Читать книгу War/Peace - Part II - Clarissa Daisy Huntsman - Страница 3
Episode Two: Project* Bee
Оглавление- *Bacall, M. [Writer], Drake, M. [Writer], & Nourizadeh, N. [Director]. (2012). Project X. Burbank, California, United States: Warner Bros.
- Are You In? - Incubus (http://www.youtube.com/watch?v=M90tA302X3k&ob=av2e)
******
EXT. OUTSIDE HONEYBEE HIVE - DAY
(CLARISSA, SAMANTHA, MATT)
SOMEWHERE IN UTAH - WE'RE NOT SURE WHERE - SITS A BUILDING THAT FROM EACH SIDE LOOKS LIKE A SQUARE/
INSIDE THIS NEW ARK - A LOVELIGHT [1.] SHARES - WITH US HAPPENINGS FROM INSIDE HONEYBEE LAIR.
NOW, AS A SMALL BEE HOVERING JUST SHY OF OUR THREE FRIENDS, WE SEE THIS SANCTUARY FROM THE OUTSIDE - SMALL AND NONDESCRIPT, A PALE YELLOW COLOR THAT MATCHES THAT OF THE CARPET OF SAND IT SITS UPON.
CLARISSA IS WEARING A STRAW HAT THAT SHADES HER SUN-KISSED SKIN, CREATING LICKS OF DARKER ORANGE THAT CURVE AROUND ONE ANOTHER AND LOOK AS EXQUISITE AS TAILS OF FRACTALS. SHE HAS THE SKIN OF A HONEYBEE, THE EYES OF A PRINCESS, AND BODY OF A GODDESS.
CLARISSA
This is it. You can't tell anyone about this place, Matt. I mean; you can certainly let us know about people you think might be interested. And maybe we'll invite them over. But we sort of have to remain low key. We can't even let all Mormons know about it. We're what you might call Liberal or Cultural Mormons, but we really don't like labels because they breed dichotomies. That's not what we want. We're a massive, all-inclusive community. You can join our group no matter what religion you technically belong to, no matter your race, or whatever. Sure, this looks like nothing more than a large shed from above ground. But it extends underground like an iceberg into water. We call it the honeybee hive. It's our home. You're welcome to come and go as you please. I can't wait to show you inside.
SAMANTHA
You're gonna love it Matt. I was mesmerized first time I stepped inside. I still have to blink twice every time.
MATT
I'm ready.
CLARISSA TAKES HOLD OF MATT'S HAND, AND THE THREE WALK TOWARD THE DWELLING. CLARISSA'S PRACTICALLY FLOATING ON AIR AS SHE STROLLS ALONG THE UTAH SOIL. HER SKIN GLISTENS AND THE SWEAT LOOKS JUST LIKE HONEY; THE SWEETNESS EXISTS IN HER SMILE AND THE TOUCH OF HER HAND. SHE CURLS HER FINGERS AROUND MATT'S, FRACTALLY, AND THEY APPROACH THE BUILDING AS ONE. HER TRANSPARENT WINGS ARE NOW CLEARLY VISIBLE AND ONE ADORNS MATT; A COAT AS LIGHT AS A FEATHER.
******
- To Be With You - The Honey Trees (http://www.youtube.com/watch?v=C70SnkZETc0)
- Sin Sin Sin - Robbie Williams (http://www.youtube.com/watch?v=WE7PJVZyBhU)
- [1.] Lovelight - Robbie Williams (http://www.youtube.com/watch?v=LjzMNxidD_g) [But here it's on high bee-am].
******
EXT. HONEYBEE HIVE - WALL - DAY
(-)
PARANOIA. PLAYING THE ROLE OF THE CAMERAS THAT SPOT THE WALLS [1.] OF HONEYBEE HIVE, WE PEER WITH TWENTY EYES UP AT THE SKY. WE'VE HEARD - SENSED - A HELICOPTER. THEY'RE WHAT WE WATCH FOR DAY AND NIGHT; COPTERS. THEIR AIM - TO INVADE HONEYBEE HIVE, TO RELEASE MINIONS WHO WILL RAID THE HIVE SEARCHING FOR THE ILLEGAL CANNABIS PLANTS. SO WE'RE JUST A LITTLE SCARED. OUR EYES - WITH CAMERIC PUPILS - CAN SEE A HELICOPTER NOW. IT'S CRYSTAL CLEAR BUT LIKE A SHARP POINTY CLOUD IN AN OTHERWISE PALE BLUE SKY. WHAT MIGHT A COPTER BE DOING HERE IN THE MIDDLE OF THE UTAH DESERT?
******
- Rumors - Lindsay Lohan (http://www.youtube.com/watch?v=ehfCq8LRnQ0&feature=related) ["I just need a little room to [breed/breathe], can you please respect my privacy!" My version - Ha ha.]
- Segal, G. [Photographer]. (2011). [Photo on page 75]. A slew of suspects. Psychology Today, 44 (6), 72-79.
- Public Enemy #1 - Eminem (http://www.youtube.com/watch?v=B7_GsKSwVVA)
******
INT. HONEYBEE HIVE - GROUND - DAY
(CLARISSA, SAMANTHA, MATT, BRIAN)
MATT, CLARISSA AND SAMANTHA WALK INSIDE. WE'RE A BEE HOVERING JUST SHY OF THE ENTRANCE. WE GREET THE THREE WITH A ZOOM. BRIAN LOOKS UP FROM A COMPUTER.
BRIAN
Clarissa. I don't wanna alarm you but there's a helicopter in the sky. It's less than a mile away. What do they want? Why are they here in the middle of nowhere? They're after the honey, Clarissa. They'll storm the hive. They'll take everything we've worked so hard to maintain. All our weed, our paper. Like it's words on paper they wanna burn.
CLARISSA
Brian!
CLARISSA WALKS OVER TO HIM.
BRIAN
Should I let everyone know?
HE'S TALKING FAST. CLARISSA PUTS A HAND ON BRIAN'S SHOULDER.
CLARISSA
Brian; what did I tell you about using the surveillance equipment while you're high?
BRIAN
Leave it alone 'til I'm low.
CLARISSA
Are you high now, Brian?
BRIAN
Yes.
CLARISSA
Then is it maybe possible that you're being just a little paranoid [5.]?
BRIAN
Zuckerberg has so much control over Facebook. He can just delete what he wants . . .
CLARISSA
Brian, this isn't cyberspace, this is the Honeybee Hive. Ok? Jon's not gonna let anyone touch it. That helicopter could be here for any number of reasons.
BRIAN
Sure?
CLARISSA
Yes.
CLARISSA TAPS MATT ON THE SHOULDER.
CLARISSA
Meet Matt.
SHE TURNS TO MATT.
CLARISSA
Matt, this is Brian. He's head of intelligence here. He designed the surveillance system. But he does get a little paranoid every now and then. He's not half as bad as the U.S. intelligence though. Think J. Edgar; know what I mean? But we are an indirect threat to the system so we always gotta have one eye on the skies [6.].
MATT NODS.
MATT
Hi Brian. Nice to meet you.
BRIAN
Hi Matt. Wanna see the Hive? We got cameras in each room. We can see everything from here.
CLARISSA TOUCHES ONE SCREEN. IT'S DISPLAYING A YELLOW-WALLED ROOM. PROTRUDING FROM THE WALLS ARE SMALLER WALLS THAT HAVE THEIR BASE ON THE LARGER ONE'S SURFACE AND HAVE BEEN ARRANGED TO FORM HEXAGONS THAT WRITE THE ENTIRE SURFACE LIKE ELEGANT SCRIPT. IN SOME SIT PEOPLE. THEY MIGHT BE CHATTING OR WATCHING TELEVISION OR EVEN BATHING.
CLARISSA
A honeycomb room. Like a honeymoon suite; plural, sweeeet. Ha ha. You'll love it there. It's where we just chill and relax. Did you know that competition can decrease life expectancy [1.] [2.]? Like fighting for that one woman all the men want. It's disgusting how out there in the wild world we're only allowed a single soulmate. Does everyone really believe that each person only has a single soulmate? It's ludicrous!
SAMANTHA
You know; status also increases life expectancy [1.] [3.], regardless of how rich you are [1.] [4.].
CLARISSA
Yep. That's why everyone loves me. The closer they are to me and my dad the better they feel.
MATT
You're forgetting how beautiful you are.
CLARISSA SMILES.
CLARISSA
No. I could never forget that. Ready for the tour?
MATT
For sure.
CLARISSA
Let's go.
CLARISSA LEAVES THE COMPUTER STATION.
CLARISSA
Thanks Brian. Look, try not to panic but if the copter does descend then give me a call, ok?
BRIAN
Of course.
CLARISSA PRESSES A BUTTON BESIDE SOME ELEVATOR DOORS. MEANWHILE WE FLY BY THE COMPUTER SCREENS. WE SEE THE ENTIRE EXPANSE OF THIS UNDERGROUND HIVE LAYING RIGHT IN FRONT OF US LIKE A WIDE, SANDY PLAIN; THIS HIDDEN DIMENSION OF UTAH, A FIRST CLASS WORLD.
******
- Soulmate - Natasha Bedingfield (http://www.youtube.com/watch?v=P27MPi3ZhCg&ob=av2e)
[1.] Stanley, S. (2011). [Having your pick of mates; Winning a Nobel Prize]. Survival, summed up. Psychology Today, 44 (6), 9.
[2.] Jin, L., Elwert, F., Freese, J., & Christakis, N. A. (2010). [Abstract]. Preliminary evidence regarding the hypothesis that the sex ratio at sexual maturity may affect longevity in men. Demography, 47 (3), 579-586, doi: 10.1353/dem.0.0121 Retrieved February 21, 2012 from http://www.springerlink.com/content/y667221476r76227/
[3.] Rablen, M. D., & Oswald, A. J. (2008). [Abstract]. Mortality and immortality: The Nobel Prize as an experiment into the effect of status upon longevity. Journal of Health Economics, 27 (6), 1462–1471. doi: http://dx.doi.org/10.1016/j.jhealeco.2008.06.001 Retrieved February 21, 2012 from http://www.sciencedirect.com/.../pii/S0167629608000775
[4.] Rablen, M. D., & Oswald, A. J. (2008). ["Importantly, there is no statistically discernible relationship between mortality and either the real value of the total prize fund, the prize-money received by the individual scientist, or the fraction of the Prize won."]. Mortality and immortality: The Nobel Prize as an experiment into the effect of status upon longevity. Journal of Health Economics, 27 (6), 1462–1471. doi: http://dx.doi.org/10.1016/j.jhealeco.2008.06.001 Retrieved February 21, 2012 from http://www.sciencedirect.com/.../pii/S0167629608000775
- Searles, R. (2011). The need for creed. Psychology Today, 44 (6), 12.
- Galazka, K. (2011). Yearning curve. Psychology Today, 44 (6), 16.
- Cronenberg, D. [Filmmaker and screenwriter], & Marano, H. E. [Interviewer]. (2011). [Jung]. Horror Meister. Psychology Today, 44 (6), 29-31.
[5.] Booth, S. (2011). [The anatomy of a threat]. A slew of suspects. Psychology Today, 44 (6), 72-79.
- How to grow weed (hydroponic) indoors part 1 (http://www.youtube.com/watch?v=JLpjMUR0b4I&feature=related)
- Come As Your Are - Wild Orchid (http://www.youtube.com/watch?v=yr0uisITz7U&feature=related)
[6.] Napier, J. L., Mandisodza, A. N., Andersen, S. M., & Jost, J. T. (2006). [Abstract; Also: ""indirect" system threat . . . refer[s] to events or activities that expose, through criticism or otherwise, the shortcomings of the system, thereby calling into question its claim to legitimacy."]. System justification in responding to the poor and displaced in the aftermath of Hurricane Katrina. Analysis of Social Issues and Public Policy, 6 (1), 57-73. doi: 10.1111/j.1530-2415.2006.00102.x Retrieved February 21, 2012 from http://onlinelibrary.wiley.com/.../j.1530-2415.2006.../full
******
INT. HONEYBEE HIVE - AN ELEVATOR - NIGHT
(CLARISSA, SAMANTHA, MATT)
IN THE ELEVATOR, GOING DOWN, CLARISSA TAKES MATT'S HAND.
MATT SMILES.
HER CELL RINGS. SHE ROLLS HER EYES.
CLARISSA
Oh god! Probably Brian.
SAMANTHA
Already?
CLARISSA CHECKS HER PHONE. WE SEE THE WORD "BRIAN" ON THE SCREEN.
CLARISSA
You bet. Honeybee in a Q4 state [10.] [11.] [12.]. He's agitated, scared. I gotta go comfort him. And tell him not to get high so much. Guess I'm goin' back up.
CLARISSA PRESSES THE BUTTON MARKED "G".
CLARISSA
Sammi, you can give Matt the tour?
SAMANTHA
For sure.
THE ELEVATOR JERKS THEN RISES. CLARISSA PATS MATT WITH A SINGLE WING, THEN STEPS TOWARD THE DOOR.
CLARISSA
Later; we'll meet again. Properly.
MATT
Your wings are so smooth.
CLARISSA
Soon you too will grow some. You'll feel a tingle running down your spine; the most amazing feeling ever. Our arms become something more, something far finer, far more detailed, far more intricate than anything we have ever known. We evolve while in the hive, then de-evolve each time we leave. It's a cycle we enjoy very much; human to human-honeybee-hybrid and again back to human. When you form connections with others here, intimate connections with other species [1.] of honeybees from all around the world, your wings grow.
MATT TAKES A DEEP BREATH.
SAMANTHA NODS.
SAMANTHA
And then you can learn to fly.
THE ELEVATOR STOPS AND CLARISSA NODS. SHE RAISES A WING AS SHE STEPS BACK ONTO THE GROUND FLOOR.
CLARISSA
I'll see you later. Take care.
MATT'S SPEECHLESS.
SAMANTHA PRESSES A BUTTON LABELLED "1", BUT THE ELEVATOR - NO DOUBT - MOVES DOWN.
NOW MATT TURNS TO FACE SAMANTHA AND WE SEE THAT SHE TOO HAS THE MOST BEAUTIFUL, FINE, FEMININE WINGS KNOWN TO MAN. SHE SPREADS THEM OUT WIDE. MATT STROLLS TOWARD HER.
MATT REACHES OUT. HE TOUCHES SAMANTHA'S SILKY SKIN; THIS WING OF FILM, CERTAINLY MORE COMPELLING, MORE ENCHANTING, MORE WONDERFUL AND MYSTERIOUS THAN ANYTHING PLAYING AT THE CINEMAS RIGHT NOW.
SAMANTHA
It's sensitive there.
SAMANTHA LAUGHS.
MATT PULLS HIS HAND AWAY.
MATT
Sorry.
SAMANTHA
I didn't say stop. Stroke it, please.
MATT TOUCHES THE FINE FILM. HE DRAWS CIRCLES ON THE WING SKIN WITH HIS FOREFINGER. SAMANTHA EXHALES. SHE AND MATT FALL TO THE FLOOR.
SAMANTHA
When the doors open, they'll see us. People you have never met. Is this ok with you?
MATT
Yeah. You know I love you.
SAMANTHA TOUCHES MATT'S LIPS, AND THEN PULLS HIM CLOSER.
SAMANTHA
How do I smell?
MATT
Just fine.
SAMANTHA
It takes time but soon you will able to smell exactly how I am feeling [6.] [7.]. We have the ability, and . . .
SAMANTHA WAVES A WING THROUGH THE AIR; SHE PULLS MATT'S SCENT TOWARD HER, AND THEN TOUCHES HER LIPS TO HIS.
THEN LETS GO.
SAMANTHA
It grows along with our wings. I can smell your feelings; your nervousness, your lust, your happiness, your awe. I can smell you so clearly.
MATT EXHALES.
MATT
You're right. So right.
SAMANTHA
This new world is intoxicating for you. I'll introduce you slowly. You will see new faces, every day. Each one unique, each one special. We learn to read faces so well, here, to read each line, each freckle, the symmetry, the scars, and even the contrast between features of a face [8.]. Eventually we can smell every single feature; we can construct a perfect mental image the face of a person we encounter even with our eyes closed, and, naturally, interpret his or her emotion [9.]. And this is how we mingle, how we meet one another. When we touch one another with our wings; these feathers, these smooth, delicate fingers. How does this feel?
SAMANTHA RUNS THE TIP OF HER WING DOWN MATT'S CHEEK.
MATT
Perfect.
THEY KISS.
SAMANTHA
And you will soon find other's wings feel different but just as nice. Clarissa's for one. Trust me on that.
SAMANTHA LIES MATT DOWN.
HE TOUCHES HER FACE.
SAMANTHA
What's my best feature?
MATT
Uh . . . wow . . . um . . . you're so friendly I guess. And you're beautiful of course.
SAMANTHA
Thank you. But you must be aware that eventually you'll find my friendliness makes me overly passive [13.] [14.], and my attractiveness makes me hard to pin down. Especially in the hive, I fly away often, to find other mates. Take deep breaths when this happens, and then spread your wings and soar. Don't let thoughts of me keep you pinned to the ground; don't get caught up.
MATT AGAIN EXHALES.
MATT
I know.
SAMANTHA LICKS MATT'S FACE. SHE STARES INTO HIS EYES.
SAMANTHA
Think of Clarissa, Matt.
MATT NODS.
SAMANTHA
A few things you need to know about her. You must try not to mention Australia, and especially Sydney. Over a month has passed since the death of her sister, and she's is still upset. As we all are. But we have decided that it's best we don't mention the land down under for a while; we keep this country from her mind along with thoughts about her sister. Soon she will be ok [2.] [3.]. Should you accidentally bring it up then take her into your embrace like this [4.] [5.].
SAMANTHA WRAPS HER WINGS AROUND MATT. SHE CARESSES HIS BODY, THEN RUBS HER BELLY ON HIS.
MATT SIGHS.
THE DOORS OPEN.
SAMANTHA PATS HIS FACE.
SAMANTHA
I have so much to show you.
SHE JUMPS UP, BUT FOR A SECOND SHE APPEARS TO FLOAT.
MATT TURNS TO VIEW THIS FLOOR THE DOORS HAVE OPENED TO.
BUT WE JUST STARE AT SAMANTHA; HER BODY BLACK AND YELLOW, AND VERY SMOOTH, HER WINGS FULLY FORMED.
WE CAN HEAR THE BUZZ; THE BRILLIANT BUZZ OF HONEYBEE HIVE.
BZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ.
******
- Look For Love - DJ Sammy (http://www.youtube.com/watch?feature=endscreen&NR=1...)
- Can U Feel Love - Kourosh Tazmini and Anda Adam (http://www.youtube.com/watch?NR=1&feature=endscreen...)
- Elevator - Flo Rida and Timberland (http://www.youtube.com/watch?v=2m7P8BRTilk&ob=av2e)
- Feel - Robbie Williams (http://www.youtube.com/watch?v=iy4mXZN1Zzk&feature=related)
[1.] Eisendrath, J. [Writer], Campanella II, R. [Director], Ziering, I. [Actor], Price, L. [Actress], & Shigeta, J. [Actor] (1999, March 3). Slipping Away: Beverly Hills, 90210. [Television series]. Los Angeles, California: Fox Broadcasting Company. [About racism; Ben - Janet's father - does not want Janet to date anyone who isn't Japanese].
[2.] Wickelgren, I. [Article writer], & Bäuml, K-H. [Researcher quoted; ". . . in theory, you could bury a recollection by shutting it out every day for a month."]. (2012). Trying to forget. Scientific American Mind, 22 (6), 32-39.
[3.] Hanslmayr, S., Leipold, P., & Bäuml, K-H. (2010). [Abstract]. Anticipation boosts forgetting of voluntarily suppressed memories. Memory, 18 (3), 252-257. doi: 10.1080/09658210903476548 Retrieved February 23, 2012 from http://www.tandfonline.com/doi/abs/10.1080/09658210903476548
[4.] Wickelgren, I. [Writer of article], & Tomlinson, T. [Researcher quoted; "Action interferes with recollection."]. (2012). Trying to forget. Scientific American Mind, 22 (6), 32-39.
[5.] Tomlinson, T. D., Huber, D. E., Rieth, C. A., & Davelaar, E. J. (2009). [Abstract; Also: "Most importantly, learning to quickly press enter produced as much cue-independent forgetting as no-think instructions."]. An interference account of cue-independent forgetting in the no-think paradigm. Proceedings of the National Academy of Sciences of the United States of America, 106 (37), 15588-15593. doi: 10.1073/pnas.0813370106 Retrieved February 23, 2012 from http://www.pnas.org/content/106/37/15588.short
- Wickelgren, I. (2012). Trying to forget. Scientific American Mind, 22 (6), 32-39.
[6.] Rodriguez, T. (2012). You smell angry. Scientific American Mind, 22 (6), 13.
[7.] Zhou, W., & Chen, D. (2011). [Abstract]. Entangled chemosensory emotion and identity: Familiarity enhances detection of chemosensorily encoded emotion. Social Neuroscience, 6 (3), 270–276. doi: http://dx.doi.org/10.1080/17470919.2010.523537 Retrieved February 23, 2012 from http://www.tandfonline.com/.../10.1080/17470919.2010.523537
[8.] Russell, R. [Illusion creator], Martinez-Conde, S. [Article writer], & Macknik, S. L. [Article writer] (2012). [Illusion of sex]. What's in a face? Scientific American Mind, 22 (6), 15-17. (http://illusioncontest.neuralcorrelate.com/.../the.../)
[9.] Butler, A. [Illusion creator], Martinez-Conde, S. [Article writer], & Macknik, S. L. [Article writer] (2012). [Emotion adaptation]. What's in a face? Scientific American Mind, 22 (6), 15-17. (http://smc.neuralcorrelate.com/.../martiezconde_mind2012a...)
[10.] Castro, J. (2012). The secret inner life of bees. Scientific American Mind, 22 (6), 18-19.
[11.] Bateson, M., Desire, S., Gartside, S. E., & Wright, G. A. (2011). [Abstract]. Agitated Honeybees Exhibit Pessimistic Cognitive Biases. Current Biology, 21 (12), 1070–1073. doi: http://dx.doi.org/10.1016/j.cub.2011.05.017 Retrieved February 23, 2012 from http://www.sciencedirect.com/.../pii/S0960982211005446
[12.] Mendl, M., Burman, O. H. P., & Paul, E. S. (2010). [Abstract; Also: "Q3 moods are associated with low expectation of positive events and Q4 moods with high expectation of negative events (‘pessimistic’ biases)." AND ". . . a Q4 mood state enhances anticipation of negative events and negative interpretation of ambiguity, and this leads to further negative short-term emotional experiences which, in turn, intensify the Q4 mood."]. An integrative and functional framework for the study of animal emotion and mood. Proceedings of the Royal Society of Biological Sciences, 277 (1696), 2895-2904. doi: 10.1098/rspb.2010.0303 Retrieved February 23, 2012 from http://rspb.royalsocietypublishing.org/.../1696/2895.short
[13.] Palca, J., & Lichtman, F. (2012). The partnership paradox. Scientific American Mind, 22 (6), 58-63.
[14.] Felmlee, D. (2001). [Abstract]. From appealing to appalling: Disenchantment with a romantic partner. Sociological Perspectives, 44 (3), 263-280. Retrieved February 23, 2012 from http://scholar.google.com.au/scholar... [But article is not available now. Abstract included here: "This study examines the tendency for there to be similarities between the qualities that initially attract individuals to romantic partners and those they later dislike, that is, "fatal attractions." Approximately 44 percent of the individuals in this sample of 125 dating persons experience fatal attractions. Individual cases illustrate opposing themes, such as "nice to passive" and "strong to stubborn." One-third (33.7%) of the respondents themselves identify similarities between attracting and disliked partner characteristics. This disenchantment occurs in ongoing, as well as previous, relationships, suggesting that it is not simply sour grapes but is associated with the dissipation of infatuation. Dissimilar or extreme qualities in a partner are significantly more likely to become disliked."]
- Mossop, B. [Reviewer], & Haidt, J. [Book writer] (2012). ["As for spirituality, Haidt argues that religions are ultimately less about believing in a higher power than about forming bonds with others and being part of something larger than oneself."]. The righteous mind: Why good people are divided by politics and religion. Scientific American Mind, 22 (6), 69.
******
INT. HONEYBEE HIVE - GROUND - DAY
(CLARISSA, BRIAN)
CLARISSA AND BRIAN ARE STARING AT A COMPUTER MONITOR. ON THE SCREEN A UTAH SKY, DOTTED - OR PERHAPS PUNCTUATED IN AN EXCLAMATORY MANNER - BY A SINGLE HELICOPTER AND THE ACCOMPANYING DRONE.
CLARISSA
You're right. It's getting closer. It's gonna land.
BRIAN
What do we do?
CLARISSA SCRUTINIZES THE SCREEN. SHE SCRATCHES HER HEAD WITH A SINGLE WING, THINKING HARD.
CLARISSA
We don't want them coming inside so we gotta convince them that there's nothing to see in here.
BRIAN
They're getting closer!
CLARISSA
Don't panic. Ok. The cameras. How do we explain the cameras?
CLARISSA LOOKS AT THE SHELF BELOW THE MONITOR.
CLARISSA
The gloves [1.] [3.] arrived! Perfect! Have you plugged them into the computer?
BRIAN
Yeah. I don't know what they are but . . .
CLARISSA
Doesn't matter. Brian; you and I are shooting a music video. Put the gloves on.
BRIAN
Um . . . ok.
CLARISSA
They're like mouths. Right hand open makes different vowel sounds when you tilt the hand up and down, left and right; right hand closed makes consonant sounds, and you press the buttons on the left hand one to make sounds like "b", "d" or "g" [3]. Height of the right hand also determines pitch [3.]. You're not gonna remember all this, but you'll produce some nice sounds I'm sure.
BRIAN
We can do this with our wings.
CLARISSA
But our wings disappear when we're outside. Duh. And we can't let these people know we're bees. Oh - put that foot pedal in your shoe. It controls volume [3.].
BRIAN SLIPS THE GLOVES ON, PLACES THE PEDAL IN HIS RIGHT SHOE AND THEN SLIPS INTO HIS SNEAKERS.
CLARISSA
Ok, let's go! They're landing! Now be careful; the gloves are connected to the computer so watch for the cables when you walk . . . or dance.
BRIAN
Hey . . . I can't dance.
CLARISSA
Doesn't matter. We'll just perform [2.].
THE TWO WALK TOWARD THE BEEHIVE ENTRANCE. CLARISSA'S WINGS SHRINK TO ARMS AS SHE NEARS THE DOOR.
******
- Helicopter - Bloc Party (http://www.youtube.com/watch?v=2R6S5CJWlco)
[1.] Aron, J. (2012). Sing a chorus with a wave of your hands. New Scientist, 213 (2853), 26.
[2.] Blaine, T., & Fels, S. (2003). [Abstract: Basically states that music should enhance expression for everyone, including those who are not musicians]. Collaborative Musical Experiences for Novices. Journal of New Music Research, 32 (4), 411-428. doi: 10.1076/jnmr.32.4.411.18850 Retrieved February 25, 2012 from http://www.tandfonline.com/.../10.1076/jnmr.32.4.411.18850
[3.] Fels, S., Pritchard, R., & Lenters, A. (2009, June). ForTouch: A Wearable Digital Ventriloquized Actor. Presented at the New Interfaces for Musical Expression (NIME), Pittsburgh, PA., 274–275. Retrieved February 25, 2012 from http://scholar.google.com.au/scholar?hl=en...
******
INT. HONEYBEE HIVE - LEVEL ONE BELOW - DAY
(SAMANTHA, MATT)
SAMANTHA WATCHES MATT AS HE SURVEYS THE SCENE, THE FLOOR, AND THE SMOOTH, INTRICATE, MESMERIZING HONEYCOMB WALLS. AND THE HONEYBEES; DOZENS NOW, EACH AS MAGNIFICENT AS SAMANTHA, AS CLARISSA. THEY GLIDE THROUGH THE AIR, CATCHING WAVES LIKE SURFERS. GYMNASTS WHO REQUIRE NO FLOOR; THEIR CENTER OF GRAVITY SHIFTING LIKE SUBATOMIC PARTICLES IN A QUANTUM UNIVERSE.
SAMANTHA
They make the walls; we all do. When we fly jets of air form behind us [4.]. We dive, we connect, and our jets get tangled [4.] and they rise [4.] and play with the honey in the air and on the walls . . . as we play with one another. And you can hear the singing? That noise comes from our wings when we move them just right [1.] [2.] [3.]. Have you ever sensed anything quite like this?
MATT
No. This place smells amazing. And the colors . . .
SAMANTHA
Jump.
SAMANTHA TAKES MATT'S HANDS IN HER WINGS. MATT GASPS.
MATT
I . . . I don't know, Sammi.
SAMANTHA
Trust me. I won't let you fall.
MATT LOOKS AROUND.
HE TAKES A DEEP BREATH.
AND THEN . . .
. . . JUMPS. AND NOW HE'S SWIMMING UPWARD IN THE MANNER OF A DOLPHIN. HE CONTINUES TO RISE; SAMANTHA HAS HIM SECURELY IN HER WINGS. THEY RISE EVER HIGHER AND SPIN ALA JACK AND ROSE IN "TITANIC" [5]. WHEN THEY'RE TRULY AIRBORNE SAMANTHA TOUCHES HER LIPS TO MATT'S. HE BREATHES HER IN AND HIS BODY BECOMES LIGHTER. HE RISES EVEN HIGHER.
SAMANTHA
Look now. Behind me. This is where we grow our plants; beautiful pot plants. Ha ha.
MATT
Wow. You can't see this room from the ground.
SAMANTHA
Of course not. You have to be a bee. Ha. It's all hydroponic [6.]. We've got artificial light, and a water supply, everything. It's too risky to grow outdoors. You saw the helicopter just now . . .
THEY SPIN LIKE THE BLADES OF A HELICOPTER, ONLY SLOWER. MUCH SLOWER.
******
- Spin - Darren Hayes (http://www.youtube.com/watch?v=m49kXDedEgE)
[1.] Aron, J. (2012). Sing a chorus with a wave of your hands. New Scientist, 213 (2853), 26.
[2.] Blaine, T., & Fels, S. (2003). [Abstract: Basically states that music should enhance expression for everyone, including those who are not musicians]. Collaborative Musical Experiences for Novices. Journal of New Music Research, 32 (4), 411-428. doi: 10.1076/jnmr.32.4.411.18850 Retrieved February 25, 2012 from http://www.tandfonline.com/.../10.1076/jnmr.32.4.411.18850
[3.] Fels, S., Pritchard, R., & Lenters, A. (2009, June). ForTouch: A Wearable Digital Ventriloquized Actor. Presented at the New Interfaces for Musical Expression (NIME), Pittsburgh, PA., 274–275. Retrieved February 25, 2012 from http://scholar.google.com.au/scholar?hl=en...
[4.] Battersby, S. (2012). [Cosmic cloudscape]. Strange skies. New Scientist, 213 (2853), 38-43.
[5.] Titanic 1997 -Full Movie PT-BR + English subtitles (HD) [720P] (http://www.youtube.com/watch?v=00u1mrhLDS4) [This is dubbed, but the scene of interest is 1 hour and 7 minutes in - Spinning to Irish music].
[6.] How to grow weed (hydroponic) indoors part 1 (http://www.youtube.com/watch?v=JLpjMUR0b4I&feature=related)
******
EXT. OUTSIDE HONEYBEE HIVE - DAY
(CLARISSA, BRIAN, COP 1, COP 2)
OUTSIDE NOW, IN FRONT OF THE DOZEN OR SO CAMERAS THAT DOT ONE WALL OF THE HIVE, BRIAN WAVES HIS GLOVED HANDS ABOUT. CLARISSA WATCHES THIS HAND AND FINGER DANCE BRIAN PERFORMS BUT SHE CAN'T HEAR A THING. THE CHOPPER IS TOO LOUD. OR ARE THE GLOVES [2.] JUST NOT SPEAKING . . . SINGING?
BRIAN
No sound!
CLARISSA
Wait! We forgot the speaker [2.].
THE HELICOPTER LANDS.
BRIAN
I'll get it.
CLARISSA LOOKS AT THE CHOPPER.
BRIAN WALKS TOWARD THE DOOR.
CLARISSA
No! It's too late. Don't open the door!
TWO MEN EMERGE FROM THE HELICOPTER; PROPELLERS CLEAR THE AIR AS THOUGH LAYING OUT FOR THEM A TRANSPARENT CARPET THAT WILL LEAD STRAIGHT TO THE HIVE.
BRIAN
Do you know the chorus to "Talk That Talk" [1.]?
CLARISSA
Yeah.
BRIAN
Sing it. Then I'll follow with my own rap. I changed the lyrics.
CLARISSA
Um . . .
CLARISSA LOOKS AT THE APPROACHING MEN. SHE SMILES. THEN SHE TURNS AND WALKS TOWARD THE MULTITUDE OF SEEING EYES. SHE SWAYS HER HIPS, BRUSHES HER HAIR BACK AND BEGINS TO SING THE CHORUS TO "TALK THAT TALK" [1.]. HER VOICE IS RASPY BECAUSE OF THE DESERT AIR IN HER LUNGS BUT THIS MAKES HER RENDITION JUST PERFECT.
BRIAN NODS. HE DROPS THE GLOVES AND STROLLS OVER TO CLARISSA.
BRIAN
Heli s flying from hills/
'Copters swarming/
Bugs sweep
through the brittle desserts like moles on heat/
Sure, we've all returned to the dirt
to use these trees/
Coppers hear the chatter,
fly by; gotta make a seize/
Ban us from the rock homes that we go through/
Where we stash hash that's like the best 'shrooms/
Cop jocks wanna pull us up like poor roots,
but I wish they could let us sit/
They lot want this honey/
They'll take this 'comb/
Our yellow hearts in us
don't have a legal tone/
But we bees be poised/
H2O [honey flow]/
Let's get a melting pot/
"If you coming, come on"/
We try to keep shit sweeter/
Our buzz be a heater/
Come round tour Utah/
We can "roll some reefa"/
Wet honeybees/
Bee breath beaches/
Come taste the honey walls/
Well, I think you need a B(ee) cup/
Squeeze up
COP 1
What's going on here?
COP 2
What did you just say? Something about stashing hash?
CLARISSA LOOKS AT BRIAN.
CLARISSA
Oh my god Brian.
SHE SHAKES HER HEAD.
COP 2
Oh, this guy's high as a kite.
COP 1
I think we've stumbled upon a Hippie commune, Mark.
CLARISSA
Uh . . . we're filming a music video. We love the scenery here. Thought we'd film your chopper too if that's alright.
THE COPS WALK UP TO CLARISSA AND BRIAN. BY NOW THE PROPELLERS OF THE CHOPPER HAVE COME TO A STOP.
COP 1
We're going to need to see some grass.
COP 2
We'll need to look in the shed guys.
CLARISSA TWIRLS A FINGER THROUGH HER HAIR. SHE CALMLY APPROACHES THE COPS. HER VOICE IS SMOOTHER THAN THE DUNES.
CLARISSA
We've only got some cameras inside. Hey - do you think we could film you two?
COP 1
You can film us. But we need to take a look inside.
THE COPS SMILE. THEY PUSH PAST CLARISSA AND BRIAN AND THEN THE FIRST ONE CAREFULLY OPENS THE DOOR. CLARISSA LOOKS AT BRIAN.
CLARISSA
The monitors! Are they on?
******
[1.] Talk That Talk - Rihanna and Jay Z (http://www.youtube.com/watch?v=GLXpQdPJ2NQ) [The verse in the piece is to the beat of Jay Z's in "Talk That Talk". The lyrics have been changed, except for those in quotations.]
[2.] Fels, S., Pritchard, R., & Lenters, A. (2009, June). ForTouch: A Wearable Digital Ventriloquized Actor. Presented at the New Interfaces for Musical Expression (NIME), Pittsburgh, PA., 274–275. Retrieved February 25, 2012 from http://scholar.google.com.au/scholar?hl=en...
******
INT. HONEYBEE HIVE - GROUND - DAY
(CLARISSA, BRIAN, COP 1, COP 2)
COP 1
Surveillance equipment!
THE TWO COPS WALK OVER TO THE COMPUTERS. THEY LOOK AT THE SCREENS. THEY BOTH LAUGH.
COP 2
It's a hive. I heard about these. Told you we'd find one.
COP 1
Wow.
HE LOOKS UP.
COP 1
Guys. Don't play games with us. We need to see some reefa already.
BRIAN
We swear we don't grow. I got some from a mate in Salt Lake.
AGAIN THE COPS LAUGH.
COP 2
Ok.
THE COP RAISES HIS HANDS.
COP 2
What we're asking here is to "try" some. We ain't here to seize no plants.
COP 1
Except enough to get us high.
COP 2
Look guys; we're awful glad we found this place. We're under a lot of stress right now. And - trust me - we're searching Utah for something a lot more dangerous than some friendly botanists. And you may be able to help us out.
CLARISSA'S MOUTH DROPS.
CLARISSA
Wait. Ok.
SHE LIFTS AN ARM. IT THINS AND BEGINS TO FORM INTO A WING.
COP 1
Wow!
CLARISSA
You guys don't care? Really? I mean, you haven't called for back up so it doesn't seem like you wanna seize anything.
ONE COP APPROACHES CLARISSA.
COP 1
Here's the deal.
HE SHOWS HER HIS BADGE.
COP 1
I'm police chief Tom. And this mission we're on is pretty damn important. Fact is; some sands in Utah has been rising over the past several years. We have data from satellites. Something's happening underground. Someone's testing nuclear weapons [1.] [2.] around here. And these are the people we're after. I'm relieved that you guys aren't the ones, but also pretty damn annoyed we haven't found them yet.
CLARISSA TAKES A DEEP BREATH.
CLARISSA
In Utah? Oh no.
COP 2
We all know what happened in Australia. No one should have nuclear weapons.
CLARISSA
Look, whatever help you guys need we'll give it to you.
CLARISSA TURNS AROUND.
SHE TAKES ANOTHER DEEP BREATH.
SHE CAN'T CRY. NOT NOW. NOT AGAIN. DEEP BREATHS, ONE TO TEN.
******
- That Good - Snoop Dogg and Wiz Khalifa (http://www.youtube.com/watch?v=WJq2drq17Q8)
- Marijuana - KiD CuDi (http://www.youtube.com/watch?v=nBEZWyYyhHI)
- No One's There - Korn (http://www.youtube.com/watch?v=gxuKEHqys5s)
- Underground - Josh Napert and TeeJay (http://www.youtube.com/watch?v=szuzF2LfsCE)
[1.] Shiga, D. (2012). Nuclear spies use earth and skies to up their game. New Scientist, 213 (2853), 14.
[2.] Vincent, P., Buckley, S. M., Yang, D. & Carle, S. F. (2011). [Abstract]. Anomalous transient uplift observed at the Lop Nor, China nuclear test site using satellite radar interferometry time-series analysis. Geophysical Research Letters, 38, L23306. doi:10.1029/2011GL049302 Retrieved February 25, 2012 from http://www.agu.org/pubs/crossref/2011/2011GL049302.shtml
******
INT. HONEYBEE HIVE - LEVEL ONE BELOW - NIGHT
(SAMANTHA, MATT, NICOLA)
INSIDE THE HIVE, LINING THE HONEYCOMB WALLS, WE SHINE LIKE BRITTLE STARS [1.], FOR OUR GAZE IS AS ENERGETIC AS LIGHT. WE'RE SIMULTANEOUSLY A REFLECTION OF THE COARSE, BRITTLE, DUSTY PLAINS AND THE TRANQUIL, EXPANSIVE, AND INTRICATE NIGHT SKY. WE LINE THE INSIDE WALLS OF HONEYBEE HIVE. WE ARE THE HONEYCOMB'S EVER-WATCHFUL EYES. AND NOW WE SEE SAMANTHA AND MATT SWIMMING THROUGH THE AIR.
SAMANTHA
Matt, you're glowing. How do you feel?
MATT PEERS DOWN AT HIS WAIST. SURE ENOUGH IT'S YELLOW, BRIGHT YELLOW.
MATT
My chest is warm. Even in this jet of wind I'm feeling warm [3.] [4.]. Butterflies inside. They're moving as fast as us.
SAMANTHA
Caught in an air jet.
THEY FALL TOWARD THE GROUND, THEN SAMANTHA SPREADS HER WINGS AND AGAIN THEY RISE. MATT'S BREATHLESS. HE LAUGHS. HE LOOKS AT SAMANTHA'S SMOOTH SKIN. IT GLOWS ALSO. HE TOUCHES HER WAIST AND LOOKS DEEP INTO HER EYES. HE SPEAKS IN A WHISPER.
MATT
Like we're bioluminescent bacteria [2.] living in a deep-sea sponge with a glass skeleton [2.]. Are we in an aquarium?
SAMANTHA
That's how it feels. This is our ocean hidden in the heart of Utah.
SAMANTHA TOUCHES MATT'S BACK. HE SIGHS. HIS SPINE IS BEGINNING TO GROW.
SAMANTHA
It's growing. Nicola!
NICOLA
Welcome Matt, to the Hive.
ANOTHER BEE, HER HAIR THE COLOR OF HONEY AND GAZE JUST AS VISCOUS, FLIES TOWARD MATT AND TOUCHES WITH HER WING HIS BACK. ONCE, TWICE SHE RUNS THE WING DOWN HIS SPINE. MATT EXHALES. HE CAN SMELL AND TASTE THE ROSEMARY [5.] [6.] THAT HANGS IN THE AIR, THAT COATS THE POT PLANTS AND THE HONEYCOMB WALLS, AND THAT'S ALSO CAUGHT IN NICOLA'S HAIR LIKE A SWEET SPIDER'S WEB. HONEY DRIPS FROM NINA'S LIPS AS SHE PRESSES THEM AGAINST MATT'S. SHE WRAPS FIRST HER WINGS AROUND HIS ARMS, THEN HER SMOOTH BODY AROUND HIS LEGS. AND NOW COLOR APPEARS TO LEAK FROM HER EMBRACE ONTO MATT'S SKIN. HE BECOMES BLACK AND YELLOW. OUR GAZE FLIES LIKE A BEE TO THE OTHER SIDE OF THE ROOM. WE'RE CAUGHT TIGHT IN A MAGICAL JET.
******
- Everytime We Touch - Cascada (http://www.youtube.com/watch?v=4G6QDNC4jPs&ob=av3e)
- Caught Up - Usher (http://www.youtube.com/watch?v=cFkZDhwqoHg&ob=av2e)
[1.] Aizenberg, J. [Chemist quoted], & Cook, G. [Interviewer] (2012). [". . . There is the brittle star, which is a close relative of the starfish and sea urchin. It has a hard coating, and people assumed it was blind. But we found that part of its skeleton is coated with lenses - it can see through its shell. During the day it uses a dark pigment on the lenses to limit the light, and then at night it draws the pigment back into its body. It's like the brittle star is using sunglasses, and the lenses are better than we can make."]. The brittle star's apprentice. Scientific American, 306 (2), 64-67.
[2.] Aizenberg, J. [Chemist quoted], & Cook, G. [Interviewer] (2012). ["[The deep-sea sponge] lives on the ocean floor, and it grows itself a skeleton made of glass . . . Then, at the sponges base, where it is attached to the ocean floor, it has a crown of thin strands that behave like nearly perfect optical fibers, which guide light from one end to the other . . . Bioluminescent bacteria live on the sponge, and their light shines through the fibers."]. The brittle star's apprentice. Scientific American, 306 (2), 64-67.
[3.] Great, paw circulation. (2012, February 28). mX Newspaper, p. 12. Retrieved February 28, 2012 from http://www.facebook.com/UONStorySpace
[4.] Ninomiya, H., Akiyama, E., Simazaki, K., Oguri, A., Jitsumoto, M., & Fukuyama, T. (2011). [Abstract: Quite complicated. Basically, warm blood is retained in the paw surface and heat is recirculated back into the body whenever the paw is in a cold environment]. Functional anatomy of the footpad vasculature of dogs: scanning electron microscopy of vascular corrosion casts. Veterinary Dermatology, 22 (6), 475–481. doi: 10.1111/j.1365-3164.2011.00976.x Retrieved February 28, 2012 from http://onlinelibrary.wiley.com/.../j.1365-3164.../abstract
[5.] Herb sniffing clever stuff. (2012, February 28). mX Newspaper, p. 8. Retrieved February 28, 2012 from http://www.facebook.com/pages/University-of-Newcastle-GoodChefSpace/206810266030517
[6.] Moss, M., Cook, J., Wesnes, K., & Duckett, P. (2003). [Abstract]. Aromas of rosemary and lavender essential oils differentially affect cognition and mood in healthy adults. International Journal of Neuroscience, 113 (1), 15-38. doi:10.1080/00207450390161903 Retrieved February 28, 2012 from http://informahealthcare.com/.../10.1080/00207450390161903
******
INT. HONEYBEE HIVE - GROUND - DAY
(JAXON, MATT, CLARISSA, SAMANTHA)
ONE FINE MORNING WE FIND OURSELVES AT HONEYBEE HIVE RECEPTION. THE COMPUTERS ARE OFF, BRIAN'S SOMEWHERE ON A LEVEL BELOW, AND JAXON - A NATIVE AMERICAN SPIRITUAL ADVISOR - IS STANDING BEHIND A PLAIN WHITE DESK LIKE ONE YOU MIGHT FIND AT A NICE NIGHTCLUB. MATT IS SITTING ON A CHAIR, SAMANTHA AND CLARISSA ON A LOUNGE OPPOSITE. CLARISSA'S HANDS ARE WRAPPED AROUND MATT'S RIGHT HAND LIKE A LARGE, WARM RING, WHILE EMILY'S FINGERS ENCLOSE HIS LEFT. HE'S SMILING AND HIS PUPILS DART FROM LEFT TO RIGHT AS HE SPEAKS.
JAXON
What first attracted you to this part of Utah?
MATT
Everything. The atmosphere, the scenery, the cheery disposition of Samantha and Clarissa, how it smells, the way I feel, how it looks, how it tastes, the sights, the sounds. I just feel a connection, you know? A deep connection to all the people here, even those I haven't met yet. Spiritual almost.
JAXON
We call this place many different things, though it is most commonly referred to as the Honeybee Hive. Many who have never been here have their own names for it, some of which we consider derogatory. And for this reason we do not usually mention where we come from to those in Salt Lake and beyond.
CLARISSA
Have you heard the term "Juniper Creek"?
MATT
Yeah. That was a place in that show; Big Love [1.].
CLARISSA
A fictional place, of course, perhaps based on a place in Utah called Hildale. And sometimes this hive gets the label "Juniper". But you can clearly see that's inaccurate. This isn't a prison by any means. Nor does it resemble a North Korean concentration camp. So we've taken that name and appropriated it to "Jupiter". Only recently actually; I met a girl who studied Physics at the University of Utah about a month ago. Robyn. She told me about how they believe the small and large planets form [2.]. And here at Jupiter we believe that we're living on a large planet, far less common than the smaller ones. Wet feelings are always dancing around us like particles of fairy dust, planetesimals. Feelings we have for people we encounter. For smaller planets - you can call them super-earths but we'll call them monogamous people - these feelings move far too fast and are to hard to keep a hold of. Hence people will take only what they feel for a single person into their heart and place value only on these specific feelings; a fraction of those that exist in the surrounding space. So this couple becomes like a small planet, or an island almost like Hugh Grant's character in About A Boy [3.]. Polygamists - namely us - will seek out all the good feelings we can possibly accrue so that we can become something much larger, much nicer, and much more inclusive.
SAMANTHA
You seem like someone very open to experience [4.] [5.] [8.], Matt. Someone eager to try new things. Ha. I knew it. First time I saw you at the Star, first time I pulled you into my orbit and we got to chatting.
CLARISSA
Now, sort of like Scientologists [6.], we offer you a family, an orbit, a loving social network beyond even the likes of Facebook. But unlike the pathetic and greedy Scientologists [6.] we don't charge you a cent. With the help of Jaxon you can obtain a temporary but legal marriage licence. But in our hearts we will always be together, longer than the law will allow.
JAXON
Matt, do you take Clarissa - as the Hive's representative - to be your lawfully wedded wife?
MATT
Yes. Yes, I do.
JAXON
Clarissa and Samantha, do you each accept Matt into your family and take him to be Clarissa's lawfully wedded husband?
CLARISSA AND SAMANTHA GIGGLE. THEY LOOK INTO EACH OTHER EYES AND THEN INTO MATT'S.
CLARISSA/SAMANTHA
We do.
JAXON
By the power vested in me by the State I now pronounce you - Matt - an official member of Honeybee Hive and husband of Clarissa. You may kiss the brides.
JAXON BLOWS A WHISTLE - THE DOLPHIN'S SIGNATURE WHISTLE THAT PROMOTES GROUP COHESION [7.] [8.] AND RIGHT NOW GRANTS MATT GROUP MEMBERSHIP. AND THE THREE STAR-CROSSED LOVERS NOW KISS.
******
- Stamina - Cassie (http://www.youtube.com/watch?v=oEJcmNLlg8c&feature=related)
- The Dolphin's Cry - Live (http://www.youtube.com/watch?v=G-Wx91yz9fA)
[4.] Knobe, J. (2011). [Is morality relative?] Thought experiments. Scientific American, 305 (5), 38-41.
[5.] Feltz, A., & Cokely, E. T. (2008). ["Participants could respond that either one of the participants in the debate was right, or they could respond that neither one was right because there is no fact of the matter. Those who responded that one of the two people in the debate was right were coded as objectivists, and those who responded that neither party to the debate was right were coded as nonobjectivists. . . . Our primary concern was if stable individual differences accounted, at least in part, for these responses. They did. Those who scored high in openness to experience were much more likely to respond as non-objectivists to both Moral and World."]. The fragmented folk: More evidence of stable individual differences in moral judgments and folk intuitions. In B. C. Love, K. McRae & V. M. Sloutsky (Eds.), Proceedings of the 30th Annual Conference of the Cognitive Science Society (pp. 1771-1776). Austin, TX: Cognitive Science Society. Retrieved March 1, 2012 from http://scholar.google.com.au/scholar?hl=en...
[6.] Shermer, M. (2011). The real science behind Scientology. Scientific American, 305 (5), 73.
[7.] Janik, V. M., & Slater, P. J. B. (1998). [Abstract]. Context-specific use suggests that bottlenose dolphin signature whistles are cohesion calls. Animal Behaviour, 56 (4), 829-838. doi: http://dx.doi.org/10.1006/anbe.1998.0881 Retrieved March 1, 2012 from http://www.sciencedirect.com/.../pii/S0003347298908818
[2.] Kenyon, S. J., & Bromley, B. C. (2008). Rapid formation of icy super-earths and the cores of gas giant planets. The Astrophysical Journal Letters, 690 (2), L140. doi:10.1088/0004-637X/690/2/L140 Retrieved March 1, 2012 from http://iopscience.iop.org/1538-4357/690/2/L140
[3.] Grant, H. [Actor], Hornby, N. [Writer], Hedges, P. [Screenplay writer], Weitz [Screenplay writer and director], & Weitz, P. [Screenplay writer and director] (2002). About A Boy. Universal City, California, United States: Universal Pictures.
- Myers, E. [Writer], Harron, M. [Director], Paxton, B. [Actor], & Smith, D. [Actor] (2006, April 16). Roberta's Funeral: Big Love. [Television series]. New York, United States: HBO. [Discussion between father and son at end].
[1.] Myers, E. [Writer], Harron, M. [Director] (2006-2011). Big Love. [Television series]. New York, United States: HBO.
[8.] Haidt, J. [Psychologist], & George, A. [Interviewer] (2012). ["Studies of groupishness have generally found that groups increase in-group love far more than they increase out-group hostility."; "Each side sees truths about how to run a good society which the other side can't see, so we need everyone's insights."]. Why we need to be righteous. New Scientist, 213 (2854), 30-31.
******
INT. HONEYBEE HIVE - GROUND - DAY
(CLARISSA, SAMANTHA, MATT, COP 1, COP 2)
THE TWO COPS HAVE RETURNED TO HONEYBEE HIVE. CLARISSA'S SHOWING THEM AROUND THE PLACE, AND US ALSO. CLARISSA OPENS A DRAWER OPPOSITE THE COMPUTERS.
CLARISSA
Ordered by date.
CLARISSA REMOVES SOME PAPERS FROM THE DRAWER.
CLARISSA
This I filed only this morning. It's how we keep things as legal as possible. This morning Matt and I were legally wed. These are the papers to prove it. In a few days we'll file for a divorce. Then I'll get hitched to someone else, and Matt also.
COP 2
Is that right, Matt?
MATT
Yep. That's how it works. I'm cool with it.
CLARISSA
We have filing cabinets on a floor below where we keep records of all the marriages and divorces that have taken place here at Honeybee. Mainly because we can. In a strange way the piles of documents symbolize the messiness of monogamy [1.], if you know what I mean. Half of all marriages end in divorce [1.].
SAMANTHA
Incidentally, half of all coin tosses end in tails.
CLARISSA
Right. And here, we don't like to gamble. Simple as that. We prefer rationality. Just show me the science in support of monogamy. It's hard to find.
CLARISSA SHRUGS. SHE PUTS THE PAPERS BACK.
CLARISSA
And that's because we like to assume the science is sound. We love to think that we only need a single soulmate and that this soulmate will be perfect, that nothing could possibly come between two lovers, just like how teens who drink and drive think they're invincible. But here at Honeybee we don't gamble. You know, people who get married aren't even gambling; they're putting all their cash down on heads after the coin has landed tails up. It's inevitable; people will get bored, we eventually wanna do different things, explore new places, meet and become intimate with new people. Either that or we become habituated to our mates, our environment . . . and that ain't usually a good thing. I don't know, maybe some people think differently. That's cool. But how we do things here, it seems to work well. And I wouldn't wanna be anywhere else.
COP 1
Have you got rings?
CLARISSA HOLDS HER WRIST UP.
CLARISSA
Bracelets. So people know who's legally wed and who's not. Not that it matters. Just so if someone needs to call on a couple for some task they know who to ask. And sometimes we wear the bands outside, just so other people from the Hive - new members perhaps - know who we are. We don't wear diamonds. Diamonds - they're really our intense feelings for one another [2.] [3.]. They exist in the space between us already, even if we can't see them. If I did wear diamonds then I'd have to have a diamond ring on each finger.
CLARISSA GIGGLES.
CLARISSA
You know; for each guy I love.
CLARISSA LEANS AGAINST THE BENCH BEHIND HER. SHE SMILES, SHOWS THE BACKS OF HER HANDS TO THE COPS AND WRIGGLES HER FINGERS. THEN SHE STICKS HER THUMBS INTO HER JEANS AND TILTS HER HEAD TO THE RIGHT.
CLARISSA
Shall I show you down. There's a floor you'll really love. We're in the middle of the country here so we don't see two many sea creatures. But wait 'til you see this floor. Follow me.
CLARISSA STROLLS OVER TO THE ELEVATOR. THE OTHERS FOLLOW.
COP 1
Are you in charge, Clarissa?
CLARISSA
Hardly. We're a group. We share responsibility for the running of the place. I have considerable influence . . . but we don't think of anyone as a leader. This morning, Jaxon was the Native American spiritual advisor who performed the wedding. So he was leader then. Really, the role shifts . . . just like our relationships . . .
CLARISSA PRESSES THE BUTTON BY THE ELEVATOR DOOR.
COP 2
This is rather surreal.
CLARISSA
You say that now? When I'm yet to show you a single floor! Boy, are you guys in for some surprises.
COP 1
We noticed these dark circles - like half spheres - in the sand outside . . .
CLARISSA NODS. THE ELEVATOR DOORS OPEN. THEY ALL STEP INSIDE.
******
- Watch Ellen Enjoy a Hilarious 'Divorce Court' Clip (http://www.youtube.com/watch?v=jrZFGk2RSng&feature=fvwrel)
[1.] Eisendrath, J. [Writer], Kroeker, A. [Director], & Cosgrove, D. [Actor] (1999, September 29). A Fine Mess: Beverly Hills, 90210. [Television series]. Los Angeles, California: Fox Broadcasting Company. [Matt on divorces].
[2.] Glimpsing the birth of a nanodiamond. (2012). New Scientist, 213 (2854), 17.
[3.] Marks, N. A., Lattemann, M., & McKenzie, D. R. (2012). [Abstract: "Nanometer-sized diamond grains are commonly found in primitive chondritic meteorites, but their origin is puzzling. Using evidence from atomistic simulation, we establish a mechanism by which nanodiamonds form abundantly in space in a two-stage process involving condensation of vapor to form carbon onions followed by transformation to nanodiamond in an energetic impact. This nonequilibrium process is consistent with common environments in space and invokes the fewest assumptions of any proposed model. Accordingly, our model can explain nanodiamond formation in both presolar and solar environments. The model provides an attractive framework for understanding noble gas incorporation and explains all key features of meteoritic nanodiamond, including size, shape, and polytype. By understanding the creation of nanodiamonds, new opportunities arise for their exploitation as a powerful astrophysical probe."]. Nonequilibrium route to nanodiamond with astrophysical implications. Physical Review Letters, 108 (7), 075503 (1-5). doi: 10.1103/PhysRevLett.108.075503 Retrieved March 2, 2012 from http://prl.aps.org/abstract/PRL/v108/i7/e075503
******
INT. HONEYBEE HIVE - ELEVATOR - DAY
(CLARISSA, SAMANTHA, MATT, COP 1, COP 2)
CLARISSA
They're sort of like solar panels. We don't usually like to expose ourselves . . . I mean, not to the sky . . .
CLARISSA SMILES.
CLARISSA
But they're totally necessary.
THE ELEVATOR STARTS MOVING DOWN.
CLARISSA
Like us right now, light from the sun travels underground. It's collected by those solar satellite-dish-like things, and . . . like a drone . . . the light will enter the queen's lair. Ha ha. No, seriously though; we got optical fibers that carry light from the domes down to almost every level of the Hive [1.] [2.]. Dishes on the ceilings that look like domes also - like the top halves of the spheres outside - are our lights [1.] [2.]. Because of them our hive has light, and we don't need to steal electricity from the grid . . . or, indeed, use any more energy than we need to.
SAMANTHA
Plus, it's how we keep the plants alive.
COP 1
And the plants are . . .?
SAMANTHA
Pot plants, of course. Ha ha. It's too risky to grow them outside. Unless we lived in Spain [3.]. So we grow them hydroponically [4.]. You know how it is.
MATT
It really is quite stunning. Samantha showed me the other day.
COP 2
How long has this hive been here?
CLARISSA
About 10 years. Our coalition of peace formed not too long after 9/11. No one can fly a plane into an underground hive, right?
COP 1
No . . . but planes aren't the problem anymore . . .
CLARISSA NODS.
THE ELEVATOR COMES TO A STOP.
SAMANTHA
We're here.
SHE LOOKS AT THE COPS.
SAMANTHA
How familiar are you guys with marine biology?
******
- They Stood Up For Love - Live (http://www.youtube.com/watch?v=bK463fcJebI&feature=related)
- Live My Life - Far East Movement and Justin Bieber (http://www.youtube.com/watch?v=lf3vDdPFWyA)
[1.] Sunlit space underground. (2012, March 2). ["Sunlit space underground >>> A group of New York designers plans to transform an underground abandoned tram terminal into a sunlit park using fibre optic technology. The LowLine project wants to breathe life into the terminal by transferring sunlight below ground via cables. "(It) uses a system of optics to gather sunlight, concentrate it, and reflect it below ground, where it is dispersed by a solar distributor dish embedded in the ceiling," the group wrote. The designers, who are fundraising on KickStarter, added: "The light irrigated underground will carry the necessary wavelengths to support photosynthesis - we can grow plants, trees and grasses underground.""]. mX Newspaper, p. 8. Retrieved March 2, 2012 from http://www.facebook.com/UONStorySpace
[2.] LowLine: An Underground Park on NYC's Lower East Side. A Design project in Lower East Side, NY by Dan Barasch (http://www.kickstarter.com/.../lowline-an-underground...)
[3.] Welcome to pot town. (2012, March 2). ["Welcome to pot town >>> A tiny Spanish village has voted to lease land for growing marijuana as a source of desperately needed revenue. The village of Rasquera, in the northeastern Catalonia region, said its town hall councillors approved the plan in a 4-3 vote. Private citizens will lease or lend land to town hall, which creates a company to manage and lease it to a Barcelona marijuana smokers' association. Under Spanish law, consumption in private of cannabis in small amounts is allowed. But growing it for sale, or advertising it or selling it, is illegal."]. mX Newspaper, p. 7. Retrieved March 2, 2012 from http://www.facebook.com/UONStorySpace
[4.] How to grow weed (hydroponic) indoors part 1 (http://www.youtube.com/watch?v=JLpjMUR0b4I&feature=related)
******
INT. HONEYBEE HIVE - LEVEL SIXEY BELOW - DAY
(CLARISSA, SAMANTHA, MATT, COP 1, COP 2)
WE'RE AIRBORNE, BUT SWIMMING LIKE A SHARK [1.] [2.] [3.], AND WE EASILY CAPTURE THE GUYS IN OUR GAZE AS THEY EXIT THE ELEVATOR. WE LOOK RATHER PECULIAR, NO DOUBT; SOME KIND OF BLACK, HARD-BODIED BABY SHARK THAT CAN FLY, A PROPELLER AT ITS REAR, AND WIDE-LENS CAMERAS FOR EYES THAT CAN SEE EVERY WHICH WAY [1.] [2.] [3.]. IT'S DURING A NOSE-DIVE, AS THE WIND SURFS OUR SHINY SKIN LIKE ONE MIGHT A WAVE THAT WE WAVE AT THE GROUP, BY BLINKING. THEN WE STEADY OURSELF AND FILM THE FIVE PEOPLE AS THEY BEGIN TO EXPLORE THIS VIRTUAL AQUARIUM.
CLARISSA POINTS AT US.
CLARISSA
A gift from our mates at Google. This one was too small to be of any real use to them so they let us have it. It's a video camera that can fly.
BUT EVERYONE ELSE IS LOOKING AT THE WALLS. AND WE GRACEFULLY TAKE OUR PLACE BEHIND THEM AND FOLLOW SUIT. THE WALLS ARE TRULY AN AMAZING SIGHT, ESPECIALLY IF YOU'RE SEEING THEM FOR THE FIRST TIME; WE'RE INSIDE A GIANT VIRTUAL AQUARIUM SURROUNDED BY HUNDREDS OF DIFFERENT SEA CREATURES.
CLARISSA
Large computer screens everywhere you look. I think at the moment we have cameras underwater in 27 different places around the globe. They move through the water in much the same way as the camera you just saw, some guided by deep-sea divers [1.] [2.] [3.]. We can study marine life here, or simply admire these perfect underwater worlds.
SAMANTHA
Underwater corridors. The best you'll find in Utah. But we gotta keep 'em underground, excuse the pun, coz they're in the Hive. Sucks, sort of.
COP 1
Where did you guys get the money for this?
CLARISSA
Well, it's a secret, but we're not selling weed or doing anything illegal.
ONE OF THE COPS PUTS THE POLICE RADIO TO HIS MOUTH.
COP 2
Copy that Salty. We're in an unmarked area of Utah right now. Nothing special. Just interviewing the local tumbleweed. No backup required. Over.
"COPY THAT, DON'T GET TANGLED. OVER," SALTY REPLIES. THE COP PLACES THE RADIO BACK ON HIS BELT.
COP 2
"Salty" refers to a Salt Lake officer. You're gonna wanna watch out for those guys. They play by the rules - whatever they might be. Now, from what we've seen of this joint we're liking it. But we're the nice guys. We'll be doin' our best to keep this place anon., but we also gotta make sure no Project X [4.] shit goes on here, know what I'm saying? That's why we wanna station ourselves in this precinct. How's that sound?
CLARISSA
Our security?
COP 1
That's right.
CLARISSA SMILES. SHE GLANCES AT SAMANTHA.
SAMANTHA
That means . . . you wanna be part of our family? Please. You'll come with us?
SAMANTHA OFFERS HER HAND TO ONE COP, CLARISSA TO THE OTHER.
THE COPS LOOK AT ONE ANOTHER. THEY SHRUG.
CLARISSA
I mean . . . it's up to you. You can work security here by all means, but . . .
SAMANTHA SKIPS ALONG.
SAMANTHA
We wanna show you something. We're taking Matt somewhere special just now. It's right up here.
THE COPS TAKE THE GIRLS' HANDS. GAZES LOCK LIKE PADLOCKS AND THE COPS EACH TAKE A DEEP BREATH.
COP 1
We're here for the tour, so . . .
CLARISSA PLACES A FINGER ON THIS COP'S LIPS AS THEY CONTINUE TO STROLL DOWN THE CORRIDOR.
CLARISSA
Can I kiss you, sir?
THE OFFICER LAUGHS. HE SHAKES HIS HEAD IN DISBELIEF - THE PERPENDICULAR NOD. CLARISSA REMOVES HER FINGER.
COP 1
Tom.
THEY KISS.
SAMANTHA GIGGLES. SHE KISSES THE OTHER COP.
HE'S SPEECHLESS, AND STUDIES THE WALLS IN A STATE OF DISBELIEF.
COP 2
Feels like I'm swimming right now. Look, ladies . . . we each have a wife and kids. Unfortunately . . . we can only investigate this hive . . . right now . . . I mean, ever . . .
CLARISSA
Nonsense. Bring your wives here one day, ok? They'll love it here.
SAMANTHA
Yeah, but . . . be sure they will though.
CLARISSA
Oh yeah. Be sure.
THE COPS LAUGH.
SAMANTHA AND CLARISSA LET GO OF THE COPPERS AND TAKE MATT'S HANDS - ONE EACH.
CLARISSA
Here it is.
CLARISSA STOPS. WE ALL DO.
IN FRONT OF US IS A POOL CLEAR AS CRYSTAL.
CLARISSA
Will you swim with us? It's strictly business. You'll need to be sure this water isn't polluted, right? Since it's underground and all.
COP 1
Well . . . I suppose . . .
COP 2
Ha ha. Tom, is it safe to remove our gear?
TOM SHRUGS.
COP 1
We're already underground inside a beehive with people we hardly know. We're breaking almost every rule in the book here. I think sometimes . . .
THE COP LOOKS AT CLARISSA. SHE'S NOW REMOVING HER BRA.
COP 1
. . . you just gotta take a dive into the deep end . . .
SAMANTHA
We'll be on the far side. You guys can stay here. We're not forcing you to do anything, ok?
SAMANTHA TURNS TO MATT. SHE LOOKS HIM UP AND DOWN, THEN NODS TO THE WATER.
SAMANTHA
Are you ready?
MATT'S SHIRT IS OFF. SAMANTHA IS COMPLETELY NAKED. PERHAPS DROPLETS OF WATER ON OUR LENS PREVENT US FROM SEEING ANYTHING WE SHOULDN'T.
MATT
We jump?
SAMANTHA TAKES MATT'S HANDS IN HERS.
SAMANTHA
We jump babe.
SHE LOCKS LIPS WITH MATT AND THEY JUMP INTO THE POOL.
UNDERWATER, THE WINGS OF CLARISSA AND SAMANTHA GROW . . . HELD TIGHT AGAINST THEIR BODIES THEY LOOK ALMOST LIKE THE SCALES OF A MERMAID. THEN THE TWO WRAP THEIR WINGS AROUND MATT AND PULL HIM CLOSE.
CLARISSA SMILES. SHE'S SHIVERING WITH EXCITEMENT.
CLARISSA
Would you like to be baptized? It is entirely your choice. But the feeling . . . the feeling is so remarkable . . .
MATT
Sure. Bring it on. You've invited me into your family. You've welcomed me into this place with open arms. I love each of you, and I love everything here. What can I say? I feel like I'm a part of this place. Already. I totally feel like I belong. Let's make it official. I'm a honeybee.
CLARISSA
Take the wrist of my left wing with your left hand.
MATT DOES THIS; CLARISSA WRAPS HER LEFT WING AROUND MATT'S RIGHT WRIST. THE BOND IS STRONG. MATT'S CHEST MOVE WITH THE WAVES OF EMOTION PASSING THROUGH HIS BODY. SAMANTHA WRAPS HER WINGS AROUND MATT'S WAIST [5.].
CLARISSA PLACES HER RIGHT WING ON MATT'S HEAD [5.].
THE COPS GASP. THE WING IS BEAUTIFUL. IT GLITTERS LIKE THE SHALLOW POOL, UNDER SUCH BRILLIANT LOWLINE LIGHTS [6.].
CLARISSA
Having been commissioned by Jesus Christ, I baptize [5.] you in the name of Joseph, and of Jackson, and of the Holy Spirit. Amen. Hold your breath.
CLARISSA PUSHES MATT DOWN INTO THE POOL. SHE HOLDS HIM UNDERWATER FOR SEVERAL SECONDS, THEN LETS HIM RISE.
MATT EXHALES.
SAMANTHA
Congratulations, Matt. Now your wings will truly grow.
THEY LOCK LIPS AND MAYBE WINGS; SAMANTHA, CLARISSA, AND MATT.
******
- Mysterious Ways - U2 (http://www.youtube.com/watch?v=TxcDTUMLQJI&ob=av2e)
- Change - Taylor Swift (http://www.youtube.com/watch?v=B1jYllE0T-k&ob=av2e)
- Streets Of Gold - Josh Napert (http://www.youtube.com/watch?v=2NNUqmaVBpg&feature=related) [Since you, Napert, 'liked' the story].
[4.] Bacall, B. [Writer and screenplay writer], Drake, M. [Screenplay writer], & Nourizadeh, N. [Director] (2012). Project X. Burbank, California, United States: Warner Bros.
[1.] Marks, P. (2012). 'Seaview' lets you cyber-dive coral reefs. New Scientist, 213 (2854), 24.
[2.] Google 'Seaview' To Include 360 Degree Views Of Great Barrier Reef. (2012, February 23). Huff Post: Tech (Online). Retrieved March 4, 2012 from http://www.huffingtonpost.com/.../google-seaview-great...
[3.] Seaview (www.seaview.org)
[5.] Black, D. L. [Writer], Lehmann, M. [Director], Goodwin, G. [Actress], & Paxton, B. [Actor] (2006, May 14). The Baptism: Big Love. [Television series]. New York, United States: HBO. [Baptism]. Some available on YouTube: http://www.youtube.com/watch?v=UbZA1olQcqg
[6.] LowLine: An Underground Park on NYC's Lower East Side. A Design project in Lower East Side, NY by Dan Barasch (http://www.kickstarter.com/.../lowline-an-underground...)
******
INT. HONEYBEE HIVE - LEVEL ONE BELOW - DAY
(BRIAN, NICOLA)
AS A BEAUTIFUL, CLEAN WHITE PIGEON; WE'VE FOUND A NEW HOME - LEVEL ONE BELOW IN THE HONEYBEE HIVE. OUR LOFT IS ABOVE GROUND, BUT STILL BELOW, AND COMPLETELY ENCLOSED, BUT STILL SPACIOUS . . . VERY SPACIOUS. THROUGH THE WIRE MESH THAT FORMS OUR FLOOR WE CAN SEE THE ACTUAL FLOOR OF THIS LARGE LEVEL FAR BELOW.
THIS REMARKABLE SKY-LOFT ENCIRCLES - THOUGH AS A SQUARE - SOME PRISTINE PLANTATION THAT RESTS ALSO ON WIRE MESH, AND IS ONLY ACCESSIBLE TO WINGED BEINGS. SUNLIGHT FROM A LOWLINE [3.] SKYLIGHT DRENCHES THE PLANTS AND US. WE STAND UP AND TAKE TO THE INTERIOR SKY.
WE CAPTURE - IN THE SPACE SURROUNDED BY THE LOFT - TWO HONEYBEES DISCUSSING CURRENT AFFAIRS; BRIAN AND NICOLA. YOU'VE MET THEM BEFORE: BRIAN - THE GUY IN CHARGE OF SURVEILLANCE, AND NICOLA - THAT SEXY BEE WHO SEDUCED MATT SEVERAL SCENES PRIOR TO THIS ONE.
BRIAN
They let them in! Why did they let them in? How could they let them in? They're cops. They're gonna find these plants.
AS WE LISTEN WE NEAR A CORNER IN THIS SQUARE SIDES CONDUIT. WHOA! TIME TO ROLL [2.] [3.]! WE TAKE THE TURN BY PRACTICALLY SOMERSAULTING THROUGH THE AIR AND THEN - ONCE MORE - OUR GAZE CAPTURES THE TWO HONEYBEES AND WE CONTINUE TO LISTEN. BUT WE ONLY JUST MANAGE TO REMAIN AIRBORNE.
THEY'RE LYING DOWN, SURROUNDED BY NAKED FLORA AND FAUNA, INCLUDING POT PLANTS, APPLE FLOWERS, AND EVEN TULIP TREES THAT ARE ACTUALLY SITTING ON THE FLOOR FAR BELOW, BUT EASILY REACH UP TO US.
NICOLA
Relax. They can't fly. They won't find our plants.
BRIAN
Hierarchies.
BRAIN RAISES A WING.
BRIAN
That's how they run the city. They need to be in charge. They need to be on top. They ain't just gonna come into our Hive and help us out. They'll want to take over, they'll want to turn us into some kind of dull institution, or worse - shut the whole Hive down.
HE PATS AN APPLE FLOWER WITH HIS WING.
BRIAN
We see the art in everything here. The patterns the trees make when they branch out; when they reach up to the sky [4.] [5.] or skylights. As stunning as any piece of art that hangs in a city gallery. We don't claim ownership. We don't want to capitalize on beauty that we're not - ourselves - responsible for; beauty that almost anyone can capture him or herself through photography, drawing, writing [8.] [9.]. Because nearly everyone needs to have an equal voice [6.] [7.]. Everyone is beautiful, everyone is talented, everyone is equal. But they wanna idolize leaders, pop stars, artists - many of whom are no more talented than the average person [8.] [9.]. It's like they're addicted to salt [10.] [11.] [12.] [13.] . . . but they forget how great natural foods taste . . . stuff that comes straight from the ground.
NICOLA
Brian!
BRIAN
Yeah.
NICOLA WRAPS A WING AROUND BRIAN'S BODY.
NICOLA
How do I smell?
BRIAN
Just intoxicating. Amazing. As usual.
NICOLA BEGINS TO WHISPER.
NICOLA
And my breath?
BRIAN KISSES NICOLA. HE SMILES.
NICOLA
My scent is unique [14.] [15.]. As is Clarissa's, and Samantha's. You forget that our bodies themselves are simply the greatest works of art [16.]. And now the two cops are hanging out with Clarissa, Matt, and Sammi. They love it here. How could they not?
NICOLA STRETCHES OUT HER WINGS.
NICOLA
We welcome them into this beautiful new world with open arms. We show them love. I'm sure they will love us also. And learn from us [17.]. We can teach them so much [17.].
BRIAN
I hope you're right Nicola.
NICOLA
Trust me. And trust them.
WE'VE LANDED NOW AND WE'RE STANDING ON THE MESH, JUST WATCHING THE TWO.
THEY SMILE. THEY LOOK AROUND. SO DO WE.
THE SCENERY IS BEYOND BREATHTAKING; THE HIVE SO NICE, SO MAGICAL, SO NATURAL.
AGAIN WE TAKE TO THE INTERIOR AIR.
WE NEAR THE NEXT CORNER, BUT THIS TIME OUR SOMERSAULT IS MORE CONTROLLED, MORE FLUID, MUCH LIGHTER.
WE FLY ON.
******
INT. HONEYBEE HIVE - GROUND - DAY
(BRIAN, CLARISSA, NICOLA)
RECEPTION COMPROMISED? WHEN WE APPROACH RECEPTION BRIAN'S BEHIND HIS LAPTOP. HE'S STUDYING THE SCREEN, TAPPING A FINGER OR THREE REPEATEDLY ON THE DESK [1.]. NICOLA'S BY HIS SIDE. SHE'S SHAKING HER HEAD. BRIAN LOOKS UP AS THE ELEVATOR DOOR OPENS. CLARISSA EMERGES AND STROLLS TOWARD HIM.
CLARISSA
Brian! You weren't at Beeden. What's up?
NICOLA TOUCHES THE LAPTOP SCREEN.
NICOLA
Oh. So cute. It responds to touch.
BRIAN
Um . . .
BRIAN GLANCES AT THE SCREEN. WE DO TOO. WE SEE A VIRTUAL CHEETAH INSIDE A VIRTUAL ROOM MUCH LIKE THE ONE WE'RE IN NOW. IT'S PAW FOLLOWS NICOLA'S FINGER.
CLARISSA
Brian, what's up? I'm concerned [2.] [3.]. You haven't spoken to me since the visit by the cops.
BRIAN GLARES AT CLARISSA.
BRIAN
So that's what that was? A visit? Just a visit. Like they're our mates or something. Sammi tells me you took them to the pool room.
CLARISSA
Yeah. Matt was getting baptized. They watched. What's on the laptop?
CLARISSA JOINS BRIAN AND NICOLA BEHIND THE DESK.
BRIAN
A simulation. We're designing a virtual Honeybee Hive. You can interact with people and everything [4.] [5.]. Plus we can use this to trial new styles, new character or architecture . . .
NICOLA
And new security measures. This mechanical cheetah can run pretty fast [6.] [7.] [8.]. This is only a virtual one, but we've ordered some real ones.
BRIAN
They'll stand guard outside. Chase off anyone who's not welcome. They run on ammonia and hydrogen [9.], so we don't need to purchase any more fuel. We've already got enough.
CLARISSA STUDIES THE CAT.
CLARISSA
Cute. But who's unwelcome?
BRIAN
The cops. We can't have no coppers hanging around. I can't believe you took 'em to the acid [10.] pool! They're middle-aged men [11.] with wives and kids and they're cops and your feeding them acid [10.]!?
CLARISSA
Whoa! Brian.
CLARISSA PUTS A HAND ON BRIAN'S SHOULDER.
CLARISSA
First of all; the pool needs acid coz it's a baptism pool. Secondly; there's only such a tiny amount in there. Thirdly; you heard the cops when they first arrived, they need our help. Something's going on underground. And we're the best at sensing underground activity. And plus we need their help. They're our cheetahs. They'll be the ones standing guard, and telling the other cops not to visit this area. Not directly but . . . you know.
BRIAN
No. I don't. I don't know how cops think. I don't know how menopausal men think . . .
CLARISSA
Brian, that's silly. Men don't go through menopause.
NICOLA SMILES.
NICOLA
Yeah Brian. But he might have a point, Clarissa. Cops go undercover. I don't know if we can trust them. You didn't tell them who your dad is, right?
CLARISSA
No. But I would have if we started talking politics. We need to trust people, open up. We don't wanna be a closed community. That's the last thing we want.
BRIAN
I know. That's why open our doors to college kids like Matt, people our age, and people who haven't taken an oath to uphold the law, however pathetic it may be, and aren't compelled by state law to seize illegal substances and prosecute people like us. Clarissa, Nicola's our best botanist. And she works damn hard on those plants. They're her pride and joy. What if the cops come and raid the place? What then? We're through. 10 years of hard work completely down the drain - and quite literally coz they won't be disposing of this place and the plants in an environmentally friendly way, and they'll be destroying a very eco-friendly lounge.
NICOLA
Lounge?
BRIAN
I don't know; Pad, pen, underground stories. However you wanna write it up. Fact is; they raid us and we're . . .
NICOLA
Out of bees'-nest.
CLARISSA GIGGLES.
CLARISSA
Sorry Brian. Bees'-nest. Ha ha. That's good.
NICOLA
I know.
BRIAN
You know, games need to have obstacles that the protagonist must overcome. I think there's one clear obstacle for those playing Honeybee Hive and that's authority figures. This ain't no Grand Theft Auto game, but we still can't have coppers in this joint. My character's goal - to convince you, Clarissa, to convince the cops that we need to be left alone . . .
CLARISSA
Ok, Brian. We need to chat. Let's go to Garden of Beeden, k? You cool here, Nicola?
NICOLA
Sure thing.
CLARISSA
Brilliant.
CLARISSA BACKS OVER TO THE ELEVATOR.
CLARISSA
C'mon Brian.
BRIAN SIGHS. HE SHRUGS AND THEN STANDS UP.
BRIAN
I love this place far too much, Clarissa. We really need to be careful.
HE FOLLOWS CLARISSA TO THE ELEVATOR.
CLARISSA
I know. I do too. Trust me.
SHE PRESSES THE BUTTON.
CLARISSA
You love me more?
BRIAN
You know I love you, Clarissa.
CLARISSA SMILES. THE DOORS OPEN. THEY EACH STEP INSIDE THE ELEVATOR.
******
- Iris - Goo Goo Dolls (http://www.youtube.com/watch?v=NdYWuo9OFAw&ob=av2e)
[1.] The best table drummer and finger tapping ever (http://www.youtube.com/watch?v=YzVK4mNPTno)
[2.] Hamzelou, J. (2012). Bonobos go out of their way to rescue friends. New Scientist, 213 (2855), 12.
[3.] Tokuyama, N., Emikey, B., Bafike, B., Isolumbo, B., Iyokango, B., Mulavwa, M. N., & Furuichi, T. (2012, in press). [Abstract]. Bonobos apparently search for a lost member injured by a snare. Biomedical and Life Sciences. doi: 10.1007/s10329-012-0298-2 Retrieved March 10, 2012 from http://www.springerlink.com/content/01j9413536361124/
[4.] Aron, J. (2012). Be the school prom queen in 'social physics' game. New Scientist, 213 (2855), 24-25.
[5.] G + Pit!: Games and Playable Media. Prom Week. (http://games.soe.ucsc.edu/project/prom-week)
[6.] Sprinting robo-cat. (2012). New Scientist, 213 (2855), 5.
[7.] Cheetah robot breaks land speed record. (2012, March 6). New Scientist (Online). Retrieved March 10, 2012 from http://www.newscientist.com/.../cheetah-robot-breaks-land...
[8.] Boston Dynamics (http://www.bostondynamics.com/)
[9.] Schiltz, M., Hollinger, T., & Vanderbrook, D. (2011). U.S. Patent No. 8,025,033 B2. Washington, DC: U.S. Patent and Trademark Office. Retrieved March 10, 2012 from http://www.google.com.au/patents?hl=en&lr=&vid=USPAT8025033&id=AffvAQAAEBAJ&oi=fnd&dq=ammonia+fuel&printsec=abstract#v=onepage&q=wsshington&f=false
[10.] Brunner, A. [Writer], Liddi-Brown, A. [Director], Cosgrove, D. [Actor], Mark, H. [Actress], & Garth, J. [Actress] (2000, March 22). Spring Fever: Beverly Hills, 90210. [Television series]. Los Angeles, California: Fox Broadcasting Company. [The rave and the acid].
[11.] Bainbridge, D. (2012). ["Female humans are especially unusual animals because they become infertile halfway through their lives, but male humans often also effectively "self-sterilise" by remaining with their post-menopausal partners. Almost no other species does this."]. Marvellous middle age. New Scientist, 213 (2855), 48-51.
******
INT. HONEYBEE HIVE - LEVEL TWO BELOW - DAY
(BRIAN, CLARISSA)
WE'RE NOW A ROBOTIC BEE IN A SEEMINGLY METALLIC FOREST. IT'S UNOFFICIALLY REFERRED TO AS 'GARDEN OF BEEDEN' AND IS ESSENTIALLY A GYMNASIUM. BUT EVERY BAR YOU SEE IS A BRANCH; AND YES - EXPANSION IS THE KEY, ESPECIALLY IF THE BRANCHES YOU'RE CONCERNED WITH ARE MUSCLES. RIGHT NOW BRIAN'S JOGGING THROUGH A VIRTUAL FOREST. CLARISSA CATCHES UP TO HIM. SHE PLACES AN ARM ON HIS SHOULDER AND THEY SLOW DOWN TO A WALKING PACE.
CLARISSA
Now that the endorphins are flowing, tell me what's on your mind.
BRIAN LAUGHS.
BRIAN
I'm good. It's just . . . I don't like the cops. That's all.
CLARISSA
Take off your shirt.
BRIAN SHRUGS.
HE REMOVES HIS SHIRT.
CLARISSA
What if they were young and pretty like me? Or . . .
CLARISSA POINTS AT A MIRROR. IT NOW ADORNS THE SAME WALL A VIRTUAL FOREST DID MOMENTS AGO.
CLARISSA
. . . had a body like yours?
BRIAN LOOKS AT CLARISSA.
BRIAN
They're not.
CLARISSA
Yeah.
CLARISSA GRABS BRIAN'S WAIST.
CLARISSA
Their bodies are nothing like yours; they're coke mixed with too much flour. Brian, they don't elevate me like you do, know what I mean? They're not physically attractive. No matter what happens they're not gonna come between you and I, or me and any of the guys who are living here . . .
******
- Elevation - U2 (http://www.youtube.com/watch?v=19KstSgU-c0&ob=av2e)
******
INT. HONEYBEE HIVE - LEVEL ONE BELOW - DAY
(MATT, SAMANTHA, NIKKI)
MATT AND SAMANTHA ARE SITTING ON A GRASSY HILL ON LEVEL ONE BELOW OF THE HONEYBEE HIVE. IN A VALLEY BELOW A GROUP OF COUNTRY SINGERS - UNKNOWN OUTSIDE OF THE HIVE BUT TALENTED NONETHELESS - ARE PERFORMING A SONG.
MATT'S TALKING ON HIS CELL.
MATT
Yeah? . . . Hey, thanks for letting me know. . . . Whatever. It's all good, man. . . . No. Trust me. It's alright. I'll be fine. . . . See ya next shift. . . . Cheers.
MATT FLIPS HIS CELL SHUT.
SAMANTHA
Dylan?
MATT
Yeah. Hey, he says they might be letting me go from Lone Star.
SAMANTHA
Oh. Yeah, they're having to let some staff go. Clare spoke to me about it; I asked her not to let you go.
MATT
Thanks. But I get it, though. I ain't the most talkative guy, unless I'm around Dylan or you. Dylan coz he never shuts up; you and Clarissa coz . . . well . . . you're family now. It's about group cohesion. And that's exactly what we have here. I don't need Lonely Star.
SAMANTHA
Too right.
MATT
Dylan said he was at this party the other night for Jessica.
SAMANTHA
Yeah. Clarissa and I were invited but we skipped it . . .
MATT
So . . . there's probably a certain number of words I'd have to actually speak to Jessica before she'll invite me to a party, ey?
MATT LAUGHS.
MATT
I wonder if there's an exact number, or what the valency of those words needs to be?
SAMANTHA
Arrrrgh! Contact from the outside world has put you in thinking mode. Escape. Escape already.
MATT
Cohesion. Cohesion. Cohesion.
NIKKI
I looooove your hair.
NIKKI - A WOMAN PERHAPS IN HER FIFTIES - TOUCHES MATT'S HEAD. SHE SPINS AROUND, HER FLORAL DRESS BECOMING AN UMBRELLA FOR THE GRASS FOR A BRIEF MOMENT, THEN FOR MATT'S HEAD.
NIKKI
You mind if I sit here?
MATT
Not at all.
SAMANTHA
Matt, this is Nikki. One of our senior members. She's quite a character.
NIKKI
Oh, this is Matt. You never told me how handsome the new guy is.
MATT
Well, thanks.
SAMANTHA GIGGLES.
SAMANTHA
Told you she was quite a character.
NIKKI
Matt, could I just touch your face? I'm sorry; I'm a little high right now.
MATT SMILES. HE GLANCES AT SAMANTHA AND THEN BACK AT NIKKI.
NIKKI
Oh Nikki; is your mate Alan here? Is he watching the performance?
MATT
You can do more than that.
MATT TOUCHES NIKKI'S FACE. HE RUNS A FINGER ALONG HER BOTTOM LIP.
NIKKI TAKES A DEEP BREATH, AND THEN MATT'S HAND - AS THOUGH ALL IN ONE FLUID MOTION.
NIKKI
Can I kiss you?
MATT LIES DOWN. HE TAKES HOLD OF NIKKI'S WAIST.
SAMANTHA
Whoa! Cohesion. Well illustrated, Matt.
NIKKI EXHALES. THEIR BODIES CONNECT.
******
- 8 Mile - Eminem (http://www.youtube.com/watch?v=fIxVoZjyP1w&feature=fvst)
******
INT. HONEYBEE HIVE - LEVEL TWO BELOW - DAY
(BRIAN, CLARISSA, BEK)
WE'RE STILL WITH BRIAN AND CLARISSA.
BRIAN
How can you be sure?
CLARISSA
Because they love this place, almost as much as you do. They love us. It's only right we return that love.
BRIAN
Get to know them. You need to get to know them. And you should have done that outside the Hive. We can't let anyone just walk in here off the street, especially cops.
CLARISSA
What about Bek? Remember when Bek first arrived?
CLARISSA WINKS AT BEK - SHE'S TAP DANCING NOT FAR FROM CLARISSA AND BRIAN. THEY APPROACH HER.
BRIAN
Sure.
BRIAN LAUGHS.
BRIAN
When we needed wine for the party we thought it would be fun to have line dancers squeeze the grapes. And fortunately Bek stayed with us.
CLARISSA
Yep. Straight off the street, so to speak.
BRIAN SIGHS.
BRIAN
I don't know. I just don't like cops.
THEY WATCH BEK AS BEK TAPS OUT A LOVE STORY [1.]; ONE OF THE MANY HIDDEN IN HONEYBEE HIVE, THEIR BUZZ NO MORE COMPREHENSIBLE THAN MORSE CODE TO THE LAYMAN. SHE FINISHES TAPPING A FIGURATIVE LINE, AND HER EYES CAST HER FISHING LINE GAZE TO REEL IN BRIAN AND CLARISSA - WHO ARE NOW THEMSELVES TAPPING A FIGURATIVE LINE OF COKE.
BEK
Hi Brian. Clarissa. What's up?
CLARISSA
I think Brian here might have forgotten how to dance.
BEK OFFERS BRIAN A HAND. HE SMILES.
HE TAKES HER HAND.
Let me show you how we entertain; watch the feet, then the legs . . . then my hips . . . then my lips. I want you to learn the moves Brian; they really suit you.
******
- Fight For You - Jason Derülo (http://www.youtube.com/watch?v=pV36OEBWRvU)
[1.] Love Story - Taylor Swift (http://www.youtube.com/watch?v=8xg3vE8Ie_E&ob=av2n)
******
INT. HONEYBEE HIVE - LEVEL ONE BELOW - NIGHT [DREAM]
(MATT, CLARISSA, SAMANTHA)
THIS IS A DREAM, AND THE SCENE IS TINTED. WE'RE MATT'S EYES; WE SEE WHAT HE SEES. IN THE DREAM SCENE HE'S VISITING ONE PART OF HONEYBEE HIVE FOR THE FIRST TIME, A ROOM WE'VE NEVER SEEN BEFORE.
IT'S A ROOM FULL OF COMPUTERS, COMPUTERS WITH LARGE SCREENS THAT ADORN THE WALLS LIKE WALLPAPER. EVEN THOUGH THE IMAGES ARE NOTHING BUT A BLUR WE RECOGNIZE THE ODD SYMBOL, THE ODD HEADLINE, THE ODD TABLOID COVER.
CLARISSA PRESENTS ONE SCREEN TO MATT, INTRODUCING IT TO HIM WITH AN OUTSTRETCHED ARM.
CLARISSA
You'll recognize this title; The Buzz. I'm sure you've seen this paper on the newsstands.
MATT
Yeah.
SAMANTHA
Already has more readers than The Sun, and The New York Times. We write better, simple and plain.
CLARISSA
Because we're all writers; those who work for The Sun, those who work for The New York Times, and we who work for The Buzz. Obviously. You well know by now that no news is true? The world is invented by creative writers, and now you have the opportunity to write a script, a story, an item; to essentially create a new dimension for the people of the world to vicariously explore. Will we finally find life on Mars? What new sea creatures will we discover this week?
MATT
I can write? Write the world?
SAMANTHA
Save the world. We publish stories that make people feel good, that give people a sense of accomplishment be it real or perceived. We're their favorite soccer team, their favorite baseball team, their favorite NBA team. If we tell them we've found something, they feel they have helped find it; they're a part of our team.
CLARISSA
What do you wanna find Matt?
SAMANTHA
What are you looking for?
MATT
Love.
CLARISSA
Write about how Israelis and Palestinians are now gathering at the border, passing flowers to one another, losing their clothes and embracing one another; write about how borders are being torn down or turned into communal thermal bathhouses [1.]; write about the new diving expedition being carried out by a team consisting of Americans, Chinese, and Russians; write about the new dance movement in North Korea - the massive scale music video being produced wherein citizens of the north dance gracefully down to the south to meet up with long lost relatives; write about new megachurches that incorporate features of churches from all different religious denominations and look rather like beehives; write about . . . me . . .
CLARISSA WANDERS CLOSER TO MATT . . .
CLARISSA
Feel me? How do you feel?
SHE EXHALES, HER LIPS FORMING THE OUTLINE OF A BUBBLE.
SAMANTHA
Wake up, Matt.
******
- Notorious - The Saturdays (http://www.youtube.com/watch?NR=1&feature=endscreen...)
- Waiting On The World To Change - John Mayer (http://www.youtube.com/watch?v=oBIxScJ5rlY&ob=av3e)
[1.] Thermal Baths (http://szechenyibath.com/) [Let's set the scene, yeah?]
- RSA Animate - The Empathic Civilisation (http://t.co/uLAAOsjG) [6 minutes, 8 seconds in: Empathy].
******
INT. LONE STAR - CUTLERY - DAY
(LANA, CLARISSA, SAMANTHA, MATT)
WE'RE AT THE BACK OF LONE STAR, IN THE SECTION WHERE NAPKINS ARE WRAPPED AROUND CUTLERY, AND ARMS AROUND BODIES. WHERE HANDSHAKES TAKE PLACE AND PERMANENT BONDS ARE FORMED. AND NOW LANA STARES AT CLARISSA IN DISBELIEF. SHE SIGNS A THANK YOU [1.]; A FLAT HAND MOVING AWAY FROM THE CHIN TWICE, AND A SMILE.
CLARISSA
You're welcome.
CLARISSA SIGNS THESE WORDS ALSO, IN THE SAME WAY. IN LANA'S HANDS ARE A PAIR OF GLOVES [2.] [3.].
CLARISSA
You plug them into the computer, then you can use your hands as a mouth. I hope you like it. I know the developers so I got them for free. They're still a prototype but they should work ok.
LANA SMILES. SHE GIVES CLARISSA A HUG.
MATT WANDERS INTO CUTLERY WITH SAMANTHA.
MATT
You gave her the gloves?
CLARISSA NODS.
SAMANTHA
Sweet, isn't it?
MATT SMILES.
LANA TAPS CLARISSA ON THE SHOULDER AND THEN WALKS TOWARD THE BAG ROOM, STARING AT THE GLOVES. SAMANTHA TOUCHES LANA'S SHOULDER AND LANA LOOKS UP.
SAMANTHA
We can show you how to use them. We've had so much fun with them.
AGAIN LANA SIGNS THANK YOU. SHE NODS.
SAMANTHA
Ok, Clarissa; now that the gift has been given, the floors are clean, dish is closed, and the customers have left . . .
CLARISSA
Oh no. You know I don't do the bin run. I'm still folding cutlery.
CLARISSA LOOKS AT A - SURPRISINGLY TIDY - PILE OF WHITE-COATED CUTLERY, THEN TURNS UP THE VOLUME ON THE iPHONE SITTING NEXT TO THE PILE. AKON'S "BEAUTIFUL" [4.] IS PLAYING. SAMANTHA LOOKS AT MATT.
SAMANTHA
She never does the bin run. Same applies at . . .
CLARISSA FROWNS. SHE SHAKES HER HEAD AT SAMANTHA. SAMANTHA GLANCES AT LANA. LANA DOESN'T SEEM TO BE LOOKING IN THEIR DIRECTION. NONETHELESS SAMANTHA CHOOSES HER WORDS CAREFULLY.
SAMANTHA
Clarissa never takes the trash out, wherever she is.
MATT NODS.
SAMANTHA
Which is a pity coz there's a hidden world of trash at her place. An underground lair where anaerobic bacteria [7.] munch away at plant waste, sewage, and rubbish to produce methane and carbon dioxide for fuel [5.] [6.]. Genius.
CLARISSA
Fuel we can also get from hemp [5.] [8.], or from algae just by using a bit of salt water [5.] [9.] [10.].
SAMANTHA TAPS MATT'S SHOULDER.
SAMANTHA
Guess it's up to us then.
MATT LOOKS AT THE BINS; SEVERAL OF THEM, ALL FILLED TO THE BRIM. HE SIGHS.
MATT
Let's roll.
******
- Hands - Jewel (http://www.youtube.com/watch?v=AfsS3pIDBfw&ob=av2e)
- Turn Me On - Nicki Minaj and David Guetta (http://www.youtube.com/watch?v=YVw7eJ0vGfM&feature=g-vrec...)
- Count On Me - Bruno Mars (http://www.youtube.com/watch?v=yJYXItns2ik&feature=related)
[4.] Be With You - Akon (http://www.youtube.com/watch?v=TAztZpfrMvQ)
[1.] Sign Language: Thank You (http://www.ehow.com/video_4972262_sign-language-thank-you...)
[2.] Aron, J. (2012). Sing a chorus with a wave of your hands. New Scientist, 213 (2853), 26.
[3.] Fels, S., Pritchard, R., & Lenters, A. (2009, June). ForTouch: A Wearable Digital Ventriloquized Actor. Presented at the New Interfaces for Musical Expression (NIME), Pittsburgh, PA., 274–275. Retrieved February 25, 2012 from http://scholar.google.com.au/scholar?hl=en...
[5.] Boness, L. (2012). [Hemp; Algae; Garbage]. The promise of green fuel. Science Illustrated (Australia), 4 (15), 64-67.
[6.] Hunziker, M., & Schildknecht, A. (1985). [Abstract]. U.S. Patent No. 4,511,370. Washington, DC: U.S. Patent and Trademark Office. Retrieved March 15, 2012 from http://www.google.com.au/patents?hl=en&lr...
[7.] Hunziker, M., & Schildknecht, A. (1985). [". . . decomposition of the organic substances by anaerobic bacteria start therein . . . "]. U.S. Patent No. 4,511,370. Washington, DC: U.S. Patent and Trademark Office. Retrieved March 15, 2012 from http://www.google.com.au/patents?hl=en&lr...
[8.] Prade, T., Svensson, S-E., Andersson, A., & Mattsson, J. E. (2011). [Abstract]. Biomass and energy yield of industrial hemp grown for biogas and solid fuel. Biomass and Bioenergy, 35 (7), 3040–3049. doi: http://dx.doi.org/10.1016/j.biombioe.2011.04.006 Retrieved March 15, 2012 from http://www.sciencedirect.com/.../pii/S096195341100208X
[9.] Foley, P. M., Beach, E. S., & Zimmerman, J. B. (2011). [Abstract]. Algae as a source of renewable chemicals: opportunities and challenges. Green Chemistry, 13 (6), 1399-1405. doi: 10.1039/C1GC00015B Retrieved March 15, 2012 from http://pubs.rsc.org/.../ArticleLanding/2011/GC/c1gc00015b
[10.] Demirbas, M. F. (2011). [Abstract]. Biofuels from algae for sustainable development. Applied Energy, 88 (10), 3473–3480. doi: http://dx.doi.org/10.1016/j.apenergy.2011.01.059 Retrieved March 15, 2012 from http://www.sciencedirect.com/.../pii/S0306261911000778
******
INT. HONEYBEE HIVE - LEVEL TEN BELOW - SECRET CORRIDOR - NIGHT
(NICOLA, BRIAN)
A BEAT RUNS THROUGH THE CORRIDOR LIKE A CONFUSED SQUIRREL; FUN'S "WE ARE YOUNG [1.]"'S PLAYING LOUD AS FUCK. WE'RE LIKE SOUND WAVES THE WAY WE MOVE THROUGH AND AROUND BRIAN AND NICOLA AS THEY TRAVERSE DOWN A DARK CORRIDOR GUIDED ONLY BY THE SINGLE SHIVERING FLAME OF A SMALL CANDLE.
NICOLA
This corridor's massive Brian.
BRIAN
It just looks like that coz of the dancing light. We're almost there.
NICOLA
I can't understand how Clarissa hasn't been here.
BRIAN
She never visits the tip. As far as everyone's concerned all of level ten below is for converting Hive waste to fuel.
NICOLA
Brian! Something's written on the wall.
BRIAN TURNS AROUND.
BRIAN
"Give me a place to stand and i will move the earth." It's a quote from Archimedes.
NICOLA
Oh, like that ain't gonna raise suspicions if someone like Clarissa comes down here. This place is like a dungeon.
A COOL WIRE OF WIND TICKLES THE AIR; BOTH BRIAN AND NICOLA SHIVER. SO DO WE. DRENCHED IN DARKNESS, THEY NERVOUSLY CONTINUE DOWN THE CORRIDOR. SWAYING LIKE A PENDULUM'S POINT, TRACING THE OUTLINE OF THE CURVED HALF OF A HALF-MOON, WE SWEEP BACK AND FORTH THROUGH THE STALE AIR, STIFFLY BUT SURELY, WRAPPED AS WE ARE IN THIS NUCLEAR COCOON AT THE DEPTHS OF HONEYBEE HIVE. WE SEE UP AHEAD THE DIM GREEN GLOW THAT SPELLS RADIOACTIVITY, ALL THE MORE VIVIDLY GIVEN OUR SWING DRAWS THE GLOW INTO A THIN GREEN LINE: COLD WAR CURSIVE, A MANHATTAN MILKY WAY. BUT WE SEE NO STARS.
NICOLA
I don't like it here, Brian.
******
[1.] We Are Young - Fun and Janelle Monáe (http://www.youtube.com/watch?v=FQLGhPHzxjc)
******
EXT. UTAHN STREETS - NIGHT
(CLARISSA, SAMANTHA, MATT)
THE LID LIFTS, THE MIRROR'S EXPOSED AND - HAVING EMBODIED THIS SMALL LENS - WE GAZE AT CLARISSA'S FACE, THEN DEEP INTO HER EYES. SHE TILTS HER HEAD TO ONE SIDE; THIS MOVE SCULPTURES THE PASSAGE OF OUR GAZE. THIS PASSAGEWAY BETWEEN CLARISSA AND US, COMPLETELY INTANGIBLE THOUGH IT IS, IS STRUCTURED SO PERFECTLY, A SERIES OF SCULPTURES - PERHAPS GLASSES - THAT FORM A PERFECT LENS THROUGH WHICH WHICH SEE HER WORLD. PERFECT IN THE SENSE THAT WE SEE HER WORLD IN ITS ENTIRETY. WE'RE IN THE SAME SMALL BLACK CAR SAMANTHA ONCE MET MATT WITH. AND WE'RE SOMEWHERE JUST SHY OF SALT LAKE. AND NOW SHE SEES US . . . SHE TAPS THE MIRROR TWICE.
CLARISSA
This mirror's a camera. Nifty, hey? Now Matt, I think you're the entertainer. You can promote the Hive without ever mentioning it. You have the skill, like a male Northern Cardinal songbird [1.]; they can sing without even being taught how to [1.], like with the very beat of their heart [4.], and can change their song style when they need to [2.]. They're so Robbie Williams.
SAMANTHA
And female songbirds like canaries are more concerned with their nests [3.].
SAMANTHA/CLARISSA
Honeybee Hive!
SAMANTHA TAKES A LEFT.
MATT
But we can't mention the Hive.
CLARISSA
No. But we can mention our lifestyle, we can talk about how good it is. Maybe other Hives will be created. Who knows?
MATT
You're saying I can spit rap like Hopsin, but promoting our lifestyle, and then gain heaps of followers . . . all the while entertaining people, making people happy, and having a damn good time myself? That's my mission statement? I love it, but I can't become famous just like that.
CLARISSA
Oh yes you can, B-boy. But you'll be getting famous when we want you to get famous. Bottom line . . .
SAMANTHA TAKES A RIGHT.
CLARISSA
. . . is I don't wanna be coming along for the ride. The fame one that is. I'm staying at the Hive, and the Hive is staying a secret. Emily and I were in NY recently. I was that close . . .
CLARISSA HOLDS UP HER RIGHT HAND, AND BRINGS HER THUMB VERY CLOSE TO HER POINTER.
CLARISSA
. . . to giving up my anonymity. So close. I could have joined my dad's campaign trail, like my sisters, but I chose not to. Ha. These days, people think giving away your virginity is a bad thing. Hell no. It's giving away your anonymity that sux. And we want you to understand that before you become famous . . . and then for you to decide whether you want to or not.
CLARISSA TURNS TO FACE MATT.
CLARISSA
I don't wanna be my dad.
SHE TURNS HER HEAD BACK AROUND.
CLARISSA
I love him and all. But I don't wanna be him. And I'm not sure you would want to either. And I ain't sure you wanna be Hopsin, or Eminem, or Robbie Williams . . . are you?
MATT
Well . . .
CLARISSA
You do realize you can control things from behind the scenes . . . and quite well too. Heard of Ryan Tedder?
MATT
Um . . . no.
CLARISSA
Well, many have. The guy's quite popular, don't get me wrong. But most of what he does is behind the scenes work. He's a songwriter and producer for so many artists.
SAMANTHA
And - of course - the lead singer of One Republic.
CLARISSA
Who gathered a following through MySpace in the early noughties. Simple and plain.
SAMANTHA
They actually thought up the idea of a band in their senior year at Colorado Springs Christian High School, way back in 1996. So, it does take time to get yourself noticed if you start with nothing . . .
CLARISSA NODS.
CLARISSA
But we ain't starting with nothing.
SHE ADJUSTS THE MIRROR, AND WINKS.
CLARISSA
We're starting with tales from the beautiful Honeybee Hive.
MATT
And Lone Star . . . at least as long as I'm working there.
CLARISSA
Yeah. Hopefully that's a while.
SAMANTHA
What do you think would happen if we told people about the commune?
CLARISSA SHRUGS.
CLARISSA
They'd wanna check it out. Their friends would wanna check it out. Their friend's friends, their friend's friend's friends. We'd end up being the talk of Utah . . . and suddenly Honeybee Hive wouldn't be a peaceful little abode anymore. We gotta invite people in gradually.
MATT SMILES.
MATT
My rap granted me access, didn't it?
CLARISSA NODS.
CLARISSA
You're silly Facebook rants. You betcha!
CLARISSA TURNS AROUND.
CLARISSA
And we couldn't be happier we found you.
SHE WINKS.
SHE OFFERS HER HAND TO MATT AND HE TAKES IT IN HIS.
******
- So Good - B.o.B (http://www.youtube.com/watch?v=FvlFXR7DD9Q&ob=av2e) [Produced by Ryan Tedder]
- Let Me Entertain You - Robbie Williams (http://www.youtube.com/watch?v=ymPu2PdLW3I&ob=av2e)
[4.] So Listen - Cody Simpson and T-Pain (http://www.youtube.com/watch?v=FzD2SgGrt2E)
[1.] Yamaguchi, A. (2001). Sex differences in local learning in birds. Nature, 411 (6835), 257-258.
[2.] Yamaguchi, A. (2001). ["Songs of adult cardinals form 'dialects' in different geographical regions, so dispersing juveniles may settle into a population with a foreign dialect. The male-typical sensitive phase therefore allows him to match his song types with those of his neighbours, even when he settles into a new population, whereas the female typical sensitive phase preserves her natal dialect."]. Sex differences in local learning in birds. Nature, 411 (6835), 257-258.
[3.] Kroodsma, D. E. (1976). [Abstract]. Reproductive Development in a Female Songbird: Differential Stimulation by Quality of Male Song. Science, 192 (4239), 574-575. doi: 10.1126/science.192.4239.574 Retrieved March 18, 2012 from http://www.sciencemag.org/content/192/4239/574.short
******
INT. HONEYBEE HIVE - LEVEL TEN BELOW (NUCLEAR LAB) - NIGHT
(TAYLOR, BRIAN, NICOLA)
WE'RE A CURL OF HAIR, SEVERAL STRANDS IN A TIGHT STRING - A BRIGHT FRINGE - THAT TAKES TO NICOLA'S FINGER LIKE BRIAN'S DO THOSE OF HER OTHER HAND. WE'RE BATHED IN BRIGHT GREEN LIGHT AS WE ENTER THE NUCLEAR FUSION ROOM, BRIAN AND NICOLA'S BODIES APPEAR NAKED AND GREEN. WE CAN BARELY SEE ANYTHING THROUGH THE BLINDING LIGHT.
BRIAN
Happy St. Patrick's Day.
NICOLA
Ha. Very funny. I can't see a thing, Brian. It's so bright. We aren't meant to be here.
BRIAN
Look at the floor. I helped lay these tiles. The backings are used yarn [1.] [2.] . . . I can almost see the fibers, it's like art . . . green snakes . . .
NICOLA
I'm feeling dizzy.
BRIAN
So am I.
BRIAN SURVEYS THE ROOM AS BEST HE CAN; THIS WIDESCREEN HD FLAT HAS A HUE THAT'S FAR TOO GREEN.
BRIAN
Taylor! Taylor, it's Brian. You here dude?
TAYLOR
Brian! Stay where you are! Close your eyes. Don't move!
BRIAN LOOKS AT NICOLA. HE SQUEEZES HER HAND. AND THEY CLOSE THEIR EYES.
******
- Handlebars - Flobots (http://www.youtube.com/watch?v=HLUX0y4EptA&ob=av2e)
- Bring Me To Life - Evanescence (http://www.youtube.com/watch?v=3YxaaGgTQYM)
- Charlie Brown - Coldplay (http://www.youtube.com/watch?v=zTFBJgnNgU4&ob=av2e)
[1.] Green-carpet treatment. (2011). ["Raw carpet tile puts the waste to good use. It's made from a new yarn composed of a combination of reclaimed carpet fiber, . . . and postindustrial waste."]. Popular Science, 279 (6), 41.
[2.] Evans, P. D., & Moore, G. (2011). [Abstract]. U.S. Patent No. 20110288189 A1. Washington, DC: U.S. Patent and Trademark Office. Retrieved March 20, 2012 from http://www.freepatentsonline.com/y2011/0288189.html
******
EXT./INT. UTAHN STREETS - NIGHT
(CLARISSA, SAMANTHA, MATT)
IT'S ST. PATRICK'S NIGHT AND WE'RE STILL ON THE HIGHWAY IN SAMANTHA'S CAR; WE'RE INSIDE A LAYER OF TRANSPARENT SOLAR FILM [1.] [2.] [3.] THAT ADORNS THE BACK WINDSCREEN. WE'RE THE TINIEST LENSES YOU'VE EVER SEEN. WE'RE HIDING WITH TINY SOLAR CELLS, AMIDST SEE-THROUGH SPACE, LIKE STARS IN AN OTHERWISE EMPTY NIGHT SKY. WE'RE IN EVERY SQUARE INCH OF THE BACK WINDSHIELD AT ONCE AND WE DANCE LIKE ENTANGLED QUANTUM PARTICLES AS WE WATCH THE CAR'S OCCUPANTS.
CLARISSA
Input, output. Like entertainers we put out, know what I mean? A lot of people, they just wanna consume . . . like consume energy. Or entertainment. They get it all from the grid. We take from the grid too, but we like to give back also . . . or give to ourselves. We have so much power [4.] when you think about it. Mostly underground. It's so exciting. Brian has these shoes that generate electricity when he runs because water's pushed back and forth through the sole, heal to toe [5.]. I got some too, for when I'm running [6.] [7.]. Oh, and right now we got a windmill in one headlight. It's called the Windtronics Honeywell Wind Turbine [8.] [9.], the wind spins it, and the blades - which are magnetic - run through coils of copper [8.] [9.]. And that electricity's stored in the headlight, to be used when we need it.
WE SEE A FLASH OF WHITE LIGHT.
MATT
Hey, what was that?
SAMANTHA
A snake on the road.
SAMANTHA SWERVES TO AVOID THE SNAKE.
SAMANTHA
This screen . . .
SAMANTHA TAPS A SCREEN ON THE DASHBOARD.
SAMANTHA
. . . flashes a warning when something or someone is on the road.
CLARISSA
Turn the windscreen one on.
SAMANTHA
Yeah?
SAMANTHA FLIPS A SWITCH BENEATH THE DASHBOARD.
SAMANTHA
Our version of the Night View Assist Plus [10.] [11.] [12.]. This switch turns the entire front windscreen into night vision goggles [10.] [11.] [12.]. It's sooo green.
CLARISSA
I know, ay? The human eye is better at telling between different shades of green than any other color. That's why. But the movement on the screen kind of makes me feel a little carsick [10.].
CLARISSA LOOKS DOWN AT HER HANDS. SHE HOLDS UP A FINGER.
CLARISSA
Feel this against your lips.
SHE TOUCHES SAMANTHA'S BOTTOM LIP.
SAMANTHA
That feels like I'm putting on lipstick. What happened to your finger?
SAMANTHA LOOKS AT CLARISSA'S HAND, AND THEN HER FACE.
CLARISSA
Grill cleaner. My fingers have gone numb.
WE SEE A VERY BRIGHT LIGHT.
CLARISSA
Samantha! Watch out!
SAMANTHA
I can't see!
THE LOUD CALL OF A HORN PUNCTUATES THE BRIGHT LIGHT.
******
- Tiny Dancer - Elton John (http://www.youtube.com/watch?v=3xuSYEeo9Wc&feature=related)
- Charlie Brown - Coldplay (http://www.youtube.com/watch?v=zTFBJgnNgU4&ob=av2e)
[1.] See-through solar. (2011). ["The film's thin strips of solar cells alternate with transparent areas. Lenses sit above the solar cells, hiding them from the viewer, while the transparent strips show what's beneath the film."]. Popular Science, 279 (6), 47.
[2.] Wysips: What you see is photovoltaic surface (http://www.wysips.com/) (http://www.wysips.com/en-quelques-motsgb.php)
[3.] Asensio, L. P. (2011). [Abstract]. Células solares transparentes : desarrollo actual y aplicaciones. Retrieved March 20, 2012 from http://repositorio.bib.upct.es/dspace/handle/10317/1869 [Article and abstract are in Spanish, but the theme seems to be the new state-of-the-art solar film]
[4.] Pesce, M. [Futurist], & Yeow, M. [Interviewer] (2011). [""What's happening...is a quantum jump in human capability for everyone - no-one's really left out because we're all connected in these networks. And so that means the world we're entering into is a world where human competency is something that is much more widely distributed." And with competency comes empowerment, and with empowerment comes big change. Pesce has a warning for big institutions from banks to schools to governments: be prepared. "When people are empowered, everything that was keeping the hierarchies (of society) stable before...just doesn't matter anymore because the wheels fell off the cart," Pesce says. "We're going to need another form. And so all the institutions which comprise culture...are going to be facing the same sorts of challenges . . .""]. Pesce's predictions for the next five years]. The future whisperer. Popular Science, 279 (6), 54-59.
[5.] Krupenkin, T. [Engineer], & Lichtman, F. [Article writer] (2011). Power walk. Popular Science, 279 (6), 22.
[6.] Pumping up the orgasm. (2012, March 20). mX Newspaper, p. 7. Retrieved March 20, 2012 from http://www.facebook.com/UONStorySpace
[7.] Herbenick, D. [Author referred to]., & Levin, R. J. [Editorial author] (2012, in press). [Introductory paragraph]. The ever continuing life of that ‘little death’ – the human orgasm. Sexual and Relationship Therapy. doi: 10.1080/14681994.2011.651451 Retrieved March 20, 2012 from http://www.tandfonline.com/.../10.1080/14681994.2011.651451
[8.] Windmill Overhaul. (2011). ["It's magnetic blades sweep through copper coils in an outer frame to induce current."]. Popular Science, 279 (6), 47.
[9.] WindTronics: The Honeywell Wind Turbine - Model WT6500 (http://www.windtronics.com/honeywell-wind-turbine)
[10.] The safest safety system. (2011). Popular Science, 279 (6), 30.
[11.] Mercedes-Benz Night Vision (http://www.youtube.com/watch?v=l6DMidknVCo&NR=1...)
[12.] Ireson, L. (2010, December 8). ["The spotlight function uses infrared technology to detect pedestrians at a range of up to 80 metres: two separate light sources in the headlamps illuminate the road with invisible, non-dazzling infrared light. A windscreen-mounted camera designed to pick up precisely this type of light records what happens in front of the car. The captured image is sent to a display in the instrument cluster. The clear, needle-sharp image that appears here shows the scene in front of the vehicle, allowing the driver to see pedestrians, cyclists or obstacles on the road at an early stage. As soon as the system detects any pedestrians in front of the car, they are highlighted in the display by the Active Night View Assist Plus."]. Mercedes-Benz Adds Pedestrian Spotlight To Night View Assist. Motor Authority (Online). Retrieved March 20, 2012 from http://www.motorauthority.com/.../1052326_mercedes-benz...
