Layla Acts

LAYLA ACTS
Written by
Zach Retort
2611 Winchester Drive
412-327-7341

FADE IN:
TITLES UP
INT. O’REILLY THEATER - DAY
CLOSE UP on LAYLA, 26, who stands confidently on a stage.
LAYLA
What are you doing? Why now of all
the times do you want to stop? This
was our biggest show to date. Look,
we started off rocky; but there we
were and now here we are. All
thanks to you. I would be nothing
without you. Look, I mean, if you
want to quit performing; then
fucking do it. But, there is one
thing you should know. You have an
obligation to yourself to continue
on. If you quit, a little red
light's gonna flash up inside your
brain. It'll blink and blink and
blink. In the not so distant
future, you will look back at this
right here and realize you wasted
it. Whatever you want to call it. A
dream, a goal, ambition. All
because of some menial bullshit.
That's when your light's gonna
blink.
PULL BACK to see a half empty theater. Specs of ACTORS and
ACTRESSES sit in some of the empty seats. Up front is the
DIRECTOR, 60, PRODUCER, and CASTING DIRECTOR.
The director waves Layla off the stage. They meet after she
comes off stage.
DIRECTOR
Good job.
LAYLA
Thanks.
DIRECTOR
What’s your availability?
LAYLA
My work schedule is chaos.
DIRECTOR
Rehearsals start in a few weeks.

Layla knows the drill.
LAYLA
Do you want me for a callback?
DIRECTOR
We’ll let you know.
Layla shakes the director’s hand. She heads back to her seat,
grabs her bookbag and skateboard, exits the theater.
EXT. O’REILLY THEATER - AFTERNOON
Layla makes her way outside the theater. She places her board
down. The board is damaged from years of abuse. She skates
down the street.
EXT. CITY STREET - AFTERNOON
Layla continues to skate down the street.
EXT. PITCHER PARK SKATE PARK - AFTERNOON - LATER
A large skatepark. Layla skates in a pool. After a beat she
comes out of the bowl. She sits down to catch her breath. Her
cell phone RINGS. She looks at the caller ID.
LAYLA
(answering call)
Oh! Hey.
(Pause)
I’m on my way home, why?
(Pause)
Dinner?
Layla wags her ring finger in a ‘no-no,’ motion to herself.
LAYLA (CONT’D)
I’m not hungry.
(Pause)
Just my presence? Listen, my
presence is a present, that I don’t
waste on just anybody. Of all the
fucking people, you should know
that.
(Pause; stomach churning.)
Knock it down to a coffee and
maybe.
(A beat.)
See you later.
2.

Layla angrily ends the call.
INT. RESTAURANT - NIGHT
A bustling restaurant. A healthy number of PATRONS pack the
entrance/bar as Layla enters. Layla looks around, and spots
IAN, mid-twenties, sitting in a booth. She walks over to him.
Ian sees Layla as she approaches.
IAN
(rising up)
Hey.
LAYLA
(quietly)
Hi.
Layla sits down.
IAN
(sitting down)
How have you been?
Layla does a ‘so-so,’ motion with her hand.
IAN (CONT’D)
That’s all.
Layla shakes her head in the affirmative.
IAN (CONT’D)
Still want a coffee?
LAYLA
The Irish version.
Ian raises his hand. A beat; then a WAITER approaches them.
WAITER
Ready to order?
IAN
Yep. Layla?
LAYLA
Just a coffee and a glass of Wild
Turkey; straight up.
The waiter writes down Layla’s order on his pad.
WAITER
(to Ian)
For you, sir?
3.

IAN
A gin and tonic.
The waiter takes note of Ian’s order; leaves.
IAN (CONT’D)
Three years since I’ve last seen
you.
LAYLA
Was hoping it was longer than that.
IAN
(ignoring)
What’s been keeping your attention?
LAYLA
Nothing in particular.
IAN
Boyfriend?
LAYLA
None. You?
IAN
Not my flavor.
LAYLA
Yeah. Stay in denial. I remember
all the times you fucked me up the
ass. You are always going to be the
biggest pain in my ass.
Ouch. Ian tries to speak; but, The waiter returns with
Layla’s and Ian’s drink orders. He places them down and then
leaves.
Layla mixes her coffee with a liberal amount of cream and
sugar. Then she dumps her mug of coffee into her tumbler. She
stirs; drinks.
IAN
(sensing the room)
Let’s take this sad song and make
it better.
Silence. Layla plays with her mug.
Ian reaches under the table. He pulls out a vinyl album and
takes out what looks like a stack of papers stapled together.
4.

IAN (CONT’D)
(hands record over to
Layla)
Your favorite album. I don’t listen
to her, so I thought I would return
it.
Layla grabs the record. She looks the record over in awe. We
see the record more clearly. It’s the album “I NEVER LEARN,”
by the Swedish singer Lykke Li. She glances; quickly hides
the record.
LAYLA
(smartly)
Starting to become a humanitarian?
IAN
Nothings for certain.
(beat)
I’m still a writer.
LAYLA
And an asshole.
IAN
(playing along)
I prefer the term douchebag.
LAYLA
Agree to disagree.
Layla finishes her drink.
IAN
(off Layla’s cup)
Another?
LAYLA
No.
The waiter returns.
WAITER
Do you guys want refills?
IAN
(to Layla and waiter)
Please.
WAITER
Okay.
(to Layla)
How about you?
5.

LAYLA
(off Ian)
Water, please.
The waiter leaves.
IAN
Over a period of time, I got a
chance to reflect on us.
(beat)
During our time together, there
were things that I wanted to tell
you. After you were gone, there was
a million more words left unsaid.
Most of what I wanted to say I
wrote down.
Ian pushes the play towards Layla. The title page reads
‘Younger Us.’ Layla stares at the title page.
LAYLA
Out of all those words, was I’m
sorry, two of them?
IAN
(avoiding the question)
One day, it sprawled out of me in
the form of a play. I kept writing
and writing until it was finished.
(down to business)
There is a character I based off of
you.
Layla is at attention.
LAYLA
Positive or negative?
IAN
An approbatory characterization of
you.
Layla eyes Ian curiously.
IAN (CONT’D)
The character’s name is “Petra.”
Writing ‘Petra,’ was my way of
thanking you. That sounds like I’m
flicking your bean, but it’s true.
LAYLA
You didn’t do much of that when we
were together.
6.

Ian deflects another blow.
IAN
I wrote this character for you.
That’s why I want you to read it. I
want you to play the part. I took
all your positive aspects and put
them into ‘Petra.’
LAYLA
Is it the lead?
IAN
‘Petra,’ is a supporting character.
She’s the type of character that
comes in Act II. A total game
changer type. Act I is a slow
buildup towards the moment; when
your character ‘Petra,’ appears on
the scene.
LAYLA
That’s all well and good, but, I
have a callback for the lead at the
O’Reilly.
IAN
Congrats and salutations. This is a
more important role for you. My
play is already been set up.
LAYLA
Bullshit!
IAN
Truth.
LAYLA
Is a word that you never use.
IAN
(beat)
A producer, a theater, a cast has
been selected. The lead actress has
been cast.
LAYLA
Who is she?
IAN
An old friend. The cards were in my
favor with this chick. She had just
wrapped in a local indie film.
Forget her.
7.
(MORE)

Put her out of your mind. There is
no one else that I want for the
part of Petra; except you. This is
more right for you. An actress like
you comes around, once every
generation. Think of Jessica Lange,
Meryl Streep, Betty Davis, do you
know what I mean?! There's
something about you. Call it a
spark of genius, madness, whatever.
You've got it. You are one of the
greatest actresses in the world
right now.
Ian pushes the play closer towards Layla.
IAN (CONT’D)
You have an obligation to yourself
to be in this play.
Ian looks at Layla with determined eyes. Layla can sense Ian
is dead serious.
LAYLA
Don’t act like you are doing me
some grand favor.
IAN
It’s not a favor. More of a
request. This isn’t about us, or
me. It’s about you.
(taps finger on top of the
play.)
Let this be seen as a long worded
apology.
Layla is in complete shock. She stares at him...
IAN (CONT’D)
Rehearsals start in a week. We are
at the Off The Wall Theater Space.
If you get the part at O’Reilly,
and you want to take it, knock that
bastard out of the park. In which
case, goodbye and good luck. Now,
if you want to be in my play, you
know where to find me. I’m really
hoping for the latter.
Ian exits.
Layla picks up her stuff and Ian’s play; exits.
8.
IAN (CONT'D)

INT. LAYLA’S APARTMENT - NIGHT
Layla enters her apartment; puts down her stuff. Her
apartment is a barely furnished pad. Nothing in the living
room, except for a lone bean bag chair, a record player, two
medium sized speakers sit on either side of the record
player. Records rest against the wall.
She puts the Lykke Li record on the turntable, moves the
needle to the song “Silverline,” the song PLAYS. She slowly
dances to the record. The song reaches the second verse:
“Never let the darkness leave us. If you can't I'll be the
dreamer. Be the night and I will be your shining light.”
Tears start to form.
INT. TAXI CAB - AFTERNOON
Layla sits in a taxi as it is in motion. Her skateboard sits
next to her, and a messenger bag hangs down across her
shoulder. The cab with Layla inside pulls into an old
neighborhood. This neighborhood has seen better days. Most of
the houses look run down.
LAYLA
Here is good.
The cab stops.
EXT. LAYLA’S FAMILY HOUSE - AFTERNOON
Layla pays the cabbie; exits the taxi. She puts her board
down; skates. She skates down the street until she stops
outside a two story house. This is Layla’s childhood home. A
lot of cars are parked outside the house. She enters.
INT. LAYLA’S FAMILY HOME - CONTINUOUS
Layla closes the door behind her. LOUD VOICES fill the air.
Along with the sound of steam rising from pots and egg timers
RINGING.
O.S. The sound of footsteps are heard.
GRETA late 40’s, appears. This is Layla’s mother.
GRETA
(fiercely embraces Layla)
My boomba baby. I’m so glad that
you are home.
Layla awkwardly hugs back.
9.

LAYLA
(embarrassed)
Hey mom.
GRETA
How did you get here?
(looks and points at
Layla’s skateboard)
On that?
LAYLA
(looks at skateboard)
Nope. Took a cab.
GRETA
From downtown to here! Must have
cost a lot?
LAYLA
Wasn’t that much.
GRETA
Why didn’t you call? I would have
picked you up.
LAYLA
Forget about it. That thought
didn’t even cross my mind. Is
everyone out back?
GRETA
Yes. First before you mingle, I
need your assistance in the
kitchen. The man who I claim to be
your father is busy cooking, and
I’m his only helper.
LAYLA
Okay. What about the other smucks?
Don’t they all love to cook?
Greta gives Layla a look.
GRETA
Free beer and food. Their asses
aren’t moving.
LAYLA
(laughing)
Figures. What about Brie?
10.

GRETA
Taking care of the party.
(Pause)
Did you get anything for Johanna?
LAYLA
Me, myself, and I. The greatest
gift of all.
Greta shoots Layla a dirty look. Layla cracks a smile.
LAYLA (CONT’D)
(going into bag)
I got her this...
Layla takes out a new Barbie doll.
LAYLA (CONT’D)
I don’t know if she has this one or
not. Sorry, I forgot to wrap it.
GRETA
(lights up)
I don’t think she will care. How
much?
LAYLA
Fifteen plus tax.
GRETA
This and a cab. You shouldn’t have
spent that much.
LAYLA
She’s my only niece.
Greta looks fondly at Layla, then embraces Layla again. This
time her grip is a lot tighter.
GRETA
I’m glad your home.
LAYLA
Same here.
They let go.
LAYLA (CONT’D)
I’m going to drop my stuff off and
grab a bow.
GRETA
Make it quick.
11.

Layla does a faux military salute; exits.
INT. DINING ROOM/KITCHEN - DAY
Layla enters the kitchen. THOMAS, 52, stands over two boiling
pots. One pot contains cavaterria’s (a type of pasta).
Another pot contains bubbling tomato sauce. Thomas stirs each
of the pots. At the dining room table sits Greta. There is a
large group of potatoes. Some of the potatoes are peeled,
while some are not. A large metal bowl sits next to the
potatoes.
THOMAS
Marlene Dietrich is home!
Layla walks over to Thomas; hugs him. She goes to the stove
and stirs the sauce.
LAYLA
Home made?
THOMAS
Of course.
Layla takes a spoon, dips it into the sauce, eats it.
LAYLA
Not bad.
THOMAS
Needs more...
LAYLA
(smartly)
Tomatoes.
Thomas playfully grabs Layla’s cheek.
THOMAS
(jokingly)
Listen, here smart ass. You want
more tomatoes, go out and fucking
buy them.
LAYLA
The canned stuff is better.
THOMAS
That’s it you’re not eating.
LAYLA
Fine. I prefer Middle Eastern food
like fish couscous.
12.

THOMAS
Fuck is that?
Layla goes to answer...
GRETA
(to Layla)
Can you help me peel some spuds?
Making mashes potatoes.
(to Thomas)
Check on the chicken.
Thomas and Layla obey her orders.
EXT. BACKYARD - AFTERNOON
Greta, Thomas, and Layla enter the backyard. There is a
couple of picnic tables connected together in a long line.
Various FAMILY and FRIENDS line the tables. A bunch of little
KIDS run around. In the b.g. Various forms of MUSIC BLASTS.
The food is set down. Layla is hugged and embraced by various
COUSINS, UNCLES, and AUNTS. They ad-lib greetings between
each other. BRIE, 29, sees Layla and approaches her.
BRIE
Hey.
They embrace.
LAYLA
Hey.
BRIE
(takes in Layla’s
appearance)
Is this your new role, a starving
artist?
LAYLA
I’m playing dwarf whore.
They share a laugh.
LAYLA (CONT’D)
Where’s Jojo?
Brie leaves, returns with JOHANNA, 7, Layla’s niece.
LAYLA (CONT’D)
Jojo!
13.

Johanna sees Layla. She jumps up and runs over to her. Layla
gives Johanna a big hug.
LAYLA (CONT’D)
Happy birthday to you!
Johanna’s face lights up.
BRIE
(to Johanna)
Tell aunt Layla how old you are.
JOHANNA
Seven.
LAYLA
Wow. You are getting old. Can you
count to seven.
Johanna starts to count off of her fingers. She stops when
she puts seven fingers up.
LAYLA (CONT’D)
You’re awesome.
(puts Johanna down)
Go play. Your mom and I have to
talk.
Johanna pulls on Layla’s sleeve.
LAYLA (CONT’D)
Later I promise.
Johanna leaves.
BRIE
Haven’t seen you in awhile.
LAYLA
I know. Ages have passed.
BRIE
Do you still prefer both sausages
and oysters?
LAYLA
Yeah. I’ve given up on sausage. The
last one I had fucked me up pretty
good.
BRIE
(concerned)
When was this?
14.

LAYLA
Three years ago.
BRIE
Insides still bothering you?
LAYLA
More or less.
BRIE
Sorry to hear that. What about
oysters?
LAYLA
Still love them. I haven’t had them
in a long time.
BRIE
Emilia, right?
LAYLA
All through college. After her I
was back on the Atkins diet.
They share another laugh.
LATER.
Dinner is in full swing. On the table there is enough food to
feed an army. Various Italian dishes, chicken, roast beef,
bread, etc. All the various dishes are being passed down from
person to person, and table to table. Greta and Thomas sit at
one end of the table. Layla, Brie, and Johanna sit across
from them.
GRETA
(to Layla)
When is your Broadway debut?
LAYLA
Hopefully soon. I might have a call
back for a play at the O’Reilly
Theater.
GRETA
Like to hear that. What is the play
called?
LAYLA
“Hills Like White Elephants.” It’s
based off of a short story by
Ernest Hemingway.
15.

A few of the little kids get up; leave the table. They start
to play a game of tag.
GRETA
What is it about?
LAYLA
A couple who are lost in Spain.
GRETA
Interesting. Like “Lost in
Translation”?
LAYLA
Some what.
THOMAS
Guys?
LAYLA
Not at the moment.
BRIE
(jokingly)
Who would want to date an actress?
LAYLA
(playfully dramatic)
I’m undateable.
Brie and Layla laugh. Greta and Thomas join them.
Johanna gets off of her chair.
BRIE
Where are you going, honey pie?
JOHANNA
To play.
BRIE
Are you done?
Johanna shakes her head in the affirmative.
BRIE (CONT’D)
Go.
Johanna leaves. She goes over to play with the kids that are
already running around. The group watches her play. Johanna
chases after a couple of the little girls.
16.

GRETA
Let’s hope she doesn’t do that when
she’s older.
They all turn their attention towards Greta.
BRIE
If she’s still doing that, at least
I wont have to worry about grand
kids.
LAYLA
What if she adopts?
GRETA
I wouldn’t allow that.
BRIE
It’s not your choice.
GRETA
Maybe not, but, that is too weird
for kids to understand.
BRIE
As long as Johanna and her partner
are raising them right, what
difference does it make?
GRETA
Partner? What would they be
partners in?
LAYLA
The politically correct term is
mates.
Layla and Brie laugh.
GRETA
That’s even more repulsive. I go to
church every Sunday, and pray that
I never have one of those types in
my family.
Layla starts to squirm in her seat.
BRIE
She can love whoever she wants.
That’s my opinion.
GRETA
You’re setting a bad example.
17.

LAYLA
I disagree.
GRETA
Honey, you’re an actress. People
that you know, I wouldn’t associate
with. It’s understandable that you
have to work with them. I don’t.
LAYLA
Those people that you mention, are
some of the best people I know.
GRETA
They’re your friends. You have the
right to defend them.
BRIE
Can we stop. My daughter is
celebrating her birthday. We are
all here to enjoy that.
A silence descends upon the group. A song comes on that Brie
loves.
BRIE (CONT’D)
(to Layla)
Want to dance?
LAYLA
Buy me a drink first.
Brie picks up a full can of Pepsi, tosses it to Layla. Layla
catches it.
BRIE
Let’s go.
Layla and Brie get up and dance to the music.
EXT. BACKYARD - DUSK
The sun is slowly starting to go down. A large sheet cake
rests on the middle table. Seven candles are lit. The crowd
surrounds Johanna, who kneels on a chair. Brie sits next to
her.
BRIE
(to Johanna)
Blow out the candles and make a
wish.
18.

Johanna closes her eyes; blows out candles. The crowd ERUPTS.
Various people, including Layla SNAP pictures with their
phones and digital cameras.
INT. LAYLA’S CHILDHOOD BEDROOM - NIGHT
In her childhood bedroom sits Layla on her bed. She goes into
her messenger bag, takes out Ian’s play, starts to read. She
becomes engrossed in it. Layla’s childhood room is stark,
except for a few drawings and pictures of famous cities that
line the walls.
INT. HALLWAY/BRIE’S BEDROOM - EARLY MORNING
Layla exits her bedroom. She notices the Brie’s door is ajar,
reaches the door, opens it.
IN. BRIE’S BEDROOM - CONTINUOUS
Layla quietly pushes the door open. The light is on. Brie
sleeps in her bed, cellphone next to her. Layla can’t pass up
this golden opportunity. She creeps over to Brie’s bed, gets
up on bed, picks up one of the loose pillows. Layla slams the
pillow down like an executioner’s blade on to Brie’s head.
Brie wakes up.
BRIE
Asshole.
Brie kicks Layla’s leg. Layla collapses like a building on
top of Brie.
BRIE (CONT’D)
Get the fuck off of me!
Layla rolls over. A kicking match ensues between them. They
stop. Neither claim victory.
BRIE (CONT’D)
You saved me from texting you. I
thought you went home?
LAYLA
It’s late.
BRIE
(looks at phone)
Damn. Is it really almost two in
the morning?
19.

LAYLA
You went upstairs and napped after
everyone left.
BRIE
So I did.
(puts her hands out)
Join me.
Layla joins her sister.
BRIE (CONT’D)
Staying here tonight?
LAYLA
Might call a cab, work tomorrow.
BRIE
Dude, crash here. I’ll drive you
back into town in the morning on my
way to work.
LAYLA
Cool.
BRIE
She’s gotten worst. With the whole
“God Hates Fags,” speech.
LAYLA
Her salad days are gone. My
girlfriend will have to be referred
to as “My friend with benefits.”
BRIE
“Exclusive benefits.”
They share a laugh.
BRIE (CONT’D)
After I gave birth to Johanna, mom
did start to lean more right.
Becoming holier than thou.
LAYLA
Growing up Catholic does that to
you. No disrespect, but, you had a
kid out of wedlock. That is like
one of the cardinal sins in her
book.
20.

BRIE
What could I do, man? Truth be
told, she had me before her and dad
got married. They got married, and
I was there.
LAYLA
I know.
(beat)
Are you happy with Johanna?
BRIE
Why wouldn’t I be?
LAYLA
A woman your age. With a lot of
life left to live.
BRIE
(offended)
Perfectly content.
LAYLA
(assuring)
Dude, I’m just asking.
Awkward silence.
EXT. BOOKSTORE - AFTERNOON
Layla skates towards a medium sized bookstore. She has
headphones glued to her ears. Her messenger bag is attached
to her. MUFFLED MUSIC is heard. MALCOLM, 28, a laid back,
stoner type, stands outside the store smoking. They
acknowledge one another.
LAYLA
(taking off headphones)
Hey, can I bum one?
Malcolm hands Layla a cigarette and lights it for her. Layla
smokes.
MALCOLM
(jokingly)
That’s coming out of your paycheck?
LAYLA
I quit.
21.

MALCOLM
Good riddance.
(off Layla’s messenger
bag)
How was the Pavement reunion?
LAYLA
Better than the last Spoon concert
I went to. How was the My Morning
Jacket concert?
MALCOLM
Couldn’t have been better.
They laugh.
MALCOLM (CONT’D)
On a serious note, can you do me a
favor and watch the throne? I’m
grabbing brunch.
LAYLA
Pick me up a gyro.
MALCOLM
Fat ass.
Layla jokingly punches Malcolm.
LAYLA
Another cig for later?
Malcolm takes out another cigarette, hands it to Layla;
exits.
INT. BOOKSTORE - AFTERNOON - LATER
The bookstore is laid out like an old library from some
Catholic middle school. Layla sits behind the counter,
enthralled in a play called “How I Learned to Drive,” by
Paula Vogel. She finishes up her reading.
Layla takes out a lighter and cigarette. She exits the
bookstore.
EXT. BOOKSTORE - CONTINUOUS
Layla exits the bookstore. She stands next to the entrance,
places a cigarette in her mouth, smokes. Out of the corner of
her eye, Layla sees ROBIN, 24, a woman who wears a quiff. She
smokes a cigarette.
22.

They catch each other’s attention for a beat. Robin puts out
her cigarette and walks on.
Layla watches Robin as she goes. She finishes her cigarette
and reenters the bookstore.
Layla sits on her beanbag chair. Her phone rests next to her.
In the b.g. A punk rock record DESTROYS her apartment walls.
Her phone BINGS. She doesn’t hear it. After the song ends,
she picks up her phone.
There is a text message from Ian that reads “Rehearsals start
in two days.”
Layla puts her phone away.
EXT. OFF THE WALL THEATER SPACE - DUSK
As Layla is about to enter the theater space, when she spots
Robin sitting on the ground by herself next to the door.
ROBIN
(looking up)
Hi?
LAYLA
(nervously)
Hi?
Robin pats the ground next to her, and puts her hand out.
Layla eyes Robin’s hand. She slowly reaches out, grabs
Robin’s hand, sits down next to her.
They look at each other. Silence.
ROBIN
(breaking the tension)
Are you an actress?
LAYLA
(jokingly)
That’s a dumb question to ask. Why
would I be entering this theater
space then?
ROBIN
(laughing)
Because you’re awesome.
23.

LAYLA
I am awesome.
ROBIN
So, what’s your name, stranger?
LAYLA
Layla.
ROBIN
Robin.
(puts arms out)
I’m free as a bird.
Ian enters. He sees Robin and Layla.
IAN
(to Layla)
You’ve met the lead.
LAYLA
(to Robin)
Cool.
INT. OFF THE WALL THEATER SPACE - NIGHT
A couch is in the middle of the space. Layla and NOEL, 25,
sit on the couch not talking. Layla is stretched out on the
other end of the couch. A small table sits behind the couch.
It contains a bottle of “Jack Daniels.” Robin stands off to
the side of the “stage.”
Robin enters.
Noel pretends to pick up a remote and change channels. Layla
pretends to watch television.
Robin approaches the coach. She hits Layla to move her feet,
so that she can sit down.
Layla moves her feet. She places them on Robin’s lap.
NOEL
I’m going out.
Noel exits the scene.
Layla gets off the couch. She walks around the invisible
apartment, until she stops at the table. The table contains
the bottle of Jack Daniels.
24.

LAYLA
(to Noel)
All you have is Jack.
ROBIN
Affirmative.
LAYLA
No cups.
ROBIN
We’re drinking like bums then.
Layla sits down next to Robin. She pretends to turn off the
television with her invisible remote. She hands the bottle to
Robin.
Robin opens the bottle, takes a SWIG, passes the bottle to
Layla. Layla takes a SWIG from the bottle.
ROBIN (CONT’D)
Nobody tells the truth anymore.
Have you noticed that?
LAYLA
There’s a lot of things that I
don’t pay attention to. If people
tell the truth is one of them.
ROBIN
There’s something mentally wrong
with me. And I can’t talk to anyone
about it.
LAYLA
I knew that.
ROBIN
I’m serious.
LAYLA
I’m going to hold my tongue. What
is your mental problem?
ROBIN
Hunter.
LAYLA
We are about to fail the Bechdel
test.
25.

ROBIN
Dude. Seriously? You pick the best
moment to start your stand up
career.
LAYLA
Seemed like the best opportunity.
ROBIN
Fuck you.
Robin gets off the couch. She walks around the couch.
LAYLA
(turning around)
I’m sorry.
ROBIN
I don’t believe you.
LAYLA
(throws hands up)
I’m a liar. This proves your point.
ROBIN
Petra, I wouldn’t know what to do
even if I got a hold of him.
Layla kneels straight up on the couch.
LAYLA
Faye, find out where you two stand.
Text him, call him, send a carrier
pigeon. Just tell him. Any dude
with half a heart would tell you
the same thing I’m saying. Christ,
I remember when you two first met.
There and then I thought a priest
was going to walk out and perform a
wedding. It was the way that you
two looked at each other. You two
were and are the definition of
love. Hell, when people talk about
love, your names are always
mentioned.
ROBIN
That’s a tragedy.
LAYLA
Tragedy is inescapable. Love is
absolute.
26.

ROBIN
Saying I love you can also be a
tragedy. We as people always give
our hearts away too soon.
LAYLA
(with a curt smile)
Men do this more often then women.
IAN (O.S.)
Stop. That was great.
The rehearsal ends.
EXT. OFF THE WALL THEATER SPACE - NIGHT
Ian and some of the actors mingle about outside the theatre
space. Layla walks over to Ian.
IAN
You did good tonight, kid.
LAYLA
Kid?
Ian doesn’t respond; smiles.
LAYLA (CONT’D)
You owe me.
IAN
(impressed)
Got the makings of a prima donna.
Demanding shit all of a sudden.
LAYLA
You hurt my feelings.
(playfully pokes Ian’s
chest)
Praise me or I don’t come back.
IAN
I have to cave. There is no one
that can take your place.
LAYLA
God damn right.
They share a laugh.
27.

INT. IAN‘S BEDROOM - NIGHT
A small bedroom. A single light illuminates throughout the
room. A queen sized bed rests in the corner of this room. Ian
and Layla sit on Ian’s bed. Each have a bottle of beer in
their hand.
LAYLA
I need to adjust to this character.
IAN
It’s one rehearsal. Think of this
character as a new skin, or a
leather jacket could be a less
creepier way of putting it.
Layla finishes her beer.
IAN (CONT’D)
(off Layla’s bottle)
I got more alcohol.
LAYLA
You really do want to be a great
writer?
IAN
To be great, I need to kill my
liver. “Write drunk, edit sober.” A
great writer said that once.
LAYLA
And... he’s dead now.
IAN
All the best ones don’t live to die
a natural death.
Ian gets off the bed; exits.
LAYLA
I disagree. Raymond Carver made it
to be fifty.
IAN (O.S.)
He’s a joke. I hated the fact that
I had to read everything he wrote
in high school. This English
teacher I had was obsessed with
him. For my senior year of high
school, all I read was Raymond
Carver. Never forgave him for
picking up a pen. Should have stuck
with the bottle.
28.

LAYLA
Harsh, man.
Ian reenters with a bottle of gin and two glasses. He hands a
glass to Layla, and pours her half a glass.
LAYLA (CONT’D)
I like many of his works.
Ian tousles Layla’s hair, sits down, pours himself a glass.
He places the bottle on the table next to the couch.
IAN
(raising glass)
Cheers.
Layla follows Ian. They down their drinks
Ian refills his glass. Ian hands her the gin bottle. She
refills her glass and drinks.
There is a little gin remaining in the bottle. Ian finishes
it.
LAYLA
(playfully)
Asshole.
Ian stands up, leaves, comes back with another bottle of gin;
pours some in Layla’s glass. She drinks.
Ian fills up his glass and then downs his drink. He moves in
closer to Layla.
Silence.
Layla looks at Ian delicately. She caresses his face; then
she kisses him. Ian kisses back.
Their clothes lustfully come off. Ian and Layla start to have
sex. Layla lasciviously gets on top of Ian. After a few
beats, Layla grows disinterested in the sexual act; lies
down. Ian voluptuously continues on in the missionary
position. He comes, rolls off of Layla, exits the bedroom.
O.S. RUNNING WATER is heard.
Layla rolls over on to her side. She stares off into space
for a beat. She puts on her T-shirt, goes into her pants
pocket, and takes out a cigarette and a lighter. She lights
the cigarette and smokes.
Ian reenters.
29.

IAN
(to Layla)
Don’t do that.
Layla ignores him. She walks over to a closed window, opens
it; continues to smoke. She exits.
INT. BATHROOM - CONTINUOUS
A light CLICKS ON.
Layla appears in the mirror. She looks exhausted. She
examines her face, splashes water on her face, dries off;
exits the bathroom.
INT. IAN’S APARTMENT - NIGHT
Layla walks out into the living room. She is dressed. Ian
sits on his couch on his laptop. He doesn’t acknowledge
Layla. Layla stares at Ian for a beat. No response. She exits
the apartment.
INT. O’REILLY THEATER - DAY
A half empty theater. Specs of ACTORS and ACTRESSES sit in
some of the empty seats. Up front is a DIRECTOR, PRODUCER,
and CASTING AGENT.
On stage is Layla and SAM, 27. There is a bar in the middle
of the stage, with two stools in front of it. They start the
scene.
SAM
It's really an awfully simple
operation, Jig. It's actually not
really an operation at all.
Layla looks down to the ground.
LAYLA
(looks back at Sam)
Then what?
SAM
We'll be fine afterwards. Just like
we were before.
Layla whips her head at Sam.
LAYLA
What makes you think that?
30.

SAM
It was the only thing making us
unhappy.
LAYLA
Afterwards, we will be happy again?
SAM
Yes.
LAYLA
I’ll do it. Because I don't
care about myself.
SAM
What do you mean? I care about you.
LAYLA
I don’t.
(angrily)
I’ll do it because it makes you
happy.
Layla walks to the side of the stage away from Sam.
SAM
Once it’s over we can have
anything.
LAYLA
What did you say?
SAM
We can have anything we wanted.
LAYLA
No, we can’t. I don’t want
anything.
SAM
What about having everything?
LAYLA
No.
SAM
We can have the world.
LAYLA
No, we can’t. The world isn’t ours
anymore. You can have your world,
and I’ll have mine.
31.

SAM
My world includes you.
Layla gets into her performance. She is beautiful.
LAYLA
It doesn’t. You’re a liar. I don’t
belong in your world. Once it’s
taken away it’s gone.
SAM
You can have it back.
LAYLA
I don’t want it.
SAM
Come back to the shade. You need to
cool down. In your condition--
LAYLA
What condition?
SAM
Your condition makes you feel a
certain way. Jig, you don’t know
what you’re saying.
LAYLA
I don’t feel any way.
(Pause)
I just know how things work.
SAM
All right. But just realize that--
LAYLA
Can’t we realize to be quiet for
awhile?
SAM
Okay.
Silence.
DIRECTOR (O.S.)
Stop right there.
The director waves Layla down off the stage. The director
meets Layla after she comes off stage.
32.

INT. LAYLA’S BEDROOM - MORNING
A glint of the morning shines through Layla’s bedroom window.
Layla is asleep in bed. She wakes up and starts to COUGH and
GAG. She springs off of the bed; exits her bedroom.
INT. BATHROOM - CONTINUOUS
Layla SLAMS open the door. She dives her head into the
toilet; vomits. She lifts her head out of the bowl, leans
against the bathtub. An unsure look appears on her face.
INT. BOOKSTORE - AFTERNOON
A dub reggae record FILLS the store.
Layla sits behind the counter staring out the window. Her
skateboard rests behind her chair. She gets up, picks up her
board, walks outside.
We PAN left to see that Malcolm is outside. He stands against
the glass; smoking.
EXT. BOOKSTORE - CONTINUOUS
Layla approaches Malcolm.
LAYLA
I might need to exit early.
MALCOLM
Hope all is cool?
LAYLA
Everything is... Thanks.
MALCOLM
Anytime. Do you mind if I ask?
LAYLA
(beat)
Shoot.
MALCOLM
Is it a sickness, dude problems,
women problems, family matters? I
mean you can talk to me.
33.

LAYLA
(touched)
I know. It’s a mixture of all of
the above.
MALCOLM
Start with column A, and work your
way down.
LAYLA
I woke up sick this morning.
MALCOLM
Too much drinking last night,
maybe?
LAYLA
Didn’t go out last night.
MALCOLM
What was your final meal?
LAYLA
Nothing.
MALCOLM
Maybe that’s it. You didn’t eat so
you got sick.
LAYLA
Fifty-fifty shot there.
MALCOLM
Now onto Column B.
LAYLA
I’m in a play.
MALCOLM
(excited)
Fucking A!
Malcolm starts to CLAP LOUDLY.
MALCOLM (CONT’D)
(hands her a cigarette)
Here’s your Tony.
Layla takes it. She holds the cigarette between her fingers,
smiles.
LAYLA
I would like to thank Malcolm for
this award.
34.

Malcolm laughs.
MALCOLM
That’s awesome of you. What is it?
LAYLA
It’s an original piece. It’s really
well done.
MALCOLM
Enjoy it.
Layla looks away from Malcolm.
LAYLA
That’s becoming difficult.
MALCOLM
Dude problems?
LAYLA
Chick and dude problems.
Malcolm is flabbergasted. Wasn’t expecting that.
MALCOLM
(back to reality)
That’s ambitious.
LAYLA
Now you know.
Underneath an illuminating streetlight is Layla, smoking a
cigarette. The rest of the actors are inside. Robin exits the
theater.
ROBIN
Hey.
LAYLA
Hey.
Robin stands next to Layla.
ROBIN
Want to be a saint?
LAYLA
I’m already an angel.
35.

ROBIN
If you please give me a cigarette,
I’ll make you a saint.
Layla gives Robin a cigarette, lights it for her. They smoke
in silence.
ROBIN (CONT’D)
(breaking the silence)
What’s your favorite color?
LAYLA
Blue.
ROBIN
At least I can die knowing your
favorite color.
Layla smiles.
LAYLA
What’s yours?
ROBIN
Um ... red or orange. I’ve never
been able to decide.
LAYLA
You can’t even pick your favorite
color?
ROBIN
It’s a hard choice. Whatever color
I choose as my favorite, defines me
for the rest of my life.
LAYLA
(not believing her)
Explain?
ROBIN
If I choose red that means I am
passionate or have a tendency for
violence. I’m passionate about most
things.
LAYLA
What about violence?
ROBIN
Maybe in the bedroom.
Robin jokingly bites her lip.
36.

Layla stands there dumbfounded. She just smiles and LAUGHS.
LAYLA
As I was saying, asking a person
what their favorite color is an
innocent question. You have to ask
the realistic questions; if you
really want to get to know someone.
ROBIN
(smiling)
Ask away.
Layla is about to ask. Someone exits the theater space. It’s
Ian.
IAN
We’re ready to go.
Robin and Layla enter the theater space. Ian and Layla barely
look at each other.
INT. OFF THE WALL THEATER SPACE - NIGHT - LATER
The set up is different now. The backdrop is of a crowded
dance club. Robin and some actors dance around the stage.
In the b.g. Dance music BLASTS.
Layla and Noel in character sit in a booth across from one
another. Two “mixed drinks,” are in front of them.
LAYLA
Hunter, it is scientifically proven
fact that men don’t know how to eat
pussy.
Noel shifts uncomfortably in his seat.
NOEL
That sounds more like an opinion.
What’s your evidence?
LAYLA
You’ve been with women?
Noel gives Layla a look.
LAYLA (CONT’D)
(in a friendly tone)
Answer the question.
37.

NOEL
A few.
LAYLA
Slut.
NOEL
Whore.
LAYLA
I love this game. Creampie.
NOEL
You win.
LAYLA
Babe, you’re no fun. A dead poet is
more exciting than you.
NOEL
Men are always fun. Women are
always seeking happiness, but can
never attain it. There are always
obstacles in the way. Either women
put them there themselves or
someone puts them in front of them.
LAYLA
(unimpressed)
Is that a fact?
NOEL
I don’t know. I always felt that I
have a one sided opinion on them.
That was always my main hesitation
in being with them. I mean I have
never been a woman--
LAYLA
God knows you’ve tried.
NOEL
Eyeliner is the only thing stopping
me.
LAYLA
From a woman’s perspective, that’s
not the only thing.
(in a therapist’s tone of
voice)
How long have you had these
feelings? Was it after you played
dress up as a child? Do you enjoy
being pegged by a woman?
38.

NOEL
No, to all of the above.
LAYLA
What do you enjoy? Cock? Cunt?
Both?
NOEL
I consider myself a gay man, who
happens to like women.
Robin walks over towards Noel.
ROBIN
(to Noel)
Hunter, shake your ass with me.
LAYLA
He doesn’t have an ass to shake.
Layla and Robin share a long nasty laugh.
ROBIN
(to Layla)
Get up, Petra.
Layla abides.
ROBIN (CONT’D)
Turn around.
Layla turns around.
ROBIN (CONT’D)
God, your ass is huge.
LAYLA
I’m proud of my ghetto booty.
(points to her ass)
I worked hard for this.
ROBIN
Dance, dance, dance with me.
Layla and Robin dance. They really get into it.
Layla mingles with a few actors. She finishes her cigarette
and skates down the street.
39.

EXT. CITY STREET - NIGHT
Layla skates down a quiet city street. The wheels of her
board GRIND against the pavement.
A car PULLS UP behind Layla. The car parks on the side of the
road.
ROBIN (O.S.)
What’s the story, morning glory?
Layla turns around.
Robin has her head out the window. The car is an old sedan.
INT. ROBIN’S CAR - NIGHT
Layla looks out the window, as Robin drives. The volume of
the car stereo is barely audible.
Robin drives at a normal speed. She stops at a green light.
She looks over at Layla, laughing and smiling. Layla notices
the green light and looks at Robin.
They laugh.
The green light changes to red. They continue to stare at
each other for a beat; then Robin turns her attention back to
the road.
Layla continues to stare at Robin. She then looks back out
the window.
The light turns green and the car takes off again.
EXT. ROBIN’S HOUSE - NIGHT
Robin parks the car outside of a large two story house.
Layla and Robin get out of the car.
They walk towards the front door.
INT. ROBIN’S HOUSE/LIVING ROOM
In the living room sits DOLORES mid-20’s, Latina, on her
laptop. Robin and Layla enter the living room.
Dolores turns her attention toward the duo as they enter. She
closes her laptop, gets up; walks towards Robin.
Dolores and Robin hug.
40.

ROBIN
Are you done with your article?
DOLORES
Finished an hour ago. Took a cat
nap, and decided to watch some
videos online.
(to Layla)
Hello.
Dolores embraces Layla. Layla returns the embrace.
ROBIN
(introducing)
Dolores, this is a fellow human
named Layla. Layla, this E.T. is
called Dolores.
DOLORES
How did you end up in our galaxy?
LAYLA
Robin.
DOLORES
Not surprisingly. How do you two
know each other?
LAYLA
We’re in a play together.
DOLORES
Figures. Robin was in her room in
solitude for a week.
ROBIN
(to Dolores)
Maybe I just didn’t want to talk to
you? Perhaps I was reading for this
play? Possibly I was masturbating
all that time? There’s infinite
possibilities.
DOLORES
Shut the fuck up.
Robin puckers her lips and makes KISSING noises.
ROBIN
(to Layla)
Are you hungry?
LAYLA
A little bit.
41.

ROBIN
(to Dolores)
You?
DOLORES
Starving.
ROBIN
(caressing Dolores’s arm)
Of course you are darling?
Layla sees, looks away, fakes a COUGHING FIT. A confused look
attaches itself to Layla’s face.
Dolores and Robin give Layla a caring look.
LAYLA
(brushing it off)
I’m fine.
INT. ROBIN’S HOUSE/KITCHEN - NIGHT
Dolores, Layla, and Robin sit around the dining room table
eating. On the table sits spaghetti covered in tomato sauce
in a big bowl. A second large bowl containing mashed chicken
tenders, sits next to the bowl of spaghetti.
LAYLA
(to Dolores)
You working anywhere?
DOLORES
The Post Gazette.
LAYLA
Awesome.
DOLORES
It is. My big dream is to work at
the New York Times. I used to want
to work at Rolling Stone. But,
that’s a dinosaur that should be
extinct. They don’t add anything to
the independent, national or global
political conversation. For music,
they don’t know what’s going on out
there. Anything that isn’t done by
Bob Dylan or Bruce Springsteen is
considered not worthy of their
time.
42.

ROBIN
We get it, dude, you hate Rolling
Stone.
Dolores and Robin stick their tongues out at each other. They
laugh.
Layla gives out a small laugh.
DOLORES
Honey, at least I have a legitimate
career.
ROBIN
Oh and I don’t?
DOLORES
You play pretend for a living.
Might as well be a porn star.
Robin is done with her dinner. She picks up her plate and
utensils.
ROBIN
That’s my third choice in life as a
career.
(to Dolores)
Are you done, sweetie?
DOLORES
(jokingly)
Fuck off.
Robin moves in and kisses Dolores on the cheek.
Layla squirms in her seat. She offers a tiny smile to this
public display of affection.
INT. ROBIN’S ROOM - EARLY MORNING
Robin’s room would make a nerd orgasm. The room is decked out
with graphic novels, manga books, some old and a new video
game systems line the bedroom floor by a television. Layla
and Robin next to each other on Robin’s bed.
Robin has a “Scott Pilgrim,” graphic novel opened.
ROBIN
People said that I looked like and
acted like “Romana Flowers.”
(opening to a page)
Her.
43.

Layla looks at the comic, Robin, comic, Robin.
LAYLA
Oh! I’ve seen this movie. “I’m in
lesbians with you.”
ROBIN
(laughing)
Dude, I had the hair, clothes, less
than seven boyfriends, roller
skates.
LAYLA
Did you dye your hair different
colors?
ROBIN
Blue, pink, red, black, purple. All
the colors of the rainbow. Except
for yellow. Yellow reminded me of
mustard.
LAYLA
That wasn’t all the colors of the
rainbow.
ROBIN
Touche. I had some strange
fascination with blue. My hair was
dyed every shade of blue. I was
very fond of blue. I never knew
why.
LAYLA
Just like Picasso.
ROBIN
(laughing)
Blue period. Very funny.
LAYLA
That’s why they pay me the big
money.
A beat.
LAYLA (CONT’D)
What’s with the new hairstyle?
ROBIN
I’m training to be a hairdresser. I
was my first customer.
44.

LAYLA
Hope you got a refund.
Robin plays with Layla’s hair.
ROBIN
Could do worse with your hair.
Layla shakes her hair.
LAYLA
I never read the “Scott Pilgrim,”
graphic novels.
ROBIN
You need to!
Robin rushes to her bookshelf, grabs the other five graphic
novels of “Scott Pilgrim.”
ROBIN (CONT’D)
(hands them to Layla)
Read these. Give them back to me at
the next rehearsal.
LAYLA
Will there be a quiz?
ROBIN
Maybe. They shouldn’t take you that
long to read. I read all of them in
seven hours. Granted I had nothing
to do that day.
LAYLA
Ten hours for me. I procrastinate
when I read. If I don’t feel too
involved in the story, I put it
down for a few hours and do
something else. Sometimes I never
even finish what I’ve started.
ROBIN
Even short stories and comics?
LAYLA
Comics always entertain me. Short
stories... it’s hit and miss.
Robin looks at her phone.
ROBIN
I have to get ready for work.
45.

LAYLA
Where do you work?
ROBIN
At a coffee shop. Is it cool if I
drop you off in downtown?
LAYLA
That’s no problem.
ROBIN
Cool.
INT. ROBIN’S CAR - MORNING
Layla stares out the window. The “Scott Pilgrim,” novels sit
on her lap. She sees the bookstore where she works.
LAYLA
This is good right here.
Robin parks.
LAYLA (CONT’D)
(looking at Robin)
Thanks for everything.
ROBIN
(smiles blissfully)
Not a problem. You can talk to me
anytime.
Layla takes out her cell phone.
LAYLA
What’s your number?
Robin grabs one of the graphic novels. She writes her number
on the cover page.
Layla types the number into her phone. She smiles as she
DIALS the number.
Robin’s cell phone RINGS.
ROBIN
(answering)
Hello?
LAYLA
(goes along)
Is this Robin?
46.

ROBIN
(in a British accent)
No this is Mrs. Gallagher’s secret
brothel.
LAYLA
(into phone)
I guess your secret brothel is out.
They both LAUGH HARD.
Layla and Robin share a moment of comfortable silence.
EXT. DOWNTOWN - MORNING
Robin and Layla get out of the car. They stand inches apart
from each other.
LAYLA
(looking at Robin)
So...
ROBIN
(smiling)
Yes.
Layla looks up at Robin.
LAYLA
(nervously)
I’ll talk to you later.
They hug each other tightly.
Robin kisses Layla on the cheek. She heads back to her car,
gets in, starts her car. Robin drive off. Layla stands there
in disbelief.
INT. LAYLA’S BEDROOM - EARLY MORNING
Layla lays on her bed. The “Scott Pilgrim,” graphic novels
are scattered all over her bed. She wakes up coughing; exits
her bedroom.
INT. LAYLA’S APARTMENT - EARLY MORNING
Layla stumbles out into her apartment. She starts to cough
HARDER.
O.S. Someone KNOCKS at Layla’s apartment door.
47.

Layla continues to cough. Then the gagging starts. She knows
what’s next. She rushes to her kitchen sink; vomits.
In the b.g. The knocking GROWS LOUDER.
Layla finishes up vomiting. She cleans herself and the sink
up. She opens the door. In the doorway stands Brie holding a
barely awake Johanna.
BRIE
Are you okay?
LAYLA
I haven’t been eating much.
BRIE
How long have you been sick?
LAYLA
It’s been on and off in the
mornings.
Brie lets that last sentence sink in.
LAYLA (CONT’D)
Why are you guys here? It’s like
four-thirty in the morning.
BRIE
(coming to terms)
More like six. I’m really sorry
about bugging you. After months of
work, I finally got managership.
LAYLA
(cheerfully)
Congrats.
BRIE
Thanks. Morning hours are being
asked of me. Just take her to
school, pick her up, and feed her.
I’ll swing by later.
LAYLA
I have work.
BRIE
Please call off! I’ll spot you for
the time you missed.
LAYLA
Really?
48.

BRIE
Deadly serious. I’m going to be
making enough now.
Layla shakes her head in the affirmative. Brie gives Johanna
over to Layla.
LAYLA
I don’t have any food for her.
BRIE
I packed her Poptarts, for
breakfast, and a lunch. All you
need to do is feed her dinner.
LAYLA
What’s her favorite meal?
JOHANNA
(chimes in)
Pasta.
Brie and Layla laugh.
LAYLA
Then it’s settled.
BRIE
(to Johanna)
Bye little monkey.
JOHANNA
Bye mommy.
Brie kisses Johanna on the forehead; leaves.
Layla closes the door. She brings Johanna into her bedroom,
lays her down, exits. She collapses onto her beanbag chair.
LATER - MORNING
Layla lies on her bean bag chair asleep. She falls off and
lands on her chest. A pain that Layla has never felt before,
sends a shock to her system
LAYLA
Ow!
She lays down on her back in pain. It all starts to become
apparent to her.
49.

INT. KITCHEN - MORNING
Layla drinks a cup of coffee. She is million miles away.
Johanna finishes up her Poptarts.
JOHANNA
I love rocks.
Layla slowly descends back to reality.
LAYLA
Cool.
(checks phone)
Go use the bathroom before we go.
Johanna finishes eating, gets off the chair, walks away. Once
Johanna is out of sight, Layla starts to CRY. She quickly
wipes the tears away.
INT. BUS - MORNING
The bus is in motion. Layla and Johanna sit in a seat
together on a bus.
EXT. ELEMENTARY SCHOOL - MORNING
A sea of school buses, SOCCER MOMS, and CHILDREN make their
way into the elementary school. Layla and Johanna stand by
the entrance. They are attracting unwanted attention from the
other mothers, particularly Layla. Layla is dressed in a
cheap black blazer, white dress shirt, black tie, dress
jeans, black damaged Converse. The other mothers stare at
her.
LAYLA
I’ll be here when you’re done.
Sound cool?
Johanna shakes her head yes. Layla gives Johanna a hug.
Johanna enters the school.
Layla looks around and notices the mother’s stares. She
senses that she is not welcomed. OLIVIA, 33, who doesn’t look
her age, only younger, approaches Layla.
OLIVIA
(smiles)
You’re famous.
Layla eyes Olivia weirdly.
50.

OLIVIA (CONT’D)
(introducing)
Olivia.
LAYLA
Layla.
OLIVIA
Never seen you here before?
Layla is cautious.
LAYLA
First time here.
OLIVIA
Which one is yours?
LAYLA
My niece Johanna.
OLIVIA
What grade?
LAYLA
Kindergarten.
OLIVIA
Doesn’t ring a bell. My youngest is
in second grade. Oldest is in sixth
grade.
LAYLA
Cool.
OLIVIA
What do you for a living?
LAYLA
I act out your most inner thoughts
and desires.
Olivia stands there confused.
LAYLA (CONT’D)
I’m an actress.
Layla gives Olivia a small ‘just messing with you,’ smile.
OLIVIA
Are you professional?
LAYLA
I like to believe I am.
51.

Olivia smiles at Layla.
OLIVIA
Are you in anything at the moment?
LAYLA
(lies)
No. They say it’s hard out here for
a pimp. It’s even harder for
actresses.
Olivia laughs. This time the laugh has flirtatious quality to
it.
LAYLA (CONT’D)
(senses)
Well, I better be getting on.
Olivia tenderly grabs Layla’s wrist.
OLIVIA
So soon? I want to know more about
your career.
Layla knows what this means. She delicately removes Olivia’s
wrist. Layla exits.
EXT. SUPERMARKET - LATE MORNING
Layla skates through a thinly populated supermarket parking
lot. She sees a lonely shopping cart that is parked against
the curb. She grabs it, puts her board inside the cart,
starts to push it through the lot. She sails through the lot
like a leaf on the wind. She reaches the entrance, parks the
cart, enters the supermarket.
INT. SUPERMARKET - CONTINUOUS
Layla wonders into the supermarket, picks up a smart cart,
starts to shop. She starts at the front, where she notices
rotisserie chickens. She grabs one; puts it into her cart.
She continues onto the pasta and sauce isle, takes out her
cellphone, dials Malcolm’s number. She puts the phone to her
ear.
LAYLA
(into phone)
Hey, it’s me. Can’t make it today.
(Pause)
It’s column D.
52.
(MORE)

Nothing major, I have to take care
of my niece for the day.
(Pause)
I totally appreciate you being
awesome. Owe you. Bye.
Layla hangs up, and looks at all the varieties of sauces. She
picks up a can of Alfredo sauce.
EXT. ELEMENTARY SCHOOL - AFTERNOON
Layla stands out among the mothers and the children. She
watches the children as they run to their stay at home
mothers. Some of the mothers take another notice of Layla.
Layla doesn’t notice them. She stares at the kids approaching
their mothers.
Olivia stands twenty yards away from Layla. Olivia and Layla
barely acknowledge one another.
EXT. NEIGHBORHOOD PARK - AFTERNOON
Layla sits on park bench. Johanna plays on the jungle gym.
There are other KIDS and FAMILIES at the park. Layla watches
the kids run around the park and play. Some of them run past
her. She sees most of the mothers TALKING amongst themselves.
MOM #1
There is this new diet that you
should try.
MOM #2
I’ve heard of it. Never can find
the time for anything new.
MOM #1
Give it a whirl.
(pause)
Is Patti coming to Rene’s birthday
party?
MOM #2
She wouldn’t miss it for the world.
MOM #1
Lovely.
A mixture of disgust and sympathy washes over Layla. Johanna
starts to wave at Layla. She waves back to Johanna.
53.
LAYLA (CONT'D)

INT. LAYLA’S APARTMENT - DUSK
Johanna pushes herself on Layla’s skateboard. Layla lays down
a beach towel on the floor. She goes back into the kitchen
and finishes making dinner.
Layla reappears with plates, forks and cups. She sets up the
dining room.
Layla and Johanna sit on a beach towel. Their meal consists
of chicken Alfredo. They are in the middle of dinner. Johanna
starts to happily play with her food. Layla takes in the
scene; then she gets involved.
INT. LAYLA’S BEDROOM - NIGHT
Johanna and Layla rest on Layla’s bed. They watch a kids
movie. Johanna falls asleep. Her head rests on Layla’s
shoulder.
Layla notices, turns off the movie, closes the laptop; exits
her bedroom.
INT. LAYLA’S APARTMENT - CONTINUOUS
Layla picks up her keys, skateboard, exits her apartment,
locks the door.
EXT. LAYLA’S APARTMENT - NIGHT
The night is beautiful. Layla walks outside; starts to skate
up and down the sidewalk. The streetlights shine down her.
Layla starts to skate further down the sidewalk, past her
apartment complex.
EXT. RITE-AID - NIGHT
Layla skates towards a Rite-Aid pharmacy store. She stops;
enters
INT. RITE-AID - NIGHT
The Rite-Aid is quiet at this time of night. There are only
two CLERKS manning the cash registers.
54.

Layla enters the store. She picks up three pregnancy tests
and makes her way to one of the cash registers.
One of the clerks RINGS Layla up.
CLERK
Twenty-five ninety-seven.
Without hesitation Layla forks over the cash. The clerk takes
the money, gives change, bags up the pregnancy tests. Layla
heads towards the bathroom.
INT. BATHROOM - NIGHT
All three pregnancy tests sit on her bathroom sink. Layla
stands stunned at all three pluses that stick out to her. She
slumps onto the toilet seat.
INT. LAYLA’S APARTMENT - NIGHT - LATER
Layla sits on her beanbag chair. In the b.g. a INDIE FOLK
record spins on the turntable. The volume is at the perfect
volume. Not to low that it isn’t heard, and not to loud to
disturb other people. Her apartment is cleaned up.
The apartment door opens. Brie enters, shuts the door, takes
a few steps forward.
BRIE
(childish tone of voice)
Hey man.
LAYLA
(weakly)
Hey man. Jojo is asleep.
BRIE
Good. Are you okay?
LAYLA
Meh. I figured it out. Why I have
been sick.
Brie’s heart drops.
BRIE
Do you have a plan?
LAYLA
Kids aren’t my thing. Those
bastards would turn into serial
killers, if I was their mother.
55.

BRIE
Don’t say that. You never know
until you have one.
LAYLA
Coming from the woman, who
graduated college with a baby--
BRIE
Excuse me?
LAYLA
Just saying. Don’t act all, like
you’re a saint for keeping Jojo.
BRIE
I did what I had to do. Also, It’s
not like I had a choice.
LAYLA
Still surprised that you kept her.
BRIE
Why?
LAYLA
You had a bright future planned out
for you.
BRIE
The future is unwritten for
everyone, including me. You’re no
exception, to whoever’s masterplan
this happens to be.
LAYLA
Fucking knew it.
BRIE
Knew what?
LAYLA
You’re turning into Greta.
Believing some higher power
controls our fate. I know what’s
next.
BRIE
What?
(realizing)
No, it won’t be that way between
us.
56.

LAYLA
Can you be sure?
Brie embraces Layla. No response from Layla. Something has
clicked inside of Layla.
BRIE
Definitely.
Brie lets go of Layla.
BRIE (CONT’D)
It’s going to be okay.
LAYLA
I know. Can you pay me?
BRIE
Yep.
Brie goes into her wallet. She takes out hundred dollars,
hands it over to Layla.
EXT. WOMEN’S CLINIC - MORNING
Layla skates towards a women’s clinic. Outside on the
sidewalk stand antiabortion ACTIVISTS. They hold up signs
that have aborted fetuses on them. They also have in big bold
letters PRAY, THIS IS WRONG, on so forth.
Layla skates past them on her way to the women’s clinic. She
ignores them and enters the women’s clinic.
INT. WOMEN’S CLINIC - MORNING
Layla sits in a chair in the waiting room annoyingly filling
out paper work. JULIA, 21, sits in the waiting room with her
young daughter, RILEY, 5, who sits on a chair next to her.
Riley annoyingly plays with her mother’s purse.
Layla ignores everything around her. She finishes the paper
work, hands it over to the NURSE, sits back down. She starts
to anxiously play with her fingers. She looks at her phone,
puts her phone back into her pocket.
Riley gets off her chair, makes her way over to Layla.
RILEY
(enthusiastically waving)
Hi.
Layla gives Riley a small smile. She awkwardly waves back.
57.

LAYLA
Hi.
Riley sticks up four fingers.
LAYLA (CONT’D)
Cool. Can you count to five?
Layla sticks up her whole hand. Riley happily lifts up her
hand. They high five each other.
LAYLA (CONT’D)
Good job.
Julia finishes the paperwork. She gives the paperwork to the
nurse. She walks over to Riley and Layla.
JULIA
(pulling her daughter
away)
Sorry about her. She can be a pest.
LAYLA
(smiling)
Not to worry. She’s alright.
Julia and Riley go back to their seats.
NURSE (O.S.)
Julia.
Julia and her daughter get up off of their chairs. They walk
past Layla. Riley and Layla wave to each other. Silence.
NURSE (O.S.) (CONT’D)
Layla.
Layla looks at the NURSE, walks over to her.
INT. WOMEN’S CLINIC OFFICE - DAY - CONTINUOUS
Layla sits in a doctor’s office. She sits in her seat, while
gazing out the window.
NURSE RUTH 50, enters. She is a war torn veteran of many
years of being a nurse/social worker/surrogate mother. She
sits across from Layla.
Layla continues to stare out the window. She takes no notice
of Nurse Ruth. She is in her own little world.
58.

NURSE RUTH
There are a few options for you to
consider--
LAYLA
(interrupting)
I choose the option that begins
with an A.
NURSE RUTH
There are other options on the
table to consider.
LAYLA
Option A.
NURSE RUTH
Are you sure?
LAYLA
(facing Nurse Ruth)
Positive.
Nurse Ruth writes on her chart.
LAYLA (CONT’D)
What kind of abortion, will I be
having?
NURSE RUTH
You are in your first trimester.
Three to four weeks. It will be a
suction aspiration abortion.
LAYLA
Okay.
NURSE RUTH
Is this your first pregnancy?
LAYLA
(quietly)
Yeah.
(pause)
I have a question to ask you?
NURSE RUTH
Go ahead.
LAYLA
How long will this take. The
problem is that I work and have to
be on stage.
59.

NURSE RUTH
(sweetly)
Stage for what?
LAYLA
Theater. I’m an actress.
NURSE RUTH
(impressed)
Wow.
LAYLA
(meekly)
Yeah... wow. So when I have this
done, how long will I be out of
commission, so to speak?
NURSE RUTH
(reassuringly)
Depends. A couple of days. Some of
the side effects may last longer
than that.
LAYLA
Oh.
Silence.
NURSE RUTH
Any other questions?
LAYLA
How much?
NURSE RUTH
Since this is the first trimester,
it will roughly be around three-
hundred.
A look of dread appears on Layla’s face.
NURSE RUTH (CONT’D)
Is that all of your questions?
LAYLA
Yes.
NURSE RUTH
Do you have a date?
LAYLA
Make it for next Friday.
60.

NURSE RUTH
(sweetly)
Okay, hon.
EXT. ATM - AFTERNOON
Layla stands in front of an ATM. A look of sorrow appears on
her face. She looks at her balance. It reads $1,425.37. She
looks in her wallet. There is the hundred Brie gave her and
some other loose twenties. The total in her wallet one
hundred and sixty dollars. She withdraws one hundred and
ninety dollars.
INT. APARTMENT COMPLEX HALLWAY - AFTERNOON
Layla makes her way down a skinny hallway. She makes it to a
door, puts her hand up to the door; stops.
A beat.
She KNOCKS.
Nothing.
She KNOCKS again. This time she draws out her knocks.
Brie opens the door. She warmly invites her in. Layla slowly
enters.
INT. BRIE’S APARTMENT - DUSK
A tiny “recent college graduate,” type of apartment.
Everything is small in this apartment. A small couch, small
dining room table, small chairs, etc.
Layla walks around the apartment with a sense of familiarity.
She heads straight to Brie’s tiny, open kitchen. She opens
the fridge, takes out a beer, and drinks.
Brie walks over to Layla. She opens the fridge, takes out a
bottle of Corona, drinks.
BRIE
You rang, so, what’s the story?
LAYLA
I’m having a procedure done.
Brie takes a moment...
61.

BRIE
There are other options.
LAYLA
Not in my opinion.
BRIE
There’s adoption agencies. The kid
will have a proper home and a
family.
Layla gives Brie a look.
BRIE (CONT’D)
Best solution in my opinion.
LAYLA
Worst. Idea. Ever.
BRIE
Trying to be of some assistance.
LAYLA
There she goes, again.
BRIE
Hold up with that. I’m not a
priest. I’ve been in the same
situation you’re in.
LAYLA
We both know that you had Jojo.
BRIE
There was another one before her.
Layla’s mouth slams shut.
BRIE (CONT’D)
This happened when I was living
with another guy. I don’t know if
you remember that semester I took
off from school? I didn’t have a
clue of what I would or should be
doing with my life. The pressure of
those two. I had enough by the end
of my junior year of college. To
spite them, I left and moved out.
So the story goes that this guy and
I met, fell in love, blah, blah,
blah. The part that you don’t know
is that I got pregnant with this
guy’s child. I hate acknowledging
this part of my life.
62.
(MORE)

Our life together was pretty
hectic. Somewhere in the chaos we
decided to have a kid. A decision
which should have been planned out
better. By the end of the first
trimester, I had a miscarriage.
After the miscarriage I bled
profusely. Apparently, I was in the
rare percentage of women to have an
infection after having a
miscarriage. Yay me. I passed out
and was rushed to the hospital.
Where I was put into a medically
induced coma. Three days later I
woke up to in my hospital room
alone. The next day; I received a
phone call. It was from the
supposed love of my life. He said
he was leaving me for losing our
child.
Layla grabs Brie’s hand. A genuine moment between two
sisters. Silence.
LAYLA
Why didn’t you ever tell anyone?
BRIE
It’s my life. I don’t need anyone
judging me.
LAYLA
Nobody would have. Especially not
me.
BRIE
You’re sweet. The old geezers that
we call our parents would have had
a field day.
(pause)
I had a moment a of clarity after
that day. It was only temporary. If
I every got pregnant again, I would
abort the kid.
LAYLA
What stopped you?
BRIE
(little smile)
Twenty-one years of Catholic guilt.
The sisters share a small laugh. They needed this laugh.
63.
BRIE (CONT’D)

BRIE (CONT’D)
When are you on stage, again?
LAYLA
Tomorrow and the day after.
BRIE
I’ll try to make it one of the
shows.
Layla smiles.
INT. DRESSING ROOM - NIGHT
Opening night. You can feel the electricity in the air. Layla
in costume looks in a mirror at herself.
LAYLA
(to herself)
Something in a thirty-acre thermal
thicket of thorns and thistles
thumped and thundered threatening
the three-D thoughts of Matthew the
thug. Although theatrically, it was
only the thirteen-thousand thistles
and thorns through the underneath
of his thigh that the thirty-year-
old thug thought of that morning.
In the b.g. APPLAUSE is heard. She exits the dressing room.
INT. STAGE - NIGHT
Layla and Robin are in character on stage. Robin has a bottle
of “Jack Daniels,” in her hand.
Robin opens the bottle, takes a SWIG, passes the bottle to
Layla. Layla takes a SWIG from the bottle.
ROBIN
Nobody tells the truth anymore.
Have you noticed that?
LAYLA
There’s a lot of things that I
don’t pay attention to. If people
tell the truth is one of them.
ROBIN
There’s something mentally wrong
with me. And I can’t talk to anyone
about it.
64.

LAYLA
I knew that.
ROBIN
I’m serious.
LAYLA
I’m going to hold my tongue. What
is your mental problem?
ROBIN
Hunter.
LAYLA
We are about to fail the Bechdel
test.
Some laughter from the audience.
ROBIN
Dude. Seriously? You pick the best
moment to start your stand up
career.
LAYLA
Seemed like the best opportunity.
ROBIN
Fuck you.
Robin gets off the couch. She walks around the couch.
LAYLA
(turning around)
I’m sorry.
ROBIN
LAYLA
(throws hands up)
ROBIN
Layla kneels on the couch.
LAYLA
pigeon. Just tell him.
65.
(MORE)

Any dude with half a heart would
tell you the same thing I’m saying.
Christ, I remember when you two
first met. There and then I thought
a priest was going to walk out and
perform a wedding. It was the way
that you two looked at each other.
You two were and are the definition
of love. Hell, when people talk
about love, your names are always
mentioned.
ROBIN
That’s a tragedy.
LAYLA
absolute.
ROBIN
Saying I love you can also be a
tragedy. We as people always give
our hearts away too soon.
LAYLA
(with a curt smile)
Men do this more often then women.
More laughter from the audience.
ROBIN
So, what if they do. We aren’t all
bulletproof.
Layla stands up. Pumps out her chest.
LAYLA
Prove it.
ROBIN
I’m not.
LAYLA
Anywhere is fine.
Robin gives in, stands up, walks over to Layla. She pushes
Layla’s shoulder.
Layla stares at Robin.
ROBIN
I’m a pacifist.
Robin winks at Layla.
66.
LAYLA (CONT'D)

EXT. ROBIN’S CAR - NIGHT
The show has ended. Layla is now in street clothes, smoking a
cigarette, waits for Robin by her car. Ian walks towards her.
IAN
Great show.
Layla faces him. She is uncomfortable with his presence.
LAYLA
(hesitant)
Also to you, too.
IAN
I didn’t do anything.
Ian stops at Robin’s car; leans on it.
LAYLA
True. Sat on your ass, and watched
you’re little monkeys perform.
IAN
Thanks, Curious George.
Layla takes out a cigarette, smokes.
IAN (CONT’D)
(off Layla’s cigarette)
Charity?
LAYLA
(ignoring)
I need to borrow cash off of you.
IAN
Why?
LAYLA
To cut off your balls.
Ian is visibly shaken. Controls it pretty well.
IAN
You had enough of them pounding
against your pussy.
LAYLA
A handicapped virgin fucks better
than you.
Ian laughs.
67.

IAN
Blow me.
LAYLA
Worst experience of my life.
IAN
I disagree.
LAYLA
Whatever. Just know it’s yours.
Ian doesn’t understand.
IAN
I’m done with it. Give it to
somebody else.
LAYLA
Already have.
IAN
Praise the lord.
Robin appears.
ROBIN
(To Ian)
Shower me with your praise,
director.
They grab each other.
IAN
I couldn’t write a poem a mile
long. Even that wouldn’t be enough.
ROBIN
Post that on Facebook.
IAN
(smiles)
Will do. Good night.
ROBIN
Good night.
Layla doesn’t respond. She acts as if she didn’t hear him.
Ian leaves.
Robin puts her stuff in her car. She goes over and puts her
arms around Layla’s neck. Layla puts her arms around Robin’s
waste. There is a moment of bliss between them.
68.

LAYLA
Thanks...
ROBIN
(laughs)
For what?
LAYLA
(smiles)
I got nothing.
Robin tries to kiss Layla on the mouth. Layla turns away. The
kiss lands on her cheek. Robin holds the kiss there. She
senses something, and understands.
Layla turns back around. A sullen look appears on her face.
ROBIN
Let’s have breakfast for dinner.
Layla brightens up.
LAYLA
I can’t. Have a doctors appointment
in the a.m.
ROBIN
Nothing serious I hope.
LAYLA
Just something minor I have to deal
with. Tomorrow, I promise we will
have breakfast for dinner.
Robin enthusiastically embraces Layla on the lips.
INT. WOMEN’S CLINIC/PROCEDURE ROOM - MORNING
Layla lies on a table, her legs in gurneys. She takes deep
breaths. A DOCTOR is in the middle of performing the
abortion. We CLOSE in on Layla’s face, as she expresses
various emotions. Ranging from irritation to boredom.
INT. LAYLA’S BEDROOM - AFTERNOON
Layla lies on her back. She winches in pain. The pain becomes
too much. She gets off the bed, walks over to a bedroom
window, opens it. She walks over to her night stand. She
takes out a pipe, lighter, and a pill bottle that contains a
few buds of weed in it. She goes back to her bed, starts to
smoke.
LATER - NIGHT
69.

Layla has fallen asleep. She wakes and looks at her phone.
The time reads 7:30 p.m. An ‘Oh Shit,’ look appears on her
face. She grabs her costume and rushes out of her apartment.
EXT. CITY STREET - NIGHT
Layla runs towards a bus stop. Her phone is attached to her
ear.
LAYLA
(into phone)
Have you left yet?
(pause)
Fuck! I’m not there. I over slept.
(pause)
No, no, stay there. I’ll make it.
Layla hangs up, puts her phone back into her pocket. In the
distance, Layla spots her bus pulling up to a stop. She
reaches the bus and hops on.
Layla sprints towards the theater space. Outside the box
office stands Brie. Layla doesn’t acknowledge her, and makes
her way into the theater.
INT. BACKSTAGE - NIGHT
Layla runs into the backstage area. She enters the dressing
room.
INT. DRESSING ROOM - CONTINUOUS
Layla enters and starts to undress. Ian appears. They are the
only ones in the dressing room.
IAN
You’re late.
LAYLA
Fuck you and blame the potholes.
IAN
That’s a terrible excuse.
Layla continues undressing and changing into her costume.
70.

LAYLA
I was fucking your mother. To be
honest, she was so much a better
fuck than you. She at least knows
how to please a woman.
Ian’s face contorts into a something monstrous. There is fire
in his eyes.
Layla finishes dressing, exits.
Ian stands there stewing in his anger.
Layla is on stage with Noel. They are doing the night club
scene again...
LAYLA
Slut.
NOEL
Whore.
LAYLA
I love this game. Creampie.
NOEL
You win.
LAYLA
Babe, you’re no fun. A dead poet is
more exciting than you.
NOEL
Men are always fun. Women are
always seeking happiness, but can
never attain it. There are always
obstacles in the way. Either women
put them there themselves or
someone puts them in front of them.
LAYLA
(unimpressed)
Is that a fact?
NOEL
I don’t know. I always felt that I
have a one sided opinion on them.
That was always my main hesitation
in being with them. I mean I have
never been a woman--
71.

LAYLA
God knows you’ve tried.
NOEL
Eyeliner is the only thing stopping
me.
LAYLA
From a woman’s perspective, that’s
not the only thing.
(in a therapist’s tone of
voice)
How long have you had these
feelings? Was it after you played
dress up as a child? Do you enjoy
being pegged by a woman?
NOEL
No, to all of the above.
LAYLA
What do you enjoy? Cock? Cunt?
Both?
NOEL
I consider myself a gay man, who
happens to like women.
Robin walks over towards Noel.
ROBIN
(to Noel)
Hunter, shake your ass with me.
LAYLA
He doesn’t have an ass to shake.
Layla and Robin share a long nasty laugh.
ROBIN
(to Layla)
Get up, Petra.
Layla abides.
ROBIN (CONT’D)
Turn around.
Layla turns around.
ROBIN (CONT’D)
God, your ass is huge.
72.

LAYLA
I’m proud of my ghetto booty.
(points to her ass)
I worked hard for this.
ROBIN
Dance, dance, dance with me.
Layla and Robin dance. They really get into it. This is
different, however. There is a chemistry, a pulse between
them. They can sense it.
Layla and Robin exit the theater with their arms around each
other. Brie approaches them.
BRIE
Beautiful performance, dear sister.
Robin and Layla turn around. Layla lets go of Robin.
LAYLA
(embracing Brie)
Glad you made it.
BRIE
(returning the embrace)
Same to you.
Layla gives Brie a sly smile.
LAYLA
(introducing)
Brie this is Robin.
Brie and Robin shake hands.
BRIE
Nice to meet you.
ROBIN
Likewise.
BRIE
(to Robin)
Do you mind if I throw a few words
at my sister?
ROBIN
No problem.
73.

BRIE
Thanks.
Brie grabs Layla, walks her down the street away from Robin.
BRIE (CONT’D)
How are you?
LAYLA
A little sick. The weed I smoked
after I got home, really fucked me
up.
BRIE
Are you feeling better?
LAYLA
Yeah. My procedure went well.
Brie embraces Layla. She squeezes Layla tightly. Layla
notices.
INT. DINER - MORNING
A lonesome diner. A few PATRONS, WAITERS, WAITRESSES haunt
the area.
Layla and Robin sit in a booth. Robin has a cup of coffee in
front of her. She also has one plate that contains eggs,
bacon, hash browns, and toast.
Layla has in front of her a cup of coffee. She looks at Robin
then she looks out the window, off into space. She plays with
the cup of coffee, like a bored cat playing with a piece of
string.
Comfortable silence.
ROBIN
Not hungry?
LAYLA
Stomach problems. Not really
hungry.
ROBIN
I’m starving.
Robin pushes her plate of toast close to Layla.
ROBIN (CONT’D)
Eat some toast.
74.

Layla picks up the toast, nibbles on it.
LAYLA
Gracias.
ROBIN
No problemo.
They blissfully smile at each other.
ROBIN (CONT’D)
After this do you want to grab a
night cap?
LAYLA
Definitely.
EXT. HIGH CLASS NEIGHBORHOOD - NIGHT
Robin drives Layla through a expensive looking neighborhood.
Layla is an alien, as she looks at these ‘McMansions’.
EXT. ROBIN’S CHILDHOOD HOME - NIGHT
Robin pulls up to a very beautiful large estate. They both
get out of the car.
INT. ROBIN’S CHILDHOOD HOME - CONTINUOUS
A grand affair of a house. Layla aimlessly wonders around the
entrance of the house. Robin stands there with a playful
smile on her face.
LAYLA
Where is everyone?
ROBIN
Out.
(jokingly)
Do you need to call you mother to
see if it’s fine with her?
LAYLA
Fuck you.
ROBIN
(points to living room)
Meet me at camera two.
Robin exits into the kitchen. Layla wanders into the living
room.
75.

INT. LIVING ROOM - CONTINUOUS
Layla casually makes her way into the luxurious living room.
She sits down on a couch. She starts to relax a bit. Robin
enters with two glasses, orange juice, champagne. She sits
down next to Layla.
ROBIN
Mimosa?
LAYLA
Never had one.
ROBIN
In for a treat, darling.
Robin POPS the cork off of the champagne, dumps champagne
into their glasses, then the orange juice.
Robin raises her glass. Layla follows. They CLINK glasses,
drink.
ROBIN (CONT’D)
How is it?
LAYLA
Awesome.
Robin smiles.
LAYLA (CONT’D)
Never thanked you for lending me
those ‘Scott Pilgrim,’ novels.
ROBIN
What did you think of them?
LAYLA
Loved em’.
ROBIN
(can’t contain happiness)
Dude, that’s wonderful.
Robin explodes off the couch, exits. Layla sits there in a
perplexed state. She is broken out of her pipe dream. Robin
returns with a big drawing book.
ROBIN (CONT’D)
(hands book to Layla)
I’ve started my own graphic novel.
Layla opens the big drawing book. Indeed there is a well down
graphic novel.
76.

ROBIN (CONT’D)
It’s about this girl named ‘Nikki
Barger.’ She is this rocker chick
who fights crime in Victorian
France. Her sidekick is this
devilish blonde named ‘Sidnee
Charm.’ They get drunk and end up
time traveling back to the
Victorian era. They think that they
are in England. Until they wake up
hungover and realize that people
are speaking French.
Layla flips through the pages of the drawing book. She is
impressed by it all.
LAYLA
It’s all very lovely.
Robin zealously kisses Layla. Layla lovingly kisses Robin
back. They make out for a beat. After they depart, Layla
busts out laughing. Layla lays down on the couch still
laughing. Robin joins in on the laugh. Robin enthusiastically
gives it another go with Layla.
Layla is an animal, tearing off Robin’s shirt and bra. This
is a different Layla, from when she was with Ian. Robin now
turns the tables on Layla. Layla’s shirt and bra comes off.
Robin touches Layla’s breasts. Ouch. The pain returns to
Layla’s chest. She tries to solider on, but, the pain becomes
unbearable.
LAYLA (CONT’D)
Stop!
Robin jumps off of Layla. Layla cowers in the corner of the
couch. Tears roll down her face. Robin moves in, tries to
console Layla.
ROBIN
What happened?
LAYLA
Nothing.
Robin tries to squeeze in next to Layla. She manages to get
close to Layla.
ROBIN
(cautiously)
Is this your first time?
LAYLA
No. It’s just...
77.

ROBIN
(puts her arm around
Layla)
Tell me.
LAYLA
(lying)
I fell off... of my skateboard.
Landed tits first.
ROBIN
It’s alright. At least you now know
that your boobs can be used as
safety devices.
Robin laughs. Layla can only manage to crack a small smile.
ROBIN (CONT’D)
Stay here tonight.
Robin tenderly kisses Layla. This seals the deal for Layla.
INT. ROBIN’S CHILDHOOD BEDROOM - MORNING
Robin and Layla lie peacefully in bed together.
INT. BACKSTAGE - DUSK
Layla, Robin, Noel and the rest of the theater troupe are
backstage getting ready. Ian arrives with MELISSA, 25, a girl
next door type.
IAN
Listen up!
The troupe faces their director.
IAN (CONT’D)
I have a put in tonight for Petra.
Layla’s world collapses. She stares at Ian.
IAN (CONT’D)
Melissa meet Layla.
MELISSA
(to Layla)
Nice to meet you.
Ian stares back at Layla. A smile forms on his face.
78.

Melissa is on stage with Robin. The scene is set up to be a
cheap studio apartment. Melissa is killing it. Layla
jealously watches from the audience.
ROBIN
I have a question to ask you?
MELISSA
I might have an answer.
ROBIN
(hesitating)
Do you remember the first time,
when you fell for someone?
Melissa laughs.
ROBIN (CONT’D)
I guess I found my career. I’m
going to be a stand up comedian.
MELISSA
No, I was just remembering the
first time I realized I loved a guy
in high school. I wrote a letter to
him.
ROBIN
A letter? How original.
Melissa playfully kicks Robin’s leg.
MELISSA
Shut up.
ROBIN
Did he ever read it?
MELISSA
No.
ROBIN
Why?
MELISSA
At the time I didn’t want him to
know.
ROBIN
When did this happen?
79.

MELISSA
High school. We were juniors. That
was ages ago.
ROBIN
Did you two ever... fuck?
MELISSA
Eleven inches.
ROBIN
Bull fucking shit.
MELISSA
No joke. What about you? Who was
your first?
ROBIN
A boy. It was a summer camp
romance. He was in the same cabin
as me.
MELISSA
What was his name?
ROBIN
I don’t remember.
(pause)
It was years ago.
MELISSA
How old were you?
ROBIN
Thirteen or fourteen. He was the
same age as me.
MELISSA
So what happened?
ROBIN
We hid are relationship. We would
sneak out at night. Go into the
woods or lie by the lake.
ISABELLA
That’s hot.
Robin and Layla sit on the curb smoking a cigarette. Melissa
and Ian walk out.
80.

MELISSA
(to Robin)
Great working with you.
Robin stands up.
ROBIN
(extends hand)
The feeling is mutual.
Layla angrily bites thumbnail.
IAN
(sarcastically playful)
She was better than Layla.
A major BOMB has dropped on Layla. She hides it, faces her
audience, smiles.
MELISSA
Better get on with it. Need my
sleep.
(to Ian)
Tomorrow?
IAN
Same time.
Melissa nods, leaves.
IAN (CONT’D)
(to Robin)
Wasn’t she fantastic?
ROBIN
Totally.
IAN
(to Layla)
Don’t you agree?
LAYLA
I’m still on the fence.
Robin puts her arms around Layla’s neck.
ROBIN
Nobody can replace you.
Robin kisses Layla’s cheek. Layla calms down a bit.
LAYLA
(puts arms around Robin)
Thanks.
81.

IAN
Good night, you two.
ROBIN
Bon voyage.
Ian starts to walk away. Layla watches him go.
LAYLA
Hey Ian, can I talk to you in
private?
IAN
(turns back)
I’m going to my car. Follow me if
you want to shoot the shit.
Layla stands up.
LAYLA
(to Robin)
I’ll be back in sec.
ROBIN
Hurry up, please.
Layla blows her a kiss, leaves. She tries to catch up with
Ian.
EXT. SIDE STREET - NIGHT
Ian stops by his car on a side street. Layla catches up to
him.
IAN
Make it fast.
LAYLA
What was with that shit, tonight?
IAN
Are you ragging? She was a put in.
LAYLA
Bullshit.
IAN
It’s a fact.
LAYLA
This was something else.
82.

IAN
Fucking actresses! Always thinking
that everything that happens in the
world somehow relates to you.
LAYLA
Why my part?
IAN
Obviously, she knew your part the
best.
LAYLA
There’s more to this.
IAN
No there isn’t. Babe, I’m tired and
you are too. Let’s call this a
night, and talk later.
LAYLA
Babe?
Ian opens his car door.
IAN
It’s a term of endearment. Be happy
any guy is calling you that.
LAYLA
Fuck you, cocksucker.
IAN
(childishly)
Takes one to know one.
LAYLA
Where did this chick come from?
IAN
Melissa has been in my back pocket
since after I wrote this play. She
knows this play off book.
Especially, your character and her
lines.
LAYLA
What the fuck was with all that
shit with me?
IAN
What do you think?
Layla lets that last sentence sink in...
83.

A monster inside of Layla comes to the surface. Before she
can realize her consequences, Layla has thrown a punch at
Ian’s face. It connects beautifully.
Ian stumbles back, tries to recover. Layla is back in action.
She slaps Ian in the face a few times. Another punch is
thrown by Layla. This time it hits Ian in the stomach. Ian
goes down.
Layla starts kicking Ian’s stomach. The kicks grow in
strength and speed. The quicker they are, the more painful.
Sweat starts to pour down Layla’s face. She stops to catch
her breath.
Ian lays on the ground in pain. Layla examines the damage
that she has done. No clear bruises on Ian’s face. She starts
to walk away.
INT. ROBIN’S CAR - NIGHT
Robin sits in her car. Layla approaches.
ROBIN
Took you long enough.
(concerned)
Why are you sweating?
LAYLA
Had to catch up with Ian. He turned
a corner and I lost him. Took me
forever to find him.
Robin starts the car.
ROBIN
What did you two talk about?
Robin drives.
LAYLA
Unimportant stuff. Him and I used
to be good friends. We haven’t had
a heart to heart in awhile.
(pause)
Don’t worry about anything. We were
never in love. Just platonically.
ROBIN
I don’t care if you fucked the
director or not.
LAYLA
I’d say the same thing to you.
84.

ROBIN
Ha. That would never happen.
LAYLA
Be fine if it did.
Layla and Robin give each other a smart ass look. They bust
out laughing.
INT. O’REILLY THEATER - AFTERNOON
The theater is empty except for the cast of the “Hills Like
White Elephants.” Layla enters. She sees that Sam is on stage
rehearsing with another actress, DANI, 25. She quietly sits
down and takes in the scene. It’s too late.
Dani is on stage giving a wonderful performance. Layla relaxs
and watches the show.
SAM
Do you want a beer?
DANI
I don’t know.
SAM
It’s not a hard choice. Yes or no?
Dani doesn’t respond.
SAM (CONT’D)
(to the “bartender”)
We want two Anis del Toro with
water.
DANI
Is it good with water?
SAM
Yes.
Sam picks up his mug; drinks.
DANI
(takes a sip from the mug)
It tastes like liquorice.
SAM
That’s the way with everything,
Jig.
85.

DANI
Yes. Everything tastes of
liquorice. Especially all the
things you've waited so long for.
SAM
Oh, cut it out.
DANI
You started it. I was just being
funny. Having a good time in all.
SAM
Well, let’s try and have a fine
time.
DANI
All right. I was trying. I said the
mountains looked like white
elephants. Wasn't that bright?
SAM
It was.
Silence.
SAM (CONT’D)
It's really an awfully simple
operation, Jig. It's actually not
really an operation at all.
Dani looks down to the ground.
DANI
(looks back at Sam)
Then what?
SAM
We'll be fine afterwards. Just like
we were before.
Dani whips her head at Sam.
DANI
What makes you think that?
SAM
It was the only thing making us
unhappy.
DANI
Afterwards, we will be happy again?
86.

SAM
Yes.
DANI
I’ll do it. Because I don't
care about myself.
SAM
What do you mean? I care about you.
DANI
I don’t.
(angrily)
I’ll do it because it makes you
happy.
Dani walks to the side of the stage away from Sam.
DIRECTOR (O.S.)
Stop right there.
The rehearsal stops.
Layla leaves.
INT. FANCY RESTARUNT - NIGHT
A five star restarunt. Layla sits at a private table. A
bottle of ‘Miller Lite,’ is in front of her. Brie sits across
from her.
BRIE
Don’t be enjoying this private
table too much.
LAYLA
You’re the manager. So do your
managerial duties and kick me out.
BRIE
I’m tempted. What are you doing
here? Is your show over?
LAYLA
For me.
BRIE
Why? Did you get fired?
LAYLA
I quit.
87.

BRIE
There better be a good reason.
LAYLA
I kicked the director’s ass.
Brie is startled by this confession. She doesn’t believe
Layla.
LAYLA (CONT’D)
I was in the right.
Layla flashes Brie a crazy smile.
BRIE
(taking it in)
You’ve fucked yourself.
LAYLA
One part in a mediocre play.
Doesn’t seem like I missed anything
spectacular.
Layla’s phone vibrates. She checks the caller ID. It reads
ROBIN. There is a text message. “Curtains in ten. Where are
you????” Layla picks up her phone. She texts Robin “Woke up
with a really bad hangover. LOL. I’m better now.” She puts
her phone down.
EXT. COMIC BOOK STORE - AFTERNOON
Layla walks down the street smoking a cigarette. She notices
a large comic book store. She puts out her cigarette, enters.
INT. COMIC BOOK STORE/FIRST FLOOR - CONTINUOUS
Layla enters the first floor of the comic book store. A GEEK,
45, stands behind the counter. Layla approaches him.
LAYLA
Excuse me, where do you guys keep
your comics and graphic novels?
GEEK
Downstairs. Basement floor.
LAYLA
Thanks, bro.
Layla heads downstairs towards the basement.
88.

INT. BASEMENT FLOOR - CONTINUOUS
The comic book section is laid out like a regular comic book
store. Three GEEKS stand behind the counter. Layla approaches
one of the geeks.
LAYLA
Do you guys sell the Scott Pilgrim
graphic novels?
GEEK #1
Yep.
(points)
Back corner.
LAYLA
Thanks.
Layla walks over to the back corner. There is a large
bookshelf lined with graphic novels. She sees the Scott
Pilgrim graphic novels. She grabs a random volume, starts to
read. Layla gets to a picture of ‘Ramona Flowers,’ she closes
the book.
Robin and Ian stand outside smoking. Layla approaches
carrying her costume.
ROBIN
(embracing)
Quit drinking!
Robin kisses Layla on the lips. Layla confidently returns the
affection.
LAYLA
Sorry for the fright, dude.
Robin holds onto Layla.
ROBIN
I worried about you.
LAYLA
Appreciate it.
IAN
(to Robin)
I need to talk to Layla alone.
Robin and Layla kiss one last time. Robin enters the theater
space.
89.

LAYLA
(to Ian)
I’m here.
IAN
So what?
LAYLA
Melissa doesn’t have to go on. I
had one absence. Never again.
IAN
The part belongs to no one. It’s my
part to give.
LAYLA
Never mind all that jazz.
Ian and Layla stare each other down.
IAN
Whoever I want to go on, will go
on.
LAYLA
Remember two days ago, when we had
that conversation?
Layla waits for Ian to respond. Nothing. She confidently
enters the theater space.
INT. DRESSING ROOM - NIGHT
Layla walks into the dressing room. The Melissa, Noel, Robin
and the other actors are getting changed into their costumes.
Melissa notices Layla. Layla notices her.
Layla starts to change into her costume.
Ian approaches Melissa. He pulls her out of the dressing
room. Beat. Melissa returns, changes back into her street
clothes, leaves.
Robin and Layla are in the middle of a scene. Robin gets off
the couch. She walks around the couch.
ROBIN
90.

LAYLA
(throws hands up)
ROBIN
Layla kneels on the couch.
LAYLA
pigeon. Just tell him. Any dude
with half a heart would tell you
the same thing I’m saying. Christ,
I remember when you two first met.
There and then I thought a priest
was going to walk out and perform a
wedding. It was the way that you
two looked at each other. You two
were and are the definition of
love. Hell, when people talk about
love, your names are always
mentioned.
ROBIN
That’s a tragedy.
LAYLA
absolute.
Layla and Robin crack small smiles at each other.
LATER
The house lights come up. The cast stands together. Layla is
next to Robin. They take a bow.
Layla and Robin smile at each other as they bow. They now
face their adoring audience.
FADE OUT.
91.

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