQxSJJQ&ob=av2e)
- Liquid - The Rasmus (http://www.youtube.com/watch?v=xRPEydf4M44)
- Eisendrath, J. [Writer], McCarthy, L. [Writer], Steinberg, D. [Writer], Triedman, E. [Writer], Harris, H. [Director], Ziering, I. [Actor], & Priestley, J. [Actor] (1998, May 20). The Wedding (Parts 1 and 2): Beverly Hills, 90210. [Television series]. Los Angeles, California: Fox Broadcasting Company. [Doubt]. ["You want us to be birds?" - Brandon].
[3.] Giancola, S. [Actress, reality star], Polizzi, N. [Actress, reality star], DelVecchio, P. [Actor, reality star], Sorrentino, M. [Actor, reality star], Farley, J. [Actress, reality star], Ortiz-Magro, R. [Actor, reality star], Guadagnino, V. [Actor, reality star], Pivarnick, A. [Actress, reality star], & Salsano S. [Developer] (2010). Jersey Shore: Season 2. [Television series]. 9560 Wilshire Blvd, 5th Floor, Beverly Hills, California: 495 Productions.
*[1.] Lecca Lecca Gelato Caffé (http://leccaleccagelatocaffe.com/)
[5.] Jamie's Italian: Oxford (http://www.jamieoliver.com/italian/oxford)
[2.] Storey, H. [Artist], & O'Callaghan, T. [Writer] (2011). Fashioning the future. New Scientist, 212 (2842), 50-51.
[4.] Jersey Shore filming in Miami Beach (http://www.youtube.com/watch?v=ZAlcwTxl7Oc&feature=related)
******
EXT. SOUTH BEACH SNAPSHOT - DAY
(CLARISSA, EMILY, JULIAN, BOYFRIEND)
AS SENSECAM [1.] WE TAKE A PICTURE OF THE FOUR FRIENDS JUST OUTSIDE LECCA LECCA [2.]. THE VIEW IS WIDE [1.]; WE SEE THEM AND THEIR SURROUNDINGS. AND NOW - WHILE THE FRAME REMAINS STABLE, LIKE RESOURCES LINKED TO IN A PIECE OF PROSE - THE SUBJECTS UNFREEZE, TIME RESUMES, AND THEIR CONVERSATION CONTINUES.
CLARISSA
Now we're just a yellow stripe away from our own state, but I'm already seeing things in beautiful black and yellow instead of the peculiar palette of colors that exist in the minds of other people. Ha ha. They color every thing, every person, differently depending on its emotional valency, but really we should color all the people black and yellow. That's the buzz, right? That's Utah light.
EMILY
You have the sun in your eyes don't you?
CLARISSA
Yeah. How'd you guess?
THEY BOTH LAUGH.
EMILY
Unless you're seeing the magnetic field [3.] [4.] [5.] that will guide us back to Utah. We "are" honeybees after all.
CLARISSA
Or bacteria, good cyanobacteria [6.] who release . . .
CLARISSA TOUCHES THE NEW GUY'S NOSE WITH A STICKY FINGER.
CLARISSA
. . . starch [5.] to hold things together. You look like you're falling apart.
BOYFRIEND
I'm fine. I think. Now. You girls are strange . . . but so sweet.
EMILY
Well, we just explained to you that we're honeybees. You could come with us back to Utah and we'll explain a little better.
CLARISSA RAISES HER EYEBROWS AT EMILY.
CLARISSA
But you've got a home here, don't you? Plus that girlfriend of yours.
CLARISSA TOUCHES THE GUY'S TIRAMISÙ ATOP THE CONE AND THEN PUTS HER FINGER TO HIS LIPS.
CLARISSA
You got two scoops. Are you going to finish the cone?
BOYFRIEND
Don't know if I can.
CLARISSA
Hmmm . . . a waste of a lot of British Thermal Units [7.], but at the same time you don't wanna become obese [8.]. Should have gotten only one scoop.
BOYFRIEND
But it's cheaper to get two.
EMILY
Each scoop's cheaper but you still pay more all up.
CLARISSA
Why are people always encouraged to buy more than they can consume [7.]? America.
CLARISSA SHAKES HER HEAD.
CLARISSA
I think we need to get back to the heart. Ok dude . . .
CLARISSA PLACES A HAND ON THE GUY'S SHOULDER.
CLARISSA
. . . Quick question for you; "How far would you be willing to go to visit us? [9.]"
BOYFRIEND
Ha. Anywhere in Miami I guess.
EMILY
Oh. And how far would you be willing to chase Selena? [9.]
THE GUY SMILES.
BOYFRIEND
Probably all the way to . . . Utah. Ha ha. We had such a good relationship. Have. We "have" one.
EMILY LOOKS AT CLARISSA. SHE ROLLS HER EYES. CLARISSA SIGHS.
CLARISSA
Kind of opposite the answer we were hoping for. Guess you're an addict [10.] [11.] [12.], ey?
THE GUY SHRUGS.
BOYFRIEND
Hey, thanks guys. You're all so nice. But I think I need to find Selena.
HE STANDS UP.
CLARISSA
Awww. Good luck then. It was nice chatting.
THE GUY NODS, THEN WANDERS FROM THE FRAME.
CLARISSA GLARES AT EMILY.
EMILY
What?
CLARISSA
We can't invite every guy we meet back to honeybee. We got to know Julian well so we know he's cool. But we hardly even spoke to this guy. We may as well have been looking at a photograph.
EMILY
Oh.
JULIAN
Could have been a one night fling.
CLARISSA
See, Julian gets it.
JULIAN
We scared him off.
CLARISSA
Nah. As we concluded; the guy's an addict [10.] [11.] [12.] and you don't really wanna mix with them.
JULIAN SMILES AND NODS.
******
- Colorfield - Loheem (http://www.youtube.com/watch?v=V-dUCWIZtMQ&feature=related)
- Come Home Tonight - Jay Fade and Josh Napert (http://www.youtube.com/watch?v=4a92rAG4sGo)
[1.] Stix, G. (2012). Photographic memory. Scientific American, 306 (1), 11.
[2.] Lecca Lecca Gelato Caffé (http://leccaleccagelatocaffe.com/)
[3.] Castelvecchi, D. (2012). The compass within. Scientific American, 306 (1), 36-41.
- Dyer, F. C., & Gould, J. L. (1981). [Abstract: Memory]. Honey Bee Orientation: A Backup System for Cloudy Days. Science, 214 (4524), 1041-1042. doi: 10.1126/science.214.4524.1041 Retrieved February 14, 2012 from http://www.sciencemag.org/content/214/4524/1041.short
[4.] Kirschvink, J. L. (1981). [Abstract: Magnetic sense]. The horizontal magnetic dance of the honeybee is compatible with a single-domain ferromagnetic magnetoreceptor. Biosystems, 14 (2), 193–203. doi: 10.1016/0303-2647(81)90068-X Retrieved February 14, 2012 from http://www.sciencedirect.com/.../art.../pii/030326478190068X
AND FINALLY >>>
[5.] Válková, T., & Vácha, M. (2012, in print). [Abstract]. How do honeybees use their magnetic compass? Can they see the North? Bulletin of Entomological Research (FirstView Article), 1-7. doi: 10.1017/S0007485311000824 Retrieved February 14, 2012 from http://journals.cambridge.org/action/displayAbstract...
- We Own The Sky - M83 (http://www.youtube.com/watch?v=Bzge5vY72hE&feature=related)
[6.] Belnap, J. [Research ecologist], & Borrell, B. [Interviewer] (2012). ["How do cyanobacteria . . . hold the sand together?"]. Dust up. Scientific American, 306 (1), 68-71.
[7.] Webber, M. E. (2012). [Better behavior]. More food, less energy. Scientific American, 306 (1), 62-67.
[8.] Gorman, C. (2012). Five hidden dangers of ... obesity. Scientific American, 306 (1), 48-49.
- Dirty Minds promotion (http://kaytsukel.typepad.com/.../dirty-minds-how-our...)
[9.] Mills, J., Clark, M. S., Ford, T. E., & Johnson, M. (2004). [This article contains a "10-item communal strength measure" from which the question in the piece is taken from. It also details how the authors believe communal strength should increase peoples' responsiveness to their spouse which will in turn make the spouses happy. A happy spouse will reciprocate and there will be marital bliss all around . . . the hive]. Measurement of communal strength. Personal Relationships, 11, 213-230.
- What the? (2012, February 14). mX Newspaper, p. 11. Retrieved February 14, 2012 from http://www.facebook.com/UONStorySpace
[10.] In love? You're a romance junkie. (2012, February 14). mX Newspaper, p. 8. Retrieved February 14, 2012 from http://www.facebook.com/UONStorySpace
- Believe - Cher (http://www.youtube.com/watch?v=LbXiECmCZ94)
[11.] Fisher, H. E., Aron, A., Mashek, D., Li, H., & Brown, L. L. (2002). ["The attraction system is characterized by increased energy and focused attention on a preferred mating partner. In humans, the attraction system (standardly called romantic love, obsessive love, passionate love, being in love, infatuation, or limerence) is also characterized by feelings of exhilaration, "intrusive thinking" about the love object, and a craving for emotional union with this partner or potential partner."]. Defining the Brain Systems of Lust, Romantic Attraction, and Attachment. Archives of Sexual Behavior, 31 (5), 413-419, doi: 10.1023/A:1019888024255 Retrieved February 14, 2012 from http://www.springerlink.com/content/q0wp034542433m06/
[12.] Wang, Z., Yu, G., Cascio, C., Liu, Y., Gingrich, B., & Insel, T. R. (1999). [Abstract: Basically, dopaminergic pathways may be activated during social experiences]. Dopamine D2 receptor-mediated regulation of partner preferences in female prairie voles (Microtus ochrogaster): A mechanism for pair bonding? Behavioral Neuroscience, 113 (3), 602-611. doi: 10.1037/0735-7044.113.3.602 Retrieved February 14, 2012 from http://psycnet.apa.org/psycinfo/1999-11588-018
******
INT. LONE STAR - KITCHEN - CUTLERY - DAY
(SAMANTHA, MATT, JESSICA, DYLAN, STEVE)
WE SEE A FREEZE-FRAME OF JESSICA BY DISH. SHE'S STARING AT THE GROUND. STEVE IS STANDING BY HER SIDE AND DYLAN'S IN DISH. WE'RE INSIDE A SMALL GOLD-COLORED EARRING, AS HIGH AS SAMANTHA'S HAND, AND BETWEEN HER THUMB AND FOREFINGER. OUR EYE IS THAT OF A ROBOT NAMED "NU NAO" [1.] AND EVERY TIME WE BLINK WE CAPTURE A GOLDEN SCENE; THE UPPER RECTANGLE OF THE PICTURE PRECISELY 1.62 TIMES THE SIZE OF THE LOWER ONE [1.]. AND NOW THE EXPRESSION ON JESSICA'S FACE LIES TWO THIRDS ALONG THE PHOTOGRAPH'S HORIZONTAL PLANE [1.]; THIS IS THE SIGNIFICANT SECTION OF THE SCENE. THE IMAGE COMES TO LIFE.
JESSICA
Oh my god! I've lost it!
STEVE
What?
JESSICA
An earring!
JESSICA RUBS HER RIGHT EAR WITH HER FOREFINGER.
JESSICA
It fell off. Dylan, is it over there?
DYLAN
Nope. Can't see it.
SAMANTHA PLACES HER GOLD EARRING ON A NAPKIN. WE BLINK AND NOW WE SEE A FREEZE-FRAME OF SAMANTHA AND MATT. NATURALLY IT COMES TO LIFE. MATT POINTS AT US.
MATT
Is that . . .?
SAMANTHA
No.
Check her other ear. Her earrings are a lot fancier.
MATT TURNS TO CHECK JESSICA'S LEFT EAR. SURE ENOUGH, HER REMAINING EARRING IS BRIGHT BLUE AND QUITE PRETTY. SAMANTHA UNWRAPS A NAPKIN, REMOVES AN EARRING JUST AS BLUE, AND PLACES IT NEXT TO THE GOLD ONE. SAMANTHA SMILES.
SAMANTHA
But this is the one.
MATT LOOKS AT THE EARRING ON THE BENCH.
MATT
Ha. Why . . .?
SAMANTHA
Found it on the ground before. I was waiting for someone to say something. But let's wait a bit before we tell her.
SAMANTHA PICKS UP THE BLUE EARRING. SHE HAS HER BACK TO JESSICA.
SAMANTHA
What do you think makes this so special?
MATT
It looks pretty I guess.
SAMANTHA
Maybe. Do you swim?
MATT
Um . . . Not really. I've never really lived on the coast.
SAMANTHA
So you haven't been deep sea diving?
MATT
No. But I'd love to. Have you?
SAMANTHA
Yeah. It's a whole new world down there. Beautiful. There are countless undiscovered species [2.]. Worms, mollusks, crustaceans [2.]. In some areas they're finding a new species every single month [2.]. But . . .
SAMANTHA TURNS THE EARRING IN HER FINGERS.
SAMANTHA
So many people think this is pretty. Like, coz it's coated in gold and all and bright blue. So this Canadian company - Nautilus Minerals - are thinking of digging into a hydrothermal vent field off the coast of Papua New Guinea [2.]. They're looking for beautiful metals, like what's in this.
SAMANTHA PUTS THE EARRING BACK DOWN.
SAMANTHA
But do we really think metals are more beautiful than the creatures that live near these vents? Why risk wiping out entire species for . . .
SAMANTHA TURNS BACK AROUND. SHE LOOKS AT JESSICA, THEN TURNS AROUND TO AGAIN FACE THE EARRING. SHE PICKS IT UP. JESSICA'S HANDS ARE IN THE BIN. SHE'S SEARCHING THROUGH THE TRASH. SAMANTHA HOLDS UP THE RING AND STROLLS OVER TO HER.
SAMANTHA
Oh Jess. I found this on the floor before. I almost forgot.
JESSICA LOOKS UP. A SMILE SPREADS ACROSS HER FACE.
JESSICA
Oh my god! Thanks Sam!
SAMANTHA
Be careful, ay? It sure is pretty.
SAMANTHA HANDS THE EARRING TO JESSICA.
JESSICA I know. It's made of . . .
MATT PICKS UP THE GOLD-COLORED EARRING. HE STUDIES IT. ANOTHER PICTURE IS TAKEN - THIS ONE OF MATT. SAMANTHA TAKES THE EARRING OUT OF MATT'S FINGERS.
SAMANTHA
How do you like it? Think it will suit you?
MATT
Me?
SAMANTHA
It's yours if you want it. But you've gotta be very careful. Believe it or not this thing's a camera too. It's voice activated. And activated by motion [3.]. Find yourself caught in a conversation and this will start taking pictures of your field of vision. No lie. Then we can analyze the photos and decide how to improve them, and hence your body language. If you're cool with it that is. It's not that your body language is poor, it's just that communicating with others is an art. This helps us master that art. I wear one every now and then. So does Clarissa.
MATT
Wow!
HE SCRUTINIZES THE EARRING.
MATT
You can't be serious.
SAMANTHA
Come over tonight. I'll show you the photos they take. I'm serious. And you need to get an ear pierced.
MATT
Yeah.
MATT NODS.
MATT
I think I'd like that. But there's no way this is a camera. It's way too small.
SAMANTHA
You'll see. This is state-of-the-art. And it also records speech so that we can study it to determine how persuasive it is, or how much it reflects your true feelings [4.]. But this is nothing compared to the glasses Clarissa was just given; they sense peoples' body temperature, heart rate [5.], facial emotions [6.], and they're even connected to an earpiece that relays to you parts of past conversations you've had with the person you're looking at [7.].
MATT SHAKES HIS HEAD IN DISBELIEF.
SAMANTHA
You're gonna love 'em. So . . .
SAMANTHA HOLDS UP THE EARRING ONCE MORE.
SAMANTHA
Better than gold?
MATT SMILES.
MATT
Samantha, anything from you is better than gold. And you say this can help me pick up?
HE TAKES THE 'RING.
MATT
Thanks so much.
SAMANTHA
We don't need a sea to swim. Interactions, conversations, they can make you feel weightless all on their own.
MATT LOWERS HIS VOICE.
MATT
But what I want more than anything right now is to kiss you.
SAMANTHA
Shhhh. Later. Now I think you're meant to be in dish.
DYLAN
Matt; you gonna stack or chat?
MATT SMILES. HE TURNS TO FACE DISH.
MATT
Whoa! What a pile! Sometimes I don't even know why we use plates when our hands are just fine.
DYLAN
Hey. This is a high class restaurant.
DYLAN SMILES.
DYLAN
No. I can't say that and keep a straight face.
MATT
But it doesn't matter how expensive or posh the food is; you can eat anything with your hands.
DYLAN
Then we'd be cleaning up mess at front of house rather than in dish.
MATT NODS.
MATT
Might be more fun. More time to talk . . . and party . . .
DYLAN
Matt.
MATT
Yeah.
DYLAN
Stack the damn plates!
MATT SMILES AND PICKS UP A PILE.
******
- Love Don't Cost A Thing - Jennifer Lopez (http://www.youtube.com/watch?v=W0EvXnRxl0w)
- Why Don't You And I - Santana and Chad Kroeger (http://www.youtube.com/watch?v=ooA1LwYLaSE&feature=fvwrel)
- How Do I Say - Usher (http://www.youtube.com/watch?v=ZzePxnS5nlU)
- Why Don't You And I - Santana and Alex Band (http://www.youtube.com/watch?v=XrQAzNY9_wA&feature=related)
- Red Light Green Light - Limp Bizkit and Snoop Dogg (http://www.youtube.com/watch?v=McZOy5AMMeU) ["You know I'm down"]
- Press It Up - Sean Paul (http://www.youtube.com/watch?v=6YErOUnk8TE)
- Ayo Technology - 50 Cent, Justin Timberlake and Timberland (http://www.youtube.com/watch?v=DE9IchvpOPk&ob=av2e)
[2.] Aldhous, P. (2011). [There are many things more beautiful than gold. It's only a useless inanimate object]. The deep sea gold rush. New Scientist, 211 (2819), 6-9.
[1.] Aron, J. (2011). Robo-snapper learns how to take the perfect photo. New Scientist, 211 (2819), 21.
[3.] Stix, G. (2012). Photographic memory. Scientific American, 306 (1), 11.
[6.] Picard, R. [Glasses designer], el Kaliouby, R. [Glasses designer], & Adee, S. [Writer of article] (2011). Your seventh sense. New Scientist, 211 (2819), 32-36.
[4.] Olguin-Olguin, D., & Pentland, A. (2010). ["Our research group has developed several tools for analyzing voice patterns and quantifying social context in human interaction, as well as several socially aware platforms that objectively measure different aspects of social context, including non-linguistic social signals measured by a person’s tone of voice, movements or gestures."]. Sensor-based organisational design and engineering. International Journal of Organisational Design and Engineering, 1 (1/2), 69-97. doi: 10.1504/IJODE.2010.035187 Retrieved February 15, 2012 from http://www.inderscience.com/browse/index.php?journalID=344&year=2010&vol=1&issue=1/2
[5.] Poh, M-Z., McDuff, D. J., & Picard, R. W. (2010). [Abstract]. Non-contact, automated cardiac pulse measurements using video imaging and blind source separation. Optics Express, 18, 10762. doi: http://dx.doi.org/10.1364/OE.18.010762 Retrieved February 15, 2012 from http://dspace.mit.edu/handle/1721.1/66243
[7.] Thad Starner wearing Private Eye computer system (http://www.sciencephoto.com/media/349411/view) [Starner, T. [Builder of Private Eye computer system], Adee, S. [Writer of article] (2011). [The Past]. Your seventh sense. New Scientist, 211 (2819), 32-36.]
- Bravo, M. [Reviewer], & Larson, E. J. [Author of book] (2011). ["By sounding, dredging, and taking temperature measurements [Robert Scott and Ernest Shackleton] discovered evidence for primitive life forms on the seabed and uncovered the role of the Southern Ocean's cold waters as a driver of global ocean circulation."]. Antarctic pioneers. New Scientist, 211 (2819), 46.
Magee, M. (2012, February 10). Making her own mark. The Big Issue (Sydney), 24-27.
"Deafness has left me acutely aware of both the duplicity that language is capable of and the many expressions the body cannot hide." - Terry Galloway, Deaf writer and performer
******
INT. LONE STAR KITCHEN - CUTLERY - NIGHT
(EMILY, MATT, CLARISSA, DYLAN, LANA)
MATT EMERGES FROM THE BAG ROOM, NEW HAT IN HAND. SAMANTHA SMILES.
SAMANTHA
Oh my god! You got it?
MATT HOLDS UP A NICE WHITE ADIDAS UTAH JAZZ CAP; BUT IT'S NOT THE SLOGAN NOR THE IMPLIED AFFILIATION THAT'S REALLY OF INTEREST HERE . . .
MATT
It's great. As long as I have this on I'll be able to understand sign language [1.] [2.] [3.].
SAMANTHA
That's amazing. Have you told Lana?
MATT
Haven't seen her yet.
SAMANTHA
She'll be here soon.
WE HEAR MUSIC; LILY ALLEN'S "OH MY GOD" [6.]. THEN THE INTOXICATING RHYTHM AND RHYME IS REPLACED BY FOOTSTEPS THAT MIMIC A ROUND OF APPLAUSE. CLARISSA APPROACHES THE BAG ROOM AND THE NOISE BECOMES CONFIRMATION OF CLARISSA'S RETURN TO SOLID GROUND.
CLARISSA
I looove Utah! Hi guys.
MATT PUTS THE CAP ON. HE SMILES.
SAMANTHA
You're back!
DYLAN WALKS INTO THE CUTLERY SECTION.
DYLAN
Yeah. Where on earth have you been?
CLARISSA
Holiday. I'm back where I belong now. Can't believe how fast I can travel. It's like someone finds a hyperlink [4.] to Utah on my nose, touches it, and transports me through cyberspace back to Lone Star.
DYLAN
Then you'd have to be a mouse pointer.
CLARISSA POKES DYLAN IN THE HIP.
DYLAN
Owww.
DYLAN GRABS CLARISSA'S WAIST. SHE SQUIRMS AND HE LETS GO.
DYLAN
I'm not gonna get any work done now.
CLARISSA
Nice hat Matt.
MATT
Thanks. Um, welcome back.
CLARISSA
Thank you.
CLARISSA ENTERS THE BAG ROOM TO DROP A FEW THINGS; SHE TOSSES HER NEW PHONE ONTO THE BENCH, BUT DOESN'T LET THE CONTEXT PHASE HER. SHE'S NOT WATCHING THAT VIDEO OF CASSIE NOW, NO WAY, NO MORE CRYING. SHE EMERGES FROM THE BAG ROOM STRAIGHT AWAY.
SAMANTHA
How was NY girl?
DYLAN
You went to New York? My cousin works at the Empire State. He's head of security. Says they get ten terrorist threats a day.
CLARISSA
Dylan, your cousin's a fighter pilot.
DYLAN This is "another" cousin. He's also a member of the senate.
SAMANTHA LAUGHS.
CLARISSA
That's nice. Anyway, I didn't spend long in NY. Emily and I, we just "had" to go to Jersey Shore. Then we went to South Beach in Miami. I bought a shirt for everyone here [7.]. They're in the mail.
DYLAN
Cool. What's on it?
CLARISSA
You'll see. Hey, we really oughta start selling gelato here. I should be Lone Star's foreign correspondent. I could totally jazz this place up.
YEAH, CLARISSA'S STARING AT MATT'S HAT.
CLARISSA
Hey, what's that on the hat?
SAMANTHA
Oh; you haven't met the new girl have you?
CLARISSA
New girl?
SAMANTHA
Her name's Lana. Or Alana. Or something similar. She pointed out the name Lana Del Rey on my iPod.
MATT
She could be Delilah.
SAMANTHA
Yeah. We gotta check the roster already.
CLARISSA
Wait - pointed out? Why didn't she just tell you?
SAMANTHA
That's what's so interesting.
MATT
She's deaf.
CLARISSA
You're kidding.
DYLAN
That's what I said.
SAMANTHA
No lie. Hey, here she is!
SAMANTHA NODS TO THE FRONT OF THE KITCHEN.
SAMANTHA
Matt, you watching?
LANA'S SIGNING TO CLARE, WHO'S HIDDEN FROM VIEW IN THE STAFF ROOM.
CLARISSA
Oh yeah, Clare's mother's deaf. She can sign too. I forgot.
SAMANTHA
Matt, what's she saying?
CLARISSA LOOKS AT MATT.
CLARISSA
You can sign?
MATT PRESSES AN EARPHONE TO HIS EAR.
CLARISSA
Huh?
MATT
That can't be right.
SAMANTHA
What?
MATT
Wait. This is personal.
SAMANTHA LEADS MATT FURTHER INTO THE CUTLERY SECTION, AND AWAY FROM THE MAIN KITCHEN.
SAMANTHA
Dylan, get back to dish. We'll tell you later. Don't want everyone walking back here.
DYLAN
Um. Yeah.
HE NODS AND WALKS BACK.
SAMANTHA TOUCHES MATT'S SHOULDER.
SAMANTHA
What is it?
MATT TAKES THE CAP OFF.
MATT
So random. She said; "I need to know if I have Huntington's."
SAMANTHA
The disease?
MATT
Yeah. I guess so.
SAMANTHA
What, she wants the test?
MATT
Is there a test?
SAMANTHA CHECKS DYLAN'S NOT LISTENING IN.
SAMANTHA
Clarissa; if she's saving up for this test we gotta help her out.
CLARISSA SCRATCHES HER HEAD.
CLARISSA
So, we're all on 'til closing tonight, right?
SAMANTHA
Clarissa. Matt knows about us. You know that.
CLARISSA
Yeah. That's cool. I know.
SAMANTHA
So, we gotta help Lana out. Financially.
CLARISSA SHAKES HER HEAD.
SAMANTHA
Clarissa. We gotta give her the money.
CLARISSA TAKES A DEEP BREATH. SHE GLANCES BACK AT THE BAG ROOM.
SAMANTHA
Clarissa?
******
[6.] Oh My God - Mark Ronson and Lily Allen (http://www.youtube.com/watch?v=qnDo6mR6fp8)
[5.] Grierson, B. (2011). To know or not to know. Psychology Today, 44 (3), 70-77.
[1.] Starner, T., Weaver, J., & Pentland, A. (1997). A wearable computer-based American sign Language Recogniser. Personal Technologies, 1 (4), 241-250. doi: 10.1007/BF01682027 Retrieved February 15, 2012 from http://www.springerlink.com/content/h6rl1j1650314140/
[2.] Buehler, P., Everingham, M., Huttenlocher, D. P., & Zisserman, A. (2011). [Abstract]. Upper Body Detection and Tracking in Extended Signing Sequences. International Journal of Computer Vision, 95 (2), 180-197, doi: 10.1007/s11263-011-0480-9 Retrieved February 19, 2012 from http://www.springerlink.com/content/c1p276102wg12m4j/
[3.] Piater, J., Hoyoux, T., & Du, W. (2010). Video analysis for continuous sign language recognition. 4th Workshop on the Representation and Processing of Sign Languages: Corpora and Sign Language Technologies, 2010 (Workshop at the 7th International Conference on Language Resources and Evaluation (LREC), Malta). Retrieved February 19, 2012 from http://scholar.google.com.au/scholar?start=10&q=A+wearable+computer-based+American+sign+Language+Recogniser+&hl=en&as_sdt=0,5&as_ylo=2010
[4.] Knight, H. (2012). [The missing link]. Evolution. New Scientist, 213 (2852), 42-46.
[7.] Lecca Lecca Gelato Caffé (http://leccaleccagelatocaffe.com/)
- Ghost In You - The Psychedelic Furs (http://www.youtube.com/watch?v=H75gHFvhew0)
