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Layla Acts

Layla attends a theater audition and gets called back for a role. She runs into her ex Ian who gives her his unfinished play to read, hoping she will take a supporting role. He insists the role was written for her and is more important than the callback audition. Layla is unsure whether to accept the role or pursue the callback, torn between moving on from Ian and furthering her career. She goes home to her family for the weekend to think it over.

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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. INT. LAYLA’S APARTMENT - NIGHT 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. EXT. OFF THE WALL THEATER SPACE - NIGHT 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. EXT. OFF THE WALL THEATER SPACE - NIGHT 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. INT. LAYLA’S APARTMENT - NIGHT 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 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 on the couch. LAYLA Faye, find out where you two stand. Text him, call him, send a carrier 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 Tragedy is inescapable. Love is 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. EXT. OFF THE WALL THEATER SPACE - DUSK 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. INT. OFF THE WALL THEATER SPACE - NIGHT 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. EXT. OFF THE WALL THEATER SPACE - NIGHT 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.
INT. OFF THE WALL THEATER SPACE - NIGHT 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. EXT. OFF THE WALL THEATER SPACE - NIGHT 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. EXT. OFF THE WALL THEATER SPACE - DUSK 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. INT. OFF THE WALL THEATER SPACE - NIGHT Robin and Layla are in the middle of a scene. Robin gets off the couch. She walks around the couch. ROBIN I don’t believe you. 90.
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 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. 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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Layla Acts

  • 1.
    LAYLA ACTS Written by ZachRetort 2611 Winchester Drive 412-327-7341
  • 2.
    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.
  • 3.
    Layla knows thedrill. 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.
  • 4.
    Layla angrily endsthe 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.
  • 5.
    IAN A gin andtonic. 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.
  • 6.
    IAN (CONT’D) (hands recordover 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.
  • 7.
    LAYLA (off Ian) Water, please. Thewaiter 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.
  • 8.
    Ian deflects anotherblow. 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)
  • 9.
    Put her outof 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)
  • 10.
    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.
  • 11.
    LAYLA (embarrassed) Hey mom. GRETA How didyou 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.
  • 12.
    GRETA Taking care ofthe 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.
  • 13.
    Layla does afaux 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.
  • 14.
    THOMAS Fuck is that? Laylagoes 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.
  • 15.
    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.
  • 16.
    LAYLA Three years ago. BRIE Insidesstill 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.
  • 17.
    A few ofthe 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.
  • 18.
    GRETA Let’s hope shedoesn’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.
  • 19.
    LAYLA I disagree. GRETA Honey, you’rean 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.
  • 20.
    Johanna closes hereyes; 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.
  • 21.
    LAYLA You went upstairsand 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.
  • 22.
    BRIE What could Ido, 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.
  • 23.
    MALCOLM Good riddance. (off Layla’smessenger 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.
  • 24.
    They catch eachother’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. INT. LAYLA’S APARTMENT - NIGHT 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.
  • 25.
    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.
  • 26.
    LAYLA (to Noel) All youhave 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.
  • 27.
    ROBIN Dude. Seriously? Youpick 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.
  • 28.
    ROBIN Saying I loveyou 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.
  • 29.
    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.
  • 30.
    LAYLA Harsh, man. Ian reenterswith 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.
  • 31.
    IAN (to Layla) Don’t dothat. 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.
  • 32.
    SAM It was theonly 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.
  • 33.
    SAM My world includesyou. 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.
  • 34.
    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.
  • 35.
    LAYLA (touched) I know. It’sa 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.
  • 36.
    Malcolm laughs. MALCOLM That’s awesomeof 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. EXT. OFF THE WALL THEATER SPACE - NIGHT 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.
  • 37.
    ROBIN If you pleasegive 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.
  • 38.
    Layla stands theredumbfounded. 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.
  • 39.
    NOEL A few. LAYLA Slut. NOEL Whore. LAYLA I lovethis 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.
  • 40.
    NOEL No, to allof 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. EXT. OFF THE WALL THEATER SPACE - NIGHT Layla mingles with a few actors. She finishes her cigarette and skates down the street. 39.
  • 41.
    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.
  • 42.
    ROBIN Are you donewith 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.
  • 43.
    ROBIN (to Dolores) You? DOLORES Starving. ROBIN (caressing Dolores’sarm) 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.
  • 44.
    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.
  • 45.
    Layla looks atthe 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.
  • 46.
    LAYLA Hope you gota 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.
  • 47.
    LAYLA Where do youwork? 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.
  • 48.
    ROBIN (in a Britishaccent) 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.
  • 49.
    Layla continues tocough. 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.
  • 50.
    BRIE Deadly serious. I’mgoing 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.
  • 51.
    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.
  • 52.
    OLIVIA (CONT’D) (introducing) Olivia. LAYLA Layla. OLIVIA Never seenyou 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.
  • 53.
    Olivia smiles atLayla. 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)
  • 54.
    Nothing major, Ihave 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)
  • 55.
    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. INT. LAYLA’S APARTMENT - NIGHT 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.
  • 56.
    Layla enters thestore. 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.
  • 57.
    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.
  • 58.
    LAYLA Can you besure? 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.
  • 59.
    LAYLA Hi. Riley sticks upfour 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.
  • 60.
    NURSE RUTH There area 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.
  • 61.
    NURSE RUTH (sweetly) Stage forwhat? 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.
  • 62.
    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.
  • 63.
    BRIE There are otheroptions. 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)
  • 64.
    Our life togetherwas 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)
  • 65.
    BRIE (CONT’D) When areyou 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.
  • 66.
    LAYLA I knew that. ROBIN I’mserious. 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 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 on the couch. LAYLA Faye, find out where you two stand. Text him, call him, send a carrier pigeon. Just tell him. 65. (MORE)
  • 67.
    Any dude withhalf 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. 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)
  • 68.
    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.
  • 69.
    IAN Blow me. LAYLA Worst experienceof 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.
  • 70.
    LAYLA Thanks... ROBIN (laughs) For what? LAYLA (smiles) I gotnothing. 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.
  • 71.
    Layla has fallenasleep. 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. EXT. OFF THE WALL THEATER SPACE - DUSK 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.
  • 72.
    LAYLA I was fuckingyour 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. INT. OFF THE WALL THEATER SPACE - NIGHT 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.
  • 73.
    LAYLA God knows you’vetried. 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.
  • 74.
    LAYLA I’m proud ofmy 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. EXT. OFF THE WALL THEATER SPACE - NIGHT 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.
  • 75.
    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.
  • 76.
    Layla picks upthe 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.
  • 77.
    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.
  • 78.
    ROBIN (CONT’D) It’s aboutthis 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.
  • 79.
    ROBIN (puts her armaround 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.
  • 80.
    INT. OFF THEWALL THEATER SPACE - NIGHT 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.
  • 81.
    MELISSA High school. Wewere 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. EXT. OFF THE WALL THEATER SPACE - NIGHT Robin and Layla sit on the curb smoking a cigarette. Melissa and Ian walk out. 80.
  • 82.
    MELISSA (to Robin) Great workingwith 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.
  • 83.
    IAN Good night, youtwo. 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.
  • 84.
    IAN Fucking actresses! Alwaysthinking 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.
  • 85.
    A monster insideof 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.
  • 86.
    ROBIN Ha. That wouldnever 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.
  • 87.
    DANI Yes. Everything tastesof 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.
  • 88.
    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.
  • 89.
    BRIE There better bea 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.
  • 90.
    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. EXT. OFF THE WALL THEATER SPACE - DUSK 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.
  • 91.
    LAYLA (to Ian) I’m here. IAN Sowhat? 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. INT. OFF THE WALL THEATER SPACE - NIGHT Robin and Layla are in the middle of a scene. Robin gets off the couch. She walks around the couch. ROBIN I don’t believe you. 90.
  • 92.
    LAYLA (throws hands up) I’ma liar. This proves your point. ROBIN Petra, I wouldn’t know what to do even if I got a hold of him. Layla kneels 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. 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.