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fenntower · 2 years ago

Text

Redondo Beach

REDONDO BEACH

Written by

Stephen Pierson

[email protected] April 10, 2023

FADE IN

EXT. COASTLINE – DAY

A birds-eye view of mile after mile of the Southern

Californian coastline as Claude Debussy’s Reverie plays through the credits.

The MAIN TITLE is followed by this:

Es tan corto al amor, y es tan largo el olvido.

Love is so short, and forgetting so long.

—Pablo Neruda

MONTAGE – POV SHOTS OF CATALINA AVE. – DAY

Late-model cars move along the street at a leisurely pace as denizens stroll, window shop, and dine al fresco. The camera settles on a smart-looking white family who has just finished their dinner.

CHRISTOPHER (late 50s, handsome, affable, pompadour), his son MIKE (late 20s, father’s son), and daughter-in-law MARIA (late 20s, wholesome).

CHRISTOPHER

Thanks, guys. Thanks for coming

out for the memorial.

MIKE

Can’t believe it’s been ten years.

MARIA

We miss her. It’s not the same.

MIKE

She would have adored the twins.

CHRISTOPHER

(choking up)

Yeah.

MARIA

Join us in Chicago, dad. Forget

Redondo. Forget all the beaches

here.

MIKE

We’ve got plenty of room, and the twins would love to have you

around. Why retire here?

CHRISTOPHER

Mom loved this place. Besides, I’ve

always wanted to write a novel, and

I’ve got the Pacific to inspire me.

MIKE

The great American novel by a

retired chemistry professor.

Dad... Seriously?

MARIA

Lake Michigan doesn’t inspire?

CHRISTOPHER

Not like the Pacific, Maria.

Mike takes care of the check. They stand to leave.

MIKE

Don’t suppose you want a lift?

CHRISTOPHER

You know what a mad walker I’ve

always been.

MIKE

Okay... some Gen Z slang from

a Chicago Boomer. Maybe you can

write, dad.

EXT. – TOWN – DAY

Walking home, Christopher is hailed by a YOUNG COUPLE

who could pass for twins. They are holding hands.

YOUNG COUPLE

(simultaneously)

Professor Walker!

CHRISTOPHER

Hey! Good evening.

YOUNG COUPLE

(simultaneously)

Do you need a hand?

CHRISTOPHER

I’m good, thanks.

(The shot and dialog are intended to impart a surreal quality to the film, for reasons that will become clear.)

MONTAGE – POV SHOTS OF REDONDO BEACH – THE BEACH - DAY

Surf and sand, lifeguard tower, beachgoers, oceanfront

condos. The ocean ROARS.

INT./EXT. CHRISTOPHER’S CONDO/BALCONY – TWILIGHT

Christopher pours himself a glass of wine at the kitchen island and goes to the living room balcony to enjoy his second-floor panoramic view and ocean air Just a few souls, sandals in hand, walking the beach now. A FEMALE LIFEGUARD locks the lifeguard tower, about a hundred yards from the balcony. (The ROAR of the ocean is always audible on the balcony and slightly audible inside the condo, unless otherwise noted.)

INT. CHRISTOPHER’S CONDO – NIGHT

Christopher is asleep in his living room reading chair. Proust’s Swann’s Way lies on his chest, moving up and down to his breathing. An empty wine glass and vestiges of cheese and crackers lie on the table next to his chair, against which his CAT nestles.

EXT. BEACH – NIGHT

From the beach we see a section of Christopher’s condo complex, including his unit, which, like a few others, is dimly lit.

INT. CHRISTOPHER’S CONDO – NIGHT

The balcony slider is ajar. Christopher is woken by an uptick in the ROAR of the ocean. He drowsily checks the time on his phone — and, groggily standing up, knocks the empty glass from the table to the floor, breaking it.

CHRISTOPHER

(bemusedly)

That was inevitable.

Christopher saunters to the balcony to perk up.

EXT. BALCONY – NIGHT

In the floodlight thrown from the lifeguard tower, Christopher notices a YOUNG WOMAN kneeling on the beach and facing the ocean. An image of dejection.

CHRISTOPHER

That was not inevitable.

He leans forward for a better look. The young woman appears to be naked.

CHRISTOPHER (CONT’D)

Ah, a latter-day Baywatch wannabe.

If only I was younger.

Christopher walks back to his chair, steps on the broken glass and cuts himself.

CHRISTOPHER (CONT’D)

Fuck! If only I were smarter...

Christopher staunches the blood with a napkin and pours himself another glass of wine. He stares into space for a second or two, contemplating something, downs the wine, and goes to bed.

FADE IN:

MONTAGE – VINTAGE FOOTAGE OF THE CITY OF LONG BEACH AND ITS UNIVERSITY, C. 1987

INT. GARRET – DAY

YOUNG CHRISTOPHER (early 20s, youthful version of his older self), is lying in bed in his garret in the rectory of a historic Catholic Church — call it Holy Innocents — near campus. TOUCH-TONE PHONE on his side table RINGS and he puts down US NEWS & WORLD REPORT to take the call.

INT. DORMITORY – DAY (INTERCUT)

Young Christopher’s friend, YOUNG SUSAN (early 20s, cute, preppy, earnest) telephones Young Christopher.

YOUNG SUSAN

Hey, Chris. Drowsy Saturday?

YOUNG CHRISTOPHER

Susan! What’s up?

YOUNG SUSAN

You’ll never guess where my

roommate’s from.

YOUNG CHRISTOPHER

The newly independent Republic of

Zimbabwe.

YOUNG SUSAN

Funny... She’s from France.

YOUNG CHRISTOPHER

Oh, cool. I mean, Zimbabwe’s cool

too, but...

YOUNG SUSAN

You joker. I’d like to show her

the church if you won’t be a jerk.

YOUNG CHRISTOPHER

Is she pretty?

YOUNG SUSAN

I’ll let Maggie know you asked.

YOUNG CHRISTOPHER

Ouch, Cuz!

YOUNG SUSAN

Are you free now?

YOUNG CHRISTOPHER

Nope. I’m going down to dust the

Pews – the most I’d do for room

and board around here.

YOUNG SUSAN

Awesome! We’ll be right over.

YOUNG CHRISTOPHER

I’m thrilled.

YOUNG SUSAN

Understandably. Bye!

INT. HOLY INNOCENTS CHURCH – DAY.

Young Christopher is dusting the pews. Young Susan and

YOUNG CATHERINE (early 20s, pretty, styling a layered

bob with a diagonal bang and a silk foulard) greet

Young Christopher near the transept.

YOUNG SUSAN

Chris, this is Catherine Du Pont.

YOUNG CHRISTOPHER

Nice to meet you. Welcome to

Long Beach... and Holy Innocents.

YOUNG CATHERINE

Thank you.

YOUNG SUSAN

How do you like your new digs?

YOUNG CHRISTOPHER

Are you kidding? I can see the beach

from my garret – Father Bob is

hipper than hell – and they have a

Polish cook. It would be downright

bohemian if it wasn’t so Catholic.

Young Susan chuckles, Young Catherine surveys the church.

YOUNG CHRISTOPHER

(to Young Catherine)

It’s almost 100 years old, which

isn’t old by French standards, is

it?

YOUNG CATHERINE

No.

YOUNG CHRISTOPHER

The acoustics are amazing, though.

Listen.

Christopher takes an enormous breath and CHANTS a few lines from a Gregorian Chant in Latin (SUBTITLED in English). What we hear, however, is a cathedral choir.

YOUNG CHRISTOPHER

(“chanting”)

Resurrexi, et adhuc tecum sum, alleluia!

Posuisti super me manum tuam, alleluia!

Mirabilis facta est scientia tua, alleluia, alleluia!

I have risen again, and am still with you,

alleluia! You have placed your hand on me,

alleluia! Thy knowledge has become wonderful, alleluia, Alleluia.

YOUNG SUSAN

Not bad, Chris.

YOUNG CATHERINE.

I wish my English were as good.

YOUNG CHRISTOPHER

You just managed the subjunctive well.

YOUNG CATHERINE

Oh! You do know English.

YOUNG SUSAN

Christopher’s graduating this spring

with majors in English and chemistry –

He can help you – trust me.

YOUNG CATHERINE

Okay... sure.

YOUNG CHRISTOPHER

Sure, glad to help. Hey, let me show

you the rest of the church. The

sacristy has the best wine in the

diocese.

Young Susan chuckles, Young Catherine appears bored.

YOUNG SUSAN We can’t. We have to get Catherine

settled in.

YOUNG CHRISTOPHER

Need help?

YOUNG SUSAN

We’re good, but thanks. Besides,

don’t you have to mop the floors?

YOUNG CHRISTOPHER

So I’m told.

YOUNG CHRISTOPHER

(to Young Catherine)

What’s your major?

YOUNG CATHERINE

Management.

YOUNG SUSAN

Catherine is Long Beach’s first

international MBA student.

YOUNG CHRISTOPHER

Awesome.

YOUNG CATHERINE

Thank you.

SUSAN

Would you like to join us for

dinner tonight? Bring Maggie.

We’re going to Johnie’s Broiler.

YOUNG CHRISTOPHER

Maggie and I have plans.

YOUNG SUSAN

Ah, another time then.

YOUNG CHRISTOPHER

Yeah, sure.

YOUNG CHRISTOPHER

(to Young Catherine, with a poor

accent)

Au revoir

YOUNG CATHERINE

Au revoir.

EXT. STREET – DAY

Young Catherine and Young Susan head back to campus.

YOUNG SUSAN

What do you think?

YOUNG CATHERINE

He’s nice - effervescent. How do

you know him again?

YOUNG SUSAN

Yeah, bubbly... But I meant the

church.

YOUNG CATHERINE

Ah, pardon!

YOUNG SUSAN

No worries. I’ve known Chris since

grade school — Maggie too — so Chris

calls me Cuz. We came here for school

and sunshine.

(a beat)

Would you like to attend Mass with

us tomorrow?

YOUNG CATHERINE

No thanks. I’m an atheist.

(a beat)

YOUNG SUSAN

I see.

YOUNG CHRISTOPHER

And Christopher... he’s not your

type?

YOUNG SUSAN

Not really. Besides, he and Maggie

are all but engaged.

(a beat)

Say, you don’t fancy Chris, do you?

YOUNG CATHERINE

Oh, that is very funny, Susan! Me

charmed by a boyish American who

knows Gregorian chants by heart.

My parents would never understand,

and neither would I.

The new roomies chuckle.

YOUNG SUSAN

Well, if you meet Maggie, you’ll see

why they’re perfect for each other.

Meanwhile, let’s get your stuff

unpacked!

YOUNG CATHERINE

Okay.

FADE IN:

MONTAGE - POV SHOTS OF PARIS – LA DEFENSE

INT. EXECUTIVE OFFICE – DAY

Catherine (late 50s and still impressive) wistfully looks out her office window at late-model traffic below as her attractive and fashionable daughters, CAROLE (late teens) and MICHELE (mid 20s) pack up her belongings. A bouquet of flowers adorns her desk, and her COLLEAGUES, outside the office, enjoy cake and champagne. A large “BONNEE RETRAITE!” is dry-marked on the large glass window next to Catherine’s office.

CAROLE

No one will replace you, Maman.

CATHERINE

(turning round)

Well, you’re the first woman to

tell me that.

Carole and Michele pull disapproving smiles.

MICHELE

You now have time to finish that

novel you’ve been working on forever.

What’s it about again?

CATHERINE

Oh, that... Yes... it’s about old

lovers who meet at the Pont des Arts

to see if they can find their lock.

MICHELE

Splendid plot, Maman!

CAROLE

Truly, Maman! Can we read it?

CATHERINE

Yes, well, after it’s finished.

It’s far from finished. Forgetting

is so long after all.

MICHELE

Proust?

CATHERINE

Neruda.

CAROLE

I don’t mean to sound unlettered

but I’m starving.

CATHERINE

I’ve reserved a table at Il Vicolo.

CAROLE

Parfait!

MICHELE

Merci, maman.

INT. CHRISTOPHER’S CONDO – TWILIGHT

Christopher greets his Uber Eats driver at the door.

CHRISTOPHER

Smells great.

UBER DRIVER 1

And enough for you and the girl of

your dreams.

CHRISTOPHER

May it lure Ondine right out

of the ocean and into my living

room this very evening.

UBER DRIVER 1

No maybe, dude. These tacos are

the best in town.

INT. CHRISTOPHER’S CONDO – TWILIGHT

Christopher, in his chair, reads Proust, drinks wine, checks his phone occasionally, and falls asleep.

INT./EXT. CHRISTOPHER’S CONDO/STAIRWELL/COURTYARD/BEACH – EVENING

Woken by his RINGING alarm, Christopher collects himself, exits his condo, and descends a flight of stairs into the gated atrium courtyard that leads to the beach. As he steps onto the beach the ROAR of the ocean ceases and Eric Satie’s Gnossienne No. 1 plays. Christopher walks around the lifeguard tower and checks the secured lock. He looks up and sees only a few units are lit, including his. He returns to his condo via the courtyard, the ROAR of the ocean ceasing the moment he steps into it.

INT. CHRISTOPHER’S CONDO – NIGHT

Christopher sleeps in his chair, empty wine bottles and wine glass on the table. Swan’s Way lies on his chest, moving up and down. The sliding door to the balcony is ajar and Christopher, woken by a sudden uptick in the ROAR of the ocean, goes to the slider and closes it. He heads for his bedroom but midway turns around and goes to the balcony to survey the beach. He notices the naked young woman kneeling in the sand, facing the ocean, an image of dejection.

CHRISTOPHER

I’ll be damned.

INT./EXT. CONDO/STAIRWELL/COURTYARD/BEACH – NIGHT

Christopher grabs a pair of BINOCULARS from a shelf but they yield darkness. He rushes out of his condo, down the stairs and into the courtyard and onto the beach. The ROAR of the ocean ceases when he steps onto the beach and Satie’s Gnossienne No. 2 plays. Christopher looks but the figure is gone.

CHRISTOPHER

What the hell?

Christopher turns round, looks up at his condo, and sees that it is dimly lit. He turns back to the ocean and drops to his knees, assuming the same dejected look as the young woman.

FADE IN: PARIS

MONTAGE - POV SHOTS OF RUE MAZARINE, WITH THE CAMERA FINDING IL VICOLO – DAY

INT. IL VICOLO – DAY

Catherine, Carole, and Michele are enjoying dinner.

CAROLE

Michele has some good news, Maman.

CATHERINE

Ah, bon?

MICHELE

Oui, maman. I’ve been accepted to

the University of Southern

California.

CATHERINE

Bravo, my sweet! You’ve done better

than your poor mother and just

as well as your sister.

Carole and Michel playfully exchange dueling glances.

CAROLE

USC is just as good as L’Ecole

Polytechnique, maman?

CATHERINE

I’m proud of you both.

MICHELE

You were the first international

MBA at Long Beach, maman, and

�� you’ve managed Le Livre de Poche

for two decades.

CATHERINE

And I raised two charming ladies.

MICHELE

We are proud of you, Maman,

and grateful.

Catherine tears up.

CAROLE

Maman, you can finally visit Long

Beach when we move Michele in.

You always said you’d like to see

it again.

Catherine averts her eyes.

CATHERINE

That was long ago...

MICHELE

Well, you’ll have to visit, Maman!

CATHERINE

Yes – well – after I finish my novel,

my sweet. You said you’d like to

read my story, no?

CAROLE

Of course, maman! And we will as

soon as you finish it. But let’s

help Michele move in. Let’s plan

on it.

Michele and Carole look expectant. Catherine looks at

them fondly.

CATHERINE

D’accord!

FADE IN:

EXT. STREET – DAY

70s and early 80s cars drive along a street near the University of Long Beach campus where Young Christopher and Young Catherine are walking on opposite sides an directions. Young Christopher notices Young Catherine and CALLS to her.

YOUNG CHRISTOPHER

Mademoiselle!

Young Catherine stops. Young Christopher miraculously dodges cars as he crosses the busy street, eliciting angry HORNS.

YOUNG CHRISTOPHER

Ca va tois?

YOUNG CATHERINE

Oui, ca vas. Parlez-vous francais?

YOUNG CHRISTOPHER

Not really.

Young Catherine shrugs and resumes her walk.

YOUNG CHRISTOPHER

Hey! Are you headed downtown?

YOUNG CATHERINE

Yes.

YOUNG CHRISTOPHER

Be careful... Drug dealers en route.

YOUNG CATHERINE

Are they dangerous?

YOUNG CHRISTOPHER

Nah, they’ll just try to sell you

drugs.

YOUNG CATHERINE

Okay. I’ll be careful. Thanks.

Young Christopher nods and they resume walking. Young

Christopher turns around.

YOUNG CHRISTOPHER

Hey! I forgot about those English

lessons. How about Sunday evening?

YOUNG CATHERINE

You don’t dust and mop on Sunday?

YOUNG CHRISTOPHER

Very funny. No... I don’t. 7 o’clock?

YOUNG CATHERINE

Okay, sure.

INT. DORMITORY – TWILIGHT

Young Catherine and Young Christopher are sitting on the floor of Young Susan and Young Catherin’s dormitory, their backs against the bunk bed, with dictionaries and notebooks in front of them. Young Catherine watches Christopher marking an ESSAY she wrote.

YOUNG CATHERINE

Well?

YOUNG CHRISTOPHER

Nothing... It’s fine. You could

be the next Marguerite Duras.

YOUNG CATHERINE

But...?

YOUNG CHRISTOPHER

Well, the grammar is fine, and

your diction is remarkable.

YOUNG CATHERINE

But...?

YOUNG CHRISTOPHER

It’s just that... some sentences

aren’t idiomatic. They’re

grammatical, but not what native

speakers would say or write.

Interesting, really – kind of

like poetry.

YOUNG CATHERINE

(leaning closer to see)

Okay, show me.

They nudge together and Catherine studies Christopher’s editing while he steals glances at her curves and habit of pulling her turtleneck’s collar over her mouth. He smiles when she throws her blonde bang back with a jerk of her head. Catherine pretends not to notice.

YOUNG CHRISTOPHER

(pointing at the edits)

These here...

YOUNG CATHERINE

Okay, I’ll rewrite these. But not

today. I’m exhausted. Besides, I

promised Susan we’d be done by eight.

CHRISTOPHER

No problem. We can meet again... if

you’d like.

YOUNG CATHERINE

Sure.

They stand up and Catherine lights a cigarette and goes to a screened window overlooking the evening traffic.

YOUNG CATHERINE

(proffering a cigarette)

Would you like one?

YOUNG CHRISTOPHER

I promised Maggie I’d quit.

YOUNG CATHERINE

I won’t tell.

YOUNG CHRISTOPHER

Promise?

YOUNG CATHERINE

Promise.

They stand next to the window (tenth floor or so) and smoke silently, gazing at the cars passing by on the dark, wet pavement, which, under the green traffic light, becomes a luminous marine aqua blue. A bus SCREECHES to a halt and GROANS upon proceeding. They are comfortable.

YOUNG CHRISTOPHER

Do you miss France?

YOUNG CATHERINE

Yes.

YOUNG CHRISTOPHER

Very much?

YOUNG CATHERINE

Very much. My parents, my brother

Phillipe. I miss Africa too.

YOUNG CHRISTOPHER

Africa?

YOUNG CATHERINE.

I was born and raised in Algeria.

I went to school there.

YOUNG CHRISTOPHER

Your parents worked there?

YOUNG CATHERINE

Yes. They taught Arts and Crafts

at a lycée — a high school.

YOUNG CHRISTOPHER

Why did you leave?

YOUNG CATHERINE

The independence movement made it

uncomfortable.

YOUNG CHRISTOPHER

Do you miss Chicago?

YOUNG CATHERINE

Very much. It’s my hometown... and a

great city.

YOUNG CATHERINE

The Windy City.

YOUNG CHRISTOPHER

City of Broad Shoulders.

YOUNG CATHERINE

Walt Whitman?

YOUNG CHRISTOPHER

Carl Sandburg. Good guess, though!

YOUNG CATHERINE

We French are not as provincial

as you Americans think. What else

do you miss?

YOUNG CHRISTOPHER

My parents – my buddies – the change

of seasons – the fall. The fall is

beautiful in the north, though

winters can be brutal... at once

beautiful and brutal.

YOUNG CATHERINE

Like life...

YOUNG CHRISTOPHER

Life seems pretty beautiful right now.

YOUNG CATHERINE

Very much?

YOUNG CHRISTOPHER

Very much.

YOUNG CATHERINE

Does Marguerite — er, Maggie...

Suddenly, a knock on the door.

YOUNG SUSAN

May I come in?

YOUNG CHRISTOPHER

We’re having sex.

Susan enters.

YOUNG SUSAN

Very funny. I’ll be sure to

tell Maggie.

YOUNG CHRISTOPHER

Is that all you can do, Cuz...

report me to the authorities?

YOUNG SUSAN

Not enough hours in a day, Cuz.

YOUNG CHRISTOPHER

Okay, I’m outgunned here.

YOUNG SUSAN

How did the lesson go?

YOUNG CHRISTOPHER AND YOUNG CATHERINE

(simultaneously)

Good!

YOUNG CATHERINE

Chris knows English, to be sure.

YOUNG CHRISTOPHER

And Catherine knows how to

French – I mean...

SUSAN

You cad!

YOUNG CHRISTOPHER

Okay, I’m outta here. It was fun

Catherine. Next Saturday, same

time?

YOUNG CATHERINE

Sure, if Susan doesn’t mind.

SUSAN

No. that’s cool.

EXT. CATALINA AVE – TWILIGHT

Late-model cars move along street, denizens stroll the sidewalks, window-shop, or dine al fresco. The ocean’s ROAR is slightly audible.

EXT. CATALINA AVE – TWILIGHT

Christopher waits to be seated at a restaurant. HOST 1

approaches.

HOST 1

Welcome! Al fresco?

CHRISTOPHER

How about this table?

HOST 1

You got it.

Christopher looks across the street to a side street that leads to the ocean, barely discernible.

HOST 1

Yearning for the ocean?

CHRISTOPHER

For some time now.

Host hands the menu to Christopher.

HOST 1

Your server will be right with you.

Christopher glances at the menu and looks down the street leading to the ocean. He exhales as though he’s been holding his breath for some time. A female SERVER approaches and takes Christopher’s order.

EXT. RESTAURANT – NIGHT

Christopher enjoys his dinner and wine, looking toward ocean occasionally or staring into space.

FEMALE SERVER

Dessert menu?

CHRISTOPHER

No thank you.

FEMALE SERVER

(too familiarly)

How’s the natural wine? Priests

and hipsters love it!

CHRISTOPHER

I’m neither but I’ll have another

glass.

FEMALE SERVER

I hope you’re not driving.

CHRISTOPHER

Me too.

EXT. RESTAURANT – NIGHT

Wine is brought to Christopher’s table by a MALE SERVER. It is dark now.

CHRISTOPHER

Where’s Princess Charming?

MALE SERVER

She’s come and gone.

CHRISTOPHER

I’m crestfallen.

MALE SERVER

You should be.

Christopher appears content. He takes a deep breath as

though trying to discern an odor. Two YOUNG WOMEN, who

could be mistaken for twins, are seated next to him. Christopher barely notices them and resumes his reverie.

EXT. RESTAURANT – NIGHT

The young women have finished their dinners and are conversing pleasantly. Christopher continues to drink and look toward the ocean even though it is too dark to see anything. Suddenly, Christopher addresses the young woman closer to him.

CHRISTOPHER

How was your salmon pita?

YOUNG WOMAN 1

Fantastic. Come here all the time

for it.

CHRISTOPHER

Lovely evening, isn’t it?

YOUNG WOMAN 2

The breeze is remarkable.

CHRISTOPHER

It’s redolent of happiness.

YOUNG WOMAN 1

Are you a perfume chemist?

CHRISTOPHER

You might say that.

Christopher looks away and stares into the middle distance. Suddenly, he inhales again deeply to make out an odor. He addresses the young women.

CHRISTOPHER

Excuse me, are either of you...

Christopher stops short of completing his sentence. Both women appear confused.

YOUNG WOMAN 1 AND 2

(simultaneously)

Sorry?

Christopher checks his phone and pays and leaves. The young women ignore him.

EXT. STREET – NIGHT

Christopher heads down the street that leads to the ocean. It ROARS louder and louder until Christopher steps onto the beach and Satie’s Gnossienne No. 3 plays.

EXT. BEACH – NIGHT

As Christopher approaches the lifeguard tower, he strains to see the mysterious figure, but she is not there. The music ceases and we hear only his HEAVY BREATHING. He looks up at his balcony and sees a few lit units, including his. Christopher kneels in the sand, facing the ocean, much like the figure he had seen. Someone behind him approaches. Christopher’s HEAVY BREATHING in longer intervals now, like a dying person.

EXT. LAX – DAY

Catherine and her daughters are leaving Arrivals in a late model taxi.

CATHERINE

(to Michele)

I hope your belongings have arrived safely in that container.

MICHELE

Me too, maman.

CAROLE

I hope your condo is as lovely

as it looks online.

CATHERINE

It should rival Versailles for how

much it costs.

MICHELE

Ok, tomorrow my belongings will be

moved in... Then we’re off to

the Getty, followed by dinner at

Petit Trois Le Valley. Tuesday

we visit your alma mater, maman!

CATHERINE

Wonderful, my sweets. Thirty-five

years... my god!

CAROLE

Wednesday we hike the Hollywood

hills and visit the Walk of Fame.

CAROLE

Vive, Belmondo!

CATHERINE

Vive, Jean Seberg!

(Neither is on the Walk of Fame; the reference is intended to enhance the surrealism of the film even as it alludes to an ill-fated love story.)

MICHELE

Thursday, the San Diego Zoo, and

Friday is open.

Catherine takes a call on her cell.

CATHERINE

(to daughters)

Voila! It’s Susan – she’s waiting

for us at the Wilshire.

MICHELE

Nice of her to come from Boston to

meet us, maman.

CATHERINE

I hope I can finally induce her to

visit us in Paris. I’ve invited

time and again but she’s had her

hands full with six children.

CAROLE

Six children... What was she

thinking?

CATHERINE

I don’t know, but she’s still

married. I’ll give her that much.

INT. THE GETTY’S GARDEN TERRACE CAFE – DAY

Catherine, Carole, Michele, and Susan look disappointed

sitting at their table.

CAROLE

I can’t believe your container

hasn’t arrived!

MICHELE

I know... What can I do?

CATHERINE

You could swear at them.

MICHELE

I received a confirmation it was

there. They made a mistake.

SUSAN

And they promised you a refund if

it doesn’t arrive tomorrow?

MICHELE

Yes.

SUSAN

Then it will arrive. Count on it.

CAROLE

We can’t help Michele move in and

do Long Beach in one day.

MICHELE

Yes, impossible.

CAROLE

Maman, you and Susan go to Long

(MORE)

CAROLE (CONT’D)

Beach tomorrow. It’s your alma

mater after all. ��Michele and

I will hire help to move in the

furniture. We can resume our

itinerary on Wednesday.

A thoughtful pause.

CATHERINE

It makes sense.

SUSAN

Agreed. And I have to leave Friday,

so...

CATHERINE

Okay. It’s settled.

EXT./INT. TAXI – DAY

Catherine and Susan taxi to Long Beach.

SUSAN

Have you seen pictures of the campus?

I can’t believe how much it’s changed!

The pyramid looks amazing.

CATHERINE

Only Americans would build a pyramid

to house athletic events and name it

Walter.

The two chuckle, followed by an awkward silence.

SUSAN

I have some recent pictures of the

kids. Want to see?

CATHERINE

Of course!

After viewing pics, another difficult moment of silence. Catherine looks out the window, cars streaming by.

SUSAN

Have you heard from Christopher?

CATHERINE

Bof. A few years ago. I told him

I wasn’t interested. He kept

writing but I ignored him.

Catherine looks away. A stubborn silence. Susan takes

a call on her phone.

SUSAN

What! – Oh my God, Fred – When?

Of course! – Yes – Right away!

CATHERINE

What’s wrong, Susan?

SUSAN

Fred’s mother died this morning –

heart attack. The kids are

devastated.

CATHERINE

My god, Susan! I’m so sorry.

You were very close, no?

SUSAN

(crying)

Yes.

CATHERINE

(to the driver)

To the airport immediately!

INT. DORMITORY – DAY

Young Susan is leaving as Young Christopher enters

holding a large brown bag.

SUSAN

Have fun, you two!

YOUNG CHRISTOPHER

(parodically)

Oh, don’t worry. We will.

Young Christopher reaches into his bag of groceries and pulls out a baguette.

YOUNG CHRISTOPHER

You said you missed France, so...

YOUNG CATHERINE

Thank you, Chris. So thoughtful of

you.

YOUNG CHRISTOPHER

And...

Christopher pulls out a package of Kraft cheese wraps.

YOUNG CATHERINE

(perplexed)

What is this? Is it cheese?

YOUNG CHRISTOPHER

Yep.

YOUNG CATHERINE

Oh, what’s the plastic for?

YOUNG CHRISTOPHER

It’s a joke, silly. Here, gimme

that crap.

Young Christopher tosses the package of cheese and pulls out of the bag a wedge of cheese wrapped in parchment paper and hands it to Catherine.

YOUNG CATHERINE

Oh, Chris! C’est possible? Auvergne

cheese! And Gaperon no less! How

did you manage to find it?

YOUNG CHRISTOPHER

It wasn’t easy. But wait, there’s

more.

YOUNG CHRISTOPHER

(slowly pulling something out of the

bag)

Voila! Sacristy wine. Holiest in town.

YOUNG CATHERINE

(coquettish smile)

Tu es enfant terrible!

YOUNG CHRISTOPHER

Thanks... whatever that means.

INT. DORMITORY – DAY

Young Catherine and Young Christopher sit crossed-legged on the floor again studying English. In front of them a small table crowded with books, bottle, glasses, cheese, and a CASSETTE RECORDER PLAYER.

YOUNG CHRISTOPHER

Enough grammar already! Let’s try

something more challenging and

enjoyable.

YOUNG CATHERINE

Okay. What?

YOUNG CHRISTOPHER

Transcribing lyrics.

YOUNG CATHERINE

Okay. I’m — how do you say — game?

Is that the idiom?

YOUNG CHRISTOPHER

You got it.

Young Christopher puts a cassette into the player.

YOUNG CHRISTOPHER

Do you know (tbd sing-songwriter’s

name)?

YOUNG CATHERINE

I do not.

YOUNG CHRISTOPHER

No matter.

As the song that sounds like Don McLean’s “Vincent” PLAYS, Young Catherine transcribes swiftly.

YOUNG CATHERINE

Ah, (tbd song’s title). I do

know this song.

Young Christopher turns off the cassette and studies Young Catherine’s transcription.

YOUNG CHRISTOPHER

Amazing! I think you got it all

right.

YOUNG CATHERINE

You’re a good teacher!

YOUNG CHRISTOPHER

So I’m told.

YOUNG CATHERINE

(mimicking Susan)

You cad!

(a beat)

Cigarette?

YOUNG CHRISTOPHER

Won’t tell?

YOUNG CATHERINE

Nope.

YOUNG CHRISTOPHER

Nope? You are a quick study.

YOUNG CATHERINE

(smiling)

So I’m told.

Young Catherine pours the last of the wine and the two santé each other. Young Catherine looks at her watch, stands, and ambles to the window. A bus SCREECHES to a halt and GROANS as it proceeds.

YOUNG CATHERINE (CONT’D)

We should clean up. Susan will be

back soon.

YOUNG CHRISTOPHER (V.O.)

We have time.

YOUNG CATHERINE

We have little time, but okay.

Young Catherine sits down next to Young Christopher and takes up her notebook and pen. Young Christopher drops a cassette into the PLAYER that sounds like the Beatles “And I Love Her.”

YOUNG CATHERINE

I know this one too.

Young Catherine hands her transcription to Christopher.

YOUNG CATHERINE

(expectantly)

Well?

Young Christopher takes the transcript, glances at it, looks at Young Catherine.

YOUNG CHRISTOPHER

I think I’d like to kiss you.

YOUNG CATHERINE

Don’t think.

They kiss tenderly, gaze into each other’s eyes, caress each other’s hands, and then kiss passionately. Clambering into the bunk bed, Young Christopher knocks over the table, breaking the wine glasses.

YOUNG CHRISTOPHER

Mozel Tov!

YOUNG CATHERINE

Are we married already?

INT. DORMITORY – NIGHT

The lovers are resting in bed. Young Catherine’s head

moves up and down to Young Christopher’s breathing. With his index finger Young Christopher traces the contours of Young Catherine’s ears, eyebrows, and lips. They clasp hands.

YOUNG CATHERINE

Fits like a glove.

YOUNG CHRISTOPHER

It does, doesn’t it?

The HUM of traffic outside, including the occasional SCREECHING and GROANING of a bus stopping and proceeding.

YOUNG CHRISTOPHER

Did you hear that?

YOUNG CATHERINE

The bus?

YOUNG CHRISTOPHER

Yeah.

YOUNG CATHERINE

It sounds like a dying dinosaur.

YOUNG CHRISTOPHER

A Brontosaurus.

YOUNG CATHERINE

Stegosaurus.

CHRISTOPHER

Ankylosaurus.

CATHERINE

You win.

CHRISTOPHER

Sounds wonderful.

CATHERINE

Oui.

INT. DORMITORY – NIGHT

Catherine smokes at the window wearing panties and turtleneck. Christopher is still in bed, hands clasped behind his neck.

YOUNG CATHERINE

I love this view.

YOUNG CHRISTOPHER

You’re tellin’ me.

Disapproving smile from Catherine. Christopher goes to her and puts his arms around her waist and looks over her shoulder and down at the traffic.

YOUNG CHRISTOPHER

We’re lucky Susan didn’t come home.

YOUNG CATHERINE

Maybe she did.

YOUNG CHRISTOPHER

I hope not... because if she did...

YOUNG CATHERINE

Don’t say it, Chris. Please don’t...

YOUNG CHRISTOPHER

Okay.

They silently gaze at the traffic in all its romantic glow, color, and movement.

EXT. OFF CAMPUS – NIGHT

Young Catherine and Young Christopher stroll arm-in-arm in the Belmont Shore area serenaded by a gentle ocean ROAR. The first stratum above the horizon is a luminous pink and apricot.

YOUNG CHRISTOPHER

Dear God it’s a beautiful evening!

Catherine doesn’t reply.

YOUNG CHRISTOPHER

Don’t you agree?

YOUNG CATHERINE

Les mots sont la source de

malentendus.

YOUNG CHRISTOPHER

Meaning?

YOUNG CATHERINE

Words are often sources of

misunderstanding.

YOUNG CHRISTOPHER

Did you write that?

YOUNG CATHERINE

Antoine Saint-Exupéry.

Do you know Le Petit Prince?

YOUNG CHRISTOPHER

I do not.

YOUNG CATHERINE

I will get you a copy.

YOUNG CHRISTOPHER

I will read it, Catherine.

YOUNG CATHERINE

Are you as hungry as I am?

YOUNG CHRISTOPHER

I’m famished!

INT. RESTAURANT – NIGHT

The young lovers, sole patrons at a greasy Greek diner, delight in their gyros and beer and romance. The sullen middle-aged SERVER and COOK, evidently brothers, smoke cigarettes and glare at the young lovers from afar.

YOUNG CATHERINE

We have admirers.

YOUNG CHRISTOPHER

They are jealous.

YOUNG CATHERINE

They should be. They’re old, we’re

young. We’re in love, they’re not.

YOUNG CHRISTOPHER

How do you know they’re not in love?

YOUNG CATHERINE

Are your parents still in love?

YOUNG CHRISTOPHER

No. Yours?

YOUNG CATHERINE

No. Loyal, but not in love. Not

like us.

YOUNG CHRISTOPHER

Not like us?

YOUNG CATHERINE

Who is like us right now?

The server puts out his cigarette in the ashtray near the cash register and walks toward the young couple with the bill, placing it on the table.

SERVER 1

(very slowly, with a thick Greek

accent)

We are closing now.

EXT. DORMITORY – NIGHT

The lovers kiss good night outside the lobby to the dormitory.

YOUNG CATHERINE

Bon nuit.

YOUNG CHRISTOPHER

I don’t want to say goodnight.

YOUNG CATHERINE

Me neither.

YOUNG CHRISTOPHER

What are you doing tomorrow? Do you

have plans?

YOUNG CATHERINE

Just grocery shopping with Susan.

But I don’t have to go.

YOUNG CHRISTOPHER

I’d like to take you to a special

place tomorrow. A day trip. What

do you say?

YOUNG CATHERINE

Yes, I want.

YOUNG CHRISTOPHER

Awesome!

YOUNG CATHERINE

Bon nuit.

YOUNG CHRISTOPHER

Bon nuit, Catherine.

Young Catherine turns to enter the lobby.

YOUNG CHRISTOPHER (CONT’D)

(a beat)

Catherine?

YOUNG CATHERINE

(turning round)

Oui.

YOUNG CHRISTOPHER

What are you wearing?

YOUNG CATHERINE

You.

CHRISTOPHER

Seriously...

YOUNG CATHERINE

Anais Anais...

YOUNG CHRISTOPHER

It smells divine.

INT. DORMITORY – NIGHT

In the lobby, Young Catherine presses the elevator button and turns to wave goodbye to Young Christopher, but he is gone.

EXT. STREET – DAY

Young Christopher is parked in a shabby 70s convertible outside the dorm. Young Catherine approaches wearing black capri pants, a white tee shirt with the Los Angeles Times logo, and large, white 60s-style sunglasses – à la Jean Seberg. She’s also slinging a large backpack.

INT. CONVERTIBLE – DAY

Young Catherine surveys the interior skeptically.

YOUNG CATHERINE

American chic?

YOUNG CHRISTOPHER

Shabby chic, but it’s a convertible

– and this is California – and the

weather could not be more lovely –

except in Illinois – where the

trees are now a mélange of red,

orange, and yellow.

YOUNG CATHERINE

Have you been reading poetry again?

Young Christopher smiles.

YOUNG CATHERINE (CONT’D)

God help me.

Young Catherine pulls out a present from her backpack.

YOUNG CHRISTOPHER

Is that for me?

YOUNG CATHERINE

Oui.

Young Christopher opens it.

YOUNG CHRISTOPHER

LE PETIT PRINCE. BILINGUAL EDITION

Merci, Catherine. I’ll start on

this as soon as possible.

YOUNG CATHERINE

It’s a beautiful story, set in the

Sahara Desert — full of wisdom.

YOUNG CHRISTOPHER

Set in a desert, huh?

YOUNG CATHERINE

Oui.

YOUNG CHRISTOPHER

Interesting.

YOUNG CATHERINE

What?

YOUNG CHRISTOPHER

Nothing... Just...

YOUNG CATHERINE

Come on... no secrets.

YOUNG CHRISTOPHER

No secrets? You’re no fun!

YOUNG CATHERINE

Here is my secret: L'essentiel est

invisible pour les yeux.

YOUNG CHRISTOPHER

It is essential... that...

YOUNG CATHERINE

What is essential is invisible to

the eye.

YOUNG CHRISTOPHER

(with passing pronunciation)

Saint-Exupéry?

YOUNG CATHERINE

Oui.

YOUNG CHRISTOPHER

It’s quite romantic.

YOUNG CATHERINE

It is, and it’s only half of

of the whole sentiment.

YOUNG CHRISTOPHER

And the other half?

YOUNG CATHERINE

You’ll have to read the book.

YOUNG CHRISTOPHER

Will I understand if I don’t read?

YOUNG CATHERINE

Anyone who has a heart will

understand, Chris. Does anyone

really need books to understand what

is truly important in life?

YOUNG CHRISTOPHER

No books, huh? Hmm... Let me think

about that one, Catherine.

YOUNG CATHERINE

Don’t think, Chris.

(kiss)

YOUNG CHRISTOPHER

Okay, let’s go to a place where

we can empty our minds and –

YOUNG CATHERINE

— fill our hearts.

YOUNG CHRISTOPHER

Exactement!

YOUNG CATHERINE

Ah, you’ll be speaking French

in no time.

YOUNG CHRISTOPHER

Oh là là!

YOUNG CATHERINE

God help me.

EXT./INT. CONVERTIBLE – DAY

The convertible merges onto I-405 East.

YOUNG CHRISTOPHER (V. O.)

How about some music?

Young Christopher drops an 8-track into the player.

YOUNG CATHERINE (V. O.)

Should I transcribe?

YOUNG CHRISTOPHER (V. O.)

Nope. Just enjoy.

Sounds like America’s “A Horse with No Name.” Catherine listens.

YOUNG CATHERINE (V. O.)

Oh, Chris, this is lovely. What

harmony!

Young Catherine and Young Christopher sing along to the refrain.

INT./EXT. CONVERTIBLE - DAY

Young Christopher and Young Catherine caress each other’s hands (close up) on the sunlit console as the convertible passes by the eastbound street signs Corona, Riverside, and Moreno Valley.

INT. CONVERTIBLE – DAY

Young Catherine examines the map.

YOUNG CATHERINE

Chris, where on earth are we going?

Chicago’s not a day trip.

YOUNG CHRISTOPHER

Oh ye of little faith.

YOUNG CATHERINE

Just curious, how much longer?

YOUNG CHRISTOPHER

Half hour. Do you have to pee?

YOUNG CATHERINE

(studying the map)

I’m wearing my Depend, but thanks. And

you?

YOUNG CHRISTOPHER

I’m about as continent as they come.

YOUNG CATHERINE

(looking up)

Did you just say something dirty?

Young Christopher pulls a Grinch smile.

YOUNG CATHERINE

(studying the map)

Joshua National Park! We’re going

to Joshua National Park, aren’t we?

YOUNG CHRISTOPHER

Yep.

YOUNG CATHERINE

Oh Chris, I love parks!

EXT. PARK ENTRANCE - DAY

The young lovers stand outside their parked convertible at Twentynine Palms surveying the area.

YOUNG CATHERINE

This is amazing, Chris. I feel the

desert, a shadow desert no less.

YOUNG CHRISTOPHER

You know Joshua Tree?

YOUNG CATHERINEE

I planned on visiting Joshua and

Mojave while here. I’ve loved

deserts since my parents took me

as a child. I’ve slept in the

Sahara.

YOUNG CHRISTOPHER

With whom?

YOUNG CATHERINE

A caravan of Bedouins, you silly

boy – as Susan would say.

YOUNG CHRISTOPHER

She’s so sweet.

YOUNG CATHERINE

Have you ever been here...

Young Catherine catches herself, lest she remind Young

Christopher of Maggie. Young Christopher looks away.

YOUNG CATHERINE (CONT’D)

I’m famished!

YOUNG CHRISTOPHER

Me too. Let’s grab a bite to eat

and some provisions. Are you game

for a two-hour hike to a special

place?

YOUNG CATHERINE

Was Jacques Cousteau prepared to

dive?

YOUNG CHRISTOPHER

Are you trying to outwit me?

YOUNG CATHERINE

I would have to plead no contest –

YOUNG CHRISTOPHER

– yes, you would —

YOUNG CATHERINE

— on your behalf.

YOUNG CHRISTOPHER

Ouch! You bested me.

YOUNG CATHERINE

I’ll try to remember that.

They chuckle as they glide into a grocery store hand in hand.

EXT. JOSHUA TREE PARK. HEART ROCK - DAY

Young Catherine and Young Christopher wait for other hikers to finish taking pics at Heart Rock, then approach it.

YOUNG CATHERINE

This is so charming, Chris! Take

a picture, please!

Young Catherine poses by the rock and Young Christopher snaps a pic with a FUJI DISPOSABLE CAMERA.

YOUNG CHRISTOPHER

You didn’t know it was here?

YOUNG CATHERINE

I knew, but seeing it is just

amazing. The real thing beats the

fantasy hands up.

YOUNG CHRISTOPHER

Hands down.

YOUNG CATHERINE

Hands down.

YOUNG CHRISTOPHER

(contemplating the boulder)

It’s really something, isn’t it?

What are the odds of such a

formation?

YOUNG CATHERINE

What were our odds, Chris?

YOUNG CHRISTOPHER

Forgetting is so long, Catherine.

YOUNG CATHERINE

(snapping a candid shot of Young

Christopher)

But so is art, Chris.

They walk around and touch the rock. Young Catherine hands Young Christopher the camera and walks around the boulder. Christopher pockets the camera.

YOUNG CHRISTOPHER

We have to head back. It’s getting

dark. If we leave now we’ll catch

up with some hikers.

YOUNG CATHERINE

Can’t we stay for the stars, Chris?

You can see the Milky Way from here!

YOUNG CHRISTOPHER

I don’t know. We’d be hiking back

to Twentynine Palms in the dark.

We don’t even have a flashlight.

Young Catherine pulls one out of her backpack. Young

Christopher pulls a disapproving smile.

YOUNG CHRISTOPHER

We should really go to a campground

or desert cottage for stargazing.

But we have to book those.

YOUNG CATHERINE

What about right here, next to Heart?

YOUNG CHRISTOPHER

For one thing it’s illegal...

Young Catherine pulls a disapproving smile.

For another it’s going to get cold.

Young Catherine pulls out two packable blankets.

YOUNG CHRISTOPHER

Got any lounge chairs in that bag,

lady?

Young Catherine reaches into her backpack as though she does. Young Christopher LAUGHS. Young Catherine reaches back in.

YOUNG CATHERINE

Nope! Just a thermos of hot coffee.

YOUNG CHRISTOPHER

We could get back very late.

YOUNG CATHERINE

I’m free. Et tois?

YOUNG CHRISTOPHER

I’ve never felt freer.

YOUNG CATHERINE

And I’ve never seen such a boyish

smile like yours, Chris. You are

no Frenchman.

YOUNG CHRISTOPHER

And you aren’t...

They break eye contact. Young Catherine examines some

rocks. Young Christopher surveys the glowing horizon.

YOUNG CHRISTOPHER

Okay. I’m game.

EXT. HEART ROCK – NIGHT

Young Christopher sits on one of the blankets. Young Catherine collects rocks.

YOUNG CHRISTOPHER

Fire pit?

YOUNG CATHERINE

Oui.

YOUNG CHRISTOPHER

Don’t tell me... You brought

some firesticks?

Young Catherine looks at her backpack. Young Christopher, smiling, shakes his head back and forth as Young Catherine pulls out a pack of kindling sticks and a pair of binoculars.

YOUNG CHRISTOPHER

No kitchen sink?

Young Catherine chuckles and prepares the fire.

EXT. HEART ROCK – NIGHT

Young Catherine and Young Christopher cozy up under a

blanket. The fire gives warmth and light. Young Christopher searches the sky with binoculars.

YOUNG CHRISTOPHER

This sort of gives the lie to the

Little Prince.

YOUNG CATHERINE

What do you mean?

YOUNG CHRISTOPHER

Well, he says what’s important

is invisible to the eye, right?

YOUNG CATHERINE

Oui. L'essentiel est invisible pour

les yeux.

YOUNG CHRISTOPHER

Oui, l'essentiel est invisible

pour les yeux. Yet just look those

stars!

YOUNG CATHERINE

I see what you mean. The stars

above us – they are majestic in

our eyes. I feel sorry for those

who have not experienced this.

YOUNG CHRISTOPHER

And humbling... And terrifying

YOUNG CATHERINE

Terrifying?

YOUNG CHRISTOPHER

Millions of stars, millions of

wishes upon them, yet no reply.

No response. Just some cold, dumb

lights tantalizing us with their

shimmer.

Young Catherine gently takes the binoculars from Young

Christopher. They search each other’s eyes and kiss tenderly, then passionately.

YOUNG CHRISTOPHER

That helps.

YOUNG CATHERINE

I feel so alive in your arms, Chris.

They recline and kiss passionately. Young Catherine pulls the blanket over them.

YOUNG CHRISTOPHER (V.O.)

Feels like you’re swallowing me.

YOUNG CATHERINE (V.O.)

You possess me.

EXT. HEART ROCK - DAY

Young Catherine and Young Christopher sit before the expiring fire pit sipping coffee. Catherine lethargically pokes it with a stick. They look sad.

YOUNG CHRISTOPHER

I’m sure it’s out. We should go.

Young Catherine stands, then Young Christopher, and they

begin walking away from Heart Rock. Young Christopher leads. They are not holding hands.

EXT./INT. FREEWAY – DAY

The convertible merges onto Twentynine Palms Highway.

EXT./INT. CONVERTIBLE – DAY

The convertible is down but the cabin is dim and the lovers are not holding hands.

YOUNG CATHERINE

What are you thinking, Chris?

YOUNG CHRISTOPHER

How pretty you look in that

headscarf and sunglasses.

YOUNG CATHERINE

What else?

YOUNG CHRISTOPHER

Let’s not talk about it.

YOUNG CATHERINE

It’s better that way.

YOUNG CHRISTOPHER

Right... Words are often sources

of misunderstanding.

Young Catherine looks out the passenger window.

YOUNG CHRISTOPHER

What do you want me to say,

Catherine? What do I tell Maggie?

She doesn’t know about us, and she

will surely see Susan at Mass this

morning. Then what? What do I say?

What should I say?

YOUNG CATHERINE

That you’ve made a choice.

YOUNG CHRISTOPHER

What would my parents think, and

hers? They expect us to marry.

I’m not proud of what I’m doing

here, Catherine. I wasn’t raised

this way!

YOUNG CATHERINE

Okay, Chris. Please stop!

YOUNG CHRISTOPHER

Can’t we just resume our lessons?

YOUNG CATHERINE

With or without sacristy wine?

Young Christopher shakes the steering wheel and lets out a heavy GROAN.

YOUNG CATHERINE

�� Stop, Chris, please stop!

Young Christopher puts his fingertips to his mouth and

then runs them through his hair.

Let’s listen to some music.

Young Catherine puts in an 8-TRACK and a song that sounds

like America’s “Ventura Highway” comes on. Young Christopher violently ejects the tape.

YOUNG CHRISTOPHER

Fuck this music already!

Fuck this guilt of mine!

Fuck this life!

Young Catherine recoils and resignedly looks out the passenger window, her sad countenance reflected on the glass, through which palm trees flash by. A tape is INSERTED into the 8 track and a song that sounds like

“Ventura Highway” PLAYS again. Young Catherine manages a

smile and begins to rock gently to the music.

CATHERINE

This is lovely, Chris.

Young Christopher looks straight ahead, tightly gripping the steering wheel. Young Catherine grasps the lyric’s

theme of parting lyrics, stops singing, and looks out the

passenger window again. Tears stream down her cheeks,

reflected on the glass.

YOUNG CATHERINE

Why aren’t you singing, Chris?

Surely you know this song by heart,

no? Surely you’ve sung it to others,

no?

EXT./INT. TAXI – DAY

Catherine departs LAX in an Uber. She calls Michele.

CATHERINE

Hello, my sweet.

MICHELE

Hello, maman. How’s the Getty?

CATHERINE

I’m not there, my sweet. Susan’s

mother died from a stroke this

morning. I just saw her off at

the airport.

MICHELE

My God, maman! That’s terrible!

CATHERINE

Yes... yes it is.

MICHELE

What will you do now?

CATHERINE

I’m going to have dinner and then

I’ll... I’ll return to your

condo.

MICHELE

Take your time, maman. The

condo’s still topsy-turvy and

we are eating pizza out of a box!

CATHERINE

You can apply for American

citizenship tomorrow.

MICHELE

(chuckling)

Oui, maman. It’s crazy here!

CATHERINE

A plus tard!

MICHELE

Au revoir, maman, et bon chance!

Catherine terminates the call. The Uber passes by the

Redondo Beach freeway sign.

CATHERINE

How much longer to 87 Esplanade?

UBER DRIVER 2

Five minutes.

CATHERINE

(murmuring)

Might as well be an eternity.

The driver throws Catherine an odd glance in the rear-view mirror. The Uber pulls up in front of Christopher’s condo complex on Esplanade.

CATHERINE

Please drive up the road a bit. I’ll

tell you where to stop.

The driver does so.

CATHERINE (CONT’D)

This is fine. Please stop.

The Uber stops and Catherine anxiously surveys the

façade of the condo. She checks her phone.

UBER DRIVER 2

Mam?

CATHERINE

Take me to Crème de la Crepe on

Catalina Ave., please. A five-minute

drive, no?

UBER DRIVER 2

Yeah, roughly.

INT. CRÈME DE LA CREPE RRESTAURANT – DAY

Catherine, wearing a scarf and large black sunglasses, is greeted by HOST 1.

HOST 1

Bonjour!

CATHERINE

Bonjour!

SUBTITLED in English below.

HOST 1

Voulez-vous dîner à l'intérieur

ou à l'extérieur ?

CATHERINE

À l'intérieur, s'il vous plaît.

Mes yeux sont sensibles à la lumière.

HOST 1

Mais, l’essential est invisible

pour les yeux.

HOST 1

Bien sûr. Mais, les mots sont

la source de malentendus.

HOST 1

(seating Catherine)

Bon appétit!

ENGLISH SUBTITLES

HOST 1

Would you like to dine inside

or outside?

CATHERINE

Inside, please. My eyes are

sensitive to light.

HOST 1

But what is essential is invisible

to the eye.

HOST 1

Of course! But words are often the

source of misunderstandings.

(seating Catherine)

HOST 1 (CONT’D)

Bon appétit!

INT. CRÈME DE LA CREPE – DAY

Catherine has finished her meal and is checking herphone. Her SERVEUSE approaches.

SUBTITLED in English.

SERVEUSE

Appréciez-vous la cuisine, madame?

CATHERINE

Délicieux.

SERVEUSE

(with knowing smile)

Et le vin naturel?

CATHERINE

Oui, Tout est délicieux.

SERVEUSE

Et oui, madame. Avec le temps, tout

va bien, n’est-ce pas?

CATHERINE

Non, avec le temps, tout s’evanouit.

SERVEUSE

Êtes-vous de Paris, Madame?

Votre français est impeccable.

CATHERINE

Oui. Merci.

Avez-vous déjà été à Redondo Beach?

CATHERINE

C'était une éternité.

SERVER 3

Bon séjour.

The serveuse walks away. Catherine checks her phone,

turns around and sees it’s dark outside.

CATHERINE

(to serveuse)

Serveuse! L’addition, s’il vous

plait.

INT. GARRET – DAY

Young Christopher calls Young Catherine on a TOUCH-

TONE PHONE.

YOUNG CHRISTOPHER

I can’t come this weekend.

Thanksgiving.

DORMITORY – DAY (INTERCUT)

YOUNG CATHERINE

I know. Susan told me.

YOUNG CHRISTOPHER

I will see you again. We’ll study

together again.

YOUNG CATHERINE

If you want.

YOUNG CHRISTOPHER

I want. There are some passages from

Le Petit Prince I need help with.

YOUNG CATHERINE

Bon.

YOUNG CHRISTOPHER

Next weekend?

YOUNG CATHERINE

Finals week.

YOUNG CHRISTOPHER

Right. Bad idea. The week after

then?

YOUNG CATHERINE

Bon.

EXT. STREET – TWILIGHT

Young Christopher walks empty Long Beach streets from Holy Innocents to campus.

INT. SUSAN AND CATHERINE’S DORM – NIGHT

Young Christopher and Young Susan meet as the elevator opens.

SUSAN

(stepping in)

Not good, Chris.

Christopher walks down the hallway, knocks, and enters the dorm. He is holding LE PETIT PRINCE and Catherine is holding a SHEET OF PAPER. They give the faire la bise and

remain standing, ill at ease.

YOUNG CATHERINE

How were finals?

YOUNG CHRISTOPHER

Good. Well, maybe not anthropology,

but everything else, good. And you?

YOUNG CATHERINE

Good. Your English helped. I breezed

through the written exams.

YOUNG CHRISTOPHER

No kidding?

YOUNG CATHERINE

No kidding.

Christopher notices a SHEET OF PAPER in her hand.

YOUNG CHRISTOPHER

(smiling)

Transcription?

Catherine proffers the sheet and goes to the window and looks out. Christopher reads the letter silently but we

hear Catherine’s voice.

INSERT – LETTER

YOUNG CATHERINE (V.O.)

“Christopher, my love, I’ve been thinking of you all day. It was raining outside, and when I came home I saw the note Susan had left, Christopher will come over tonight, and suddenly the sun was in my heart, something far more important than studying, than anything on earth. I should be studying now, but you keep all my thoughts. And I don’t care. Why? Does it matter? If somebody else loves you, that should make

all the pain go away. There will be pain, I know

that. This pain will be like, a little death. This

is just one of the thousands of letter I’ve written

you, but you never speak of them. Don’t you ever

receive them? It doesn’t matter, just don’t throw them away. In a hundred years you can take them out of a drawer and read them and know that somebody once loved you. Why? Because you are such a kind person. Words betray me! That is why my letters use no language. I need you. I sometimes think you don’t

need me. And I go out with other men. I did that. I’m sure I will do that again, because life is not simple, because you cannot always be with me, and because we have to see each other way we are, not the way we want

others to see us. Don’t you think our love would fade, maybe, if this were different? I don’t want it to fade, I would rather die. We are very different, even we share many things. If I can be a sun ray in your life I know why I was one day born in Algiers, and lived, and wanted to live. If you understand, take me

in your arms, and kiss me strongly!

Catherine

BACK TO SCENE

Young Christopher cannot manage to look at Young

Catherine.

YOUNG CHRISTOPHER

(feebly)

Catherine...

She continues to look out window and remains silent.

INT. DORM – DAY

Christopher, holding the LETTER, steps into the elevator

As the elevator door closes, he closes his eyes, and we

hear Catherine’s door BANG shut.

INT. GARRETT – DAY

Christopher calls Susan on the TOUCH-TONE PHONE.

INT. DORMITORY – DAY (INTERCUT)

YOUNG CHRISTOPHER

Is Catherine there?

YOUNG SUSAN

No.

YOUNG CHRISTOPHER

Please, Susan, I want to talk with

her before she leaves.

SUSAN

She doesn’t want to talk with you

... and she leaves tomorrow.

YOUNG CHRISTOPHER

I really need to speak with her,

Susan, so if she’s there, please

hand her the phone.

SUSAN

She’s on campus saying good-bye

to faculty and friends.

Susan hangs up.

EXT. CAMPUS BUILDING – DAY

Christopher feverishly searches for Catherine in likely departments/offices — School of Management, Modern Languages, French Club, and so on.

INT. DINING COMMONS – Day

Christopher calls Susan from a public TOUCH-TONE.

INT. DORM – DAY (INTERCUT)

CHRISTOPHER

Is she there?

SUSAN

No.

CHRISTOPHER

Did she call?

SUSAN

Yeah.

CHRISTOPHER

Well, goddamn it?

SUSAN

(sighing)

She said she’d be home late...

after dinner with the French Club.

Christopher is hyperventilating.

SUSAN

She called from Gems.

CHRISTOPHER

The boutique on North Bellflower?

SUSAN

Yeah.

EXT. OFF CAMPUS – DAY

Young Christopher frantically searches for Young

Catherine at Gems and the greasy spoon — to no avail. He walks aimlessly, checks his watch, and walks back to the bus stop outside Gems.

EXT. BUS STOP – TWILIGHT

Young Christopher boards the bus and thoughtlessly sits in the handicapped section behind the driver. His

back faces Gems and the bus window behind him is

partly open. The driver waits for other fares to enter

and then for a red light.

EXT. BUS STOP – TWILIGHT

POV SHOT of back of Young Christopher’s head and neck from

Gems. The palm trees near the bus stir in the breeze.

INT. BUS – TWILIGHT

Young Christopher, head down, hands clasped between his

knees, is suddenly alert. He has recognized something. He

inhales and turns round to look at Gems.

EXT. BUS STOP – TWILIGHT

Young Catherine is standing in front of Gems. She is holding Young Christopher’s copy of LE PETIT PRINCE. They exchange exquisitely bittersweet smiles and, as the bus pulls away, wave feebly.

INT. BUS – TWILIGHT

The bus lurches forward with a GROAN, and proceeds a couple of blocks. Young Christopher looks dazed, but upon hearing

the bus SCREECHING to a halt at the traffic light, springs

from his seat.

YOUNG CHRISTOPHER

(to BUS DRIVER)

Open the door.

BUS DRIVER

Next stop’s just ahead.

YOUNG CHRISTOPHER

(Shouting)

Open the fuckin’ door now!

EXT. STREET – TWILIGHT

Young Christopher jumps off the bus and runs back to Gems, but Young Catherine is gone. Young Christopher runs to campus and desperately searches several campus offices until concerned staff call security.

INT. GARRET – NIGHT

Young Christopher lies in bed staring at nothing. The love letter lies on his chest moving up and down to his breathing.

EXT. CATALINA AVE. – NIGHT

Late-model cars roll down the avenue, still busy with shoppers and al fresco diners.

Catherine walks from Crème de la Crepe to Christopher’s

condo. She wears a dark scarf and large black sunglasses.

EXT. CONDO COMPLEX – NIGHT

Catherine positions herself near the keycard parking garage

door, feigns a cell phone conversation, and slips in after a car exits.

INT. CHRISTOPHER’S CONDO COMPLEX – NIGHT

Catherine walks through the parking garage to the entrance door of the condo complex proper where she begins searching for Christopher’s unit on the second floor. She espies him through a window.

CATHERINE

(whispering)

Christopher, my love.

The unexpected CHIMING of Catherine’s phone sends her

scurrying down the dimly lit corridor—only to find the

exit locked. She heads back down the corridor and sees

Christopher approaching the door to the garage.

CHRISTOPHER

(inserting the keycard)

Going out?

CATHERINE

Catherine points to the stairway that leads to the courtyard).

CATHERINE (CONT’D)

(murmuring)

In and out again, thank you.

Christopher enters the garage just as Catherine passes by.

INT. GARAGE – NIGHT

Christopher sits in his parked car, finger on the ignition

button, contemplating something.

CHRISTOPHER

(whispering)

Anais Anais...

EXT. THE COURTYARD – NIGHT

Prevented from entering the beach through the courtyard’s keycard door, Catherine bides her time texting a reply to

Michele.

INSERT – TEXT

I’m fine. Some French folks I met at the restaurant are giving me a quick tour of Redondo Beach. Will be living soon. How’s the condo

shaping up?

(The misspelling “living” is intentional.)

BACK TO SCENE

Catherine hears people approaching. She steps back and

walks to the door just as they are opening it, and she

passes through. On the beach, she looks up at Christopher’s condo but is dark. She closes and opens her eyes. Still dark. Catherine starts walking toward distant lights of the King Harbor entrance.

EXT. BEACH – NIGHT

Catherine leaves King Harbor in an Uber.

INT. CHRISTOPHER’S CONDO – NIGHT

Christopher unpacks bottles of wine, pours himself a glass, and sits in his chair. He checks his phone while the cat nestles next to his chair.

CHRISTOPHER

(raising his glass)

Just you, me, and Proust tonight,

eh Heart?

INT./EXT. CONDO. BALCONY – NIGHT

Christopher (Swann’s Way on his chest) is wakened by an

uptick in the ROAR of the ocean and goes to the patio

slider to close it. Hesitating, he steps onto the balcony

and sees the naked young woman in the usual place and position.

CHRISTOPHER

(shouting)

Hey! What the hell are you doing

there?

EXT. BEACH – NIGHT

From the beach we see Christopher shaking the balcony

railing. His countenance transitions from anguish to

calm:

CHRISTOPHER (CONT’D)

(from the top of his lungs)

SUBTITLED in English

Resurrexi, et adhuc tecum sum, alleluia!

Posuisti super me manum tuam, alleluia!

Mirabilis facta est scientia tua, alleluia,

alleluia!

I have risen again, and am still with you,

alleluia!

You have placed your hand on me, alleluia!

Thy knowledge has become wonderful, alleluia, alleluia.

EXT. BEACH – NIGHT

Seen from the beach, Christopher stands on his balcony.

Only his unit is lit.

INT./EXT. CONDO. COURTYARD. BEACH – NIGHT

In complete silence, except for his HEAVY BREATHING,

Christopher runs down the stairs, into the courtyard, and onto the beach.

EXT. BEACH – NIGHT

Christopher runs up to the kneeling figure, his HEAVY

BREATHING increasing. He reaches to place his hand

on her shoulder.

EXT. HOSPITAL – DAY

Late-model cars are parked outside an LA hospital. People

enter and exit.

INT. HOSPITAL – DAY

Catherine, in an ICU, has just come out of a weeklong coma. Carole and Michele rush into her room and grab her hands and kiss her repeatedly while uttering “Maman!” – “Maman!” The doctor cautions against overwhelming Catherine.

CATHERINE

So, I was out of your hair for only

a week?

Carole and Michele sob tears of joy, kissing their mother’s hands.

CAROLE

(smiling through tears)

Oui, Maman! Oui.

MICHELE

(sobbing)

You spoiled your own vacation,

Maman!

CAROLE

We will come back for Christmas,

maman. You will see your alma

mater yet.

CATHERINE

Only if I can make it down the air

stair in one piece next time.

(a beat; then)

I really went head over heel?

CAROLE

Yes, maman, and when you didn’t come

to... we expected the worst!

Michele and Carole break into sobs again. Tears well up in

Catherine’s eyes.

DOCTOR

I must insist that your mother rest

now.

CAROLE

May we stay overnight?

DOCTOR

I’m afraid not.

INT. UBER – DAY

Catherine and her daughters leave the hospital in an Uber.

CAROLE

Shame you never got to see

your alma mater, Maman.

MICHELE

And the Getty and San Diego Zoo.

CATHERINE

Another time, my sweets. Another time.

EXT. FREEWAY – DAY

Birdseye view of the Uber, bound for LAX, passing by the

signs for I-105 South and I-405 West.

CAROLE (V.O.)

Maman, the doctor tells us you

dreamed during your coma. Is this

true?

MICHELE (V.O.)

What did you dream of, maman? The

doctor said coma dreams are unusual.

CATHERINE (V.O.)

Pfff! I don’t know, my sweet.

This and that – all quite bizarre.

It doesn’t matter.

Catherine puts on a pair of white sunglasses, much like. The ones she wore in the convertible.

CAROLE

Of course it matters, maman!

Please, maman, share your dreams

with us. Describe one.

MICHELE

Oui, Maman. A little diversion on

the way to the airport will do us

good. It’s been such an eventful

trip.

Catherine’s reflection in the passenger window shows

her staring into space.

MICHELE

Ca vas, maman?

CATHERINE

Oui, ca va – okay – I don’t know.

So difficult to remember.

(a beat; then)

Forgetting is so long, after all.

CAROLE

Please, Maman. Par example.

We must understand.

CATHERINE

Bon — Donc — Alors. I dreamed –

I dreamed busses were dinosaurs.

CAROLE

Tres bizarre, Maman! What could

have provoked such dreams?

MICHELE

What else, maman?

CATHERINE

(now owning the matter)

Alors! I dreamed... I dreamed I

understood Gregorian chants, and

that gyros were the most savory

cuisine I ever tasted.

MICHELE

Très, très bizarre, maman! Who

could account for such nonsense?

CAROLE

Encore, maman, Encore!

CATHERINE

Bon! I dreamed... I dreamed

my hand was a glove.

Michele and Carole look confused.

MICHELE

What?

CAROLE

What kind of glove, maman?

I don’t understand.

CATHERINE

Oh, I don’t remember the kind or

color. That hardly matters,

n’est-ce pas?

CAROLE

Of course, maman. But surely this

glove is not as interesting as

dinosaur busses...

MICHELE

... or thinking a gyro is haute cuisine.

CATHERINE

Mais oui, mes chéries. Mais oui!

MICHELE

Pour quoi, maman? I don’t

understand.

MICHELE

Make us understand, maman!

CATHERINE

Because only two people... in the

whole world... could wear this

glove, and I... I was one of

them.

MICHELE

In the whole world?

CATHERINE

Dans le monde entière.

EXT. FREEWAY – DAY

The Uber passes by the I-405 South sign that

reads I-405 SOUTH LAX AIRPORT LONG BEACH.

EXT. COASTLINE – DAY

Aerial shot of miles of coastline, much like at the outset,

Maurice Ravel’s Une Barque sur L'Ocean plays through the

end credits.

FADE TO BLACK

0 notes

battleforoclarious · 2 years ago

Text

Festival Flags

EXT. CHRISTMAS FESTIVAL. BEACH. WELLINGTON. NEW ZEALAND. AUSTRALIA. USAA. NIGHT

Lights on wires are stringed in rows high above a patio where people are sitting having drinks. There is a Christmas festival happening on the shore of Wellington. People are frolicking about and the atmosphere is merrily. On the beach near the bar - there are colourful festival flags planted on wooden poles in the sand

High above where people are celebrating - a woman in a biker’s jacket and a white summer dress stands on the rooftop of the bar. People are looking up at her with wondering astonishment. YOUNG ADULT CLARKSON sees her too - he RACES to the gathering crowd. Everyone is looking up now. Then she JUMPS onto a flagpole. As she lands she WAVERS her arms out trying to balance. Then she CONTINUES TO JUMP to the next flagpole doing the same thing as before. She LEANS FORWARD with her torso trying not to fall. The crowd GASP in fear. People are CHATTERING about her though the dialogues are indistinct. She CATCHES balance - and then JUMPS with momentum across the flagpoles. As she gets to the last flagpole she JUMPS DOWN from the great height falling. People GASP again ‘til she LANDS onto an awning covering the concession stand. Just as quickly she SLIDES DOWN and off the awning CRASHING into YOUNG ADULT CLARKSON. He GRABS onto her trying to catch her fall - they share a gaze. Then she BRUSHES herself off and RUNS to the bay. YOUNG ADULT CLARKSON LOOKS at her as she RUNS away - then GLANCES DOWN at the ground and SEEING a gold necklace with a starfish pendant laying there - he PICKS it up. He LOOKS at it then RUNS to the girl trying to catch up to her

YOUNG ADULT CLARKSON

Hey - you dropped this (AS HE GRABS ONTO HER SHOULDER)

She TURNS around - LOOKING at him - then TAKES the necklace

YOUNG ADULT CLARKSON (CONTINUOUS)

What did you do back there?

WOMAN

I was just… mourning

YOUNG ADULT CLARKSON

Oh… are you okay (AS HE TRIES TO COMPREHEND)

WOMAN

Yeah - I’m fine… Sorry for crashing into you

YOUNG ADULT CLARKSON

No - it’s fine. As long as you’re okay

He PAUSES for a second - then REACHES out his hand

YOUNG ADULT CLARKSON (CONTINUOUS)

I’m Clarkson

WOMAN

I’m Fen (GRABBING ONTO HIS HAND FOR A SHAKE)

YOUNG ADULT FEN

Fen Ren… When I’m up there I can see all of the Christmas festival lights

She PACES a few steps ahead of him - then TURNS around

YOUNG ADULT FEN

You’re not from here are you?

YOUNG ADULT CLARKSON

No - just visiting

YOUNG ADULT CLARKSON WALKS UP to her then TURNS to the city

YOUNG ADULT CLARKSON (CONTINUOUS)

But I used to live here. As a kid

YOUNG ADULT FEN

So where are you living now?

YOUNG ADULT CLARKSON

Canada

YOUNG ADULT FEN

You ever missed Christmas in the summer?

She TWIRLS her arms towards the water

YOUNG ADULT FEN (CONTINUOUS)

Just look at the warmth of the sea

YOUNG ADULT CLARKSON

Yeah - it’s beautiful

YOUNG ADULT CLARKSON GAZES into the sea. YOUNG ADULT CLARKSON STARES into YOUNG ADULT FEN’S smile as she TURNS around. She SMILES back - and with that they sing - “The endless sea”. YOUNG ADULT CLARKSON SHY AWAY as he APPROACHES YOUNG ADULT FEN - lusting for the beauty in her eyes - at this time - he is swept away in the aberration of the stars. People STANDING underneath the strings of lights hung on the wire. They APPROACH YOUNG ADULT CLARKSON and YOUNG ADULT FEN with festival flags SWAYING from side to side. YOUNG ADULT CLARKSON and YOUNG ADULT FEN are quite a duet - there is wanderlust in their eyes - MOVING to the music. As they SING and embrace the moment - they DANCE into the night. The crowds JOIN IN - DANCING for joy for what a beautiful hot minute this has become. The beach becomes the stage for a romance that is enveloping into a dizzying commotion. YOUNG ADULT CLARKSON LEANS toward YOUNG ADULT FEN and SHIVERS his bones. She SHIVERS hers too. In sync - they start SHUFFLING their feet. As their shoulders QUIVER - the gaze between them spells out an endless romance like that the world has never seen before. They PACE across the beach with the waves coming in - while the crowd FOLLOWS them still with flags WAVING in the air like a flock of birds flying in unison to the wind or a school of fish swimming in synchronicity under the sea. YOUNG ADULT FEN RUNS into the waves - and YOUNG ADULT CLARKSON FOLLOWS. As she STOPS - YOUNG ADULT CLARKSON TWIRLS AROUND her - CIRCLING her like a tribal rain dance. They GRAB each other's arm then lined the crowds GIVING HIGH FIVES and LOW TENS to everyone. They RUN back then the crowds FOLLOW LINED IN ROWS. As they DANCE - they DANCE in unison to the music. Then YOUNG ADULT CLARKSON and YOUNG ADULT FEN RUN to the dock down to the sea. The crowds STAND there at the beach waving their flags. As the song ends - they TURN to one another in an unforgettable stare as they peer into each other’s eyes. Then YOUNG ADULT CLARKSON TURNS to the sea

YOUNG ADULT CLARKSON

Yeah - the sea is warm

YOUNG ADULT FEN TURNS toward the sea - and both of them spend the next moment just admiring the endless ocean

0 notes

freedfromthegalactichivemind · 3 years ago

Text

The Beast

She-Ra Fanfiction Entrapdak General Audiences Fluff Entrapdak Positivity Week Re-Post due to a blog-move. Day 2 Prompt. Cuddles Summary: Neither Entrapta or Hordak were cuddly people. This changes when an unexpected visitor arrives at the Crypto Castle. Alternate Summary: Hordak becomes a reluctant cat-dad.

The Beast There was a terrible, vicious creature inside the Crypto Castle. The clones living there were filled with fear and rumors spread of sightings. No one knew when it was going to strike and maul and devour one or more of them! Hordak told his brothers to calm down and that they had probably mistaken one of Entrapta’s robots for the monster of their nightmares, but a group of terrified Brethren of Prime insisted that a horrible native animal had invaded the premises and that, lacking their former weaponry (taken by Bright Moon authorities) they were powerless against it. This is how Hordak found himself striding through a long hallway in the labyrinthine estate attempting to put to rest their rumors of the “monster.” “I faced down a sand drake soon after my crash-landing,” the former Lord of the Etherian Horde groused. “Something of that size and nature could not possibly have gotten into the castle.” “We did not say that it was sizeable,” a clone that had taken the name of Paulos said, holding up a finger, “just that the beast was ferocious!” “You know as well as we do, Brother Hordak, that even those smaller than us can be terrible predators!” another brother, one who went by the name of David, insisted. “I remember when two of my flock got ripped apart by a wolvarus on Alpha!” “Those don’t exist on this planet!” Hordak grumbled. “And pookas!” added a clone named Clive. “Pookas exist here and they are terrible! Oh…noooooo! What if the castle has been infested by pookas? None of us will survive!” He and David grabbed ahold of each other. Paulos tried to approach Hordak for a secure hug, but The First of the Named held out his arm to dissuade him. This was utter nonsense! He had not encountered anything the least bit dangerous inside the Crypto Castle or its grounds that had not been built by Entrapta – in other words, no “beasts” that were not artificial and she had reprogrammed or shut down some of the more touchy robots and dangerous traps for the sake of the Clone Rehabilitation Program. Hordak wondered if he had been this obnoxiously lost just after his severing from Prime and the hive mind and concluded that he had – to his dismay. At the same time, being “compassionate” did not come naturally to him and being patient was taking a lot of work. At this rate, he was certain that the “beast” that so many of his relations were afraid of was a passing shadow or perhaps Imp playing tricks on them. “Aaaaaah! There it is! There it is!” David jumped and pointed. Several brothers behind the main group that had yet to take names quailed and threw up their arms to protect themselves or made ready to flee. What had the most feared army in the Seven Skies been reduced to? Hordak grunted and grit his teeth. Frightened clones were pointing, as one, insistently, toward… … a small hissing ball of fluff. Hordak threw his head back and sighed. They couldn’t be serious. At the end of this hallway, backed into a corner was a small white kitten. It was puffed up and hissing and spitting, its little claws deployed, but all it did was back up, tiny back arched. Hordak narrowed his eyes and took a second look at it to ascertain that it was not the infant-form of Catra’s people and was, indeed, just an example of a standard housecat. It must have been a stray. He had no idea how it had gotten inside. He looked back to his fellow clones. “That is a kitten,” he announced. “As long as it does not carry any pathogens – and it does not appear to be ill – it is no threat.” “It’s got claws! And sharp teeth!” one of the brothers whined. “So do you,” Hordak said bluntly, “Lest you forget that you were once a soldier. Fine. Step back and let me exterminate it.” The clones, as one, yelped as a shadow jumped down from the ceiling. Entrapta flipped down from a vent on her hair and plopped down right in front of Hordak. “You will not exterminate it!” she yelled. She shook her finger in Hordak’s face and he backed up, right into Paulos. The entire column of clones almost fell over one another. She turned around, crouched down and started cooing at the kitten. “Ooh, you’re so cute!” she said. “Are you lost, little guy?” She bent down and reached out with her hair gently to the kitten. She blocked the clones from sight and let the animal sniff her hair. She peeled off a glove and offered out her hand. “Awww… you’re just scared, aren’t you?” she said. “I could use someone like you in my experiments… oh, don’t worry, I mean running mazes and stuff! You’re too adorable to dissect!” The clones were making faces at each other. “I suppose if you can find a use for it,” Hordak rumbled. He looked at his brothers, who were significantly calmer now and then back at Entrapta, who was now holding the little cat in her arms. It had gone from hissing and spitting moments ago to contentedly purring. Entrapta truly did have a magic to her. “See?” she said, holding the creature out, “It’s harmless. It’s just a little kitten. Do any of you want to say hello?” David took a shaky step forward. “Here!” Entrapta exclaimed, grabbing the hapless clone’s arm with a lock of hair. She placed the wincing clone’s fingertips gently atop the small, warm creature. David squeaked. After a moment, he smiled. She guided his hand over the soft fur. “See? Harmless. You just have to know how to make friends.” “Ah! Ah!” David uttered. The others, now bright-eyed, stepped forward, wanting to meet this now tamed “monster.” They came up and petted the little cat one by one, guided to be extra gentle by Entrapta. Paulos laughed as the small creature licked his finger. The clones all jumped back when the animal mewed. “Heh,” Entrapta laughed. “I guess you’ll have to get used to it. This animal is called a cat – well, that’s the adult-form. Felis Catus – a common pet! This one’s a baby. We call it a kitten.” She turned her gaze to Hordak, who was standing with his arms crossed. “I suppose you do not want me to get rid of the pest?” he said. “Certainly not!” Entrapta insisted. “I’ve been meaning to study the locomotion of cats for some new ‘bot designs! This is the perfect opportunity! Here! Why don’t you pet him! I’m gonna call him Cuddles!” “Cuddles?” Hordak said, quirking a brow. “Yep! He also presents the perfect opportunity to study interactions between Horde-clones and native Etherian animal species! I mean, Kadroh and Swift Wind already get along, but I bet none of you have ever known the benefits of keeping a pet!” One of the clones raised a finger to say something. “Horde Prime kept many species from conquered worlds in his trophy room… but they were all dead.” “Well, now you’re all gonna know what it’s like to share living space with an animal that is alive!” Entrapta chimed. “It’s gonna be fun!” “Fun,” Hordak huffed, not quite buying it. __________________________ In the weeks that ensued, Hordak endured life with Cuddles. The kitten and Imp took to chasing each other around. Imp was surprisingly tolerant of the kitten. Hordak had some concerns that he might hurt the animal and upset Entrapta, but Imp caught on quickly that the cat was a part of the family, along with Emily and all of his new older brothers that were living in Dryl. Irritatingly, Imp took to recording and playing back Cuddles’ loud purring noises and cat-squeaks to bother Hordak with at inopportune times. That cat, himself, tended to interrupt important technical work by hopping up on desks or trying to climb Hordak’s skirts. His brothers living in Dryl had various reactions. Some took to Cuddles quickly, taking great pleasure in petting the small creature and letting it rest in their laps. David took a special enthusiasm in cupping the small kitten in his large hands, into which the tiny animal fit with room to spare. Entrapta taught them how to dangle feathers and strings around the kitten to watch it demonstrate its predatory instincts in antics that made them laugh. Some clones were afraid of the kitten, either having once gotten a playful bite or a swat with the claws or just did not know what to make of something so small that ran around so swiftly and could puff up and hiss so fiercely when upset. Entrapta observed the animal closely and took down many sketches. She built a large wheel for the cat to exercise in specifically so she could watch his movements. She took to building mazes out of cups and boards for the creature to navigate through in order to test his cogitative abilities and a cat’s intuitive sense of physics. When she fell into an exhausted heap onto a bed or upon a blanket-nest in her lab, the small cat would hop up beside her and cuddle up next to her, purring and falling asleep. The cat could sleep anywhere, making Hordak wonder about the survival-strategy of such an unproductive animal. When he found it on one of his worktables one morning, basking in a sunbeam, smack-dab atop plans for a tsunami-wall / generator to be built in Saileneas that he’d been working on as part of his redemptive-process of repairing what he’d done to Etheria, he was most vexed. He uttered a low growl at the creature. “Get out!” The cat remained asleep and flicked an ear. He spoke louder, a boom; “Get out!” The cat continued to ignore him. Entrapta dropped into the room from one of her ceiling-passageways. “Oh, did I forget to tell you?” she asked. “Oh, I must have. Cuddles is deaf.” “Deaf?”

“I guess I thought you might have known, given your work in genetics?” she inquired, “But I overlooked your lack of work with Etherian species. Cuddles has blue eyes. Many white-furred cats with blue eyes are deaf because of a genetic-condition linked to their colors – not all of them by any means, but I was suspicious, so I tested him, and yep, he’s definitely deaf. You just tested him, too, with all that yelling!” She nudged the kitten, awakening him and took him into her arms. “I thought that he may have been abandoned by his mother or that he had an owner that knew this and left him behind.” She pouted softly as she gently petted the animal. Cuddles cuddled into her ample chest. Hordak’s face took on a look of being taken aback. He lowered and raised his ears, as if processing something and he looked out into nothingness, lost in thought for a moment. He understood, then, why Entrapta had been so insistent upon taking the kitten in. They had never had pets around the lab before and Cuddles was not treated like a typical experimental animal. Cuddles was an odd one out, left behind – one of them. For the first time, he reached out a taloned finger and scratched the kitten beneath the chin like he had done countless times to Imp. Cuddles leaned into it and Hordak gave him a small smile. “I’ll take him out to play with the clones so he won’t bother you.” “Wait.” “Hmm?”

Hordak reached out his hands motioning that he wanted to hold Cuddles. Entrapta passed the cat into his arms. In the days after this day, she sometimes caught Hordak letting the animal sit on his lap when he was seated and letting it rest at his side when he was lying down. She noticed something else, too, that the kitten seemed to inspire in him: Neither she or he were very “cuddly” people. Entrapta had her various sensory-issues which made contact with her hair preferable to direct skin-to-skin touch. Hordak had his history of constantly maintaining the image of “Fearsome Untouchable Warlord” coupled with insecurities born from the abuses of Horde Prime. The two had the deepest of emotional-bonds, but, by nature, did not “cuddle” very much – at least not unless there were members of Princess Alliance around to annoy for their own amusement. With the kitten around, Hordak had become prone to cuddling it with Entrapta and as a result, they would sometimes wind up cuddling each other while cuddling the kitten. Cuddles was bringing out a softer, warmer side in them both, serving to break the ice regarding experiences that they both wanted. It was a situation most odd – especially given some of their other experiences with felines. Entrapta decided, upon wrapping her hair around Hordak, asleep in a chair with the cat on his lap and climbing up to join him there, that there were much worse things in the world than Hordak becoming a reluctant cat-dad - even if there were few things stranger.

#spop #entrapta #hordak #entrapdak #entrapdak positivity week #horde clones #horde prime clones #spacebats

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metamorphosies · 4 years ago

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𝐈𝐍𝐓𝐑𝐎𝐃𝐔𝐂𝐈𝐍𝐆 . . . 𝐄𝐕𝐀 𝐌𝐈𝐑𝐎. 𝑻𝑯𝑬 𝑺𝑾𝑨𝑵.

27 YEARS OLD. PRINCIPAL DANCER AT THE NEW YORK CITY BALLET.

❛ and that’s no apple but a heart torn out of someone in this myth gone suddenly aztec. this is the possibility of death the snake is offering: death upon death squeezed together, a blood snowball. to devour it is to fall out of the still unending noon to a hard ground with a straight horizon and you are no longer the idea of a body but a body.

❛ this is how you learn prayer. love is choosing, the snake said. the kingdom of god is within you because you ate it. ❜

𝐏𝐋𝐀𝐘𝐁𝐈𝐋𝐋.

𝐅𝐔𝐋𝐋 𝐍𝐀𝐌𝐄: eva madelena riviere, known professionally as eva miro 𝐍𝐈𝐂𝐊𝐍𝐀𝐌𝐄𝐒: swan queen; the swan 𝐁𝐈𝐑𝐓𝐇𝐃𝐀𝐓𝐄: march 18th 1934 — 27 years old 𝐏𝐋𝐀𝐂𝐄 𝐎𝐅 𝐁𝐈𝐑𝐓𝐇: arlington, virginia 𝐎𝐂𝐂𝐔𝐏𝐀𝐓𝐈𝐎𝐍: principal dancer at the new york city ballet 𝐏𝐈𝐍𝐓𝐄𝐑𝐄𝐒𝐓: HERE

𝐎𝐑𝐈𝐆𝐈𝐍.

EXT. ARLINGTON / a midsummer day; old southern gothic; dawn breaking over a horizon; the scent of magnolia and vanilla sweetening the air; homemade iced tea at the height of noon; secrets sealed in closed lockets and closed rooms; sun swept afternoons; the feeling of grass beneath your bare feet; wet blood streaked across palms; picking wildflower bouquets; the skeletons buried in the family closet

if this was a fairytale we would begin not at the beginning, but here, in the still antebellum calm before the storm. here is the amber-glaze veneer of old world nostalgia, curled at the edges like a faded photograph; a moment in time slipped between acts, between prelude and prologue: it begins in a garden.

a girl, half-sunbeam and half-wildness, twirls across the grass barefoot, lighter than a wayward breeze. there’s a woman watching her dance, an exclusive performance for an audience of one. the piece ends and the girl sweeps into an extravagant bow, dipping her head to the imaginary shower of roses raining down upon her impromptu stage of weeds and wildflowers. her solitary spectator bursts into jubilant applause, her laughter incandescent, filling her from throat to limb to toe. the both of them, radiant, the colour of sun swept afternoon, sprawl in the golden hour shade beneath the willow oaks. the girl lays her head in the woman’s lap as she soothes her fingers through the dark tangles of hair so like her own. she closes her eyes, breathing in the tenderness and blooming summersweet in the air.

her name is eva.

—

there is a way of telling this story that makes it bearable, but only just. enduring, in the way of the tide wearing away a thousand years of sand and stone, returning everything to seafoam.

perhaps we start with once upon a time, because it’s familiar and feels handmade. once upon a time, there was a prince. he was handsome and charming — two things too easily mistaken for good — and beloved by all that encountered him. magnetic by nature and flirtatious by disposition, he deflected the rumours and speculation swirling around him about marriage by declaring that he would go down on one knee only when he had met the most beautiful woman in the kingdom. but summers passed and the prince remained inexplicably unmarried. you see, though the kingdom was rife with dainty high-born ladies and heiresses, the most beautiful woman in the kingdom was not a lady or an heiress. she was the daughter of the castle’s steward, kept out of sight and mind by the humble circumstances of her birth. her beauty is fairytale, dreamlike, unrivalled by any woman the prince had ever graced with a smile or a kiss to bare knuckles. he thinks, at last, i’ve found you.

in the story, the prince and the steward’s daughter fall in love. against the king and queen’s wishes, the prince announces his engagement to his newfound love. they are married in the palace gardens, a simple ceremony with only a priest in attendance. nonetheless, their happiness glows with tangible sunlight.

a year later, the steward’s daughter gives birth to a princess. the last thing she sees in the world is the sight of her daughter’s eyes peering up at her, dark and starlit as her own. the prince takes his daughter into his arms as his wife draws her last breath, his greatest joy and most terrible loss coalescing with his daughter’s first cry.

despite the tragedy surrounding her birth, the little princess’ childhood is full of life and laughter and simple pleasures. she is raised by a nursemaid who becomes like a mother to her. what more is flesh and blood, after all, than the woman who cradles you at night and sings you lullabies to sleep, who kisses your scratched knees and teaches you how to dance? she is her world, and her world is everything the nursemaid nurtures within her, stoking the embers of imagination and zeal, courage and fearlessness. the princess learns to dance almost as soon as she learns to walk. she is raised with music and song, the rhythm of hands and feet barely a step from instinct. she dances as she breathes, intrinsically, innately, like the music is another facet of bone or artery. when she is seven years old, she begins classes with a private master. by the next full moon, she is ready to leave the kingdom to dance, to dance forever.

INT. NEW YORK / the cold curling around your skin and through your bones like a well-worn blanket; the loneliness of being inimitable; the becoming of a star; the aching of muscle and sinew; gazing out at the city skyline at 3 in the morning; the whispers trailing in your wake; tongues and nails sharp as razor blades; hunger blooming in the dark

interlude: eva is twelve when she wins a scholarship to the school of american ballet in new york. sixteen, when george balanchine handpicks her to join the new york city ballet. eighteen, when she becomes the first black principal dancer.

she is one of only two dancers in the ballet that is not white, and mariana was at least born and bred in spanish harlem. eva, with her burnished skin and southern lilt, sticks out like an unruly hair from a bun, like a ballet master’s correction. she is good, unrivalled for her age, but not the best, and it doesn’t take long for the muffled whispers and cutting glances to score and scrape away at any last shred of resilience. the isolation and playground tyranny, she can live with, but it is the loneliness, the distance from her aunty celia, the homesickness that festers in her stomach like spoiled milk, that makes her bend until she feels like she could break. she writes dozens of letters home to her beloved nursemaid that she doesn’t send, and resolves to wait out the year until summer when she decides she will quit.

the magnolia trees are in full bloom when she arrives in arlington, and maybe it is the smell of home, or the jetlag, but when she sees aunty celia, she dissolves into a cloudburst of salt and tears. she spends the summer in a daze of blissful relief, tucking ballet from her thoughts like a chest of old dolls in the attic. it isn’t until the second last day before she is to return to new york that aunty summons her to the garden. aunty, who is nothing like an aunty, really, with her petite frame and miles of thick, dark curls framing a painter’s muse of a face. tell me what is wrong, aunty celia says. you haven’t danced a single moment since you came home. eva bites her lip and stares skyward. i’m quitting, aunty. i hate it there. i don’t belong there, it’s cold and i miss home. i miss you, and papa, and being here. aunty arches a picturesque brow. but what about dancing? won’t you miss it? eva clenches her teeth, insistent. i can dance here, too. i can dance anywhere.

listen, little bird, aunty never calls her that anymore, not since she was tiny and still begged for bedtime stories. aunty holds out her hand and eva takes it, reluctant but with a quiet thrill at the easy gentleness of her touch. aunty twirls her slowly in a semi-circle, arm raised elegantly above her head. you will never belong anywhere because you weren’t meant to; you were made to be brilliant. you are a star, and stars only shine brightest in the dark.

so eva returns to new york, carrying a music box — her parting gift from aunty, specially crafted just for her, to play whenever she feels cold and misses home — and an inimitable light inside her that refuses to be tamed for anyone or anything. she is relentless, driven by more than mere ambition and pride. everything she does, she becomes the first. the exception and the exceptional. the trailblazer on an ever-ascending meteoric rise without a summit.

this is her becoming.

INT. VIRGINIA HOSPITAL CENTER / the smell of antiseptic clinging to skin; an expressionless mask; sickly saccharine platitudes; the knife of betrayal sinking into raw flesh; a broken locket; a sea of faceless strangers; the long soundless scream of grief; mourning lace; the suffocating weight of revelation

three days before eva is to dance the defining role of her career at age twenty-three, she receives the call. it’s papa. there’s been an incident; aunty is in the hospital.

in the midst of final rehearsals and preparations, eva leaves. the director threatens to drop her from the show altogether, threatens to blacklist her from all future roles and performances. with her career hanging in the threadbare balance, eva nods, gives her full blessing and best wishes to the cast, and leaves.

she arrives that night at the hospital and finds auntie swathed in the stark white sheets of a hospital bed, smaller than she’s ever seen her. a stroke, papa explains, hemorrhagic bleeding, a rupture in her brain. eva clutches at aunty’s hand, tears blurring her vision even as she scrambles to drink her in, by eyelash and smile line, the last glimpses of her she will ever have. aunty wakes with a small rasping inhale when she sees eva at her side and not in new york, getting ready for her stage.

of course i’m here, eva says, how could i be anywhere else but here? aunty shakes her head, lifts a shaking hand like a marionette extending beyond the life of her puppet strings to brush her fingertips down eva’s cheek. my eva, my beautiful girl. eva swallows, throat thick with love and apologies she doesn’t know how to speak, i’m sorry i did not write you every day, i’m sorry i did not come home last summer. i’m sorry i don’t know how to tell you how much you have made me who i am. worry creases the lines of aunty’s face, sunken deeper than ever before, in the sketches of time through across her features. she asks about the show, and what will happen to her career, and all eva can think is, i only wanted to dance because of you, because so much of me is just you.

you have to go, little bird. aunty smiles, and it reminds eva of endless afternoons in the garden, their very own kingdom, whirling barefoot beneath blue sky. time for you to blaze like the sun.

—

this is the end of the fairytale: the steward’s daughter dies in a hospital bed holding her daughter’s hand. the princess rises to discover she is gone from this world, as if every star and the sun itself has gone out.

this is the truth, which will be brief, because when the truth comes, it comes hard and fast like a knife in an alleyway: eva was born out of wedlock, a wealthy heir’s bastard daughter. when his parents gave him the ultimatum, the girl he loved, or the business empire of his inheritance, he chose empire. the truth of eva’s birth was concealed, obfuscated when her father married an heiress selected for her surname and birthright. they told her that her mother died in childbirth, and allowed celia to care for her as her nursemaid, raising her not as a daughter but a ward.

after celia’s death, eva is given a letter from her father with her mother’s dying wish, and the terrible secret she had taken to her grave, sealed within. in the letter, celia tells eva the one fairytale she had never spun for her as a child. she tells her about how the prince and the daughter of his family’s groundskeeper fell in love, and everything that came after. she tells her that she never regretted a second of it, watching the supposed love of her life marry another woman and build the family he was always meant to have with them. he made his choice, and i made mine, and i would do it all again in a heartbeat because our love gave me you. my daughter, my eva.

tucked inside the envelope is the locket celia used to wear but never allowed eva to open. and inside the locket is a picture of a seven year old eva.

eva packs everything in her suitcase and leaves for new york the next day. she never sees her father again.

INT. NEW YORK CITY BALLET THEATRE / a single silhouette beneath a spotlight; silk sculpted to a perfect body; the headliner that the crowd has been holding its breath for; gilded thread on golden skin; the blaze of a meteor; the coil of anticipation in your gut; adrenaline pounding through your veins; the exhilaration of perfection; the metamorphosis of the swan

the evening of the first show of swan lake by the new york city ballet, eva goes on stage. she dances odette, and it is the defining performance of not only her career, but of american ballet history. she is the first african-american principal dancer of the new york city ballet, and the first to dance odette in swan lake. it is a triumph and a magnum opus of a performance.

she takes her final bow before an endless sea of faces, her heart going cold in her chest knowing the only one that she wanted to see is not there.

𝐅𝐎𝐎𝐓𝐍𝐎𝐓𝐄𝐒.

after her history-making performance as odette, the media and arts society gave her the name swan queen. patrons and friends of the ballet frequently address her as odette or the swan at NYCB galas.

eva’s most prized possession is the music box her mother gave her during the summer she had made up her mind to quit ballet. it plays a version of the lullaby she used to sing to her as a child and features a specially hand-painted black ballerina as the miniature figurine that dances when you wind up the mechanism. she keeps the locket her mother used to wear inside it.

to watch eva dance is an experience — she makes ballet feel alive. while famous for her thirty-two fouette sequence in swan lake, it’s the emotions and tragedy she breathes into each performance that makes her dancing unforgettable. she lives and dies on the stage, dancing as if each show is a swan song.

largely alienated from the rest of the corps throughout her training at SAB and within the NYCB, eva is accustomed to solitude and keeping herself company. a combination of prejudice and envy at her exceptional talent kept her isolated, but rather pushing her to the margins as would have been preferred, it thrust her directly into the spotlight. over the years the whispers and rumours that she has only excelled and outstripped her rivals because of her unique circumstances have shadowed her. she’s proven them to be blatantly and objectively false time and again but it doesn’t stop the insidious nature of the hearsay from spreading. the instinct to brace herself for the worst when she meets new dancers, even those untouched by the poison of the NYCB corps, is deeply ingrained in her. it’s a habit she’s never had reason to break.

there have been a handful of flings and stolen kisses with dancers from the corps, girls and boys alike. her longest and most serious relationship was a brief but volatile affair with a renowned artistic director visiting from paris. it was a passionate but disastrous love, and they ended things as the season came to an end and he returned to france. eva has never had relationships, or even dalliances, with anyone outside of the ballet. in her mind, it’s unlikely anyone that isn’t involved in ballet could ever capture her attention long enough to spark her interest.

she’s well-versed in a variety of dance genres and still enjoys dancing for the simple pleasure of it outside the ballet. she frequently dances without music, on the rooftop of her apartment in the late hours of night, occasionally humming music notes and melodies.

since her debut as a principal dancer, she’s had a number of suitors — mainly wealthy patrons, older men with fortunes to spare — that would send gifts and bouquets. other than wine or champagne, eva tends to give away the lavish gifts of perfume, makeup and jewels to other dancers.

she has a younger half-sister and half-brother from her father’s second marriage. they don’t speak much anymore but she still sends them tickets to NYCB shows.

eva speaks slightly beyond conversational french and is fluent in spanish. other than ballet, languages are the only thing she has ever put her mind to seriously studying and learning. she’s interested in learning russian, particularly while she’s immersed in the culture at the bolshoi theater.

𝐂𝐎𝐍𝐍𝐄𝐂𝐓𝐈𝐎𝐍𝐒.

TBD.

#deux:intro #prelude.

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little-lily-w · 4 years ago

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Can you give me a description of Eve, like hair colour/length and eye colour ext, I want to try and draw her

Hi! Yea, totally. First I chose Emma Watson to portray her but then I saw Daist from The Gran Gatsby and I really liked her appearance for Eve. So you could say she is a mix of both.

Hair is blonde, short (doesn't reach her shoulders but it's not a formal bob cut). She has one of those bangs in her forehead that is parted in two (more on one side than the other) but it's a bit long and it kinda falls on her eyes.

Eyes are black (like very black) and shiny. She has a tiny nose (the dorsum nasi is not even noticeable) and I think this is cute: she usually has a spot of dirt or sand or maybe even tomatoe sauce depending on what she is doing.

Her lips are thin and nude color, you can see the upper lip but it's far away from modern plump red lips.

She is short. 5 ft. Thin. No boobs almost but not bony hipbones. Butt is very small but rounded. Tiny feet too. Shoe size 4.5

She never wears make-up so you can see the pores of the skin. She doesn't have pimples nor freckles nor dark circles but it's not this filter porcelain skin. And if Asa teases her, she becomes very blushy. Like bright pink from almost her whole cheeks to her temples.

She has a butterfly carved in her left forearm where Asa also put "3vE" but these letters are tiny. She never noticed the detail. She also has a scar on her right side, under the ribs, from the surgery after the blade that pierced her. (She is insecure about that one, poor baby😩)

She wears classy clothes, as far as Asa allows her within what he bought for her. Blue is her favourite color so she it's more likely she wears a dress and this is important: pointy shoes with no platform. She can't use any other shoe unless she is in the garden. In that case, she may use some ballerinas and and a denim overall over a white or light blue sleevless shirt. She also wants to make like a crown of violets flowers to use on her head but never asks Asa.

No jewelery cuz Asa didn't bring her that.

Her mother has the face of Gillian Anderson, don't know if that helps.

And that's all I think.

#sorry if that's a lot #i wanted to give you a good description #eve #the blue monarch #favourites #eve description

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cinna-wanroll · 5 years ago

Text

Kenobi Script

Heavy panting and clanking of soldier’s footsteps.

J-Cut:

Camera on white armor-clad feet, running.

Scale up on bodies with blasters against a tan backdrop.

A voice accompanies the scene as we continue to pan through a series of shots of the soldiers running through indistinguishable sand buildings.

A few splashes of color pop from signs and banisters, resembling a street chase.

Voice (V.O.)

Hiding. That is what my days are like. Alone, perhaps to die, although I hope not. I can’t. The galaxy rests on my shoulders now, even though I’m not certain it always hasn’t. I meditate just to find myself broken inside, shards of memories finding their way to the surface, and my mind strays to fix the past- although my body has long since left the scene of who I once was. Now, I no longer reside on the front lines. No, I am refined to watch as the glorious Republic that used to be deteriorates around me. All that’s left of who I am- or who I was- are the sparks I can feel across the galaxy, dimming out quickly. And I can still feel their pain, too.

A brief pause as some action occurs on screen. Pan up to reveal dead end and a cloaked figure, chased by Stormtroopers.

We see the figure draw a GREEN LIGHTSABER, ready to defend themselves.

Their face is in a fierce snarl, all calculated focus. And for a minute, the Stormtroopers hesitate.

Suddenly, the JEDI is lifted off the ground, choking.

Pan down to ground as a dark silhouette approaches, and a RED GLOW ignites, a hum the only noise we hear.

J-Cut:

To black.

Voice (V.O.)

But however misshapen I may be, however hidden away I am, I cannot reverse my instincts- my purpose. I can hear it whispered to me through the Force, a tug in my spirit. Warrior. Fighter. And even though I go by a different name, it still finds ways to remind me of who I was- who I still wish to be.

Smash Cut:

On intense grey-blue eyes, opening as the camera focuses.

Voice (V.O.)

And it tells me I am still Obi-Wan Kenobi.

A beat begins to crescendo in the background as we cut away

EXT. TATOOINE- SUNSET

Soft hues melt into the horizon as Tatooine’s suns finish setting. We can see the shadow of a figure riding a measly mount in the distance, sand softly moving across the dunes.

Cut to a closer up of Obi-Wan, holding a pair of ELECTROBINOCULARS up.

We see into the green-tinted view, revealing THE LARS HOMESTEAD. We can see a soft light emanating from entryway, but nothing else.

Cut back on Obi-Wan, taking the Electrobinoculars away from his face and looking thoughtful and frustrated.

Obi-Wan

Well, Rooh, this whole surveillance business would be a lot easier if I could see anything.

He pats the eopie’s side gently.

Obi-Wan

(Sighs) I’ll just remember to get here earlier next time, then.

He closes his eyes briefly and we see the wind blowing his hair gently, the breeze picking up around him. Soft drums in the background.

Obi-Wan

(Opening his eyes) I sense nothing of danger here. Some sand people to the north, maybe. But they’re not likely to come anywhere around here, at least not after last time.

He leads the eopie away from the homestead and pulls his cloak tighter around himself.

Comp. as night begins to fall upon the desert, Obi-Wan riding silently across the dunes.

Creature noises echo across the empty desert, and we see how truly alone Obi-Wan is out here.

Focus on Obi-Wan’s lightsaber as it clinks against his hip, silver and heavy.

Obi-Wan stops Rooh abruptly, pulling back on the reins, suddenly alert.

Obi-Wan (Whispered)

Easy girl, shh.

He squints at the distance, hand shifted to his belt where his lightsaber rests. A small shadow approaches over the dune and out of the darkness, silently.

Obi-Wan remains quiet and calculated, trying to gauge if whatever it is is a threat.

An ominous beat strikes up in the background.

We see a young Luke Skywalker, no older than six, approaching.

Zoom as Obi-Wan’s eyes widen in surprise.

Obi-Wan (Startled)

Luke!

The young boy gazes up at the older man, shuffling nervously with wide blue eyes.

He’s wearing simple, layered clothing and goggles that sit awkwardly upon his blond, ruffled hair. He has on a small orange and blue poncho, knitted and a bit large.

Luke

Do I know you?

Obi-Wan

Well no, not really. But I do know your parents. What in the blazes are you doing all the way out here?

Luke (suspicious)

Why do you wanna know?

Obi-Wan

Because you’re a young boy out in the desert alone, at night!

Luke

Why are you out here alone at night?

Obi-Wan’s gaze hardens sternly at the boy. He’s not playing games.

Luke (crossing his arms, indignant)

Well, they’re not my parents, they’re my aunt and uncle, and I’m not alone.

Obi-Wan raises an eyebrow and tries to squint into the distance.

Obi-Wan

Who are you with, then?

Luke

Well… I was with my droid, but then I got lost and- well, I guess now I am alone.

His shoulders slump and his hands fall to his side as he yawns.

Obi-Wan looks at him with worried sympathy, his own face tired.

Obi-Wan (hastily)

Well, we best get back to your home then, your aunt and uncle must be worried sick.

He leans down to help Luke up, but Luke pulls away, pleading.

Luke

Wait, we have to go back for E6-97!

Obi-Wan (confused)

E6-9…

He realizes what Luke means, and we can tell he’s reminded of Anakin here. His gaze turns sad and dark. Of course, his expression seems to say, always with the droids.

Obi-Wan

No, no, there isn’t any time. It’s much more important that you get home now, and then perhaps you can look for your droid in the morning.

Luke takes another step back, stubborn.

Luke

I can’t! E6 is my best friend! I don’t wanna leave him out here to be destroyed in the sand, or scavenged by the Jawas!

Luke bites his lip worriedly. Obi-Wan can see that there’s no changing the boy’s mind, but he tries again with more force.

Obi-Wan

Luke, no droid is as important as a person. And right now, we need to get you back home. Like you said, it’s dangerous out here and-

He’s cut off by Luke, tears welling in his eyes.

Luke

How could you say that? E6 is just as much a person as anyone else! I won him myself, at Bestine in a dice match! I’ve had him forever now, and I can’t afford to lose him. He helps me and Uncle Owen run the farm, he tells us the weather and everything! Please, please, please, you’ve got to help me. If I lose him, I don’t think my uncle’ll buy me a new one.

Obi-Wan sighs, looking away.

Obi-Wan (softly to himself, cracking a smile)

I’ll bet that droid has a lot to report on the weather here.

Luke (crossing his arms again)

He does. He tells us when a sandstorm is coming. And if you don’t help me, then I’ll run away.

Obi-Wan frowns and turns back to Luke, finally nodding.

Obi-Wan

Alright, since the last thing I want is to be on a wild goose chase while you run yourself into Sarlacc pits. But only on one condition.

Luke (hopeful)

What?

Obi-Wan

You can never, under any circumstances, come out here again without supervision, understand?

Luke nods vigorously, excited.

Luke

Okay!

Obi-Wan

Very well.

He hoists Luke up onto Rooh, who grunts under the added weight. He grabs hold of the reins and makes sure Luke is secure in front of him.

Obi-Wan

Now, which way did you go?

EXT. DESERT- NIGHT

Focus on Obi-Wan and Luke, riding together in silence as Obi-Wan picks up his Electrobinoculars every now and again, searching for Luke’s droid.

Obi-Wan (putting down his binoculars)

Why were you out here in the first place, young one?

Luke (sighing)

I got mad at my Uncle, so I said I was going to run away. He said fine, and that I should take my useless droid with me. That I should leave just like my father before he died.

Focus on Obi-Wan’s pained expression here.

Luke (cont’d)

So I started to, but then my Aunt Beru told me that my Uncle was just being ridiculous, and that he would never want me to leave. So I decided not to go, after all. But then when everyone was about to go to sleep, I decided I would get out and explore a little. And maybe if I found some place better, I would stay there.

A brief pause as Obi-Wan furrows his brow, concerned.

Obi-Wan

Does your uncle not treat you well?

Another brief pause.

Luke (thoughtfully)

No, he does. Treat me well, I mean. My Aunt says that he really just wants to protect me. But he just doesn’t understand that I want some excitement every once in a while, ya know?

Obi-Wan gazes thoughtfully up at the stars, pan out for full sky view. Thousands of twinkling lights are scattered about in the dark, vast emptiness.

He knows, perhaps better than anyone what that feels like. But he also knows the consequences better than anyone, too.

Obi-Wan

Maybe your uncle has a point.

Luke (surprised)

What?

Obi-Wan

Someone I cared about once craved the same thing you do. Change, excitement.

He says the words as dryly as he can, trying to convince Luke that he believes what he’s talking about, that he is immune to the pull of adventure. His tone is sad, remorseful as he pulls his gaze back down and nudges Rooh forwards again.

Obi-Wan (Cont’d)

So he kept craving more and more. He danced with danger.

A fire ignites in Obi-Wan’s sad eyes, memories you could almost touch.

Obi-Wan (saddening)

But then, it was easy for him to believe in the next adventure, and he forgot all about the real reason he was there in the first place.

Luke looks back at Obi-Wan, curious.

Luke

Why?

Obi-Wan

Because he was different than most people. He needed to be somewhere with people who understood him. But the more time he spent venturing further, the more people he found. And some convinced him that he wasn’t where he needed to be, even though he was. He left his place.

Luke

What happened to him then?

Obi-Wan (softly)

I had to leave him, too.

Luke (disappointed)

Oh, that’s sad.

Obi-Wan nods and lifts his Electrobinoculars up again, hiding his expression.

Obi-Wan

A little adventure goes along way, Luke. But if your spirit leads you somewhere, follow it. Just remember who you are and try not to stray off your path.

Luke nods, serious.

Obi-Wan looks back and smiles weakly.

Obi-Wan

I think I’ve found your droid.

Luke (perking up)

Really? Wizard! Lemme see!

Obi-Wan hands Luke the Electrobinoculars and guides his direction, until we transition into Luke’s POV.

Back in the green-tinted view we see a SMALL, SEMI-CIRCLE DROID whirring across the top of a nearby ridge.

Focus back on Luke, grinning from ear to ear.

Obi-Wan

Is that it?

Luke nods and turns around to face Obi-Wan and hand him back the binoculars.

Luke

What are we waiting for?

Obi-Wan can’t help but return the boy’s smile.

Obi-Wan

Nothing, I suppose.

Beat picks up

Pan out back view of eopie and riders, until we see the large expanse that lays before them.

EXT. DESERT- NIGHT

Obi-Wan and Luke approach the ledge that we previously viewed, the wind speeding up and the outcropping jagged and rocky, rough terrain. Luke has donned his goggles an Obi-Wan has lifted a hand up, shielding his eyes.

Obi-Wan

We’re almost there. Can you see anything?

Luke

Not yet. (Pausing) I wanna go home.

Obi-Wan’s facial expression is the definition of an inaudible groan.

Obi-Wan

We shouldn’t turn back now.

Luke

I know, I just wish I hadn’t left.

Luke wraps his arms around himself, shivering in the cold.

Obi-Wan takes off his cloak and wraps it around the young child, bringing Rooh to a halt.

Obi-Wan

I’m going to check the motion scanner on here, give me a moment while-

He’s interrupted by the distinct sound of a TUSKEN RAIDER CALL, extremely close. His face falls.

Luke whimpers.

Obi-Wan (seriously)

Stay here.

Luke tries to protest, but stops as Obi-Wan begins walking away.

Invisible cut through sand:

Obi-Wan comes up on a patrol of three TUSKEN RAIDERS with their bantha mounts, prodding at E6-97, which moves uselessly in circles around them. They turn to see them, raising their weapons angrily and calling out.

Obi-Wan (calmly)

Hello there, friends.

The Tuskens don’t pick up on his friendly demeanor, instead focusing on his lightsaber. They howl in fear and rage and hold their GADERFFII in defensive positions. Obi-Wan winces.

Obi-Wan

Listen, that droid there-

He points to E6, which stops abruptly.

E6-97

Yes?

Obi-Wan

It’s mine. And I require it. It’s of great importance to me. I would be happy if you could let me take it and leave, and I’ll promise not to come near your territory again.

E6-97

I’m flattered, but I’m afraid I belong to Luke Skywalker, who won me fair and square at a dice match on the-

Obi-Wan

Do hush.

E6-97 shuts up, and we wait for the Tuskens’ response.

One of the Tuskens lashes out at Obi-Wan, leaping with their Gaderffii and almost striking Obi-Wan, who dodges swiftly but does not ignite his lightsaber. Instead, he grabs hold of the Tusken’s Gaderffii and uses it to knock them off of their feet.

SLO-MO.

His gaze is intense as the wind slows around the scene, stars decorating the background and the distant sounds of animal life echo around the cavern. We hear the breaths of the Tuskens and Obi-Wan, almost unified in a way. A haunting beat plays as we get a taste of the force, the energies from both sides intense.

Obi-Wan (still calm, pleading) NORMAL SPEED

I do not wish to hurt you!

Back to SLO-MO

TOGETHER. The Tuskens move as one towards Obi-Wan, bringing their Gaderffii above their heads and howling.

Obi-Wan closes his eyes and reaches out towards the two with one hand, stopping them mid-air. The hang there as he repeats himself again, the sound echoing across the expanse of the desert and reverberating around. The banthas groan in fear and buck.

The music swells.

Obi-Wan

I do not wish to hurt you! Lay down your weapons and seek peace. I’m only here for the droid.

He sets them down gently, and no sound is heard.

NORMAL SPEED.

The Tuskens are shocked, shaken to the core.

It’s quiet as they put down their Gaderffii and mount their still alarmed banthas, riding away into the distance.

Obi-Wan breathes a sigh of relief.

E6-97

Thank you, sir. Whoever they were, they were quite rude. However I’m afraid I cannot go with you.

Obi-Wan looks at the droid flatly and says nothing as he hoists it up into his arms and carries it away.

E6-97

Or I can, but I would prefer not to. I must warn you I’m a rather old model so be careful please. You might not get as much use out of me as you think.

Obi-Wan

I’ve no use for a droid. I’m bringing you back to your owner.

E6-97

Oh really? Thank you! Of course, no one of mature age really needs a droid if it’s not in their line of work. Often times companion droids like myself aren’t needed because you have people you can hang out with. I was programmed to play with children, mostly. But I can do some organizational things and give relevant reports, so-

E6 pauses. Obi-Wan looks forward in focus, fighting against the wind.

E6-97

Oh, sorry. I didn’t realize I’d lost your interest.

Obi-Wan (chuckling)

Well, that would be the first time a droid has ever said that to me.

E6-97

I am programmed to pick up human emotions through my receptors and sensors. I could also tell that you’re upset, but I didn’t want to say anything.

Obi-Wan

I’m not upset.

E6-97

Okay.

A beat.

Okay so this is a first draft cuz I had no time to edit but I hope you guys enjoy!

#star wars #obi wan kenobi #kenobi series #kenobi script #kenobi show #luke skywalker #E6-97

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bunkershotgolf · 5 years ago

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Circling Raven Golf Club Extends Value-Priced Rate through April; More than 40% Off Peak Cost Coeur d’Alene Casino Resort Hotel Amenity Maintains Green Fees at $55

Circling Raven Golf Club, the state’s No. 1 ranked public course, will maintain the 18-hole round fee at $55 per player through April, a supreme value considering the peak season rate is $109.

“This is a win-win for players and the golf club,” said David Christenson, PGA, Circling Raven Director Golf. “Golfers can enjoy one of the country’s top courses at a great price, do so amidst the superb beauty that we’re fortunate to be set within, and enable us to provide relaxing recreation for people.”

The $55 greens fee is a savings of nearly 40%. Beginning on May 1, green fees will increase to the Spring Rates ($89 Monday-Thursday, $99 Friday-Sunday and holidays). Peak season rates ($99 and $109) commence on May 21.

To enhance safe practices at Circling Raven, the following protocol is currently in place:

For safety, each player will be the only one touching his/her equipment upon arrival and throughout your visit. Guests have the option to ride or walk the course currently, and they can use a personal push-pull cart if so desired. If riding, we allow one Circling Raven golf cart per person. (Carts are not permitted in the parking lot due to insurance purposes).

No more than ten customers are allowed in the clubhouse at one time. When approaching the counter, individuals must maintain six feet of social distance, as outlined by tape on the floor. This holds for anywhere on the property.

Food and beverage offerings include to-go orders at the service window on the back deck. The dining room and bar are closed for inside seating. To place an order from Twisted Earth Grill on the 9th hole, for pick up at the turn, call 800.523.2464 (ext. 7263).

Tee times are set at 10-minute intervals to promote safe distancing. Golf carts are allowed on the course paths only currently. Bunker rakes have been removed. Flagsticks are to remain in the cup, and cups have been raised above the putting surface. Our local rule is, when the player’s ball touches the cup and remains within one club length, the putt is considered holed. If the ball deflects against the raised cup and settles outside one club length, another attempt is required.

On course restrooms are open and sanitizing stations are provided inside the clubhouse and at both restroom locations on the golf course. These can be found at hole nos. 5 and 14. Extra sanitizing maintenance is being provided in all areas of the business to ensure we are providing the safest environment for your enjoyment.

For more information, visit www.cdacasino.com/golf or call 800-523-2464.

About Circling Raven/Coeur d’Alene Casino Resort Hotel Owned and operated by the Coeur d’Alene Tribe, Circling Raven is in Northern Idaho, approximately 50 minutes from Spokane International Airport (GEG). Measuring 7,189 yards from the rear tees, the 18-hole layout sprawls magnificently through 620 acres of woodlands, wetlands, and Palouse grasses. Circling Raven’s gleaming white sand bunkers are large and strategically placed, and its variety of holes is tremendous. The Symetra “Road to the LPGA” Tour will compete in the Circling Raven Championship Aug. 24-30 this season, a worthy test for the world’s top aspiring professional women golfers. Many who play Circling Raven equally enjoy the vast, 25-acre driving range, a nationally honored golf shop, and the excellent Twisted Earth restaurant with bar at the clubhouse.

Coeur d’Alene Casino Resort amenities and activities include the full-service Spa Ssakwa’q’n (SOCK-wah-kin); a variety of hotel rooms and suites; bars, restaurants, lounges, and eateries; cultural immersion options, and more. The casino completed a multi-million-dollar renovation in Spring 2019.

#Circling Raven #Dan Shepherd Public Relations #golf #landscape #travel

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nmnomad · 5 years ago

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📷 Featured Photographer 📷 @jaxsonpohlmanphotography, selected by @hikenewmexico - "WHITE SANDS NATIONAL MONUMENT offers nightly Sunset Strolls! SAT AUG 31 through SAT SEP 7 6:30PM-7:30PM Visit nps.gov for the full schedule. The Sunset Stroll is a ranger-guided walk through the gypsum sand dunes. Explore the dunes while learning about the uniqueness of it's geology, plants, and animals. This guided stroll is timed to end at sunset, providing a panoramic view of the mountains at golden hour, with potential for breath-taking photographic opportunities. Location: Meet near the sunset stroll sign parking area, a 5-mile (8.05 km) drive from the fee station. *Monument entrance fees apply. *No fee for community hike *No reservation/registration required. *The decision to cancel a program due to weather is rarely made more than 30 minutes before the program start time. Call the monument at 575-479-6124 ext. 236 if you would like to confirm that a program is still scheduled. Practice LEAVE NO TRACE ethics." (at White Sands National Monument) https://www.instagram.com/p/B2FTWhEnNNU/?igshid=1e1lu57jdo0ey

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rastronomicals · 6 months ago

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6:40 AM EDT May 27, 2024:

Piero Umiliani - "White Sand (Ext)" From the Soundtrack album Il Corpo (1974)

Last song scrobbled from iTunes at Last.fm

Liberte' Egalite' Fraternite'! I'm posting the softporn album covers again!

File under: Italo-film funk

#Piero Umiliani #Il Corpo #White Sand (Ext)

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gosecretscribbles · 5 years ago

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MonthofMaybel2019 Week 4: Mabel’s Guide to Cryptid Families!

So I’ve never done this before, but I wrote it out like a transcript for an actual TV show. Was kind of a fun experience? (although formatting this thing was a nightmare and I couldn’t even copy over most of the formatting here @,@) Anyway I hope you like it!

Also these fics for the month of maybel are linked; it would help to read the one for week 2 about Anansi, but long story short, he’s a spider-person who wants to weave from a society where everybody’s a warrior. He was an outcast, but helping his people win a series of contests against the Mantises meant that he’s not completely shunned anymore.

Okay. *Now* enjoy! INT. DIPPER AND MABEL'S ROOM – DAY

MABEL WEARS A HAND-KNITTED PINK SWEATER WITH FOUR HEARTS ON THE FRONT, EACH WITHIN ANOTHER. MABEL STANDS IN FRONT OF A WALL PAPERED WITH BOY BANDZ POSTERS, PIG PICTURES, AND POSTERS FROM ANTARCTICA. THE CORNER OF A MESSY DRESSER IS ON HER RIGHT, THE EDGE OF A WINDOW ON HER LEFT.

MABEL Families come in many shapes and sizes, sometimes as small as Nana and Liro in Liro and Pugface, sometimes so big you have second-cousins you didn't even know about until you got your inheritance!

Today we're going to take a closer look at some particularly unusual families – CRYPTIDS!!!

SWISH PAN – WINDOW ON MABEL'S LEFT

ANANSI STANDS ON THE WINDOWSILL FACING THE CAMERA. THE BACKYARD IS VISIBLE THROUGH THE WINDOW. A TERMITE MOUND STRUCTURE RISES IN THE FAR CORNER OF THE YARD, TEEMING WITH SPIDER-PEOPLE.

MABEL Please welcome our first guest, a seriously cute member of the Spider-People living in our backyard! And ladies, he's single!

ANANSI (looking nervously at camera) Are you sure that's not an insect? It has a very large black eye.

MABEL So, Anansi! Tell us about your brother!

ANANSI (brightening) Oh! He's one of my people's finest warriors. He can lift over a hundred times his own weight, run for hours without getting tired, and adjust his strategy in the middle of a battle. Even after his legs were injured in the Challenge, many young warriors were seeking him out as a trainer – I could see him teaching them from here.

MABEL What did you guys like to do together?

ANANSI Sparring, mostly! Not that I was ever any good, but he was very patient and kept encouraging me to try again no matter how many times I fell down. And I fell down a lot. He always said that every warrior mattered. But, well...I'm clearly never going to be a warrior now, with the Weaving, so I don't know, but he might be – oh!

SWISH PAN – WINDOW ON WALL TO RIGHT

A SLIGHTLY LARGER SPIDER-PERSON IS CLIMBING OVER THE SILL OF THE WINDOW. HALFWAY UP HIS BODY TENSES THE MOMENT HE NOTICES THE CAMERA.

BROTHER An enemy insect! Hya!

BROTHER HURLS A SLIM OBJECT STRAIGHT AT THE CAMERA LENS. THE BEGINNING OF MABEL'S SHRIEK IS HEARD AS WHAT IS CLEARLY A SPEAR STRIKES THE LENS.

STATIC

CUT TO FIRST WINDOW

ANANSI AND BROTHER STAND ON THE FIRST WINDOW SILL, MOUND STILL IN THE BACKGROUND. ANANSI IS ON THE LEFT AND BROTHER IS ON THE RIGHT. THEY STAND SEVERAL INCHES APART, BOTH SQUARELY FACING THE CAMERA. THERE IS A SLIGHT CRACK IN THE UPPER LEFT CORNER OF THE LENS. ANANSI'S ARMS ARE PULLED IN AND HE FIDGETS SLIGHTLY, CLEARLY NERVOUS. HIS EYES MEET THE CAMERA BUT KEEP FLICKERING AWAY. BROTHER'S ARMS ARE RELAXED, YET HIS POSTURE CONVEYS PREDATORY STRENGTH AND GRACE. HIS GAZE IS STEADY.

BROTHER Are you sure that is not an insect?

MABEL Anansi was just telling us about how you two spent time together! Do you have any embarrassing spiderbro stories to share with us?

BROTHER (stoically) My brother is not an embarrassment. His Weaving allowed us to win back a large portion of our land from the conniving Mantises. Word of his deed has already been sent out to the rest of our people. He will teach a new generation of Weavers and spearhead our victory in reclaiming our ancestral lands. I believe he is a greatly valued and talented Weaver.

MABEL (squeals) AWWWWWW! Anansi is there anything you want to say?!

ANANSI (mumbling) Th-thank you.

BROTHER (grunts)

ANANSI'S FACE IS BRIGHT RED AND HE STARES DOWN AND TO THE SIDE, EQUALLY STUNNED, EMBARRASSED, AND TOUCHED. BROTHER IS STOIC, STILL SQUARELY FACING THE CAMERA. THE TWO STAND SILENTLY FOR SEVERAL SECONDS. SLOWLY BROTHER'S RIGHT ARM STARTS TO RISE. A SPEAR COMES INTO VIEW.

MABEL Wai–

STATIC

EXT. ROOF OF SHACK – DAY

SOOS'S FACE FILLS THE SCREEN, SMILING HAPPILY AGAINST A BACKGROUND OF REDWOOD TREETOPS AND BRIGHT BLUE SKY. SOOS'S FACE IS TOO CLOSE AND HIS ARMS ARE EXTENDED; HE IS HOLDING THE CAMERA. STRANGE CHIRPING NOISES COME FROM OFF SCREEN ON THE LEFT.

MABEL Our second guest comes to us from a certain roof in Gravity Falls, Oregon. Please welcome – Soos!

SOOS Hi, Mr. Pineses! Can I give shoutouts? Is that allowed?

MABEL Absolutely! Can you tell us about the new addition to your family?

SOOS Oh, sure!

CAMERA SWINGS ERRATICALLY AND STOPS ON A MASSIVE NEST SITTING ON THE ROOF. IN THE CENTER OF THE NEST IS A YOUNG PTERODACTYL THE SIZE OF A SEMI TRUCK, CURLED UP AND FAST ASLEEP.

SOOS Tada! We named him Kitten because he chases that little red laser around just like a quarter-ton kitten. Aw, look –

ZOOM IN, FOCUS BLURS, THEN CLEARS ON A CLOSE-UP OF KITTEN'S FACE. ITS FRONT CLAWS SCRABBLE LIGHTLY AGAINST THE NEST. ITS UPPER LIP IS TWITCHING, REVEALING SHARP WHITE TEETH GLISTENING WITH SALIVA, AND ITS EYELIDS OPEN SLIGHTLY TO REVEAL GROTESQUELY ROLLING EYES.

SOOS (Abnormally Loud Stage Whisper) He's dreaming!

MABEL (Abnormally Loud Stage Whisper) How did he end up on the roof?

SOOSOh –

SWISH PAN ERRATICALLY BACK TO CLOSE-UP OF SOOS

SOOS So we think he was learning to fly and crash-landed on the lawn. I got him to hold still long enough to fix his wing, and then we bonded over a housewarming barbeque, and by the time his mom showed up we were basically like brothers! So he sleeps here during the day while his mom hunts and then they go home to the dino mines at night. At least until his wing heals up.

MELODY (Off Screen) Soos! Don't forget to wake up Kitten for his three o' clock snack. And no more gingerbread men! We don't want him getting ideas about the tourists!

SOOS You got it, honey!

LOUD SCREECHING FROM OFF SCREEN

SOOS(grinning)Uh-oh! Sounds like someone heard the word 'snack'! He's so smart.

PAN TO KITTEN, WHO IS CRAWLING AWKWARDLY BUT RAPIDLY OUT OF HIS NEST.

KITTEN SCREECHES AND BITS OFF THE TOP HALF OF THE CHIMNEY.

SOOS Whoops! Those can't be good for his teeth. Put it down, Kitten, go on...

KITTEN (Chirps without letting go of chimney)

MABEL He's like a puppy! ...A really scaly one.

SOOS Doooown...

KITTEN PAUSES.

KITTEN DROPS CHIMNEY.

CHIMNEY CRASHES THROUGH ROOF.

SOOS Good boy, Kitten!

CAMERA ANGLES DOWN TO A MASSIVE PILE OF TURKEY LEGS AT SOOS'S FEET. HIS ARM ENTERS THE SCREEN'S FIELD OF VISION. HE GRABS A CHICKEN LEG AND THROWS IT AT KITTEN WITH A GRUNT. KITTEN'S HEAD SHOOTS OUT TEN FEET AND HE SNAPS IT UP IN ON GULP. KITTEN CHIRPS FOR MORE, THEN SNEEZES SO HARD IT BLOWS THE REST OF THE CHIMNEY AWAY.

ABUELITA (Distant, rapid Spanish)

MELODY Soos!

SOOS I can fix it!

CUT TO INT. DIPPER AND MABEL'S BEDROOM – DAY MABEL IS NOW SITTING ON A ROLLING CHAIR AT A DESK. A CORKBOARD OVER THE DESK IS COVERED IN NEWSPAPER CLIPPINGS, MORE POSTCARDS, POST-IT NOTES, AND STRINGS OF RED YARN.

MABEL (Squeezing her cheeks) Aw, that was adorable! Guess I can't say Dipper sneezes like a 'Kitten' anymore! HEY-OOOO!

MABEL STANDS AND MOVES SLIGHTLY TO HER RIGHT, THE CAMERA FOLLOWING HER MOVEMENT.

MABEL And now for the final portion of the episode, please welcome Grunkle Ford, and his extensive knowledge of all things ocean and occult!

A LAPTOP RESTS ON THE DESK. THE SCREEN IS FILLED WITH GREAT-UNCLE FORD'S FACE. THE SLIVERS OF BACKGROUND ON EITHER SIDE SHOW BOAT RAILINGS AGAINST AN AZURE SEA AND SLIGHTLY CLOUDY SKY. A SMALL DARK THREAD OF LAND TRACES THE HORIZON. FORD IS WEARING A LIFE JACKET OVER A RED TURTLENECK AND LOOKS SLIGHTLY SUNBURNED, SMILING DIRECTLY AT THE CAMERA.

FORD Greetings, future scientists!

MABEL Grunkle Ford, what can you tell us about the supernatural families you've found in the Arctic Circle?

FORD Actually most of the cryptids we've discovered on the ocean are solitary by virtue of their size alone. A giant squid, for example, typically requires a hunting ground of one to two thousand square miles of open ocean just to sate its voracious appetite. It's quite rare for them to engage in anything we might call “socializing.”

STAN (Off Screen) Oi!

STAN ENTERS FROM THE LEFT, BENDING OVER TO SQUINT AT THE SCREEN. FORD LEANS BACK SLIGHTLY, ANNOYED.

STAN Did I hear that right? Is my irredeemable nerdbro actually talking about socializing?

FORD It's science, Stanley!

STAN Whatever, this I gotta see.

MABEL We're doing a segment on cryptid families! Got anything to add?

STAN You tell 'em about the ghosts yet?

FORD (Looking uncomfortable) Not yet, but –

MABEL (excitedly) I wanna hear! GHOST, GHOST, GHOST, GHOST –

LOUD BANGING SOUNDS FROM OFF SCREEN. AFTER A CRASH, AN ELBOW AND A PARTIAL VIEW OF AN ELECTRONIC DEVICE APPEARS ON THE SCREEN.

DIPPER I'm here where's the ghost?!

FORD(annoyed)Stan claims to have seen two of them on our visit to Vik i Myrdal.

DIPPER (confused) Huh? Vik what?

FORD A beach on the coast of Iceland, famous for its basaltic sand. We were visiting primarily to study the petrified troll bodies just off the shore –

STAN Yeah yeah with the weird rocks, Ford was doing his science doodles or whatever, but that wasn't the important part. See, there was this massive cave in the cliffs that looked exactly like the place a pirate would hide his treasure –

FORD Not at high tide!

DIPPER What happened?

STAN Uh, turns out the waves around there get really bad.

FORD As in twenty feet high. I turned around, there was no Stan in sight, and cave was already half-flooded with water. Luckily one of us followed the rule about wearing our scuba gear under our clothes. I immediately dropped my equipment and dove in after him. I found him pinned under a pile of rocks several dozen meters into the cave.

MABEL Whoa, are you okay?

STAN (smirking) Fine, I'm not the one who got knocked out.

FORD You shoved me!

STAN The water shoved you! Accidentally! To keep falling rocks from hitting you!

DIPPER But what about the ghosts?

STAN So we're stuck in the cave, right, and I'm trying to hold my breath, swim, and drag Sixer with me all at the same time, and the water's smashing us around so much Ford's underwater flashlight cracks and I'm thinking the next light I'm gonna see is the pearly gates. And then I do see a light, and I swim toward it thinking it's gotta be daylight, but it's not getting any closer and all this fat was not helping me float. And then a second light shows up and takes Sixer's other arm and practically drags us outta there, and next thing you know we were back on the beach, and I look back just in time to see an outline of this guy and his wife watching us from the middle of the air next to the cave.

MABEL Wow, they stuck together and not even death could part them. That is so romantic!

STAN Sure. Woulda grabbed a photo but there was a little matter of Sixer not breathin' at the time.

FORD You should have taken the picture! Thanks to the rocks falling, the end of the tunnel was completely blocked, and I was almost sure I saw fossilized cryptid bones inside. Now we don't have anything at all to prove supernatural activity occurred in the cave!

STAN The words you want are 'Thank you, Stanley, you're the best brother ever.'

FORD Of course you are, that's not the point!

STAN What? Wait –

DIPPER Why were there ghosts there in the first place?

FORD I didn't know enough of the local language to inquire, but I suspect it may have something to do with the cryptid bones I glimpsed. I suspect the couple's death was somehow caused by the cryptid, but Stan's account suggests that they're poltergeists, and poltergeists generally don't die violent deaths.

DIPPER What if the couple was keeping it as a pet? Or maybe they could turn into the cryptid, like selkies? The ghosts Stan saw might just have been their human versions!

FORD Brilliant hypothesis, Dipper! Perhaps I was merely asking the wrong questions! Stan, quick, turn the boat around!

STAN No way, no, you literally died in that cave –

FORD Not permanently! Besides, you'd have my back!

STAN That is so below the belt!

DIPPER Stan, are you crying?

STAN I got sea salt in my eye!

CAMERA PANS TO A CLOSE-UP OF MABEL, WHO IS LOOKING TO THE SIDE, BACK TOWARD THE COMPUTER SCREEN. THE CONVERSATION CONTINUES IN THE BACKGROUND.

MABEL We'll leave them to their nerdery. (Looks directly at camera.) Families don't have to be related, and they don't even have to be the same species. What's important is that you show how much you care for each other, and spend time doing the same things, like getting thrown in a county jail or treating flamingopher bites.

BOTH STANS (Off Screen) That was ONE TIME!

MABELYour family might include close friends, dogs, pet rocks, or that one crow who brings you shiny pennies and half-eaten lollipops. Whatever your family, take a minute today to let them know how much they matter. Thanks for watching Mabel's Guide to Cryptid Families. See you next time! A/N: To my friends on Deep Woods, and a good friend on tumblr...thank you ^u^

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