3. Sc. 1
Black. Layered orchestrations heard along with multiple breath inhalations.
Sc. 2
One sees a small dimly, yellow, lit massage room. The walls are lined with mirrors and
paintings. The table is detailed, followed by candles the line the room, soft flicker.
Sc. 3
Glare of the sun, urban street, stoops, porches, people walking around etc.
YORBA
Sc. 4
One sees a dog sitting on the sidewalk, happily panting. The dog tag reads “Yorba”. A poster that
reads “four score and seven beers ago” with a portrait of Abraham Lincoln on it is seen as Yorba
sits beneath. Eventually Yorba walks away to reveal the bottom portion of the poster, “seven
beers ago”.
Sc. 5
Yorba sniffs around for food up the street.
Sc. 6
Until suddenly one sees a man running up the street being chased by a small group. The man,
Taye, ducks down the alley near Yorba and hides as the group passes. The man is dressed plainly
and carries a small cone to his right ear in his hand (one notices a large scar on the man’s ear).
Taye looks at Yorba plainly.
Taye: Don’t mind if I park myself here for a moment do you?
Yorba nods in the affirmative.
Taye: Yeah, I didn’t think so.
The two continue to size each other up silently. Taye begins to bother with his ear, Yorba
notices.
Taye: Alright, you’ve been a good host, maybe have something for ya next time.
As Taye begins to gather himself and leave Yorba softly barks at Taye.
G. Givens (Copyright 20142016. All Rights Reserved) 3
4.
Taye: Huh? What?
Yorba motions for Taye to follow him up the street. Taye laughs at first but soon begins to
ponder the possible venture. Taye scratches his ear and bends down to pet the dog.
Taye: ..Lead the way.
The two venture up the street and eventually find their way back to the massage center. Taye
takes a bewildered gaze at the dog.
Taye: What have I got to lose?
Taye reaches down once again to pet Yorba. Looks up and around putting his other hand out in
the air.
Taye: Hear that? Looks like rain. (beat) something’s a brewing.
Yorba retreats from Taye’ side leaving him kneeling alone in front of the building. Taye slowly
stands, looks up, and enters the building. Black.
TAYE
Sc. 7
One sees a man attending to a nearby tree, chopping wood. One sees girls playing “double
dutch” along the sidewalk. People, pets, and cars pass as an old man sits solemnly on the nearby
curb greeting those that walk by. The man’ retorts with the pedestrians provide one with the
sense the man is close to those he greets. The man puts down his hearing cone.
Sc. 8
Taye: (voiceover) Alright, just listen for a second. Nothing I say is gonna hurt ya.
Everything around here is pretty much routine. Like hands of the clock, up and down the
block all day long, the gears keep turning. Now, I know what you’re thinking. Man this
old fool is in everyone’s business. (beat) but it ain’t like that. Ya see, one could say I’m
the ears of the neighborhood, my building especially. Ya see, we all do what we do to get
by and we don’t really like having police or anyone else really too invested in us as
citizens, you feel me? So we take it upon ourselves to watch each others back, ya know,
keep an eye and ear out for each other and make sure no one is turning on each other.
(beat) If someone around here gets messed with, it better damn be from someone that
ain’t from around here, you feel me? Oh, my name is Taye by the way. No you’re
probably wondering what’s up with my ear. (beat) Yeah, yeah, I’ll get to that just give me
a minute (adlib).
G. Givens (Copyright 20142016. All Rights Reserved) 4
5.
Sc. 9
As Taye begins introducing his story sirens are heard. Taye promptly stands at attention
waiving to the passing car he turns and heads inside. One sees a blinking light fixture inside the
building as Taye does his rounds, calling out to tenants, knocking on doors etc. Perspiration and
sweat are drip from Taye’ head. Everything seems to be normal until he notices the door at the
end of the hallway open. The thermostat seems to be faulty. The ceiling fan is stopped along with
the washing machine and record player, the skillet is still hot.
Sc. 10
Taye arrives at the door pane and calls out.
Taye: Hello? Anyone home? (beat) As you can see the power went out earlier this
morning.
A young boy comes out from the back room of the apartment.
Taye: It’s hotter inside than it is outside.
Cross: Je ne m'inquiète pas à quel point il chaud est. abrutis foutus. (beat) Ma maman va
me tuer.
Taye: Wait, slow down.
Cross: Estce que Cruz, je ressemble à un cruz ?
Taye: Just tell me what happened. Stop the noise.
Cross crosses the room and points to the corner near the front door.
Cross: Mon sac à dos a été volé.
Taye gazes at Cross still somewhat confused. Cross motions throwing an imaginary backpack on
his shoulder.
Taye: (beat) .. Oh, oh, okay I see.
Cross: Ouais. Il a eu mon livre d'études sociales dans lui, mes écouteurs et baladeur.
Taye: (beat) .. Okay. Well do remember how many there were?
Cross: Yeah, 3.
Taye: What did they look like?
Cross: Black, like you. But young.
Taye: Okay. Well, I was planning on being outside anyway and everything around here
seems alright so I’m gonna see what I can do.
Cross: Thanks. (beat) Seulement quelques heures jusqu'à ce que ma maman obtienne
outre du travail. (beat) merde.
G. Givens (Copyright 20142016. All Rights Reserved) 5
6. Taye takes one last look around apartment and exits. Cross is left standing in the apartment as
Taye exits the floor.
Sc. 11
Taye makes his way up and down the streets asking around for the group described. Taye
eventually stops off on a nearby bench to take a rest. Taye gazes at those passing by. Sweat and
perspiration continues to accumulate. Taye’ stomach growls.
Taye: Yup, it’s about that time.
Taye gets up and makes his way to a nearby pizzeria.
Sc. 12
Taye is greeted upon entrance.
Employee: Hello, how are you today?
Taye: Alright, alright. (beat) At least y’all got some kind of currents flowing.
Employee: Yeah, yeah. That’s what I’ve been hearing. Half of the block. (beat) Regular?
Taye: (beat) Double it today actually.
Employee: Okay, sure.
The Employee serves two slices to Taye as he begins to stand there eating his pizza. Taye and
the Employee gaze upon the nearby television and the baseball game on in background.
Taye: (beat) .. Oh, okay. So are we still in the game?
Employee: Yeah, yeah. Looks like it my man. (beat) But it’s still the bottom of the fifth
element so there’s plenty of time to catch up.
Taye: Yeah, only down a couple runs.
Other customers come and go from the parlor.
Taye: Hey, by the way. You haven’t seen a couple kids come in here have you? Would
have had a kid’ backpack with them.
Employee: Umm, yeah. You see them? (beat) I remember them because he said he didn’t
have any money and would pay me back once he went to the atm at the end of the street.
(beat, various curses)
Taye: What did they look like?
Employee: A couple cops. (beat) At least that’s what they said. No uniforms.
Taye: Really? (beat) Man, alright.
The two continue to watch the game as Taye finishes his pizza. Taye inaudibly addresses the
employee goodbye and exits the store.
G. Givens (Copyright 20142016. All Rights Reserved) 6
8. Sc. 17
Taye carefully walks down and approaches the injured woman.
Taye: You alright?
Woman: Yes, I’m fine. (beat) I’m just..
Taye: Just what?
Woman: ..Tired (smiles, pants).
Taye: (beat) .. Well, it’ll swell up for sure, but at least you still got your wits about you.
Woman: It can’t hurt. I don’t know what I’m gonna do about work (rubs ankle).
Taye: What do you do?
Woman: I’m a dancer.
Taye: (shoots a glance)
Woman: (laughs) .. maybe in another life, but ballet actually.
Taye: Ah, I see.
Laura: My name is Laura.
Taye: .. Taye.
Laura: I’m gonna call me a cab. Thanks for...
Taye: Let me help you over there.
Laura: Really, it wouldn’t be a problem?
Taye: (shoots a glance).
The two retreat from the fountain area and return to the street.
Sc. 18
Taye: Now, before you get in the cab we’re gonna hobble over to a dear friend’ place.
Laura: But, etc..
Taye: I know, I know. Trust me, I was skeptical at first too.
The two stop walking.
Taye: Do me a favor?
Laura: Sure.
Taye: Put your hand on your stomach.
Laura complies.
Taye: Now, close your eyes.
Laura complies.
Taye: Take a deep breath in through your nose, and sigh it out.
Laura complies. The scene flickers and flashes dark. Black.
G. Givens (Copyright 20142016. All Rights Reserved) 8
9.
LAURA
Sc. 19
One sees a ceiling fan spinning slowly as a girl tosses awake in her bed, a portrait over her bed.
She reaches over to her phone and turns on some music, gets out of bed, stretching to the beat as
she changes, turns on a light. Her feet are detailed as the song switches tempo. Then, suddenly
the light and fan blow out. Laura stops dancing. She notices yelling outside, she walks over to
the window to view the scene, soft flicker.
Sc. 20
A phone rings.
Laura: Hello?
Voice on Phone: Hello, can I speak with Ms. Chase?
Laura: Speaking.
Voice on Phone: Hi, yes. Well, the reason I’m calling you this morning Ms. Chase is
because of some incomplete information on your recent application. We’re missing your
Social and d.o.b. (beat) I can understand if you do not want to give out the information
over the phone so you are more than welcome to stop by our office anytime today to
complete the process.
Laura: Thank you, I will.
Voice on Phone: Splendid, good day Ms.
Laura hangs up the phone and exits her apartment.
Sc. 21
Laura exits her building and walks down the street. She passes a van with a young man in glasses
smoking a cigarette (Ben) on the corner. As Laura passes the van she notices a man approaching
her.
Man: Hey girl, how you doin’, those legs look good.
Laura ignores the comments and keeps walking. The man sighs and continues to comment on
Laura’ appearance.
Sc. 22
Eventually Laura passes an outdoor basketball court with a pickup game going on, she pauses to
observe. She notices the fluidity of the players motions as they pass the ball, drive to the bucket,
or run a fast break etc. The play begins to slow down as the soundscape becomes warped. Shots
G. Givens (Copyright 20142016. All Rights Reserved) 9
10. of Laura dancing in her room are intercut with the game. Suddenly, the ball is whipped against
the fence near Laura. a player approaches.
Basketball player: (panting) … Hey, how’s it going?
Laura: Good, you?
Basketball player: Alright.
Player grabs the ball and retreats to the court. Laura takes one last look at the game then
continues onward.
Sc. 23
Laura is seen in the park as she stumbles upon a street art performance. People are gathered
watching and taking pictures, Munson is seen in the crowd. Laura takes one last glance then
continues onward.
Sc. 24
Laura eventually gets to the office building and enters. She is greeted by an older, somewhat
eccentric, man.
Older man: Hello, Ms. Chase I presume?
Laura: Yes.
Older man: Welcome, so nice to see you, thank for coming in on such short notice. My
name is Lionel, Lionel Belvedois.
Laura: Pleasure to meet you.
Lionel Belvedois: The pleasure is all mine dear.
Lionel turns around and grabs somes papers, turns back.
Lionel Belvedois: Now, here are your papers, like I said on the phone we just need you
Social and d.o.b.
Laura begins to fill out the papers.
Lionel Belvedois: I love that shirt, it really brings out your eyes (adlib).
Laura: (blushing) … Thank you.
Laura hands Lionel the papers.
Lionel Belvedois: Thank you kindly my dear. I’m sure you’ll get it.
Laura: Really? Thank you.
Lionel Belvedois: Have a wonderful day darling.
Laura exits the office.
G. Givens (Copyright 20142016. All Rights Reserved) 10
11. Sc. 25
One sees Laura on the massage table, her ankle being massaged along to orchestrations.
Sc. 26
One sees a ceiling fan spinning slowly as a girl tosses awake in her bed, a portrait over her bed.
She reaches over to her phone and turns on some music, gets out of bed, stretching to the beat as
she changes, turns on a light. Her feet are detailed as the song switches tempo. Then, suddenly
the light and fan blow out. Laura stops dancing. She notices yelling outside, she walks over to
the window to view the scene. She quickly changes and exits her room.
Sc. 27
Laura exits her building and observes a crowd by a gas station. Laura addresses another
observer.
Laura: What’s going on?
Observer: This guy is going ballistic.
Laura: Why?
Observer: I’m not really sure. I think it’s something about about a parking ticket (beat)
and spilling hot coffee.
Laura: Someone should call the police.
Observer: They did.
Laura: … And he’s taking his pants off.
Observer: Oh look, a tattoo. (beat) is that the “koolaid” man?
Laura: … Yes, yes, it is.
Observer: … Oh, yeah.
Laura: And, on that note (beat) bye.
Sc. 28
Laura begins to head back inside when she nearly bumps into another pedestrian, Munson.
Laura: Oh, excuse me.
Munson: Oh, I’m sorry.
Munson grabs his elbow.
Laura: I’m sorry. Let me see that.
Laura grabs Munson’s elbow. Begins to softly rub it.
Munson: Watching the scene across the street.
Laura: (laughs) … Yep.
G. Givens (Copyright 20142016. All Rights Reserved) 11
12. Munson: It’s funny at first but the more you think about it I’m not sure.
Laura: I know what you mean. You can never be too sure where someone is coming
from.
Munson: Got that right (beat) Thank you.
Munson begins to loosen and move his elbow around.
Laura: Work with your hands a lot?
Munson: Sure do.
Laura: Well then, there’s this place you need to go to.
Munson: Yeah?
Laura: Yep (beat) it’s not far.
The two walk down the street.
MUNSON
Sc. 29
Black. Flashes and flickers of computer and tv lights, glares, etc. One sees a man in a dark room
working on his computer, mouse in one hand, remote control in the other. One sees a
microphone and a recorded session being edited. One also sees a press release document open on
the other screen.
Sc. 30
Munson: (voiceover, taking a sip of water) .. Lately things have been coming up all me
and my friends. My cousin’ group was booked for three more gigs and my boy
got a film coming out, yep things are good. During the day I usually get a hand full of
house calls, running all over the place. (beat) And man, will I tell you, there is no
shortage of characters encountered on the job. The internet sure can take you to some
strange place, ya see, I’m an IT guy. And, as I mentioned, I guess I enjoy it really.
Everyday, every week, it’s the same thing. (beat) But, in a weird way it’s not the same,
not the same at all, ya know? Ah, nevermind..
Sc. 31
Munson continues to ramble a bit as the lights suddenly go out. Munson attempts to click his
various remotes, devices, to check the recent power failure. One then hears Munson get up from
his chair and walk over to a dresser, open the dresser, and retrieve a flashlight. Munson switches
on the flashlight and waves it around the dark room. Munson puts the light faceup on the dresser
and commences opening the blinds. The blinds open to a dreary day at dawn, the exterior
soundscape peers in.
G. Givens (Copyright 20142016. All Rights Reserved) 12
13. Sc. 32
Munson is seen arriving at the residence of his next call of the day. He approaches the door,
knocks, enters.
Sc. 33
One sees Munson walking down the street in front of a gas station. Munson oversees a
commotion occurring near the storefront, he stops. A pedestrian passes by.
Munson: Hey, yo, look at this right here.
Pedestrian: What?
Munson: (motions towards the scene).
The Pedestrian stops. One over hears a muffled voice from a bullhorn and loud clanging.
Pedestrian: ..Well I’ll be damned.
Munson: You can say that again.
Pedestrian: (beat) .. So, can I ask how long this has been going on?
Munson: Shit, your guess is as good as mine (laughs). I just stopped myself, had a few
minutes to spare before I gotta get back to work.
Pedestrian: (beat) .. there’s no way this can go on much longer, eventually this guy is
gonna have to take a piss or something. (beat) .. and, how is he making coffee?
Munson: (beat).. (points) He’s got it plugged into the cigarette lighter.
Pedestrian: ..That poor car.
Munson: Yeah, he sure can step though (laughs).
One overhears the shattering of glass.
Sc. 34
Munson is seen arriving at the residence of his next call of the day. He approaches the door,
knocks, enters.
Sc. 35
Munson is seen walking down the street as he comes upon a street art performance. Munson
circles the spectacle with great allure. Munson begins to document to performance with his
camera phone. Munson is soon seen forwarding the video to friends.
Sc. 36
Munson is seen arriving at the residence of his next call of the day. He approaches the door,
knocks, enters.
G. Givens (Copyright 20142016. All Rights Reserved) 13
14. Sc. 37
Munson is seen walking down the street as he passes a funeral home. An old man is seen
struggling to hang up a sign. The sign reads “LOVE DOG MOST OF ALL”.
Munson: Need some help?
The man looks down at Munson. Munson looks up at the man.
Old Man: Yes, thank you, young man.
The man gets down from the step ladder and Munson puts up the sign relatively fast. Munson
gets down and the two stare up at the sign together.
Old Man: My reach just ain’t what it used to be.
Munson: Not a problem, easy to understand.
The two stand staring at the sign for another moment.
Munson: .. So, uhh, I don’t know how this is gonna sound. But, been busy lately?
Old Man: (laughs) .. Business is always booming.
Munson: (joins in on laugh) Well, good to hear.
Old Man: Yep, (beat) not a whole lot to know.
Munson takes one last look up at the sign, greets the man goodbye, and walks away.
Sc. 38
One sees Munson re entering his residence. Upon entrance one sees Munson click on his
flashlight. One hears him put his bag down, go to the toilet, brush his teeth, etc. as the light
accompanies. Munson settles in bed and turns out the light.
Sc. 39
Machine, computers, tape deck noises etc. are heard. Flashes and flickers of Munson’ previous
day reel back and forth. Accompanied by orchestrations the scene crescendos to black.
Sc. 40
Munson awakes in the massage room as the lights gleam and flicker. The massage of Munson’
elbows are detailed as the scene crescendos to black.
Sc. 41
Flashes and flickers of computer and tv lights, glares, etc. One sees a man in a dark room
G. Givens (Copyright 20142016. All Rights Reserved) 14
15. working on his computer, mouse in one hand, remote control in the other. One sees a
microphone and a recorded session being edited. One also sees a press release document open on
the other screen.
Sc. 42
Munson is seen standing at the door of a client. Munson, knocks, no answer. Munson slowly
opens the door calling out to the resident, no answer. Munson overhears music coming from the
basement, he investigates. Munson slowly enters the room to see a man, Ben, ducttaped in a
kneeling position in the corner of the room. One sees candles arranged around a framed picture.
Munson: Hello?
Ben: Hello? Down here. Help? Phew, thank the lord you are here.
Munson: What happened?
Ben: Well, umm, some cops, my relation to them irrelevant at the moment, came in here,
roughed me up, and then ducttaped me to my vigil.
Munson: Wow. (beat) Want me to call the..
Ben: No!, Umm, I mean no. It’s a not an issue.
Munson precedes to begin helping Ben out of the corner. He reaches into his bag for a sharp tool
to aid in the removal of the tape.
Munson: ..Is that gum in your hair?
Ben: .. Yep, one of them got tired of jawing. (beat) .. the savages in this town, ya know?
Eventually the tape is all torn off and Ben slowly, sorely, stands up to face Munson.
Ben: Aw, thank you, thank you.
Munson: No problem.
Ben: (under breath) ..Usually I’m the one doing the tying up.
Munson: Huh?
Ben: Oh, uhh, nothing. So, you’re the IT guy I called right?
Munson: Yep, Munson. (beat) once you get a haircut there’s a friend I need to take you to
see.
Ben: What for?
Munson: Don’t worry, it’ll be alright.
Ben: (adlib) I’ll try anything once.
BEN
Sc. 43
One hears the diegetic tuning, and eventual playing of an old radio. Ben holds multiple crayons
as he sketches down a squiggle after each blackout upon a sheet of paper. A crucifix is seen on
G. Givens (Copyright 20142016. All Rights Reserved) 15
16. the wall near the corner vigil along with newspaper cutouts. Ben continues to draw as one sees a
hamster cage in the background. The hamster sips water and then begins to run on the wheel.
Sc. 44
Ben: (smoking a cigarette) .. and lead us not into temptation but deliver us from evil.
(beat) Almond. Another day in which my savor breathes into me the holy spirit that
sustains. To confess, I have been regrettably a bad boy lately. I’ve missed two sermons
within the past week and seek some alternative release in the daytime before services
tonight. The beast must feast, so to speak. (beat) Oh, so, the reason I’m staring at this
light is because I like to draw the little colored squiggles that appear in your eyes when
the lights go on and off. Yeah.
Ben clicks off the light in the dark room.
Sc. 45
One hears equipment being loaded into a van, the clangs, scrapes, etc. One hears doors being
closed. One hears the engine start up and the car pull off. Ben is seen standing in front of a door.
Ben knocks multiple times waiting for answer but none is heard.
Sc. 46
Ben returns to the driver's seat of the van, puts on glasses, adjusts his mirrors, and lights up a
cigarette. Eventually a kid passes the van on the sidewalk. Ben pulls off slowly following the boy
for a block. Ben pulls over and gets out approaching the storefront the boy entered. Ben peeps
through the window jotting down notes in a small notepad. Ben finishes taking notes and returns
to his vehicle. Ben fidgets with radio.
Sc. 47
The van is seen in front of an electronics store. Ben gets out of the van and enters the store. Ben
circles the store procuring and examining a number of items. Ben does his best to be
inconspicuous but is soon approached by a store employee.
Employee: Can I help you sir?
Ben: ..I don’t know, can you (sternly)? (beat, laughs) Hah, yes of course you can help me.
You don’t have headsets without bluetooth do you?
Employee: Umm, yes, we have some of the regular wireless sets right there.
Ben: Ah, thanks.
Employee: That’s a lot of stuff you got there.
Ben: Uh, this, yeah, I like to record stuff so better safe than sorry.
Employee: Yeah, I like those earpieces too.
Ben: Oh, really? (beat) Yeah, I don’t see to good either.
Employee: Can I get you ringed up...?
Ben: Ben, Ben Denneheys (beat) Thank you kindly.
G. Givens (Copyright 20142016. All Rights Reserved) 16
17.
The Employee rings up Ben and he exits the store.
Sc. 48
The van is seen outside a department store. Ben stands outside the car leaning up against it
smoking a cigarette. Ben finishes the cigarette as the nearby area is detailed, Ben, flicks the
cigarette.
Sc. 49
Ben is seen on the massage table in the dimly lit room. The hands slowly massage the recently
strained knees as the scene builds; calmly fading from black to white.
Sc. 50
The face of a store mannequin is seen under bright lights of a store. Sounds of the store are heard
along with melodies of contemporary easy listening. Ben is seen staring blankly at the
mannequin. Ben, once again, soon approached by staff.
Employee: Can I help you sir?
Ben: How much?
Employee: For?
Ben: This.
Employee: The mannequin?
Ben: No, the red cardigan. (beat) Yes, the mannequin.
Employee: But, why?
Ben: (sternly) ..Because, (beat) I need it.
Employee: I’m sorry, I don’t think we’re allowed to sell these.
Ben: What if I buy the cardigan, no, what if I bought three cardigans? Then I could just
wrastle the figure on out of here.
Employee: (laughs) I don’t know.
Ben: C’mon, I promise it’s going to a good home (smiles).
Employee: Oh, alright. Just do it before my manager gets back. I checked out a while
ago, and plus, I steal the discount shoes anyway (adlib).
Ben gathers the figure, and sweaters, and exits the store. Black.
Sc. 51
One sees the van parked on the street at night. Ben gets of the car as he flicks a cigarette to the
ground, he hums “Do a dear, a female deer, Re…”. One hears equipment being unloaded from
the trunk, the van doors. One hears the equipment being set up with various electronic beeps,
(mics, speakers etc.) filling the rest of the space.
G. Givens (Copyright 20142016. All Rights Reserved) 17
18.
Sc. 52
Ben: (voiceover, adlib) .. why don’t you look at me when I rub your stomach, when I
blow on it, blow raspberries all over your belly, Why don’t you laugh like you used to
when I did that? (beat) What happened?! In the name of christ why reject me like this...
(Ben continues to ramble adlib)
One sees Ben face to face with the store mannequin in the basement.
Ben: (rambles continue) ..eat your applesauce! finish your fucking applesauce in the
name of jesus fucking christ!
Ben collapses onto the ground and begins to sob uncontrollably.
Sc. 53
Suddenly Ben spritely hops to his feet and approaches a microphone on a small spotlit stage. One
sees a small crowd gathered in attendance laughing uproariously.
Ben: ... (adlib) ..And that’s when the water works start to begin and the lonely recluse
starts to go all batshit crazy (adlib).
One sees the mannequin and Ben side by side on the stage.
Ben: … (adlib) ..the dude starts taking up weird hobbies like tailoring and squat cobbling
(adlib, beat) No, but, I got this freaking mannequin from a department store earlier. Yeah, no,
that’s not a little unusual just to have in your living room, like unless you’re on project runway
or some shit. But it looks like my time is up tonight, you guys have been awesome, thank you so
much. Praise T.J. Miller I’m out of here.
The crowd applauds Ben as he exits the stage.
Sc. 54
Ben exits the stage door and begins to light up a cigarette humming “Do Re Mi..” again. Dela
can be seen uncomfortably laying up against the building wall.
Ben: Hey, you okay?
Dela ignores Ben.
Ben: Hey, you hear me?
Ben waits for a response, takes a drag.
G. Givens (Copyright 20142016. All Rights Reserved) 18
19. Ben: Want a bogey?
Dela looks up. Ben walks over, bends down, gives Dela a cigarette, and lights it up. The two sit
smoking in silence for a few moments. Ben finishes his cigarette.
Sc. 55
Ben: You need a ride home?
Dela: No (beat) thanks.
Ben: Are you sure? This isn’t the best place to be late at night.
Dela: (laughs) .. I usually do okay.
Ben: … Oh (beat) oh!
Dela: You don’t say much, I like that.
Dela gets up and begins to head down the street. Ben follows.
Ben: Wait, where you from?
Dela: I don’t know. Wherever they tell me that day.
Ben: Wherever who tells you?
Dela: Sometimes I think I’m from a different planet.
Ben: I know what you mean, sometimes we all do.
Dela: You’ve been sent here haven’t you?
Ben: Um, no?
Dela: To take me away? I’ve been waiting. They laughed at me but I knew it would
happen.
Ben: … I do wanna help you but you look hurt.
Dela: Hurt, no I’m not hurt. I’m ready to go now.
Ben: (reluctantly) … Okay, follow me.
DELA
Sc. 56
One hears medical machines beeping, buzzing, etc. One sees the the white walls of a hospital
room and Dela laying in bed. A hospital staff member enters the room and takes Dela’s vitals,
checks her lungs, blood pressure etc., finishes and exits. Dela lays motionless as a closeup of her
face is detailed, she appears heavily sedated. Voices of other patients and staff members drone
throughout the corridor, soft flicker.
Sc. 57
A voice is overheard as Dela is seen slouching, struggling to sit up, in a chair.
Staff member: What is your date of birth? (beat) What is your height? (beat) What is your
weight? (beat) What have you eaten in the past twenty four hours? (beat) What
G. Givens (Copyright 20142016. All Rights Reserved) 19
20. prescription medications are you taking? (beat) Are you allergic to any medications that
you are aware of? (beat) Do you have thoughts of hurting yourself? (beat) Do you have
thoughts of hurting others? (beat) Are you anxious? (beat) Are you depressed? etc.
Dela fades in and out of lucidity as the staff members addresses her, soft flicker.
Sc. 58
A group of patients, including Dela, is seen sitting around a table with a social worker.
Social worker: Hello, good morning everyone. Thank you for coming. Before we start the
community meeting today I just wanna take a quick attendance.
Social worker quickly jots down attendance.
Social worker: Great, okay. So how is everyone? Good? (beat) Good. Now I’m gonna
pass around todays schedule along with a short passage I’d like us to read aloud.
The group passses around and gathers the documents.
Social worker: Okay, so now before we do the reading you know the drill, goals and
personal status report for the morning. Who wants to start?
No one from the group volunteers. Moments of silence go by.
Social worker: … Anyone? (beat) Or I’ll just choose.
A few more moments of silence go by.
Social worker: … Okay, (beat) Olga, you first.
One sees a young woman, Olga.
Olga: Okay, this morning I am a five, and, umm, my goal for the day, umm, (beat) my
goal for the day is to meet with the doctor and figure out when I’m going home, she said
it might be this weekend. Which would be nice because my daughter has a dance recital.
Social worker: Oh, that’s really nice. Hopefully we can help you with that. (beat) And
what do you think you’ll have to do to make that happen?
Olga: Well, just keep taking my meds, going to community meetings, and praying.
Social worker: Okay, good. Really good. Who’s next?
The social worker looks around the table.
Social worker: … No one? (beat) Okay, Julie?
G. Givens (Copyright 20142016. All Rights Reserved) 20
21. One sees a young woman, Julie.
Julie: This morning I’m a seven and my goal for the day is to work on my release with
the doctor and stay mindful.
Social worker: And, how do you plan on accomplishing those goals?
Julie: By working out during gym time and continuing to read the book that I started.
Social worker: Good, thank you. Who’s next?
An older woman raises her hand.
Ruby: Hi, good morning my name is Ruby. I am about a six this morning and my goal for
the day is to reflect on my actions that got me back in here again and to work on my
release.
Social worker: And how do you plan on doing that?
Ruby: Well, I’ll continue to go to all the activities, take a shower, brush my teeth, eat at
meal times, call my family, ya know?
Social worker: Good, very good, thank you.
Ruby: Welcome.
Social worker: Dela, how about you?
Dela sits up in her chair.
Social worker: … You’re being released today, how does that feel?
Dela: Good, I guess.
Social worker: You guess? You’re not glad to go home?
Dela: I am, it’s just..
Social worker: It’s just what?
Dela: I don’t know. You ever feel like everywhere you go it’s all the same? Everything
looks, sounds, and feels the same?
Social worker: I suppose. You mean like deja vu?
Dela: No. Different than that, not surreal or disorienting. It’s like the world is all the
same, pace, rhythm, sound.
Social worker: Let me ask you a question. What does “the grass is always greener on the
other side” mean to you?
Dela stares at the social worker.
Social worker: Well?
Dela: I don’t know. (beat) That things get better when they get better.
Social worker: Okay. So don’t you find some comfort in that?
Dela: Find comfort in what?
Social worker: That things eventually get better?
Dela: No, no, I don’t. The monotony always creeps in and continues to paralyze the
spaces of here and there, the then and now.
Social worker: I’m sorry you choose to feel that way.
G. Givens (Copyright 20142016. All Rights Reserved) 21
22. Dela: You’re sorry I choose to feel that way?
Social worker: You are in some desperate need of faith.
Dela takes a deep breath and sighs it out, soft flicker.
Sc. 59
One sees flickers of the sun and the urban streets, porches, etc. Dela sits on the stoop cladly
dressed playing checkers with herself and reading books.
Dela: (voiceover): … (adlib) The mass enforced social delusion of good and bad.
Moreover, their main product? A centric ideology of sanity, sane and insane, sick and
unsick. A grand spell cast over you. A spell that consumes the consumer within and
indoctrinates the vicissitudes of your evolutionary physiological motives (beat) No one is
perfect, I learned that from an early age. (beat) Then, as I got older, things only became
more complicated.
One sees various men of all ages approach, or talk, to Dela as they pass by. Occasionally Dela
ducks down the alley or gets into the car with the man accosting her. The processes are repeated
over and over again until it starts to get dark.
Sc. 60
Dela gathers herself from a car and begins to walk up the street. She comes to a crosswalk with a
streetlight above it and pauses for a moment. She continues to walk until she comes across a
backpack on the sidewalk, she bends over to pick it up and looks inside. Just as she begins to put
the bag down she hears a voice from behind her.
Man: Don’t move, do not move!
Dela freezes, kneels on the ground. The man kneels along with Dela and puts his hand over her
mouth
Man: Where’s your money?!
Dela: In my shirt.
The man reaches into her shirt and retrieves Dela’s earnings.
Man: Lay on the ground, keeps your hands on your head.
Dela complies.
Man: Don’t move or get up for five minutes or I’ll shoot you.
G. Givens (Copyright 20142016. All Rights Reserved) 22
23. The man takes the money and runs. Dela remains face down on the ground. After a few moments
she rolls over onto her back. She closes her eyes and takes a deep breath then sighs it out. Black.
Sc. 61
Dela awakens in the dimly lit massage room. Her lower back, buttocks, and thighs are massaged
by Mannie along to orchestrations.
Sc. 62
One sees Dela exit the dark room and enter a lobby area. One sees a hand enter to give Dela a
cup of water, the voice of the woman, Mannie, speaks.
Mannie: Here you go (beat) How do you feel?
Dela: Unbelievable, thank you so much.
Dela takes the cup of water, drinks it. One sees Mannie’s face.
Mannie: Hopefully I’ve helped you release some tension you were holding onto.
Dela: Definitely (beat) I feel enormously better, I didn’t want it to end.
Mannie: Well your tissue and body responded well once we got going. You are so young,
please do not take it for granted, respect yourself.
Dela: Thank you (beat) I will.
Mannie: Come back to see me anytime, no matter what you need.
Dela: I will, thank you so much.
Mannie: Be well dear. Goodbye.
Dela exits the studio as Mannie remains inside. She puts away her materials, carefully washes
her hands, and closes up the shop, exits.
MANNIE
Sc. 63
One sees Mannie return home and set down her belongings. Mannie puts lotion on her hands,
rolls out a yoga mat, and sprays some aromatherapy oil into the air. Mannie slowly gets down on
all fours and begins to slowly circle her hips around, side to side, and back and forth. She takes a
long child’s pose eventually stretching her arms out behind her and clasping them together. She
releases the bind of the arms and pushes up into a plank holding for a few moments. Mannie then
executes multiple pushups, alternating the tapping of opposite knee to opposite elbow, often
extending the leg. Mannie planks to runner's lunge twist on both sides. And, picks up the lunging
foot bailing out into a one footed chaturanga pushup on both sides. Mannie finishes with an
upward facing dog into a downward facing dog. Mannie repeats the sun salutation as the scene
soft flickers to black.
G. Givens (Copyright 20142016. All Rights Reserved) 23
24.
Sc. 64
Mannie: (voiceover) … It is always good to start the morning sitting, especially with
music, eyes opened or closed is fine, but eyes nevertheless remain in a fixed place. Allow
the space created to settle, slow down, don't be hurried, get in touch with what is here,
what is now. When done correctly Sounds can be felt. Keep focus within the breath and
heart center, allow the breath to come slowly, naturally. Breath into the sound of silence
and rest there, relax, relax. Hear the balance creeping in? Read books. What kinds? All
kinds! Get them and take time out to apply them to life. Read a section and just sit, hell,
have a cup of tea or coffee, smoke a joint, I don’t care. Do whatever you must to
enlighten mindfulness and actualize actualization.
Sc. 65
One sees Mannie slowly awake in bed with a cat at her side. Mannie cuddles the cat for a few
moments before getting out of bed. Mannie pours her cat some food and makes herself breakfast.
As Mannie sits and begins to eat one hears a commotion coming from the neighbor's apartment.
The voices are muffled but one can certainly decipher yelling between a man and a woman. A
loud crash is heard. Mannie quickly gets up, rushing out her place, and over to her neighbors
frantically knocking on the door. Mannie calls out to the couple inside but is ignored as the
argument escalates. Mannie looks around puzzled but soon returns to her apartment and grabs
her phone, soft flicker.
Sc. 66
One sees Mannie and a police officer walking in the hallway of her building.
Mannie: Yes, the place is right here.
Police officer: Okay, I see. And you said there was no response?
Mannie: No, like I said, they didn’t answer when they were yelling and fighting, and they
didn’t answer once the shouting stopped. Something happened.
Police officer: You don’t know that. They may have made up and went to bed. I see it all
the time.
Mannie: I don’t think so.
The police officer firmly knocks three times and calls out to the inhabitants. No response. Again,
the police officer firmly knocks three times once again calling out. Again, no response. The
police officer shoots Mannie a look.
Police officer: Look, there’s not much I can do. you were the only complainant and the
noise disturbance has stopped. What more do you want?
Mannie: Some peace of mind to know that my neighbor isn’t hurt?
Police officer: I understand but what else can I do? People have rights.
Mannie: Please just wait a little longer?
Police officer: At this hour? I’ve got a beat to watch.
G. Givens (Copyright 20142016. All Rights Reserved) 24
25. Mannie: Please?
Police officer: I’ve done all I can here, I’m the key to nothing. (beat) Now, if you don’t
mind ma'am I’ll be exiting the premises. Good day.
The police officer walks down the hallway leaving Mannie standing alone. She looks around and
slowly reenters her apartment.
Sc. 67
Mannie: (voiceover) … We all have crutches (beat) Some of us are just more open about.
Mannie is seen exiting the massage studio and walking up the street. Mannie eventually comes to
a department store. Mannie is seen rifling through the discount shoe racks. Eventually she
approached by a store employee.
Employee: Hello ma’am, can I help you?
Mannie: Um, no thank you. I’m just browsing.
Employee: (beat) … Are you sure, I’m like really amazing at shoes, they’re kinda my
thing, second only to my bass recorder playing (adlib).
Mannie: (beat) … No, no, I’m alright. Thanks.
The employee hovers for a few moments and then distressfully exits.
Sc. 68
Mannie continues to look through the racks. She finds a pair she likes and sits down on a nearby
bench to try them on. As she’s nearly done with putting on the pair of shoes one can see the
employee hovering over Mannie in the background. Bending down meeting Mannie at eye level
the employee pulls out a pair of boots from behind his back. Mannie eventually notices the
employee and subtly jumps with surprise of the overshadowing figure.
Mannie: (gasps) .. Oh mylanta!
Employee: Now, these boots right here? (beat) I guessed your shoe size, I’m usually right
(adlib) now let’s take those off..
Mannie: Woah, woah buddy do you not understand what no means?
Employee: (sheepishly) ..No, yeah, I do (beat) It’s just I’m really passionate of shoes.
Mannie: I see.
Employee: Sorry to bother you, let me know if you need anything.
Mannie: Thank you.
Mannie gathers the new pair of shoes, pays for them, then exits the store.
Sc. 69
One sees Mannie laying around watching tv. Restlessness seems to grow quickly provoking
Mannie to get up off the couch and slowly pace. She sits crossed legged on the floor staring at
G. Givens (Copyright 20142016. All Rights Reserved) 25
26. the tv. Eventually Mannie picks up her phone and texts a person. The contact is displayed as
“Batman” and the message reads “Gotham needs you”. A few moments go by and soon
Mannie’s phone vibrates, the text reads “15 minutes”. Mannie gathers her keys, purse etc. and
exits her place.
Sc. 70
Mannie is seen walking down the sidewalk, stopping at a nearby atm, and eventually
approaching a house. As Mannie begins to raise her hand to knock on the door someone opens
the door and exits.
Person: Woah, hey, my bad (adlib)
Mannie does her best to sidestep the man remaining at the door pane. Mannie calls inside.
Mannie: Hello?
Guy: Come on in (adlib).
Mannie enters the residence to find a young man and a few friends sitting around.
Guy: Hey , how you doin’ mama?
Mannie: Fine, yourself?
Guy: Oh, alright, alright, been better (beat) Say, mama, what is this I hear about you and
Hector getting into it and shoving off on each other.
Mannie: It’s not like that.
Mannie reaches her hand with money, Guy shoots Mannie a look, then proceeds to hand her the
sack.
Mannie: Thanks. See ya next time.
Guy: Sooner if you take me up on my offer.
Mannie waves goodbye to the guys and exits the house.
Sc. 71
Mannie is seen walking down the sidewalk as she comes upon a church. Music can heard coming
from inside, Mannie investigates. Mannie walks inside to find a small church choir singing, led
by a conductor, at the front of the lector. The choir sings a classical hymn but soon transitions
into a fast tempo gospel number. At this point Mannie looks around and quickly sits to observe
the choir rehearsal. Mannie begins to clap along to the beat as the number continues. The number
concludes as Mannie stands and applauds the performance. The group begins to chat and move
around amongst themselves, eventually dispersing. The choir director notices Mannie and
approaches her.
G. Givens (Copyright 20142016. All Rights Reserved) 26
27. Sc. 72
Choir director: Thank you for your applause (beat) We don’t get much of that anymore.
Mannie: You’re welcome.
Choir director: You from around here?
Mannie: Um, yes, I live relatively nearby.
Choir director: Then how come I haven't seen you before?
Mannie: Well, I’m busy, usually at work, and I’m not very religious.
Choir director: No reason not to come to church.
Mannie: Wouldn't that be the only reason to?
Choir director: Not necessarily, some people come here cuz they ain’t got no other place
to go and cuz it makes em’ feel good (beat) Nothing wrong with that now.
Mannie: (beat) … I guess not.
Choir director: (beat) … So, you sing?
Mannie: (laughs) Well, in the shower, but not in public.
Choir director: Ah, that’s a shame. Entrap a gift like that, never giving it a chance to
grow, never letting it see the light of day.
Mannie: I guess I’m too old to care about retaining tricks (laughs)
Choir director: You are never too old or young to do anything (beat) the hour dims,
goodnight to you ma’am.
Mannie: Thank you. Goodnight.
Mannie remains in the church observing the architecture, soft flicker, black.
Sc. 73
One sees Mannie in her apartment on her yoga mat sitting crossed legged. She extends her legs
out in front of her and forward folds, holding for a few moments. She retracts her legs hugging
them into her body curling up in a ball, slowly beginning to roll back and forth until she gains
enough momentum to come to her feet. Mannie stands tall in mountain hands at heart center
strongly breathing for many moments.
Mannie: (voiceover): … a deep connection with oneself, the physical body, and the
universe around requires a great deal of harnessed intellect. It is essential to understand
that all physical materiality is equal and an intricate relative to all habitats. Evolutionary
senses such as sight, speech, smell, etc. are all means of differentiating between oneself
and an explicit “Other”. One must use their intellect to stray away from inherently
calculating differences in subjectobject relations with regards to competition. Instead, it
would be significant to recognize that all means of communication and expression, no
matter how small, are vital to the cultivation of human “spirit”. “Spirit” is not an external
metaphysical power beyond human comprehension. “Spirit” is a manmade device, or
concept, whose function is to help humans cope with their immortality (beat)
Nevertheless, many would argue that this ephemeral quality of human creation leaves
traces of a kind of “fingerprint of the spirit”. Theses “fingerprints” are all over our texts,
drawings, paintings, films, clothes, food, culture, the list goes on and on. Where will
technology print its fingers next? Unlimited opportunities await even for the poorest of
G. Givens (Copyright 20142016. All Rights Reserved) 27
28. millennials. Yes, there are moments where these fingerprints are quite apparent in
emerging artists work. Yet, the works, like pieces of meat, are slaughtered by the
subjectivity of the trending commodity market (beat) That’s why I like to work with my
hands, I know what they are worth and so do my clients.
Mannie lifts into tree, holding for many moments, on both sides. Mannie then extends into king
dancer on both sides. Then, finally, Mannie enters into eagle pose on both sides for many
moments, soft flicker, black.
Sc. 74
One sees the massage room dimly lit. Mannie is seen washing her hands and rubbing lotion on
them. Mannie changes the linens and sheets of the table and adjusts the face ring. She exits the
room leaving the door open, the light of the hallway peers into the dim room.
Black.
Fin.
G. Givens (Copyright 20142016. All Rights Reserved) 28
30. DELA
Dela
Nurse
Doctor
Social worker
Olga
Julie
Ruby
Extras (10+)
Man
Mannie
MANNIE
Mannie
Cat
Man (voice)
Woman (voice)
Police officer
Employee
Guy
Extras (3+)
Choir (10+)
Choir director
Prop/Set piece list
Sc. 2; Various mirrors, paintings, candles.
Sc. 4; Abraham Lincoln “Four score and seven beers ago” poster.
Sc. 6; Taye’s hearing cone (first appearance).
Sc. 7; Two long jump ropes, small axe, logs.
Sc. 9; Washing machine, record player, skillet and spatula.
Sc. 12; Pizza and paper plates.
Sc. 14 & 15; Backpack
Sc. 21; Van, cigarettes.
Sc. 22; Basketball
Sc. 24; Paperwork.
Sc. 29; Television, remote control, desktop computer, keyboard, two monitors, microphone.
Sc. 31; Flashlight.
Sc. 32; Munson’s gear box (first appearance).
Sc. 35; Camera phone.
Sc. 37; “Love Dog Most Of All” sign, ladder.
Sc. 38; Toothbrush.
Sc. 42; Vigil, duct tape, gum, newspaper articles
G. Givens (Copyright 20142016. All Rights Reserved) 30
31. Sc. 43; (previous items), hamster, cage with exercise wheel and water spout, easel with paints
and paint brushes.
Sc. 44; Van, cigarettes.
Sc. 45; Van, audio/stage equipment.
Sc. 46; Van, cigs, notepad and pen.
Sc. 48; Van, cigs.
Sc. 50 & 52; Mannequin.
Sc. 53; Mannequin and microphone.
Sc. 54; Cigs.
Sc. 56; Stethoscope, blood pressure strap.
Sc. 57; Computer, chair.
Sc. 58; Table and chairs, papers.
Sc. 59; Checker board and book.
Sc. 62; Cup of water.
Sc. 63; Yoga mat, aromatherapy oil.
Sc. 65; Cat, breakfast pans, plates, food etc.
Sc. 68; Boots.
Sc. 69; Phone.
Sc. 70; Money, bag of weed.
Sc. 73; Yoga mat.
Sc. 74; Sheets and linens.
G. Givens (Copyright 20142016. All Rights Reserved) 31
