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SCHOOL OF FISH Season 1: The Year of Pong -- Episode 2 --

mark@school-of-fish.ca


-- EPISODE 2 -INTRO / CREDITS OVER: FIREWORKS EXPLODE over a beautiful city at night. GERSHWIN’S RHAPSODY IN BLUE plays TRIUMPHANTLY. An homage to the opening of WOODY ALLEN’S MANHATTAN. A young man takes a huge hit off a BONG. Music in distance. He takes a breath, eyes red and watery. JASON and friends SETH, BLAKE and DOUG slowly exit onto the patio of a Vancouver home. BAKED. Gershwin plays from a speaker outside. They join girlfriends ABIGAIL, JILL, SUE and HEIDI. All late-20s. All watch the beautiful fireworks break over their city. CLOSE ON: Jason and Abigail, Doug and Sue, Seth and Jill, Blake and Heidi. All eight equally enamored by the fireworks. ROMANTIC. TITLE: Spring INT. RESTAURANT - DAY It’s a busy Vancouver breakfast joint. Jason and Doug are served Eggs Benny. Jason flirts with the quirky and attractive waitress. She doesn’t reciprocate. After she leaves, sees Doug has something on his mind as he tears at his paper napkin. What? Sue’s late.

JASON DOUG

Jason looks at him quizzical. DOUG (CONT’D) She thinks she might be pregnant. JASON Oh... shit. (pause) Is that good or bad? DOUG I don’t know. Good I guess. Although we pushed the wedding back.


2.

How come? I don’t know.

JASON DOUG

He begins chewing on the napkin. DOUG (CONT’D) I feel like I need to get my career on track first. Jason looks at him, perplexed. JASON Well... if you’re having a baby what difference does it make? DOUG (losing control) ‘Cause... I feel like I’m losing my fucking mind. He pauses, takes a breath. Okay.

JASON (empathetic)

DOUG I... I feel like a fuckin’ putz. We’re nearly thirty, man. And I hate my job. I mean I’m turning into a boring fat, boring... JASON What about these film courses? DOUG Yeah. I’m not sure about that. I mean we’re in Vancouver. There’s no industry here. Not for doing what I want to do. JASON Then move to LA. Your brother can probably help you with that. It’s nice to have that connection. DOUG Can you imagine Sue in LA? She wants goats and chickens and children. Jason chews his food, smiles. DOUG (CONT’D) It’s not funny. JASON No.. it sounds good.


3. DOUG I know. It sounds great. But what does that make me? A fuckin’... I don’t know. Jason can see his friend is really troubled. EXT. QUEEN ELIZABETH PARK CONSERVATORY - DAY Jason lights a small hash pipe, takes a pull, passes to Doug who also takes a veteran toke. DOUG Thanks. (holding smoke in) I wanna tell stories you know? Breathes out. DOUG (CONT’D) But nobody fuckin’ watches Canadian movies. Especially Vancouver movies... Jason looks out at the view of Vancouver. It’s beautiful. JASON Yeah this city kinda sucks for that sort of thing. DOUG Totally sucks. Why is that? My writing prof said the city has nothing to do with it. That we just lack good writers. JASON Well your prof’s an idiot. DOUG Well why do you think that is? JASON I have my theories. DOUG That’s why I’m asking! I’m actually interested in your fuckin’ opinion this time. JASON Well... the culture’s fucked for starters. Right.

DOUG

JASON It’s fragmented. Lacks cohesion and identity.


4.

Yeah... Vacuous. Mmhmm.

DOUG JASON DOUG

JASON A fuckin’ wasteland. Look back out at Vancouver. Grey skies, but still beautiful. A bird chirps nearby. A bald eagle flies overhead. This doesn’t impress them. EXT. CAMBIE STREET - DAY They walk, baked, deep in discussion. JASON I think the fact is it’s a young city, and it’s relatively dull. And movies need to fuckin’... sedate you for two hours. I mean there’s nothing romantic about Vancouver. Not like New York. Or anywhere in the US for that matter. To our minds great things happen in America. You know? Monumental events, iconic, defining moments in time. Political and cultural movements that are a part of a global discourse - talked about, criticized, celebrated, mythologized. When I see the opening of a movie set in New York I immediately get the feeling that something big is going to happen. Something important. Even if it’s just about regular people, it’s somehow... relevant. They’re a part of history. And think of the cultural landmarks. In New York alone you’ve got The Empire State Building, Statue of Liberty, all of Manhattan, Time Square, the Shipyards, the Bronx, Brooklyn... Why the fuck are all of these places so relevant and exciting to me? I see an image of Yankee Stadium in 35mm and I want to jerk off. I’ve never even been to New York! And I don’t particularly like baseball. (looking around) But if you tell me a story is set in Vancouver? I just get sluggish. (body gets sluggish) (MORE)


5. JASON (CONT'D) I see an image of Science World in the opening of a movie and get nothing. Vancouver is fucking boring. Because all it has to offer is real life. And real life sucks! Doug is trying to take this in. He looks up the street, sees the big silver ball. JASON (CONT’D) People want to be inspired, Doug. They want to think for a moment that they’re repetitive, nauseating existence has meaning. And they want hope. They want to feel that they’re a part of something significant and their lives will soon be enriched and fulfilled and they’ll be valued and loved and celebrated. It’s a charade. It’s an industry of mythmaking, propaganda and exploitation. The U.S. is fucking exciting! (mimes jerking off) It’s where dreams come true. (mimes having an orgasm) The story teller can grab a hold of one of thousands of threads in the existing mythology... a narrative that has already been shoved down our throats from our first exposure to American television... and they’re off to the races. We’re under. Which is fine. That kind of hypnosis might even be genuinely valuable given the state of our culture. Point is, if you want to make movies move to La La Land like your brother. Staying here is like a gun to the head. The fact is that even Vancouverites don’t want to see a movie about Vancouver. So why would anybody else? Doug is getting depressed. EXT. TRENDY COFFEE SHOP - DAY They exit onto the patio of a coffee shop, each with a Cup of Joe. DOUG But why does a film have to be about anything exciting? Why can’t it just be about regular people in a regular city?


6. JASON Well, who’s going to want to watch a film like that? DOUG I watch films like that. At least Sue does sometimes. JASON Like European films? Yeah. Exactly. Art films? Yeah.

DOUG JASON DOUG

JASON Art films come from places that celebrate art films, and are made with a community that supports and cares about art films. Shrugs. Looks around. JASON (CONT’D) You’re on your own here, buddy. Jason sits back, lights a cigarette. Doug is chewing on another napkin. A long pause. Then: JASON (CONT’D) You know what? There’s one thing we have. Where we’re on a level playing field with anywhere else in the world. What?

DOUG

We see what Jason is seeing: A beautiful, angelic-looking woman in a black dress that drapes over a very lovely figure. CLOSE ON: Women.

JASON CUT TO:

A MONTAGE of BEAUTIFUL WOMEN across the city, to a vibrant RHAPSODY IN BLUE during this LOVELY SPRING DAY. Final image is a beautiful young woman sitting on a couch in an opulent apartment. IMAGE and SOUND degrade, fading into a LOWER QUALITY VIDEO. A LARGE MAN in his underwear enters, a large penis under his tight briefs.


7. CUT TO a CLOSE UP of the girl as the man looms over her. It is Jason’s sister Chelsea. Hey there.

LARGE MAN

Chelsea looks up through vulnerable eyes, feigning a seductive gaze. Hey there.

CHELSEA

She swallows, nervous. Lifts her hand to touch his penis. INT. ABIGAIL AND JASON’S APARTMENT - DAY Jason is rushing through his apartment, panicked. He grabs a bag and begins throwing stuff into it: ipad, laptop, mp3 player, then from the bedroom: clothes, a blanket. He looks like a burglar. Takes a final look around the house and exits. INT. DOUG’S CAR - DAY Doug waits in his car, watches Jason run from his apartment toward him. Hops in. JASON (relieved) Okay. Let’s get out of here. As they drive away, Jason looks around. The coast seems to be clear. INT. SETH’S PLACE - DAY Jason sits on the couch, head-in-hands. There is a tent set up in the living room. Seth offers Doug a beer -DOUG Nah, I gotta go to work right away. -- Brings one to Jason. JASON This one of Blake’s? SETH No I keep a few in the fridge for emergency’s like this.


8. Cracks the beer. JASON Thanks. Where is Blake? SETH (off tent) In his room. Jason stands, looks in tent. Blake is sound asleep. JASON Jesus. He’s sound asleep. SETH Up all night. Sleep all day. Jason looks at Seth who confirms with a gesture that things still aren’t great. JASON (quietly) I guess he works nights, right? SETH (shrugs) One or two nights a week. DOUG Where does he work? SETH Home Depot. Stocking shelves. Doug nods, seems impressed. SETH (CONT’D) (Jason) So what happened? Behind, a knock at the door. WOODROW, 42, hip, handsome, but rough around the edges, pokes his head inside. Hey. Hey.

WOODROW SETH

He lets himself in. Blake here?

WOODROW

Glances at tent -He’s sleeping.

SETH

-- then walks to the couch.


9. WOODROW Anyone up for some Pong? Seth sighs. Jason looks at Woodrow, then to Seth. Doug also watches Woodrow, surpised. SETH This is Woodrow. What’s up?

WOODROW

They shake. Jason.

JASON

WOODROW (repeats) What’s up? JASON Oh... nothin’ much. SETH Woodrow used to play bass for Bob ‘n 4 Apples. JASON Oh, okay. Yeah you look familiar. Woodrow.

DOUG

Woodrow looks at Doug, eyes squint. He looks familiar, but -I’m...

DOUG (CONT’D)

WOODROW Ezekial! Fuck! I didn’t recognize you. (scrutinizing) You put on some weight. DOUG Uh, no. I’m his brother. Doug. WOODROW Fuck. You look alike. DOUG Well, we’re twins. WOODROW Oh yeah. And you put on some weight, eh.


10. DOUG Uh... no, I’ve always been like this. WOODROW

Oh. Thinks this through. Right.

WOODROW (CONT’D)

DOUG (to Seth and Jason) Zeeks directed a few music videos for these guys back in the day. Oh, sweet.

SETH

WOODROW Yeah they were fuckin’ rad. Probably better than the fuckin’ music. Woodrow retrieves the Bong from under the couch. Places his own weed in the bowl. WOODROW (CONT’D) I hear he’s doin’ really good down in LA. Yeah.

DOUG (suddenly tense)

Woodrow smokes. JASON (to Seth) She found an old email. To answer your question. I guess she was searching through my email while she was at work. It was from like three or four years ago. Remember Kyla? Not sure. JASON (CONT’D) Cute Kyla. From the Okanagan... Right. He remembers. SETH The older woman. JASON (nods) We didn’t even do anything. I mean she lives five hours away.


11. SETH But you were thinking about it. JASON Yeah... and the e-mail backed that up. SETH And so she broke up with you? JASON No. She called me and confronted me. And I admitted it was true. Seth nods. SETH And then she broke up with you. JASON (shakes his head) No. I said maybe we should take a break. Oh, shit.

SETH

JASON Yeah. And then she lost it. And hung up on me. And then I turned off my phone and asked Doug to drive me to my place. Oh boy. Yeah.

SETH JASON

WOODROW You need a separate e-mail for chicks, man. A separate phone is helpful too. I keep mine under my car seat. It’s always off. Just use it when I’m out and for texts and messages. DOUG Like in Breaking Bad. Yeah. Exactly.

WOODROW

Jason sees Woodrow is playing Pong at a very high level. He’s really good. He looks at Seth with a look of “Who is this guy?”. Seth shrugs. Just then there is a loud knock. Everyone looks at the door except Woodrow, who takes another hit. Doug checks the peephole. Turns back with a look of “Oh shit!”.


12. JASON (to Seth) I’m not here. (to Doug) Neither are you. She knew we were together when she called. Doug sighs. Follows Jason to Seth’s office. SETH Hey man, I’m not lying anymore either. No drinking, smoking, lying. Nothing. I can’t do it. I’m sorry. Jason looks at Seth, disbelief. (shrugs) Sorry.

SETH (CONT’D)

Woodrow pushes pause, stands. I’ll get it.

WOODROW

He walks to the door. Jason gestures with a prayer for Seth to follow. Another loud knock. SETH This is actually pretty much lying. Jason drags him into the room. Woodrow opens the door, sees Abigail. Sunglasses on, visibly upset. She looks at Woodrow, confused. ABIGAIL Is Jason here? Or Seth or Jill? Who are you? WOODROW Woodrow. I’m a friend of Blake’s. ABIGAIL Oh. Is anyone here? Woodrow takes a step outside, lights a cigarette. WOODROW Just Blake. He’s sleeping. (takes a drag) What’s wrong? Abigail sighs, shakes her head. Rather not get into it. WOODROW (CONT’D) Because you look awful.


13. ABIGAIL (taken aback) Excuse me? WOODROW Hey, you’re really fucking beautiful, don’t get me wrong. You just look like shit. Oh.

(unsure)

ABIGAIL

WOODROW I’m going to introduce myself again. Holds out his hand, looks her in the eye, confident. I’m Woodrow.

WOODROW (CONT’D)

Abigail reluctantly extends her hand. A little uncomfortable. I’m Abi.

ABIGAIL

They shake. While holding Abi’s hand he uses his other hand to lower her sunglasses, looks into her eyes. WOODROW That’s too bad. I thought your eyes would be blue. He quickly reaches into his pocket and flips a coin, catches it and slaps it down on the back of his hand. He slowly reveals it to her. It’s a nickel. Tails. Abi sees the beaver. WOODROW (CONT’D) That’s a really good sign, Abi. Gotta love Nickelback. He smiles. Winks. WOODROW (CONT’D) I’m going to keep this to remember you by. He places it in his pocket, starts to return inside, looks back at her. Shakes his head, disappointed. WOODROW (CONT’D) Fuck you could be so beautiful. He enters. Abigail looks around, disoriented. She returns to her car.


14. INT. CAR - DAY She looks in the rearview mirror, looks at her eyes and hair. Sighs. She retrieves her phone. See RECENT calls to JASON (23). Dials again. Goes to voice mail. She hangs up. Fights back tears. Picks up phone again, dials MOM. INT. SETH’S PLACE - BEDROOM - DAY Jason looks out the window at Abigail who drives away. He turns, sees Seth and Doug waiting. Both look tired. A little sad. Thank you.

JASON

Seth sits cross-legged on the floor, in a meditation pose. He gives a thumbs up and a smile. DOUG I gotta go to work. JASON Thanks for helping, eh. DOUG (half-hearted) You’re welcome. Doug gets up and leaves the room. Jason looks around the room, perplexed. Seth’s office is a veritable yoga studio. JASON What happened to your office? Where’s your computer? Seth opens his closet. We see several monitors, computers and stock charts filling his closet to the brim. SETH No more trading. It was addictive. And I made enough money for a while... so I can focus on yoga. And spiritual healing and all that. (shrugs) Life will take care of itself. It always does. Ya just need to get out of the way. He shrugs again. That simple. Jason looks at him, unsure. SETH (CONT’D) You inspired me actually. Quitting acting. I thought that was really courageous. (MORE)


15. SETH (CONT’D) And then Jill and I splitting up... It was time to find myself. JASON And how’s that going? SETH (smiles, serene) It’s going really good. We’re still best friends. JASON No kidding. (glances out window) Can’t see that happening with Abi and me. Sometimes I felt like we were best friends, I guess, but... SETH These things happen for a reason, man. It’ll all work out. Only one you need to worry about is yourself. ‘Cause he’ll get in the way if he can. Jason looks at Seth, nods. This might be good advice. A beat. Seth smiles, still sitting, legs crossed. SETH (CONT’D) I’m just going to meditate for a bit. Oh.

JASON

SETH You should join me. JASON No... I’m not really... Jason walks to the door, wonders if he should shut it. Yep. Thanks.

SETH

Jason closes the door. Seth puts on a meditation tape with Tibetan chanting. He hums along. KITCHEN - SAME While Woodrow plays Pong, Jason crosses to get another beer from the kitchen. WOODROW Hey. Heartbreaker. You up for some Pong?


16.

Sure. Why not?

JASON

As he shuts the fridge door, he sees a quote from a Spiritual Healing Center: “Life will take care of itself. It always does. You just need to get out of the way.” Almost verbatim as said by Seth. Jason grins. Shakes his head. Joins Woodrow. INT. BILTMORE - NIGHT Doug and Jason sit at a table in a live music night club. Canned music is playing while a band sets up. They look bored, tired. A beer in front of them. JASON How’re your courses going? Good.

DOUG (brightens up) JASON

Cool.

DOUG Wrote my first script. Oh right on.

JASON

Seth enters with Jill, sees them. Doug watches them approach with anticipation. Hey. Hey.

SETH JASON (to them both)

Jill smiles. JILL (looks around) Pretty quiet. JASON Yeah, still early though. DOUG (to Seth) Did you read it?


17. SETH (pretending to be upbeat) Yeah... You hated it. No...

(he did)

DOUG SETH

Jason gets a text from MOM: call your sister. i’m worried. He replies: why? DOUG What was wrong with it? SETH (lying) Nothing... (looks to Jason) Did you show it to him? No. How come?

DOUG JASON

DOUG Ah, because. It’s not ready. Seth’s not sure how to take this. SETH What about your brother? Nah...

DOUG

SETH Why not? He obviously knows what he’s doing. I mean he sold that Donkey script right? DOUG Exactly. A freakin’ Donkey movie. SETH Well... the movie got made. That can’t be easy. And now he’s working on cool stuff, right? DOUG (frustrated) No, it’s fuckin’ shit. I’m not interested in formulaic bullshit. I mean, what’s the point? I’d rather be building houses.


18. JILL What’s wrong with building houses? DOUG Nothing! That’s my point. Better than making a Donkey movie. SETH You’re hardly the intended audience, Doug. Jason gets a reply from MOM: she wont call me back. please call her! SETH (CONT’D) There’s Woodrow. All follow Seth’s gaze, see Woodrow talking to Sara at the bar. Jason is taken aback. DOUG What a slime ball. SETH (sarcastic) How dare you. Jason gets up, heads to the bar. JASON I’m going to get a drink. SETH Can you get me an orange juice? JASON

Sure.

He leaves his beer half full. They watch him go, curious. BAR -Jason approaches Sara and Woodrow. Hey.

JASON (CONT’D) (to Sara)

Hey, man.

SARA

JASON (to Woodrow) How’s it goin’? What’s up?

WOODROW


19. JASON (unsure if he’s meant to respond) Uh, not much. Looks at Sara. Been a while. Yeah, man.

JASON (CONT’D) SARA

Odd demeanor. Shots? No. I’m good.

WOODROW SARA

WOODROW (to bartender) Three shots of Jager. Bartender lines up three shots. Sara is annoyed but doesn’t protest. JASON So you know Woodrow? Apparently.

SARA

Woodrow passes each a shot. To honor.

WOODROW

Sara finds this odd, but -Okay.

SARA

WOODROW If you can’t come in ‘er. Come on ‘er. SARA (disgusted, laughs) Oh my God. Jason grins. They take the shots. SETH AND DOUG --- watching Jason et al.


20. SETH I guess he forgot my juice. Probably from concentrate anyways. They see probably crack of her back

Woodrow turn to talk to a young waifish girl under age. Jeans cut so low you can see the her ass. Jason moves in closer to Sara, touching in the process. SETH (CONT’D) (off Jason) How long has he been single? DOUG Uh... five or six days.

Shakes his head. Doug puts his two index fingers together and then splits them apart. DOUG (CONT’D) Hey, he’s a free man. SETH (irritated) Free?! He’s in shackles. DOUG (shrugs) Well, people cheat on each other all the time. And he’s technically single. SETH It’s not healthy, man. DOUG You know Abi told Sue that e-mail she found was written a couple of weeks ago. Between him and Kyla. Not three or four years ago, or whatever he said. Seth looks up, interested DOUG (CONT’D) I don’t think they did anything, but... SETH (concerned, hurt) Why would he lie to us? DOUG I don’t know. There might have been old e-mails too. And who knows? This is Abi’s side right?


21. SETH But why would he lie to us? We’re his best friends. Just then Blake enters, sees Jason. Nods at Seth and Doug who nod back. He heads to the bathroom first. DOUG He’s sure going downhill fast. SETH Yeah tell me about it. I heard him on the phone telling someone he preferred smoking heroin to crack. Oh my God.

DOUG

JILL You guys are like a couple of old hens. SETH (taken aback) If I told you I preferred smoking heroin to crack you think you’d be worried? JILL The day you try crack is the day I try anal sex. Doug looks, now interested. SETH Please don’t talk about our sex life. Jill stands -I’m not...

JILL

-- and walks away. Seth is suddenly stern. Lost in thought. DOUG Better not try crack. (edgy) Shut up.

SETH

BAR -Blake approaches, looks moody, under the weather. Sara likes the look of him. Hey.

BLAKE


22. Fist pump with Jason. Good morning.

JASON

Blake doesn’t respond, looks around, seems on edge. BLAKE I can’t believe you can’t smoke in here. I’m Sara.

SARA

Blake sees Sara smiling brightly at him. Hey.

(unsure)

BLAKE

Just then Woodrow pops his head into the conversation from behind the bar. WOODROW (to all) Who’s up for some party favors? Blake’s eyes light up. Mmmm. Not me. I don’t know.

BLAKE SARA JASON

Woodrow smiles. WOODROW Good. Right this way.

Doug watches the group head into a back room. DOUG Where are they going? Sees Seth watching Jill talk to a guy who appears to just be a friendly acquaintance, but doesn’t matter. He’s jealous. INT. GREEN ROOM - NIGHT Sara smokes. Woodrow and CAIN, the owner (slim, slick, 41) do a couple of lines. Then lay out a few more for DANNY, the girl at the bar and her friend SONYA.


23. Both girls are done up, still look about 17. As Danny does a line Sara asks Sonya: SARA How old are you? She looks like a deer caught in headlights, looks toward Danny. SONYA

Uh...

Danny stands up from doing the line, rubs her nose, answers: DANNY Twenty three. We’re both twenty three. SARA No kidding. You both look so young for your age. DANNY (bright smile) Thanks. Sonya, still a little dumb-struck does a line of coke. Exposing the crack of her ass as she bends over. Woodrow suddenly grabs Danny, pulls her onto his knee. Hey, Bitch. (flirty) Fuck you.

WOODROW DANNY

He pulls her ass into his crotch. She lets him, rubs him with her ass a little. Giggles. Sara grins, though seems analytical, detached. Watches Blake do a line. Then looks around. SARA There is only one guy in this room who I will never sleep with. Who?

(smiles)

CAIN

Blake stands from the line, smiles. Me.

BLAKE

Sara looks Blake in the eye.


24.

Nope.

SARA

Blake is taken aback: “She wants to sleep with me?” Jason is also taken aback at the suggestion. DANNY (giggles) Woodrow. Yep. Hey.

SARA WOODROW

He tickles her. WOODROW (CONT’D) (playful) Ugly little bitch. I’m not ugly.

DANNY

He tickles her again. Oh yeah?

WOODROW

CAIN Who have you slept with? She holds up one finger then a second finger. Woodrow looks around, then at Jason as he does the math. Heartbreaker.

WOODROW

Jason tries to hide a grin. Blake understands the predicament, but makes eye contact with Sara nonetheless. She also eyes him. Jason moves in for a line. Mind if I?

JASON

WOODROW Have at ‘er, Heartbreaker. Just then Doug arrives at the doorway, sees Jason do the line. Ezekial!

WOODROW (CONT’D)

DOUG Hey. Doug actually. Remember?


25. WOODROW Yeah. Fuck yeah. Zeek’s your brother right? Doug nods. WOODROW (CONT’D) Join us? Have some blow. Uh, no thanks.

DOUG

Doug sees the young girls, very much moved by the sight of them, enters. Woodrow sees the attraction. WOODROW Sonya, this is... Forgets his name. Doug.

DOUG

WOODROW This is Douglas. His brother is a very famous screenwriter. (to Doug) Sonya is an aspiring actress. Actress/Model.

SONYA

WOODROW Indeed. Douglas has connections in LA. Really?

SONYA

WOODROW But he doesn’t like Brunettes so don’t get your hopes up. Doug looks at Woodrow, confused. WOODROW (CONT’D) But if you’re really nice to him he might set you up with an agent. DOUG (to Sonya) I don’t mind brunettes. WOODROW He’s just saying that because he’s nice. And nice guys are not easy to find in this business. Sonya now smiles coyly at Doug. Woodrow’s act is actually working. Doug is concerned, but also turned on.


26. JASON Where’s Seth and Jill? DOUG Uh, Seth went home. Jill’s still around. The Bartender and another girl CORY, 25, enter. BARTENDER (off Sara) Here she is. CORY Hey, where were you? Sorry, Sweety.

SARA

The band can be heard starting to play. Cory looks around at Blake, Woodrow, Doug... gestures for Sara to leave with her. Sara stands. Bye, boys.

SARA (CONT’D)

Jason and Blake watch her leave, a little concerned. Cory can be heard as they part: CORY Always slummin’ it aren’t you? CAIN (shouts after) Fuck you, Cory. Cory shouts back, now out of sight. Not you, Cain!

CORY (O.S.)

CAIN (to the group) I hate that bitch. Fuckin’ rich Vancouver girls. Think they’re fuckin’ royalty. BLAKE (shrugs) Sara seems cool. CAIN Yeah, wait ‘till you get to know her. Blake lights a cigarette. Outside, pal.

CAIN (CONT’D)


27. Blake sighs as Cain exits. Puts out the smoke. Looks uneasy. BLAKE (off table - Woodrow) Any more of that stuff? WOODROW Go have your smoke. Lots where that came from. BLAKE (to Jason) I’m going to go smoke. He exits. Doug turns to Sonya. DOUG So what’s your name again? Sonya.

SONYA

Doug holds his hand out to shake. DOUG I’m Doug. I’m actually a filmmaker. Working on a project. I think you might be good for it. Jason sees Doug with Sonya, Woodrow flirting with Danny. He exits. INT. BILTMORE - NIGHT The place is getting busy. Jason walks around the perimeter, checking out the band and women that walk by. Pretty high. Sees Sara standing with Cory near the stage, two guys are already hitting on them. Sara is laughing, engaged, while Cory remains stand-offish, protective of their territory. She doesn’t like this place. He sees Blake reenter and head back to the green room. Jason sips his drink. Jill comes up beside him. Hey.

JILL

JASON Hey. How’s it goin’? Good.

(yawns) Tired.

JILL


28.

Yeah.

JASON

(pause) So how’s your new place? JILL Good. I like my roommate. She’s pretty cool. You? JASON Uh... That’s a damn comfortable couch. JILL Yeah, I grew up with that couch. My parents gave it to us. No kidding.

JASON

JILL Yeah and they might want it back so no gravy stains. Ouch.

JASON

She elbows him, playfully. MONTAGE of band playing. People dancing, drinking, conversing, walking around, selling records. Another band starts playing. EXT. BILTMORE - LATER Jill and Jason exit. Jill grabs a cab. G‘Night.

JILL

JASON Yeah. Good night. She gives him a quick, innocent peck on the cheek, hops in the cab. Jason likes the gesture. Wonders if there’s more to this. He then looks around. Texts Blake: Where are you? INT. BILTMORE - LATER Jason makes his way to the Green Room. Tries the door. It’s locked. He knocks. No answer.


29. INT. GREEN ROOM - NIGHT Doug is taking a line of coke. It’s just him, Woodrow, Danny and Sonya. Woodrow is making out with Danny while she rubs his crotch. Sonya watches, turns to Doug as he lifts his head back, coke on his nose. Hey. Hey.

DOUG SONYA

Sonya’s hand falls on Doug’s lap. He swallows, nervous. She reaches behind her back, releases her bra, takes it off under her shirt, slips it in her bag. Doug can see her perky nipples beneath the tight ‘T’. Swallows again. His hands move around her back. Leans in and smells her neck. Intoxicating. Sonya glances at Danny and Woodrow. Danny is now giving him head. Sonya looks back over at Doug, kisses him. An awkward, intense french kiss. Her hand rubs his crotch. Doug lifts her shirt, kisses her breast, begins sucking her nipple... JASON (O.S.) Time to go, buddy. Doug comes out of a trance. Sonya pulls her shirt down, looks at the floor. Woodrow is pulling up his pants, behind Danny, who doesn’t turn around. He laughs. Behind Jason is the bartender who let him in. Where’s Cain?

BARTENDER

WOODROW Fuck if I know. Bartender isn’t pleased. BARTENDER Lock up behind you please. You bet.

WOODROW

Woodrow grins, arrogantly. Doug begins to realize what’s happening. Follows Jason out of the room.


30. INT. BILTMORE - NIGHT Jason escorts a disoriented Doug through the crowded bar, outside. EXT. BILTMORE - LATER Doug and Jason sit on the curb, just up the road from the bar. Doug is sobbing. DOUG I can’t believe it. (sighs) Oh my God. JASON It’s not a big deal. It’s just a lap dance. DOUG (disbelief) Oh my God. He finally looks at Jason through tears. DOUG (CONT’D) Thank you so much. JASON Don’t mention it. I’m so high. I know, man.

DOUG JASON

DOUG Maybe I’m not cut out for this business. JASON (confused) What business? DOUG The entertainment business. Filmmaking. Being a famous Director. JASON (smiles) Yeah. Maybe you should get through your first semester before you make up your mind on that. DOUG Now I know why you quit.


31.

Yeah.

JASON

Jason sees Sara leave the club, and an opportunity. He stands, calls a cab over. The cab drives up. Jason opens the door. Helps Doug to his feet and into the cab. Before Doug knows what’s happening -JASON (CONT’D) G’Night, buddy. He slams the door and runs toward Sara who is also getting into a cab. INT. DOUG’S CAB - SAME Doug sees the cabbie looking back at him. He turns to see where Jason went but gets dizzy, looks at the cabbie. DOUG Uh... 20th and Nanaimo. INT. SARA’S CAB - NIGHT Jason squeaks into the cab with Sara. Hey.

JASON

She is surprised to see him. Oh.

SARA

(concerned) What are you doing? JASON I’m headed in the same direction. Staying at Seth’s. Do you mind? SARA Uh, no. Whatevs. LATER The cab drives while they both check their phones. Blake hasn’t responded to Jason’s earlier text. SARA (CONT’D) Where’d that friend of yours go? Blake?

JASON


32.

Yeah.

SARA

JASON I don’t know. He took off. Hmm.

SARA

Jason contemplates this question. A little jealous. Why? (shrugs) Kinda cute. Oh yeah?

JASON SARA JASON

She doesn’t respond. Jason looks out the window, more deflated by the minute. INT. CAB - OUTSIDE SARA’S APARTMENT - NIGHT The cab pulls up. Sara pays. Jason stops her. Not giving up. I’ll get it.

JASON

Sara accepts the gesture quickly -Thanks.

SARA

-- and hops out of the vehicle. She turns quickly, adds: Good night.

SARA (CONT’D)

And closes the door. Jason is about to pay but hesitates. Where to next?

CABBIE

He then passes the Cabbie a twenty and climbs out. EXT. SARA’S APARTMENT - NIGHT Sara turns, sees Jason standing by the curb as the cab drives away. SARA (smiles) Have a good night.


33. She enters her apartment and closes the door behind her. Jason stands at the curb in disbelief. Humiliated. He gets a text. From Blake: Had to go to work:( Jason contemplate this. After a moment, he starts walking in the other direction. FADE OUT. ROLL CREDITS


Episode2