Dose - a neo noir for the stage by Stephen Richter

D SE a neo noir for the stage

Dos(e) (a translation of Sophocles' Oedipus at Colonus) by (Stephen Richter and MĂ˛nica Andrade)

831.440.8559. mindfabrik@gmail.com

SCENE ONE. JIM MORRISON (V.O.) Thank you, oh Lord, for the white blind light... Thank you, oh Lord, for the white blind light... A city rises from the sea. I had a splitting headache, from which the future is made... Lights illuminate a corner of the stage, revealing a replica of E. A. Chase’s “Collateral Damage: A Reality of War” A figurative bronze sculpture, of what appears to be, three figures: a mother, father, and a child, clinging to each other in desperation. A man wrapped in a blanket sleeps beside the statue. Projection on screen: The clock tower of downtown Santa Cruz, California clicks then strikes midnight. A CHORUS of men, wearing robes and Grecian masks, enter the theater from the behind the audience. They carry instrument cases and Trick or Treat bags. They speak in unison as they walk down the aisles to the stage. CHORUS Look for him. Who could he be? Where is he? Where is the stranger? Impious, blasphemous, shameless! Use your eyes, search him out! Cover the ground and uncover him! Vagabond! SKINNY The old man must be a vagabond. BARNACLE Not of our land. (The man sleeping beside the statue wakes up with a start. He sees the men in masks approaching. He stiffens.)

SQUID BOY (leaping onstage, singing) For Ja would never dare...

2. CHORUS (sings, points out to the audience) ...to go all up in there. MAN BESIDE STATUE What do you want? (The masked men form a half circle around the man.) GHOST Happy Halloween, brother. (RAT removes his mask and pulls a sandwich from his Trick or Treat bag. He gives it to the man. The other men put down their instrument cases and remove their masks. Some remove their robes. They have shaved heads, tshirts, cutoff Ben Davis shorts, and tatoos. BARNACLE offers the man his entire Bag. The man looks into the bag then back at Barnacle, puzzled.) MAN BESIDE STATUE Whatâ&#x20AC;&#x2122;s this? GHOST Halloween party at the Catalyst, man. Itâ&#x20AC;&#x2122;s from the buffet. BARNACLE Spread the love, Holmes. (The man looks at them with suspicion for a moment.) MAN BESIDE STATUE Right on, man. Thanks. (The man gathers his belongings, takes the bag, and exits. Skinny sits down beside the statue and takes out a set of bongos. He taps on them, lost in thought. The other men pick up their instruments and prepare to leave.) BARNACLE (to Skinny) What are you doing, man?

3. SKINNY It’s midnight, Ghost... Let’s play one more song. GHOST Let’s bounce, fool. SKINNY A song for Eddie. (The men look at one another in silence. No one speaks. Ghost finally nods his head. Skinny begins to drum on the bongos. A spotlight illuminates them. A guitar, then a bass, then a saxophone and a trumpet join in. The White Sox play a Jolly Boys acoustic reggae version of Riders on the Storm.) GHOST Say it, say it, say it, say it... from the top to the very last drop... Projection on Screen: INT. BEDROOM - DAWN Modern, minimalist decor. Someone sleeps beneath the covers of a king-sized bed. An alarm clock rests on a night stand, next to a framed photograph of a boy and girl playing in the snow. The clock reads 5:30 a.m. The ALARM SOUNDS. A man’s hand reaches out from the blankets and turns it off. The man climbs out of bed and walks to the bathroom wearing boxer shorts. We do not see the man's face for the entire video projection sequence. GHOST (sings) Riders on the storm... Riders on the Storm. Into this house we were born. Into this world we’re thrown... INT. BATHROOM - CONTINUOUS The man showers behind steam-covered glass. The bathroom is meticulously clean and orderly.

4. A SERIES OF SHOTS: 1. A razor glides over a cheek, shaving it clean. 2. The man uses a water pick at one of the double sinks. 3. He trims his fingernails with stainless steel cuticle nippers over an empty metallic wastebasket. 4. A closet door slides open to reveal identical pairs of dark trousers and pressed white collared shirts, hanging at even intervals. The man removes one of each. INT. MODERNIST KITCHEN An espresso machine on a timer begins to fill a white espresso cup. INT. LIVING ROOM Minimalist furniture. Bookcases full of books: Foundations of Nanomechanics, The Genomic Fight for Social Justice, Marxism's Ethical Thinkers, No One Here Gets Out Alive - The biography of Jim Morrison. The man walks past the bookcase, into the kitchen. INT. MODERNIST KITCHEN The man finishes his espresso then closes his briefcase on the granite countertop. He turns to leave then stops. An empty wine glass and bottle sit beside a disordered stack of letters, children's drawings, and photographs, scattered across the dining table. He turns and walks out the front door. EXT. CITY STREET - MORNING The gate of a parking garage opens. A Toyota Prius pulls out and drives up the street.

5. GHOST (sings) Thereâ&#x20AC;&#x2122;s a killer on the road... His brain is squirming like a toad... INT. TOYOTA PRIUS - MORNING The man's eyes are visible in the rear view mirror. He looks down at the console. A dogeared photograph of a woman and two children is tucked into the cup holder between a $1.99 pack of Alka-Seltzer and a receipt. GHOST (sings) Take a long holiday... Let the children play... EXT. TREELINED ROAD - MORNING The Prius drives through the entrance of Leland University. It passes deer and cattle grazing on a hillside. A spectacular view of the Monterey Bay stretches to the horizon. The Prius climbs higher, winding under the shade of ancient redwood trees. EXT. UNIVERSITY PARKING LOT - MORNING The Prius parks. The man walks toward a retro-futuristic building of stainless steel and glass. Above the entranceway, a sign reads, "Biological and Engineering Sciences." GHOST (sings) If you give this man a ride, sweet memories will die... killer on the road... INT. LOBBY - MORNING The man walks to an elevator. A uniformed guard holding a clipboard stands in front of it. The man presents his badge to the security guard. CLOSE ON badge.

6. It has no picture, only a QR code beneath the words "GS12 JO-CASTA." The guard scans it with a smartphonelooking device. A light flashes. The elevator doors open behind him. SECURITY GUARD Have a nice day, sir. The man enters the elevator. INT. COORIDOR The man walks down a long hallway lined with industrial pipes and cables overhead. He stops in front of a door with a glass porthole. He unlocks it. (Onstage, Ghost and the White Sox continue to play. Low lights illuminate the opposite end of the stage, revealing a modern office space with a desk and an executive chair that face the frame of a window.) GHOST (sings) Riders on the storm... Riders on the Storm. Into this house we were born. Into this world we we’re thrown... (A man dressed as the man in the video enters. He sets his briefcase down then reclines into the chair with a sigh. We still haven't seen the man's face yet. The man rotates his chair away from the audience’s view and stares out the window. Projected on the screen: A breathtaking view of the hillside and the ocean beyond. CLOSE ON the man's EYES. The saxophone plays with sadness and longing. On stage, MEN IN BLACK SUITS rush into the room and restrain the man in his chair, wrapping duct tape over his mouth, nose, and forehead. They rotate the chair to face the audience. Only the man’s panic-filled eyes are still visible.

7. His eyes are also projected on the screen, overhead. The man struggles to no avail. Orderlies enter the room with a gurney. They lift the man onto the gurney and strap him down.) GHOST AND THE WHITE SOX (sings) Riders on the storm... (Baby I love you) Riders on the Storm... (The man screams into the duct tape covering his mouth. Projected on screen: POV of the man, looking up at the men, as the orderlies and men in black suits rush the gurney offstage, down the aisle, through the audience, and exit through the doors of the theater. Ghost and the White Sox play as they move towards center stage now. On screen: INT. COORIDOR The MAN's POV: florescent lights pass overhead as the group of men run the gurney down a hallway towards a set of double doors. Lights now illuminate the section of the stage where the statue once stood. It is now an examination room full of medical equipment. We can still see the manâ&#x20AC;&#x2122;s POV projected on the screen overhead. The surgical lights are bright. The staff of personnel look down at him. The man struggles against his restraints. An orderly inserts a needle into the man's forearm and starts a drip IV. A woman in a nurse's uniform enters the room followed by a doctor. She REACTS when she sees who the man on the gurney is.) GHOST (sings) Girl youâ&#x20AC;&#x2122;ve got to love your man...

8. NURSE Oh my god. (The doctor opens a small black case containing a syringe and passes it to the nurse.) ORDERLY Hurry up! DOCTOR Administer the dosage! Quickly! (The nurse walks to the gurney. The man shakes his head, thrashing against his restraints. His eyes implore her. The nurse looks back at the doctor, uncertain. The doctor nods. The man screams wildly into the duct tape covering his mouth. The nurse inserts the needle into the IV tubing port.) GHOST AND THE WHITE SOX (singing) Take him by the hand... Make him understand... (On screen, CLOSE ON the SYRINGE. The plunger forces a cloudy liquid into the tubing. SUPERIMPOSE the word: "Dos(e)" The lights go out except for the spot illuminating the band.) GHOST AND THE WHITE SOX (singing) Riders on the storm... Riders on the storm... (I love you) Riders on the storm... (I want to hold your hand.) (The music ends. Ghost and the White Sox exit.)

9. SCENE TWO. (The Fireside Inn: a neon sign, a motel room, a balcony with a check-in desk underneath it. Off to one corner of the stage, Ghost and the White Sox play Park Avenue Petite by the Blue Mitchell Sextet. The stage is set as a rundown motel on Beach Hill that overlooks the Santa Cruz boardwalk. The wooden roller coaster is silent, the parking lot, deserted. A foghorn SOUNDS. Inside one of the rooms, lit by the glow of the neon sign, PAUL - late 30's and unshaven - sits on the edge of an unmade bed, smoking a cigarette. Butts fill the ashtray beside him. Paul looks at his watch then stands. He lifts up the corner of the mattress. A bible rests on top of the box-springs. Paul takes the bible to the nightstand and turns on a lamp. Perspiration beads on his nose and forehead. He opens the bible to the book of Lamentations, chapter one. Two index cards are bound together with a series of rubber bands and wedged into the gutter of the pages. He removes the rubber bands, revealing a freshly laminated press credential. He reads out loud.) PAUL San Francisco Weekly, Paul Hunter. (Paul slips the credential into a plastic sleeve attached to a lanyard hanging from his neck. ) PAUL (extends his hand to an invisible person) Paul Hunter, San Francisco Weekly. Mind if I ask you a couple of questions? (Paul lights another cigarette then returns to the bed and sits down. He picks up a voice recorder. Paul stares at the wall in front of him. The wall is covered with newspaper clippings, flyers of missing persons, and index cards. Some of the cards read: Homelessness PHAR-MI-CON

10. Missing MK-ULTRA CIA Occupy Movement: Oakland, Santa Cruz Drug offenders Political dissidents An array of yarn and pushpins illustrate connections between various items. Paul speaks into the voice recorder.) PAUL December 21st. It is still unclear but I know it's all connected. There's no sovereignty for the human mind anymore. (HEAR a KNOCKING on the door. Paul freezes. His eyes dart around the room. The knocking resumes.) WOMAN'S VOICE Mr. Hunter, are you in there? (Paul sighs with relief. He extinguishes his cigarette.) PAUL Just a second... (Paul turns out the lights. He cracks the door open. An attractive woman wearing a frown and an angora sweater over her shoulders stands on the other side of the doorway.) WOMAN I've been calling the room for the past two hours. Why didn't you answer? PAUL I was asleep. I'm sorry.

11. WOMAN You said you would pay your bill before checkout this morning, Mr. Hunter. If you wanted to extendPAUL I do. I'll come down and take care of it right now. WOMAN Are you smoking in there? This is a non-smoking establishment, Mr. Hunter. I'm going to have to charge you a cleaning fee now. PAUL Sorry, ma'am. WOMAN Moira. PAUL Moira. That's a beautiful name. Is it Greek? MOIRA No. PAUL Look, I'm sorry, Moira. I had to cover a really bad car accident this evening and I'm still a little shaken up. I'll pay the fee. It won't happen again. (Moira smiles, sympathetically.) MOIRA Why don't you get dressed and come downstairs. I'll buy you a drink, then. PAUL That's very nice of you, Moira. Thanks. MOIRA No problem, Mr. Hunter. PAUL Paul. MOIRA See you in a bit, then, Paul. PAUL Alright.

12. (Paul shuts the door. Moira goes back downstairs to the check-in desk. Paul puts on a beanie and a peacoat. He exits his room and closes the door behind him. He carries a camera. Paulwalks to the end of the catwalk and peers over the balcony. The neon sign of the Fireside Inn illuminates his face. In the office downstairs, Moira speaks into a telephone at the check-in desk. Paul sneaks across the catwalk. He descends the back staircase. Lights fade.) Projection on screen: EXT. PACIFIC AVENUE - NIGHT Paul walks down a busy sidewalk. He turns his collar up against the cold. He passes restaurants, cafes, and street performers. He takes a photograph of a homeless man playing a guitar on the corner. (Paul walks onstage. The few front feet of stage is illuminated to become a stretch of city street. Pedestrians pass back and forth. Ghost and the White Sox enter. They walk past Paul. Paul takes their photograph. They turn around.) GHOST Did you just take my picture? PAUL Yeah, I'm a journalist. BARNACLE I don't give a fuck, man, that's rude. GHOST Give me the camera. (Paul smiles. Ghost and the White Sox don't smile. Paul breaks into a sprint. The men chase after him, weaving in and out of the crowd. They chase Paul off the stage, through the audience, and out of the theater. Onstage, an ELDERLY MAN - eyepatch, ragged jeans, Army field jacket - limps to the corner. He carries a backpack and a sleeping bag.

13. The man drops his gear then struggles to sit and rest for a moment on the sidewalk. Two security officers approach him.) SECURITY OFFICER #1 You can't sit here, man. You're gonna have to move along. EDDIE (ELDERLY MAN) Just give me a second, please. SECURITY OFFICER #2 (clapping hands) Let's go, let's go, or else I have to write you up. EDDIE I thought this was Santa Cruz. What ever happened to love, freedom, and sanctuary for the lost and needy? SECURITY OFFICER #2 Not on my street. (He nudges Eddie with his boot.) SECURITY OFFICER #1 You have to move, sir. HOMELESS MAN ON CORNER I saw that! I just saw him assault you, Eddie! I'm a witness! SECURITY OFFICER #1 (takes out walkie-talkie) Hey, you need to step back and mind your own business, sir. EDDIE I have rights too, you know. Just give me a break. SECURITY OFFICER #2 No, you don't, sir. You're not even from here. Listen to me. This is a place of- Shit! (Paul runs onstage, directly into Officer #2, knocking him to the ground. A police siren BARKS and a car door SLAMS. A plain clothes detective enters. Ghost and the White Sox stop in their tracks.

14. They turn around and begin to walk away. The security officers struggle with Eddie and Paul on the ground.) PAUL (Pointing at Ghost and the White Sox.) Those guys right there were trying to rob me! EDDIE I'm not moving one foot from this place! DETECTIVE TED REYES Everybody stop! That means everyone! (Ghost and the White Sox sprint offstage and out of the theater.) DETECTIVE REYES (to officers) What the hell are you waiting for?! Get after them! I'll call for backup. (The security officers run after them in reluctant pursuit.) DETECTIVE REYES (CONT’D) (to Eddie and Paul) You two stay where you are. (Detective Reyes pulls out a police radio.) DETECTIVE REYES (CONT’D) Central, I have a possible 211. First Alert officers in pursuit on foot, corner of Pacific and Cooper streets, requesting backup, over? HOMELESS MAN ON CORNER I saw everything, detective. Those nazi rent-a-cops were harassing Eddie. They kicked him in the arm, man! (Eddie sits back down on the ground.) DETECTIVE REYES Alright, one at a time. You with the camera, come here. What's your name?

15. PAUL Paul. DETECTIVE REYES Paul what? Is that a press pass? PAUL Paul Hunter. I'm with the San Francisco Weekly. I'm doing a story on homelessness. DETECTIVE REYES (to Eddie) You alright, sir? Can you stand up? What's your name? EDDIE (struggling to stand) Oedipus. DETECTIVE REYES The guy's a comedian. Alright, Oedipus. Where are you from? (to Paul) Hey, over here, Hunter. I'm not through with you yet. PAUL He needs help, officer. DETECTIVE REYES Detective. EDDIE I used to be in charge of THEBES. PAUL (helping Eddie stand) He's alright. He just needs help walking. DETECTIVE REYES You two know each other? PAUL I interviewed him last week for the piece I'm working on.

16. HOMELESS MAN ON CORNER They kicked the man when he was down, officer! Eddie's blind, man! DETECTIVE REYES I'm not talking to you, sir. Would you please step back? (The man turns to leave. He raises a fist to the sky.) HOMELESS MAN ON CORNER Stay down, Eddie! (Paul wraps Eddie's arm around his shoulder and helps him stand. Eddie winces with pain then gains his balance. He keeps an arm around Paul for support. Detective Reyes notices the pin on Eddie's field jacket.) DETECTIVE REYES Were you in the Army, Eddie? What unit is that? EDDIE Elementis Regamus Proelium... DETECTIVE REYES Say again? PAUL "We rule the battle by means of the elements." It's the motto of the Army chemical Corps. DETECTIVE REYES (to Eddie) I was in the Marine Corps, Eddie. Don't worry, I'm not gonna let anyone take you away, alright? EDDIE Thank you, detective. DETECTIVE REYES' RADIO (V.O.) They're getting away, central! They jumped the fence at the... At the lumber yard, you idiot. At the lumber yard. We can't climb over it. I think(Detective Reyes turns the volume down on his radio.)

17. DETECTIVE REYES Well, it doesn't sound too good there, Mr. Hunter. You want to come down and file a report? PAUL I'd rather help Eddie get over to the shelter if that's okay? DETECTIVE REYES I'll give you a ride then. Come on. DETECTIVE REYES' RADIO (V.O.) Four-nineteen at River Street and Water. All units respond... DETECTIVE REYES Shit, I gott'a go. (Reyes runs to exit then stops before going offstage.) DETECTIVE REYES (CONTâ&#x20AC;&#x2122;D) You got him, Hunter?! PAUL I got him. DETECTIVE REYES Good man! (Exit Reyes. HEAR a sedan peel out and race up the Street.) EDDIE You never interviewed me. PAUL Sure, I did. EDDIE No. PAUL I thought... I did. EDDIE (laughs) Your memory's as bad as mine.

18. (Paul helps Eddie off the stage. They walk up the aisle, Eddie's arm around Paul's shoulder.) EDDIE (CONT’D) What's your name again? PAUL Paul. EDDIE You don't look like a Paul. PAUL You don't look like an Oedipus. (Eddie laughs.) PAUL (CONT’D) Where are we heading, Eddie? EDDIE My daughter lives on Beach Hill. PAUL That's where I'm staying. Are you sureEDDIE (laughing) I've never seen you before in my life! For Christ's sake, man. PAUL Alright, alright, I'll leave it alone. (Eddie stops before they leave the theater.) EDDIE Paul, how did you know what this pendant means? (Paul stares off in thought for a moment.) PAUL I thought you told me. EDDIE I never knew what it meant until tonight.

19. PAUL Weren't in the Army Chemical Corps? (Eddie stops. He looks at Paul with his one good eye.) EDDIE I can't remember. (Exit Eddie and Paul exit though the front doors of the theater.) (END SCENE)

SCENE THREE. (Two streetlights illuminate the stage. The set for the motel is hidden from view by a screen of white cloth, stretched between two poles. The facade of an Edwardian Home is projected onto the cloth. A gate is placed a few feet in front of the projection of the Edwardian Home. A beautiful blonde in a dashiki and jeans hurries to open the gate of the dilapidated estate.) ANA (BEAUTIFUL BLONDE) Eddie! What happened? Are you alright?! EDDIE The gestapo was harassing me again. (Paul stares at Ana.) EDDIE (CONTâ&#x20AC;&#x2122;D) Paul. ANA Paul? EDDIE Hello, Paul!

20. PAUL (regaining composure) I'm sorry, I'm Paul. (Ana laughs.) ANA Thank you for helping Eddie. That was very kind of you. PAUL Have we met before? EDDIE He says that to everyone. ANA I don't think so. I'm sure I would remember. (Ana takes Eddie by the arm and leads him up the steps to the front door. Paul watches them.) EDDIE Paul's an amnesiac, like me, except he's a reporter. Goodnight, Paul, and thank you. (Eddie limps inside the cavernous old house. Ana pauses in the doorway.) ANA A reporter with amnesia? Doesn't that make things difficult in your line of work? PAUL He was joking. ANA So was I. Goodnight, Paul. PAUL Eddie lives here with you? ANA No. He just stays in the spare room every once in a while when it's cold out. (She starts to close the door.)

21. PAUL You let your own father sleep in the streets? ANA What are you talking about? PAUL Aren't you two related? ANA Eddie reminds me of my father. He was in the army too. PAUL Was? What do you mean? ANA I don't feel like being interviewed, Paul. PAUL I'm sorry. I didn'tANA Goodnight. (Ana closes the door behind her and locks it.) PAUL Goodnight. (Paul curses himself under his breath then walks away. At the edge of the stage, Paul reaches into his pocket and pulls out a wallet. Projection on screen: There is no cash inside Paulâ&#x20AC;&#x2122;s wallet. The driver's license behind the plastic window reads, "Paul Hunter" but the picture is not Paul. Paul pockets the wallet. He turns and exits. Ghost and the White Sox enter, playing a bass and a snare drum. Barnacle plays Blue in Green by Miles Davis on his trumpet. On screen: Paul turns up the collar of his coat against the cold and damp of the midnight hour on beach Hill. He walks up the street through the fog, beneath the lamplights.

22. Onstage, Ghost and the White Sox continue to play as they walk toward the Edwardian house. The spotlight illuminates Barnacle and his trumpet, at center stage. On screen: A white cargo van drives past Paul, up the street. Paul turns the corner and heads toward the neon sign of the Fireside Inn. On stage, Ghost and the White Sox enter the house. Barnacle finishes his trumpet solo then closes the door. The lights go out. The cloth is rolled away from the set of the Motel. The neon sign and the lights of Fireside Inn brighten, revealing Moira, standing out front, smoking a cigarette. Paul enters then ducks behind a bush. He looks around himself. He plucks a ragged cluster of wildflowers and weeds from just beside the bush. Moira crushes her cigarette into the ground with a pink high heel. Paul stands. He walks towards her.) MOIRA Where the hell did you run off to? PAUL I wanted to get you something special. I couldn't stop thinking about you. MOIRA Seriously? PAUL Serious as the plague. (He kisses Moira on the cheek.) MOIRA And I thought you were just being an asshole. PAUL What are you kidding me? You're my destiny. That's what moira means, right, Fate? MOIRA Listen to you... PAUL How about that drink?

23. (They climb the stairs to Paul’s room. The lights of the Motel go dim, leaving only their silhouettes. Paul and Moira sit at Paul’s table having a cocktail. Upstage, to one side, a light illuminates the man on the Gurney. On screen: POV of the man on the gurney: The room is blurry. It slowly comes into focus. The man is still strapped down. The nurse watches him. An orderly stands beside her. HEAR a BUZZING sound. A second orderly leans into view. He cuts the man's hair with clippers. ORDERLY #1 (shaving head) He's coming around. ORDERLY #2 Should I give him a sedative? NURSE No. He's alright. (She takes the man's hand, lacing their fingers together. She strokes the man's knuckle with her thumb.) NURSE (CONT’D) He seems to be cooperating. (Her eyes beseech the man. She is trying to communicate something to him. She looks away before the orderly notices her expression.) ORDERLY #2 (to man on gurney) You gonna behave there, Kojak? (The man on the gurney groans in the affirmative. Orderly #1 wipes some fallen hair off the man's face with a dry hand towel.)

24. ORDERLY #2 (CONTâ&#x20AC;&#x2122;D) That's a good boy. It'll be easier if you don't fight, believe me. (The orderly continues to shave the man's head. The nurse continues to stroke the man's hand with her thumb. She stares directly into his eyes and nods her head. The lights fade from the man on the gurney then illuminate the motel room. Moira stares directly into Paul's eyes. She nods her head. MOIRA I knew you didn't have the money, Paul. (They both laugh. The room is full of cigarette smoke. An empty bottle of tequila sits on the table between them. In a Manner of Speaking, by Nouvelle Vague plays. Paul and Moira are both glowing, their faces flushed with liquor.) PAUL How come didn't you kick me out? MOIRA You picked flowers for me. (Paul leans over the table to kiss Moira. She backs away from him then pauses. They gaze into each other's eyes.) PAUL I'm not crazy, you know. MOIRA I never said that. PAUL But you're thinking it. MOIRA I saw a documentary. The CIA abducted a bunch of prostitutes and homeless people in the 1950s then experimented on them with psychedelic drugs. People found out and Congress terminated the program. PAUL But what if they didn't stop?

25. MOIRA It's a terrifying thought, Paul, if it were true. But even if it is, why are you putting yourself out like this? PAUL People have a right to know the truth, Moira. MOIRA Spending your last dime for the people? Come on, Paul. What can you possibly hope to accomplish with all this? (She gestures to the wall with her cigarette.) PAUL It's my job. MOIRA To expose the government? And then what? PAUL What's in it for me, you mean. MOIRA That's what I hate about journalists. You guys are so obsessed with the "who, what, when, where," that you never stop to question "why." PAUL That's pretty deep there, Moira. MOIRA Why is all of this so important to you, Paul? Really. And don't give me some bullshit about justice because you're no Captain America. That much I can tell. (Paul laughs. He lights a cigarette.) PAUL Well, you're no Lady Godiva. MOIRA How do you know... You never bothered to ask me why I came here, Paul. PAUL Why did you?

26. (Moira takes the cigarette from Paul's fingertips. She crosses her legs, takes one last drag, then extinguishes it in the ashtray. They continue to gaze into each other's eyes. A telephone RINGS. They both look at the phone on the nightstand then back at one another.) MOIRA You going to answer it this time? PAUL Hell no. (Moira laughs. She reaches over to answer the phone. Paul places his hand on top of hers, trying to prevent her from answering it. Moira picks up the receiver.) MOIRA Hello? (Her expression fades.) MOIRA (CONTâ&#x20AC;&#x2122;D) Just a second, Detective. (She passes the phone to Paul.) PAUL Hello? (Lights illuminate the other corner of the stage. It is a crime scene. Red and blue lights flash. Two men from the morgue wheel a stretcher with a body bag on it, offstage. Detective Reyes stands beside the police tape with a cell phone to his ear.) DETECTIVE REYES What took you so long to answer, Hunter? You sound busy. PAUL Yeah, I mean, no. How can I help you, detective? DETECTIVE REYES Where did you take our friend Eddie tonight? I need to speak with him.

27. PAUL I, uh... DETECTIVE REYES Hello? PAUL I took him to the shelter on Coral Street. What happened? DETECTIVE REYES Did they let him in? PAUL I don't know. I think so. DETECTIVE REYES You think? When was the last time you saw him. Tell me exactly what happened after I left you two on Pacific avenue. PAUL He told me he wanted to go to the shelter. I walked him down River Street, across the highway, then over to Coral. He headed to the door. I waved goodbye and left. DETECTIVE REYES Did you see him go inside? PAUL No. He was talking to some guys out front so I headed back to my motel. DETECTIVE REYES Alright, look, I've got a body down here with multiple stab wounds and an eyewitness that says they saw a homeless guy matching Eddie's description leaving the scene twenty minutes before I ran into you two on Pacific. PAUL Oh, my God. MOIRA What's going on? DETECTIVE REYES You going to be there for a while?

28. PAUL Yeah, I'm in for the night. (Moira smiles.) DETECTIVE REYES Well, at least someone's having a good time. Alright, Hunter, I still have a couple more questions I'd like to ask you. I'll just stop by in the morning, then. If you see or hear from Eddie, I want you to call me immediately, understand? PAUL Will do. (Paul hangs up. The lights go out on the crime scene. Detective Reyes exits.) PAUL (CONTâ&#x20AC;&#x2122;D) Shit. MOIRA What was that all about? PAUL I need a favor. MOIRA What kind of favor? PAUL I'll be right back. If the detective calls again, just tell him I'm in the shower. Can you do that for me? MOIRA Alright, but hurry back, I don't want to lie to the police, Paul. I'm not a good liar. I hate liars. (Paul stops in the open doorway. Moira looks at him with suspicion.) PAUL I'll explain when I get back. MOIRA Just, hurry up. And don't leave me waiting here like an idiot again.

29. PAUL I'll be back before you can say Pulitzer Prize. MOIRA There's no prize for getting(Paul closes the door behind him and hurries down the steps. The lights go out on the motel, leaving only silhouettes. Paul runs across the stage and exits. The stretched white cloth is rolled in front of the set of the motel. The facade of an Edwardian Home is projected onto the cloth. A gate is placed a few feet in front of the entrance of the Edwardian Home. Paul enters, running. He stops at the gate. He searches for a buzzer, something to knock on. He finds nothing.) PAUL (whispers) Eddie! Ana!... (Paul looks around then tries to climb over the gate. A MAGLIGHT illuminates him on the fence. He freezes.) ANA What are you doing? PAUL You scared the hell out of me. (Paul climbs down from the gate.) ANA You haven't answered my question. PAUL Eddie's in trouble. I need to speak with him. ANA He left. PAUL When?

30. GHOST Is this guy bothering you? (Ghost walks out of the house wearing a tank top.) ANA It's okay, Ghost. He's a friend of Eddie's. (Ghost and Paul recognize each other.) GHOST You've gotta be shitting me. (Paul runs. Ghost WHISTLES. The White Sox pour out of the front door of the house with their instruments. They chase Paul all over the stage. A teenage boy with a beach cruiser and young girl enter the theater through the front doors. They walk down the aisle, toward the stage, oblivious to the chaos taking place. Paul leaps from the stage. Ghost and the White Sox follow him in hot pursuit. Paul snatches the boy's beach cruiser and pedals for his life, up the aisle.) TEENAGE BOY Hey! (Ghost reaches out and grabs a hold of Paul's peacoat then trips. He barrel-rolls into the audience. Paul pulls away from his pursuers, pedaling furiously, up the aisle and out of the theater. The White Sox stop to help Ghost to his feet.) GHOST (clutching knee) Your ass is mine! You hear me?! SQUID BOY You better run, you kook! (Skinny begins to beat on his drum.) BARNACLE Go back to where you came from, kook!

31. RAT You're not from here! (The lights go out. A spotlight illuminates the White Sox, standing in the aisle.) GHOST You know nothing about me! (The White Sox play Ghost Song, by the Doors.) JIM MORRISON (V.O.) Awake. Shake dreams from your hair My pretty child, my sweet one. GHOST You know nothing! JIM MORRISON (V.O.) Choose the day and choose the sign of your day The day's divinity First thing you see. GHOST You know nothing... (The White Sox walk back towards the stage playing their instruments. Ghost follows them. Projection on screen: Paul walks the boardwalk, searching for Eddie along the waterfront. Lights flash in the arcades. People play video games. Roller coasters race along their tracks.) JIM MORRISON (V.O.) A vast radiant beach in a cool jeweled moon Couples naked race down by it's quiet side And we laugh like soft, mad children (Paul speaks with strangers, tourists, then a homeless man who points toward the pier.)

32. GHOST (climbing back on stage) We have assembled inside, This ancient and insane theater To propagate our lust for life, And flee the swarming wisdom of the streets. (On screen: Paul walks across the sand, heading for the wharf. On the wharf, Paul buttons his peacoat. The lights of the boardwalk shimmer behind Paul. A white cargo van drives up the pier. Ghost and the White Sox exit the stage, playing their instruments.) GHOST AND THE WHITE SOX WITH JIM MORRISON (V.O.) When the true king’s murderers Are allowed to roam free, A thousand magicians arise in the land... Where are the feasts we were promised? (The music fades. The stage is now dark, except for a pair of street lights. The cloth is still covering the set of the motel. In front of the cloth, the cutout of a police cruiser awaits, hiding in the shadows. Paul walks onstage. The homeless man from the opening scene enters from the opposite side of the stage.) PAUL Excuse me! Have you seen Eddie? I really need to talk to him. HOMELESS MAN Delfín. PAUL What's Delfín? DELFÍN (patting his own chest) Delfín the dolphin dream, man, that's my name.

33. PAUL Eddie's in trouble, Delfín. DELFÍN Eddie was born in trouble, bro. It's his karma. PAUL Where is he? DELFÍN Waiting for death, brother, at evergreen. PAUL What? DELFÍN Evergreen, brother, with the six black men buried in London, just like the shaman told him in Cambodia, know what I'm saying? PAUL What the hell are you talking about? (Delfín walks away.) PAUL (CONT’D) Where is he?! DELFÍN Evergreen cemetery, man! What's the matter with you? (The black sedan turns on its headlights, illuminating Paul as well as the audience. Detective Reyes leans out the driver's side window.) DETECTIVE REYES Get in. (Paul walks around to the passenger's side and climbs in. The headlights turn off. Only their silhouettes are visible now. On the other side of the stage, dim lights illuminate the man on the gurney in the examination room. The room is empty except for the nurse. She sits on a stool beside the man, looking down at him with tenderness and concern. She dips a straight razor into a stainless steel bowl of water then continues to shave the man's head clean.

34. The sound of sharp steel against stubble and scalp is the only sound in the room. She blots the man's forehead with a wet washcloth. She looks over her shoulder then back down at the man.) NURSE (whispers) I'll help you if I can. (HEAR footsteps in the hallway, offstage.) DR. CRAIG REGENTS (OFF STAGE) That's full authorization from D.D. HUMNIT and the Director himself. Meet me in my office as soon as you're ready. (On screen: the manâ&#x20AC;&#x2122;s POV is projected overhead. Two men enter the examination room. One is the doctor from the opening scene, the other is an orderly. The nurse wipes the man's forehead one last time then steps back from the gurney. The doctor leans into view with a penlight, checking the man's pupils.) DR. ETHAN MYERS Hello, John. Sorry about all this. Project JO-CASTA was terminated this morning and we just can't keep you on at THEBES anymore, buddy. Now that the old man's gone, we can't afford to keep you on the payroll. (He checks the man's vitals.) DR. ETHAN MYERS (CONTâ&#x20AC;&#x2122;D) Nothing personal, John. You're like a brother to me, man, but you know how it is around this camp... goddamned budget cuts and everything. You either bend or break, right? Can you hold this for a second, please? (He motions to the orderly and passes him an open white jar. Dr. Ethan dips a long cotton swab into the jar then applies a generous amount of gelatinous goop to the man's forehead. HEAR driving SFX. Footage of the road through a rear window is projected onto the screen, behind the sedan, like a process shot in an old Hollywood movie. )

35. DETECTIVE REYES Can you hold this for a second, please? (Reyes steers with one hand and passes Paul a cup of coffee with a lid on it. At the other end of the stage, the lights go out on the examination room. Detective Reyes pulls a file folder from the sun visor then tosses it onto Paul's lap. He takes his coffee back and continues to drive.) DETECTIVE REYES (CONTâ&#x20AC;&#x2122;D) Open it. (Paul opens the folder. They drive past the boardwalk, heading toward the San Lorenzo river.) PAUL Jesus Christ. DETECTIVE REYES Any idea where Eddie's at? PAUL No. Why are you showing me this, Detective? DETECTIVE REYES What were you doing out here, Hunter? You told me you were in for the night. PAUL Honestly? DETECTIVE REYES No. I want you to lie to me. PAUL I was looking for marijuana. DETECTIVE REYES I could arrest you for that, you know. PAUL I didn't find any.

36. DETECTIVE REYES In Santa Cruz? That's hard to believe. (They turn left, cruising through Beach Flats. A group of gang-bangers disburse, walking their separate ways.) DETECTIVE REYES (CONTâ&#x20AC;&#x2122;D) Come on, Hunter, every one of those guys right there are holding. Want me to ask them for you? PAUL No, that's alright. DETECTIVE REYES Know what else I find hard to believe... It's Paul, right? PAUL Yeah, Paul. DETECTIVE REYES Take a look at the stiff in the photograph, Paul. He was as hard as a rock when our officers arrived on the scene tonight. PAUL He died with an erection? DETECTIVE REYES That's funny, Hunter, but no. The coroner said he'd been frozen, literally frozen, and that he was still defrosting at the crime scene when they showed up to take him to the morgue. Now, what do you make of that? PAUL I don't know. DETECTIVE REYES Come on, Hunter, you're a journalist, right? (They head up Beach Hill toward the Fireside Inn.) PAUL I don't get it. DETECTIVE REYES The guy has no identification, no criminal record, and no DMV record. His prints aren't telling us shit.

37. PAUL Why are you telling me this? DETECTIVE REYES Eddie couldn't have killed that guy even if he tried. He was dead already and the man who ID-ed Eddie is nowhere to be found now. His contact information was bogus. (Detective Reyes pulls over and parks half a block up from the Fireside Inn. He lights a cigarette.) DETECTIVE REYES (CONTâ&#x20AC;&#x2122;D) I want to know who the hell Eddie is, Hunter. I want to know where he's at, what the hell he told you in that interview of yours, and just when the federal government become so interested in it. PAUL You forgot to ask me why. DETECTIVE REYES You're playing a dangerous game there, Hunter. PAUL What makes you think the federal government wants to know about Eddie? (Reyes passes Paul a pair of binoculars.) DETECTIVE REYES (points) Because you're under surveillance and you were the last person to see him. (Projection on screen: PAUL'S POV through the binoculars: A white cargo van is parked across the street from the Fireside Inn. A telephoto lens protrudes from the open passenger's side window, pointing up at the second floor of the motel. The lights in Paul's room are still on. The curtains are open. Moira paces back and forth, smoking a cigarette, inside.) DETECTIVE REYES (O.C.) (CONTâ&#x20AC;&#x2122;D) Whatever it is, they're using my men and resources to set his ass up and bring him in for them. (Paul gives the binoculars back to Reyes.)

38. PAUL Well, I wasn't the last person to see him. DETECTIVE REYES Well, I don't appreciate being jerked off in my own town, Hunter, not by a bunch of spooks who don't have the professional courtesy to let the local authorities know they're getting a hand job. PAUL So, where does that leave me? DETECTIVE REYES I don't know. You want to help me find Eddie or go back to your motel room? It's your choice. PAUL (sighs) You got a smoke? DETECTIVE REYES I don't have any grass, Hunter. I'm an officer of the law. Haven't you been listening to a word I've said? PAUL But I thought this was Santa Cruz. (Reyes laughs. He starts the engine then tosses Paul a pack of Lucky Strikes. Lights go out on the sedan. On the opposite side of the stage, is Dr. Craig Regentsâ&#x20AC;&#x2122; office. The lights are low. Doctor Craig Regents - early fifties and attractive - sits in a leather-backed chair at his desk. He stares at the lights of Moss Landing and Monterey, sparkling from across the bay through the window. He nurses a Glenlivet on the rocks. Doctor Meyers enters the room.) DR. ETHAN MYERS We're ready. DOCTOR REGENTS Sit down, Ethan.

39. (Doctor Meyers closes the door and takes a seat in the chair opposite Doctor Regents. The silence is long. Doctor Regents takes a last sip from his cocktail.) DOCTOR REGENTS (CONT’D) If we don't find the podiatrist you're gonna end up with fallen arches, Ethan. Our insurance doesn't cover referrals anymore and our coverage expires in the next 24 hours. DR. ETHAN MYERS I understand. (HEAR footsteps then a pushcart in the hallway outside.) DR. ETHAN MYERS (CONT’D) I should have an appointment by the morning. I wouldn't worry too much about it, sir. It's not brain surgery, it's just swollen feet. I'm confident our headhunter will locate him. (The nurse walks past the glass porthole in the door. Both doctors notice her. Doctor Regents points to his own eye. Doctor Meyers nods. He stands. Regents slides a black syringe case across the desk. Doctor Meyers slips it into his pocket then walks out the door. The lights fade out on the office. On the other side of the stage, a neon sign reads, “Pacific View Court.” Enter Ghost, Tick, Skinny, Barnacle, and Squid Boy. The sky purples with the approaching dawn.) TICK We should find him and kick his ass! BARNACLE (shoves Tick) We better find some rehearsal time, fool. The show's tomorrow night. RAT December 22nd's tonight, Barnacle, it's morning already. SKINNY (dancing) The Posidia and Solstice Festival!

40. SQUID BOY (shaking fists at sky) Pagan orgies of plunder! (They approach a cutout of a van covered in spray paint that reads, "Ghost and the White Sox." Ghost stands next to the driver's side door.) GHOST (sings) When Poseidon walks the earth with a big fat blunt... EVERYONE We are his chorus! (sings) Follow me down, Ja, Colonus, shake Ja land of running horses, they was tamed by master of the sea, of the sea! Ja Ja tamed by the lion of the sea! Oh, Ja! (Everyone piles into the van singing ska, a cappella. Skinny drives. Ghost sits in the passenger's seat. The White Sox are still singing in the back. Driving footage from Beach Hill is projected onto a screen behind them.) SKINNY (to Ghost) If we're gonna keep rolling like this, we better hit the boneyard and tap the stash. GHOST Make it so, skinny one. (The lights fade on the cutout of the van. At center stage, Ana sits on the porch in a bathrobe, smoking a cigarette, in front of the Edwardian Home. HEAR the sounds of a car parking and a car door close. Enter Paul and Detective Reyes. They walk to the front gate of the dilapidated estate. ANA Amnesia, insomnia, plus everyone you meet wants to beat you up... I guess you really are a journalist, Paul. (Reyes laughs. He shows Ana his badge.)

41. DETECTIVE REYES Good evening. Detective Reyes, Santa Cruz PD. ANA You mean good morning. DETECTIVE REYES (putting away badge) I stand corrected. PAUL Morning, Ana. ANA How can I help you, Detective? DETECTIVE REYES A man named Eddie was here earlier this evening. Has he come back? ANA (concerned) I haven't seen Eddie since last night. What's going on? DETECTIVE REYES (to Paul) He could still be at the cemetery. (Ana's expression becomes serious.) ANA How do you know he went to the cemetery? PAUL Delfín the Dolphin Dream told me. Both Ana and Detective Reyes look at Paul. PAUL (CONT’D) What?

42. DETECTIVE REYES Does Paul's dolphin dream mean something to you, Ana, because you look like you've seen a ghost. PAUL She lives with one. (Ana extinguishes her cigarette and stands.) ANA Ghost and his band are my tenants. DETECTIVE REYES And what about Eddie? Who is he? (Ana stares out at the sea. A foghorn SOUNDS. She wraps her arms around herself then looks at Paul and Detective Reyes with suspicion.) ANA Someone who needs protection from men like you. (She turns and walks up the steps to the house.) DETECTIVE REYES Hey, stop right there. I'm still talking to you. ANA If you want to come inside, Detective, I suggest you go get a warrant. I'm going back to bed. DETECTIVE REYES (to Paul) Is she always like that? (Reyes takes off his watch and gives it to Paul. Ana watches them from the open doorway with her arms folded.) DETECTIVE REYES (CONTâ&#x20AC;&#x2122;D) Here, put this on. It's a smartphone. I'll go check out the cemetery. If Eddie shows up, push the send button and it'll call me. That way we won't miss him if he doubles back. (Reyes jogs to exit.)

43. DETECTIVE REYES (CONT’D) Nice meeting you, Ana! PAUL You want me to wait here in the street?! DETECTIVE REYES Why not? You got somewhere else to be, Hunter? (Reyes stops. He points his car key offstage. An alarm chirps twice.) DETECTIVE REYES (CONT’D) And don't run off. That watch has a GPS. I'll find your ass and feed you to the spooks. PAUL I haven't done anything! DETECTIVE REYES Everyone's guilty of something, Hunter. Suspicion is nine tenths of the law. PAUL I thought possession was. DETECTIVE REYES Those Virginia farm boys'll eat that ass for breakfast until they figure out which one you are, Hunter. So, stay put. (Reyes exits. HEAR the sedan drive away. Paul puts the watch on then sighs with defeat. He looks up at Ana. She stands in the open doorway shaking her head.) ANA Well, don't just stand there. Come on, I'll make us some coffee. (Paul smiles. He walks up the steps to the front door. Ana blocks his path.) ANA Just coffee. PAUL Yeah, what did you think I-

44. ANA I think I already caught you climbing my fence tonight, Paul, and no offense, but you’re no Romeo, that much I can tell. PAUL Well, you sure as hell ain’t no Juliet. (Ana slaps Paul. Paul touches his cheek then regains his composure.) PAUL But soft... ANA Don’t. PAUL Sorry. ANA You know, Paul, that mouth of yours is going to get you into trouble someday. PAUL How about that cup of coffee? (Ana laughs. Paul smiles.) ANA Come on. (Ana and Paul enter the house. Projection on screen: A white cargo van drives past the old Edwardian house. It pulls over and parks up the street. The lights fade. My Little Brown Book, by Duke Ellington & John Coltrane plays. On screen, a gated archway reads, “Evergreen Cemetery.” One side of the stage is now set as a cemetery. Scattered tombstones protrude from a layer of ground fog. Eddie stares down at one of the graves. On screen a headstone reads, “London Nelson, Native of Tennessee. Born May 5th, 1800. Died May 17th, 1860. He was a colored man and willed all his property to Santa Cruz School District 1.

45. Rest in Peace.” Eddie sits down with great difficulty and exhales with exhaustion. HEAR a rustling in the bushes.) BARNACLE (OFF STAGE) Come on, man. GHOST (OFF STAGE) I got it. Let’s bounce. (Enter Ghost and the White sox. They notice Eddie, sitting next to the grave and REACT.) GHOST Hey, man. Get away from there! BARNACLE What are you doing, man?! This place is sacred. SKINNY Strong Juju, here, bro, you need to move away, quick. EDDIE I can't. The signs led me here. GHOST What signs? (Eddie points to the headstone.) EDDIE Strange things fell into place last night... (Eddie pulls a tattered paperback from his army field jacket. He tosses it to the ground in front of Ghost. Ghost picks it up. It is the biography of Jim Morrison. Across the front cover it reads: EDDIE (CONT’D) "No One Here Gets Out Alive." GHOST What's that got to do with you desecrating a brother's grave, man?

46. (On the opposite side of the stage, the lights come up on an operating room. On screen: POV of the man on the gurney. Dr. Meyers leans into view wearing gloves and scrubs. He uncaps a fine-tipped Sharpie marker.) DR. ETHAN MYERS Masks on, please... (The nurse, the orderlies, and an anesthesiologist join Dr. Meyers in a semicircle around the gurney. They are all masked and ready for surgery. A heart monitor BEEPS with an increasing rate.) ORDERLY #1 250... NURSE He's hyperventilating, doctor. DR. ETHAN MYERS I need you to relax, John. Complications mean time-and-a-half for our anesthesiologist. ORDERLY #2 300... NURSE (scolding) That's not helping, doctor. DR. ETHAN MYERS Commentary's outside your pay grade, Nurse Boucher. Keep it to yourself, please. ORDERLY #1 340... DR. ETHAN MYERS (to anesthesiologist) Okay, Paul, I think we're ready for you to step in here. (The anesthesiologist adjusts a dial on his machine. He leans forward, holding an anesthesia mask connected to a length of clear plastic tubing. The anesthesia mask descends, filling the frame.

47. Ghost and the White Sox form a reluctant semicircle, ten feet away from Eddie and the grave of London Nelson.) RAT You better ask the spirits of this place to forgive your blasphemies, man. EDDIE Who am I offending by resting here? GHOST Six angry men are buried in that grave, Eddie. SQUID BOY They're furious! SKINNY The most furious of all is "Old Jim" NelsonBARNACLE A black man who fought with Napoleon at WaterlooTICK He died homeless on the streets of Santa Cruz, manRAT Coughing up blood on Pacific avenue while the people laughed at him. (Eddie touches his temple. He swoons for a moment.) GHOST What's wrong with you, man? (In the operating room: NURSE He's coughing up blood! DR. ETHAN MYERS (sweating) It's alright, He's just having a reaction to the anesthetic. He bit his tongue a little bit. Suction please. A little over here too. Okay, we're good. Cranial drill, please... Thank you. And we're off the the races, people. (HEAR a DRILL motor. The man on the gurney GROANS. At the grave:

48. EDDIE My journey ends here. I'm not leaving this place. SQUID BOY Now you're starting to piss me off, old man. Just leave! EDDIE A small favor wins a great reward, if you'll let me to stay. BARNACLE What great reward can a blind, homeless man give anyone? EDDIE The truth. (Eddie looks up at them with his one good eye.) GHOST What are you talking about? EDDIE The crossroads, where past and present become one... (Eddie draws an X in the dirt with his finger.) EDDIE (CONT’D) Images come and go but I remember the beginning part, see? (Eddie points to one of the lines.) EDDIE (CONT’D) And I know what is happening right now. (He points to the other line.) EDDIE (CONT’D) But they took the middle somehow. (He draws a circle around the intersection, transforming the two lines into a skull and crossbones.) EDDIE (CONT’D) They took it! It could happen to any of you! Everyone's in danger! BARNACLE I don't believe this shit, man. Let's bounce!

49. EDDIE But, you believe a former slave fought with Napoleon at Waterloo and is buried in a mass grave beneath our feet?! SQUID BOY Shut your mouth, old man! (Ghost holds up a fist.) GHOST Trust. I want to hear what he has to say. (Projection on screen: INT. BLACK SEDAN - DAWN (Detective Reyes taps his PDA then places it on the console while he drives. Paul and Ana's voices are clear over the device's loud speaker. Reyes turns onto Laurel street.) ANA (V.O.) I don't trust you, Paul. PAUL (V.O.) What did I do? ANA (V.O.) Eddie warned me about you last night. He said every word out of your mouth is a lie. (Reyes turns onto Pacific Avenue. He turns up the volume on his device. At center stage, Paul and Ana sit at a kitchen table. On screen, Reyes listens as he continues to drive.) PAUL Well, I don't trust you either. You're the mysterious blonde with a shady past, Ana, not me. ANA What did you say? DETECTIVE REYES (ON SCREEN) Easy there, Paul...

50. PAUL That I'm not the one shacked up with a rock band and a homeless man, alright? That's all I'm saying. (Reyes turns onto River Street. Paul ducks. A coffee cup shatters against the wall above him, raining hot liquid down on his neck and shoulders. Paul scuttles away on all fours.) ANA Get the hell out of my house! PAUL I didn't mean it like that! ANA You know nothing about me! (Ana snatches the full carafe from the coffee maker and prepares to throw it. Paul backs into the corner on his ass.) PAUL Ana, don't! Wait! (Paul raises his hands to protect his face. Reyes' smartphone-watch rings on Paul's wrist.) RINGTONE (V.O.) Bad boys, bad boys, what you gonna do? What you gonna do when they come for you? (Paul slowly lowers his hands. He notices a framed photograph on the wall behind Ana's shoulder. Ana, Nurse Boucher from the operating room, and an older gentleman stand in front of the gates of the old Edwardian House, arm in arm.) ANA (lowers coffee pot) You going to answer that? (Paul stands. A look of recognition passes over his face.)

51. RINGTONE (V.O.) You chuck it on that one. You chuck it on this one... (Paul walks across the room and takes the picture off the wall.) ANA What the hell do you think you're doing? RINGTONE (V.O.) You chuck it on your mother. You chuck it on your father... PAUL (pointing) Who is this woman standing next to you? ANA My sister. What's the matter with you? RINGTONE (V.O.) You chuck it on your brother. You chuck it on your sister... PAUL Where is she? ANA Answer the watch, Paul. (The phone continues to ring. Paul grabs Ana's arm.) PAUL Where is she?! ANA At THEBES, alright?! At the university! PAUL What the hell is Thebes?! ANA The Biological and Engineering Sciences! Just answer the goddamned watch, Paul, Jesus! (Paul presses the send button.)

52. DETECTIVE REYES (ON SCREEN) What took you so long, Hunter? (The lights fade on the set of the kitchen. At the cemetery: GHOST Let him finish. I want to know his story, alright? Tell us, Eddie. Tell us what happened at the crossroads... (Eddie looks up at Ghost.) EDDIE Don't open my old wound and my shame. Not now. (The White Sox begin to play Django Reinhardtâ&#x20AC;&#x2122;s version of Nature Boy.) GHOST Try, Eddie. Don't let Babylon take your mind from you, man. Try to remember... (Eddie stares right through Ghost, into the distance. HEAR HELICOPTER ROTORS growing louder and louder.) EDDIE (sings) There was a boy A very strange enchanted boy They say he wandered very far, very far Over land and sea... (Projection on screen: EXT. SNOUL CAMBODIA - DAY (Archival footage of a Bell UH-1N "Huey" helicopter landing in a rice paddy.) GHOST & THE WHITE SOX (V.O.) Remember... (Medics carry wounded soldiers on stretchers. Incoming artillery rounds explode around them.)

53. GHOST & THE WHITE SOX (V.O.) Remember... EDDIE My last day in Cambodia was April 30th, 1970. (Aged Super 8 film-look) (Two corpsmen run through a field of tall grass carrying a young man on a stretcher. The unit patch of the Army Chemical Corps is embroidered on the man's sleeve. They set him down in a clearing then run back into the brush. The young man is Eddie.) EDDIE Before I left, a kru khmae told me everything that would happen to me. (Young Eddie's cammies are tattered and soaked. His face is covered in scratches. A long punji stick protrudes from his impaled right foot.) BARNACLE What's a Kru khmae? (Blood flows from Eddie's pierced jungle boot, spreading in a pool across the dirt and grass. Eddie writhes, screaming in pain. EDDIE's POV: A Cambodian man with a kind face leans into view. Tattoos cover the man's neck and torso. The sky is bright above him.) EDDIE A Khmer oracle. A soothsayer. (The man removes a pack of cigarettes from the pocket of young Eddie's field jacket. He lights two, places one between Eddie's lips, then pockets the rest. He gestures, speaking to Eddie as he smokes a cigarette.) EDDIE He said I had nothing to fear in Cambodia or Vietnam, that I would live to see my homeland again...

54. EXT. UNIVERSITY OF WISCONSIN-MADISON - DAY (Students walk to classes.) INT. LARGE LECTURE HALL - DAY (Students take notes as Eddie draws diagrams on a blackboard.) EDDIE He said I would become a respected man of knowledge, one who solves riddles... EXT. CASTOR OIL EXTRACTION PLANT, IRAQ - DAY (Aerial view of the facility on CNN. A title reads "U.N. inspectors continue their search for chemical weapons.") EDDIE But above all, I would become a leader of my people... INT. WAREHOUSE STORAGE BAY - DAY (Eddie wears a white shirt, jeans, a blue United Nations armband, and a baseball cap. He points to a row of boxes marked with biohazard signs.) EDDIE And I would save them from a deadly plague. But in the end... INT. FACULTY OFFICE - DAY (Eddie works at a small desk covered in books. Two men in black suits stand in the open doorway. Eddie looks up and notices them.) EDDIE ...I would only harm the very people I wanted to protect. INT. EXAMINATION ROOM - DAY (CLOSE ON a MAN - dark beard and shaved head - He bucks and convulses in 5 point restraints on top of a gurney. Dr. Meyers and a staff of orderlies work frantically to hold the man down.

55. PULL BACK to SEE Eddie and Dr. Regents, watching with clipboards in their hands. Eddie looks horrified.) EDDIE We were searching for humane alternatives for interrogating suspected terrorists. (CLOSE ON the needle of a syringe entering an IV tubing port. The plunger forces a cloudy liquid into the tube. Hear the high pitched SOUND of a DRILL MOTOR. POV of someone on a gurney looking up: A masked surgeon leans into view, holding a thin fiberoptic-looking wire. He carefully lowers it toward the camera.) EDDIE We discovered methods for introducing nano-electro-mechanical systems into the brain. INT. OBSERVATION ROOM - DAY (The bald man with the dark beard is seated at an observation table, smiling, gesturing wildly, visibly happy as he speaks with Dr. Meyers.) EDDIE Systems that altered behaviors. Systems that enhanced behaviors... INT. FORD SEDAN - DAY (The man with the beard drives. He watches the road ahead of him with indifference. Suddenly, the man's face contorts with pain. He slumps over. The car drifts across the center divider of the highway.) EDDIE Or if needed, systems that could terminate behaviors altogether. I'm sure you can imagine the civil implications of our research... INT. OFFICE - NIGHT (Eddie sits in a leather-backed chair at a large desk. The lights of Moss Landing and Monterey sparkle from across the bay. He stares down at a file folder sitting on his desktop stamped CLASSIFIED. The words, "OPERATION SPREAD EAGLE" are printed across the front of the file. A half empty cocktail glass sits beside it.

56. Eddie opens the folder. He turns to the last page of the final document then reads the second to the last sentence out loud.) EDDIE The mechanical reproduction of good citizenship. (The sun begins to rise over the cemetery.) EDDIE The Oracle told me I would suffer great pain, that I would wander the earth without a home until I reached the place of my death, a sacred place, where six angry souls were entombed in London. I had always assumed he meant England. (Ghost and the White Sox stare at Eddie without saying a word.) EDDIE (CONTâ&#x20AC;&#x2122;D) I discovered this place a few nights ago, where the homeless come to seek sanctuary from prying eyes and those who only look on them with judgement. And here, as you have all explained, is London's mass grave, just as the oracle foretold, (sighs) my grove of the Eumenides... BARNACLE Five-0, bro! (A POLICE SIREN barks Tires SCREECH. A car door SLAMS. Detective Reyes enters running.) GHOST Bounce! (Reyes approaches with his pistol drawn.) DETECTIVE REYES Freeze! (He is too late. Ghost and the White Sox run into the audience, up the aisles, and vanish through the doors of the theater. Eddie looks up at Detective Reyes with his one good eye. He raises his arms above his head.) EDDIE I'm not moving, detective.

57. DETECTIVE REYES (Holstering weapon) Put your hands down, Eddie. (In the living-room of the Edwardian Home, Anna sleeps on a beat-up sofa. Paul covers her with a crocheted blanket. He looks down at Reyes' watch then sits on the floor. The picture of Ana standing with her sister and father rests against the corner of the couch. Paul takes it in his hands. He stares down at their faces.) PAUL (whispers) Thebes... (He looks back at Ana. He brushes a lock of hair away from her face. His eyes take in every detail, her lips, her nose, her jawline, searching for something in her features... Ana mumbles in her sleep. She rolls over. Paul crosses his legs yoga-style on the hardwood floor. He leans back against the couch and stands watch, looking toward the bay windows and the front gate beyond them. His eyelids begin to grow heavy. On the other side of the stage, a rehearsal room is set up. Skinny taps his drumsticks together.) SKINNY One...Two...Three...Four... (Ghost and the White Sox rehearse, playing a melancholy, psychedelic reggae rhythm. Ghost sways to the music, shirtless, in leather pants, like a Rastafarian Jim Morrison. His eyes are closed. He steps up to the microphone.) GHOST (sings) Oh, wanderer... Lonely traveler, He shall not seek another home...

58. SQUID BOY (sings) Colonus takes her guest, freely... THE WHITE SOX (sings) Wild horses, running through his head... GHOST (sings) Run to the open arms of the sea... (At Evergreen Cemetery, Detective Reyes nods his head as he listens to Eddie speak beneath the vines and trees surrounding Nelson's grave.) GHOST (sings) In god's untrodden vale... where leaves and berries throng... THE WHITE SOX (sings) The wine-dark ivy climbs the bough. BARNACLE (sings) Lonely traveler, just like the nightingale... GHOST (sings) I-man, murmurs all night long. (At THEBES, Dr. Craig Regents stands in an observation booth, behind a pane of one-way glass. He watches Dr. Meyers and his team operate on the man on the gurney.

59. Nurse Boucher looks up at the booth for a moment then back down at the patient.) THE WHITE SOX (sings) No sun, no rain, may enter there. No winter's rain will fall... GHOST No, no, not for the I-man! (At the Fireside Inn, Moira sits at a table. The ashtray is full of cigarette butts. Sunbeams cut through the blinds. She pours herself a drink then fills Paul's empty glass. She looks at her watch and shakes her head.) THE WHITE SOX (sings) Through shadows, chase The Lord of wine... for love they'll tear apart... GHOST (sings) For his love they'll tear him apart... (On screen: At the Fireside Inn, The parking lot is empty. The white van is gone.) GHOST (whisper) Smiling lord of the stage, apart... THE WHITE SOX (sings) For his love they'll tear him apart... (All is is quiet. The front gate is closed. The curtains of the downstairs bay windows are open. Ana sleep on the couch with Paul sleeping on watch.)

60. GHOST (whisper) Dancing god of madness, apart... THE WHITE SOX (sings) For his love they'll tear him apart... (In the living-room of the Edwardian Hose, Ana sleeps on the beat up couch. Paul sleeps sitting yoga-style on the floor. His head is propped back against the couch with his mouth open.) GHOST (V.O.) (whisper) Twice born God of sadness, apart... THE WHITE SOX (sings) For his love they'll tear him apart! GHOST (screaming like Jim Morrison) Oh, yeah...!!! (Ana's front door BURSTS open. Two BRUTES in suits storm into the living room - Special agents Sugarfoot and Broadside. Ana SCREAMS. Paul jumps to his feet. He stands between the men and Ana. He swallows hard then reluctantly raises his fists. The agents laugh.) GHOST (CONTâ&#x20AC;&#x2122;D) (sings) Mighty master of the seas! (Agent Sugarfoot backhands Paul across the room. Blood flows from Paul's mouth and nose. Agent Broadside seizes Ana by her hair.)

61. GHOST (CONT’D) (sings) He breaks the stallion in his prime! (Paul struggles to his feet. He snatches Ana's father's commemorative special forces boat paddle from the wall and charges at the men, screaming.) GHOST (CONT’D) The strokes to which our oarsmen sing! (Agent Sugarfoot disarms Paul. He CRACKS him across the shoulder blades with the paddle, sending Paul facedown to the floorboards.) GHOST (CONT’D) (dancing, flailing) They beat the shore with wondrous rhyme! They beat the shore with wondrous rhyme! Ja, Beat the shore! Oh, yeah! (The music plays on, building into a frenzy. Agent Sugarfoot grabs a fistful of Paul's hair and lifts his head up from the floor.) ANA Paul! AGENT SUGARFOOT Where is Eddie, Mr. Hunter? PAUL (spitting blood) He's... He's in... ANA Leave him alone! (Agent Broadside cranks on Ana's arm behind her back. She SCREAMS.)

62. AGENT SUGARFOOT (to Paul) Where is he?! (Blood flows over Paul's lips and chin. His mouth works like a fish.) PAUL ...Elysium. AGENT SUGARFOOT You think that's funny?! (Agent Sugarfoot places his knee on Paul's ear, pinning his head to the floor. He raises the boat paddle overhead, flips the blade-side downward, andANA He's at Evergreen Cemetery! (Agent Sugarfoot nods. He lowers the boat paddle.) AGENT BROADSIDE Let's go. (The men zip-tie Ana and Paul's wrists behind their backs then march them toward the door. At Evergreen Cemetery: DETECTIVE REYES Look, man. No tale of yours, no matter how shocking it is, could make me turn away. (Reyes pauses. He looks Eddie in the eye.) DETECTIVE REYES (CONTâ&#x20AC;&#x2122;D) I fought for my life in foreign lands too, Eddie and I will never turn my back on someone who's done the same, especially in the position you're in now. (He reaches out an touches Eddie on the shoulder. Eddie clasps Reyes's hand.) EDDIE (crying) I'm so tired...

63. DETECTIVE REYES You're not alone, Eddie. EDDIE (breaking down) I never wanted to hurt people! I just wanted to serve my country. And now they won't stop until they've taken whatever's left of my miserable life! DETECTIVE REYES You gotta trust me, Eddie. This is America, not some banana republic run by the CIA. EDDIE You don't know these people. DETECTIVE REYES I know this much: no one is going to kidnap you in my city because you have rights that I will fight to defend, you understand me? (The white cargo van pulls up to the curb, near the entrance of the cemetery.) DETECTIVE REYES (CONTâ&#x20AC;&#x2122;D) And if they cross the line, they will find themselves in a sea of troubles. I promise you. (Special Agents Sugarfoot and Broadside exit the vehicle, wearing sunglasses. They walk through the gates of the cemetery, heading for detective Reyes and Eddie.) EDDIE (points) They're here... (Reyes turns around. He draws his pistol and holds it at his side.) DETECTIVE REYES Morning, gentlemen. How can I help you? RINGTONE (V.O.) Bad boys, bad boys, what you gonna do? What you gonna do when they come for you? (Agent Sugarfoot is holding Detective Reyes' smartphone watch.)

64. AGENT SUGARFOOT I believe it's for you, Detective. (He gives the watch to Detective Reyes then steps back and waits beside Agent Broadside. Reyes puts a Bluetooth earpiece on. A light illuminates Dr. Craig Regents in his office at THEBES.) DETECTIVE REYES Detective Reyes speaking. DR. CRAIG REGENTS Good morning Detective. This is Deputy Director Craig Regents, NCS Counter Terrorism Center. DETECTIVE REYES Good morning, sir. DR. CRAIG REGENTS Detective, the two field operatives standing in front of you are from my department. (Agent Broadside smiles at Eddie. Eddie leans back on one elbow, breathing heavily.) DETECTIVE REYES I understand, sir. How can I be of assistance? DR. CRAIG REGENTS Detective, you are to hand over the suspect, Edward Laius, into these two gentlemen's custody under Section 175 of the US Biological Weapons Anti-Terrorism Act - expanded by the USA PATRIOT Act of 2001. I have already spoken with Chief Donovan about the matter. He is currently en route to your position as we speak. DETECTIVE REYES Do these gentlemen have any documentation stating this, Mr. Regents? DR. CRAIG REGENTS No, they do not, Detective. Policy dictatesDETECTIVE REYES Then we'll just have to wait for Chief Donovan to arrive, sir. I'm not handing anyone over without paperwork.

65. (The two agents stand motionless, unreadable behind their sunglasses. Meanwhile, inside the van, Ana and Paul lie on their sides, in the back of the cargo van. Their wrists are still bound behind their backs. Ana struggles against her bindings.) ANA (panicking) They're going to kill us, Paul! PAUL Not if we're outside in public... (Paul scoots like an inchworm across the floor, toward the front of the vehicle.) ANA What are you doing?! PAUL (grunting) They left the keys in the ignition. DR. CRAIG REGENTS Not a problem at all, Detective. I understand completely. May I ask you for a favor then? DETECTIVE REYES Shoot. (Detective Reyes watches the two agents with suspicion. He stands between the men and Eddie, keeping his pistol at his side.) DR. CRAIG REGENTS (V.O.) Would you let me speak with Eddie for a moment, please? Reyes looks at Eddie. AGENT BROADSIDE You want to secure that firearm there, Detective? DETECTIVE REYES Hold on a second...

66. (Paul is on his back beneath the steering column now. He kicks and struggles to sit up, without success.) ANA Paul! PAUL I'm trying, damnit! (Paul's head is a few inches from the key ring. The keys jingle and swing as Paul's nose brushes against them. Across the stage, Ghost and the White Sox exit the Rehearsal Hall. They walk out, carrying their instruments. Ghost looks over toward the cemetery. At the cemetery, Reyes passes Eddie his earpiece, without taking his eyes off the two agents. He elevates the muzzle of his pistol then holsters it beneath his arm.) DETECTIVE REYES No offense, boys. It's been a hell of a night. AGENT SUGARFOOT None taken, Detective. I'm Special Agent Sugarfoot. This here's Special Agent Broadside. (Agent Sugarfoot steps forward, offering Reyes his hand.) EDDIE (speaking into earpiece) Hello, Craig. DR. CRAIG REGENTS (V.O.) Time to come home, Ed. (Reyes and Sugarfoot shake hands.) EDDIE I can't do that, Craig. DR. CRAIG REGENTS (V.O.) I have Ana and Isabel, Edward. You don't have any choice. If you won't come in, I'll be forced to push the button again. I'm sorry. (Eddie claps his hands over his ears. He squeezes with all of his might SCREAMING in pain.

67. Detective Reyes looks at Eddie, shocked. Agent Sugarfoot doesn't hesitate. He tightens his grip on Reyes' hand, pulls him into a brutal head-butt, trips Reyes to the ground, then removes the pistol from Reyes' holster. Agent Broadside throws Eddie into a fireman's carry and runs toward the van. Reyes tries to rise. Agent Sugarfoot points the pistol at him.) AGENT SUGARFOOT Sorry, Detective. Nothing personal. (He kicks Reyes in the nuts. Reyes doubles over. Sugarfoot cracks Reyes over the back of the head with the butt of his pistol then runs after Agent Broadside to the entrance of the cemetery. Inside the cargo van, Paul bites down on the key ring then jerks it out of the ignition with his teeth.) ANA Paul, hurry! (Paul twists and flips himself over. He kicks off his shoes then opens the passenger's side door with his toes. He kicks the door open. Agent Broadside opens the back doors of the van. He tosses Eddie inside the cargo bay then notices Paul climbing out of passenger's door.) AGENT BROADSIDE Sugarfoot! He's running! (Paul tumbles out onto the pavement. He lands on his side and scoots into the street. Special Agent Sugarfoot walks calmly over to Paul and shoots him in the shoulder. Paul SCREAMS. Blood pools. Agent Sugarfoot picks up the keys and points the pistol down at Paul face. He pulls the hammer back with his thumb.) AGENT SUGARFOOT Get your ass back in the van. CRACK!

68. (Agent Sugarfoot pitches forward. He lands face-down on the pavement. Ghost stands behind him holding a bass guitar with a broken string.) GHOST (looking down at Paul) I said your ass was mine, fool, not his... (The White Sox dog-pile on top of Agent Broadside into the back of the van, punching, kicking and beating the shit out of him with their instruments. Ana escapes with Eddie out the driver's side door. They stumble onto the sidewalk. Ghost helps Paul to his feet in the middle of the street. Hear AUTOMATIC WEAPONSFIRE. The white Sox scatter. Ghost and Paul run for cover. Agent Broadside emerges from the back of the van bloodied, holding a MP5 machine pistol. He loads Agent Sugarfoot into the passenger seat and SLAMS the door shut. SIRENS wail in the background, growing louder.) AGENT BROADSIDE Crazy motherfuckers! BARNACLE (behind a bush) This is Santa Cruz, Bitch! (A dirt clod hits the side of the van. Agent Broadside climbs into the driver's seat and peels out up the road. Reyes stumbles into the street and picks up his pistol. He fires a parting shot at the back of the van but misses. On the sidewalk Behind Reyes, Ghost cuts Ana's bindings with a pocket knife. He runs into the cemetary with his guitar in hand, then disappears into the woods. Reyes rushes to the sidewalk. Eddie is having some sort of a seizure. Paul writhes in pain on the grass, losing large amounts of blood. Ana is panicking over both of them.) DETECTIVE REYES Goddamnit, Hunter, hang in there! Eddie! Jesus Christ, Eddie! (The lights strobe, flash with red and blue, dim, then return to normal. Paramedics have arrived.

69. They open their equipment. Reyes steps back as they load Eddie and Paul onto stretchers. Detective Reyes sits on the curb with his head in his hands. Someone walks up beside him.) CHIEF DONOVAN Get up Teddy. We need to talk. (Plain clothes officers with sunglasses escort Ana offstage. She wears a blanket over her shoulders. She stares at detective Reyes before they take her away. Reyes stands. Chief Donovan wears a navy pinstriped suit with a gold police-star lapel pin. He leads Detective Reyes aside by the arm.) CHIEF DONOVAN (CONTâ&#x20AC;&#x2122;D) What in the hell were you thinking, Detective? DETECTIVE REYES Sir, they ambushed me and took myCHIEF DONOVAN Who the fuck is they, Teddy?! Other than some tire marks on the street, no one knows what the hell you're talking about! DETECTIVE REYES (pointing) A man was shot right in the middle of the street! CHIEF DONOVAN With your weapon, goddamnit! What the hell am I supposed to do with that?! (Officers and paramedics move about the crime scene around them.) DETECTIVE REYES I spoke with Deputy Director Craig Regents fromCHIEF DONOVAN No one has heard of him, Ted! DETECTIVE REYES He called me on my phone, Bobby! Check it out, for christ's sake!

70. CHIEF DONOVAN We already have. There was no call. DETECTIVE REYES He called me! CHIEF DONOVAN I'm telling you there was no call! Look, Ted, we go back a long way, man. But you've put my back against the wall with this shit. DETECTIVE REYES Oh, Semper Fi, fuck the other guy? Is that how it's gonna be now?! CHIEF DONOVAN Fuck you, Ted! You should have called it in goddamnit! Now my hands are tied. This is your fault not mine! (Detective Reyes squeezes his head between his hands then kicks at the asphalt. He takes a deep breath, regaining his composure.) CHIEF DONOVAN (CONTâ&#x20AC;&#x2122;D) Are you finished? DETECTIVE REYES I'm sorry Bobby. You're right. I screwed up. CHIEF DONOVAN Meet me in my office this afternoon. Go home and get some rest first. DETECTIVE REYES I'd rather take Ana's statement if that's alright? CHIEF DONOVAN Who the hell is Ana? DETECTIVE REYES The woman we just took into custody. CHIEF DONOVAN What the hell are you talking about, Ted? We haven't taken anyone into custody. That's the problem here. I've got-

71. (Detective Reyes walks toward his black sedan that is set up in front of a screen stage right.) CHIEF DONOVAN (CONT’D) Don't you walk away from me! (Reyes climbs into the driver's seat.) CHIEF DONOVAN (CONT’D) I want your gun and badge on my desk when I get back to the office, you hear me?! (Reyes starts the engine. He puts on his sunglasses.) CHIEF DONOVAN (CONT’D) You are hereby suspended until further notice, Detective! (Reyes rolls down his window.) DETECTIVE REYES You want me to prove it to you, Bobby? I'll prove it to you. CHIEF DONOVAN I want you to go home, Ted. As far as you're concerned, this is over. Understand? (Detective Reyes drives away. The streets of Santa Cruz roll by, projected onto the screen behind him. Detective Reyes drives up Mission Street. He touches the screen of his PDA then sets it on the center console. He turns up the volume.) PAUL (V.O.) Who is this woman standing next to you? ANA (V.O.) My sister. What's the matter with you? (Reyes crosses Laurel Street, heading towards Bay.) PAUL (V.O.) Where is she? ANA (V.O.) Answer the watch, Paul.

72. (He turns onto Bay Street. Tires screech. He passes Escalona, then Iowa Drive.) PAUL (V.O.) Where is she?! ANA (V.O.) At THEBES, alright?! At the university! (Reyes approaches the traffic light at the corner of High Street.) PAUL (V.O.) What the hell is Thebes?! ANA (V.O.) The Biological and Engineering Sciences! Just answer the goddamned watch, Paul, Jesus! EXT. TREELINED ROAD - DAY (The black sedan drives through the entrance of Leland University. It passes deer and cattle grazing on a hillside. A spectacular view of the Monterey Bay stretches to the horizon. The sedan climbs higher, winding under the shade of ancient redwood trees.) EXT. UNIVERSITY PARKING LOT - DAY (The sedan parks. Reyes walks toward a retro-futuristic building of stainless steel and glass. Above the entranceway, a sign reads, "Biological and Engineering Sciences." On the other side of the stage is a break room with retro-futuristic decor. Dr. Meyers and Nurse Boucher are alone.) DR. ETHAN MYERS How are you feeling, Isabel? (Nurse Boucher rubs her forearm nervously.) NURSE BOUCHER I'm okay. DR. ETHAN MYERS What?

73. (Nurse Boucher looks away. Dr. Meyers grabs her wrist. His other hand reaches inside the pocket of his lab-coat. He looks up at the surveillance camera in the corner of the room. Dr. Meyers leads Nurse Boucher over to the sink. He turns on the faucet and sticks her hand beneath the stream of water.) NURSE BOUCHER Ow! (Dr. Meyers turns on the cold water now. He leans in close enough to whisper in Nurse Boucher's ear, all the while scrubbing her hand as if cleaning a minor cut.) DR. ETHAN MYERS (whispers) JO-CASTA's dead. The old man's still missing. THEBES is on the chopping block and Uncle Ahab up there is steering us into the rocks. (He holds her hand up, inspecting it beneath the light.) DR. ETHAN MYERS (CONTâ&#x20AC;&#x2122;D) (in ear) I need to know were you stand. (HEAR an intercom BUZZ.) DR. CRAIG REGENTS (V.O.) (on intercom) Dr. Meyers, would you come up to my office please? (Nurse Boucher turns off the faucet. She looks into Dr. Meyers' eyes. He releases her hand. Nurse Boucher touches the skin behind her ear with her fingertips then looks away.) DR. CRAIG REGENTS (V.O.) (on intercom) Dr. Meyers?

74. DR. ETHAN MYERS You have to be careful, Nurse Boucher. Even minor cuts can get infected. Yes, sir. I'm on my way. (Dr. Meyers leaves the room. After a moment, the intercom BEEPS again.) DR. CRAIG REGENTS (V.O.) Isabel? NURSE BOUCHER Yes, Doctor. (On the other side of the stage, The uniformed guard at the security desk hangs up his telephone.) SECURITY GUARD Right this way, Detective. (He leads Detective Reyes to a doorway. The guard scans the QR code on his own badge. The door opens. They walk into Dr. Craig Regents’ office. Dr. Regents sits at his desk. Dr. Meyers stands behind him.) DR. CRAIG REGENTS (gesturing) Good afternoon, Detective. Please, have a seat. DETECTIVE REYES No thanks. DR. CRAIG REGENTS (to security guard) You may wait for him outside. (The security guard leaves.) DR. CRAIG REGENTS (CONT’D) I'm very impressed, Detective. How did you find us so quickly? DETECTIVE REYES That's not important.

75. DR. CRAIG REGENTS Well, if you ever grow tired of law enforcement, the agency's always looking for men with your talents. DR. ETHAN MYERS Former Marine, decorated police officer in San Francisco... How did you end up in this sleepy little beach town, policing vagrants, Detective? DETECTIVE REYES Well, you're never gonna leave this sleepy little beach town unless you produce that woman you just kidnapped today. (Dr. Regents and Myers both laugh.) DR. CRAIG REGENTS (to Dr. Meyers) And what woman would that be? DR. ETHAN MYERS I have no idea what he's talking about, sir. DETECTIVE REYES I figured you'd say something like that. DR. CRAIG REGENTS Then why did you bother coming here? DETECTIVE REYES You come into a city that practices justice, in a state that is governed by laws, and you cast aside authority, take what you please by violence, thinking no one here would stand up and do something about it, just because you work under the guise of national security. (Dr. Regents leans back in his chair and makes a steeple with his fingers. He smiles.) DR. CRAIG REGENTS We are only trying to keep your city safe, Detective. You have dangerous sociopaths hiding within your homeless population. DETECTIVE REYES Says who? I know most of those people. And since when does being homeless make someone a sociopath?

76. DR. ETHAN MYERS Your precious city is harboring known terrorists, Detective! Now, I've always heard Santa Cruz was a haven for dope fiends, degenerates, and dropouts, but when your social issues become a risk to our national security, then big brother has to step in and clean up the mess. And that's just the way it is. DR. CRAIG REGENTS Well said, Ethan. DETECTIVE REYES Look, I said it once and I'll say it again. Someone better miracle that girl back, unless you want to prolong your stay with us here behind bars, gentlemen. DR. CRAIG REGENTS Ar you threatening me, Detective? DETECTIVE REYES Maybe I am. DR. CRAIG REGENTS Be careful. I gave you this audience as a courtesy. Our work is classified and you will either stand down or be held accountable. Do I make myself clear, Detective? DETECTIVE REYES Thanks for the advice, doc. (The security guard enters the room.) DR. ETHAN MYERS (to guard) Detective Reyes is ready to leave now. DR. CRAIG REGENTS Have a nice day, Detective. Give my best to Chief Donovan. DETECTIVE REYES I'll do that. (Detective Reyes and the security guard leave the room. They walk down the hall, past offices and examination rooms. Inside on of the examination rooms, is the man on the gurney. On screen: POV of the man on the gurney:

77. Low lights. The man is still in 5 point restraints. HEAR FOOTSTEPS in the hallway, outside. Nurse Boucher stands next to the man with a tray of medical supplies on wheels: washcloths, gauze, swabs, scissors, and bandages are laid out on top of blue surgical paper. She sits down beside the man and wipes his forehead with a washcloth.) MAN ON GURNEY (groaning unintelligibly) Where am I? (Nurse Boucher looks over her shoulder then down at the man again.) NURSE BOUCHER (whispers) I'm sorry I couldn't help you sooner. You have to stay quiet, okay? (The man nods. Nurse Boucher unfastens his restraints then re-closes each one without locking them down.) NURSE BOUCHER (CONTâ&#x20AC;&#x2122;D) (whispers) When you exit this room, turn left and run to the end of the hallway. I've left the evacuation stairwell unlocked. If you make it outside, run into the woods. Do whatever you can to get away. (HEAR FOOTSTEPS outside the door.) ANESTHESIOLOGIST (OUTSIDE DOOR) And how's our patient doing today? (On the other side of the stage, Detective Reyes and the security guard exit the elevator. They walk toward the main entrance of the building. Detective Reyes smiles. An agent wearing sunglasses and a suit opens one of the glass doors for Special agent Sugarfoot and helps him inside the lobby.

78. Sugarfoot holds a pressure dressing to the back of his head with one hand. He doesn't notice Reyes and the security guard until Detective Reyes trips him. Sugarfoot slides across the floor.) DETECTIVE REYES (feigned concern) I'm sorry, man! (Reyes hurries over to help Sugarfoot up. He crouches over Sugarfoot and grabs his trachea between his thumb and middle finger. Sugarfoot gasps. Reyes smiles down at him.) SECURITY GUARD & AGENT Hey! DETECTIVE REYES Nothing personal. (Detective Reyes gives Sugarfoot a friendly slap on the cheek just before the agent and the security guard pull Reyes off of him. They rush Reyes to the entrance of the building and push him outside. Outside the door, Reyes looks back. Inside the building, the agent and the security guard help Special agent Sugarfoot to the elevator. Reyes dusts himself off, smiling. He turns to leave. Chief Donovan and four uniformed officers stand waiting.) CHIEF DONOVAN I want your gun and your badge, Detective. DETECTIVE REYES Bobby, they've gotCHIEF DONOVAN (holding out hand) Now, damnit! Surrender your weapon, Detective.

79. (Reyes unholsters his pistol and turns it around butt-first. Chief Donovan snatches it out of his hand.) DETECTIVE REYES Could I at least follow up with Paul Hunter before going on suspension? CHIEF DONOVAN How the hell are you going to follow up with a corpse, Detective? Badge, please... (Detective Reyes looks at Chief Donovan, puzzled. Inside the examination room, Nurse Boucher stiffens. The anesthesiologist walks into the room wearing scrubs, a baseball cap, and a peacoat. He drapes his peacoat over a chair in the corner, picks up a clipboard, then walks toward the gurney. On screen is the POV of the man on the gurney.) ANESTHESIOLOGIST (smiling) I see we're wide awake now... (Nurse Boucher backs away from the gurney. The anesthesiologist leans over the patient to check his pulse. Above the pocket on the anesthesiologist's scrubs, an embroidered name tag reads, "P. Hunter MD." The anesthesiologist pauses. His eyes widen.) ANESTHESIOLOGIST (CONTâ&#x20AC;&#x2122;D) Oh my God, his restraints! Orderly! (The man on the gurney grabs the scissors from the tray and swings them wildly. Nurse Boucher SCREAMS. The anesthesiologist drops. The scissors are buried into the side of his neck. He convulses on the floor. The man rolls off the gurney. The man on the gurney is the same actor who is playing Paul. He groans and whines like a frightened dog, as he looks around, pulling himself to his feet with the gurney's safety rail. He stumbles across the room, slipping on blood. He snatches the peacoat from the chair.) NURSE BOUCHER What have you done?!

80. (Paul puts on the peacoat and runs for the door.) DETECTIVE REYES Say again..? CHIEF DONOVAN The body at the morgue. That's his name, Detective. We got a positive I.D. this morning while you were busy shooting up the cemetery. Now, hand over your badge. DETECTIVE REYES Jesus, Bobby! we've gotta get down toCHIEF DONOVAN Stop! Not one more word, Detective or your suspension will become permanent! Your badge! Now! (Reyes gives Chief Donovan his badge. Paul (the man from the gurney) jumps offstage. He runs up the aisle and out of the theater, pursued by men in black suits. On screen: The MAN's / Paulâ&#x20AC;&#x2122;s POV: He runs to the end of a hallway and bursts through the emergency door, into sunlight. An ALARM SOUNDS. He races down three flights of stairs, nearly falling. HEAR people SHOUTING on the landing above him. The man looks back over his shoulder as he runs through a field of dry grass. Three men in sunglasses and suits descend the stairwell on the side of the building. One stops to aim a pistol. The man sprints for the tree-line of the forest, gasping for breath. HEAR a GUNSHOT. The other side of the stage is dressed as a hospital room Dominican Hospital. Paul bolts upright in a hospital bed, gasping for breath. His face is covered in sweat. His left shoulder is bandaged. An I.V. drip is taped to his forearm. Thunder RUMBLES outside. Storm clouds are rolling in from the north, outside the window. Paul drapes his legs over the edge of his bed. He winces with pain.)

81. EDDIE You're awake. (Paul turns around. Eddie lies on his back in the next bed.) EDDIE (CONTâ&#x20AC;&#x2122;D) Mission accomplished, John? PAUL Eddie... what are you talking about? Where's Ana? EDDIE You were like a son to me, John, then you betrayed me because you thought they would let you run THEBES once they got rid of me. (Paul stands, grunting. He walks over to Eddie's bedside.) PAUL I know my name isn't Paul, Eddie. But you're wrong. I don't even know you, man. Now, where's Ana? (Eddie chuckles. He looks up at Paul with his one good eye.) EDDIE You don't remember, do you? PAUL I know I'm not the guy you're talking about. (In the police sedan in front of the screen, Detective Reyes drives down Mission Street. He looks up at the rearview mirror then dials a number on his mobile phone.) DETECTIVE REYES This is Detective Reyes, Santa Cruz PD. I'm looking for a patient who was admitted this afternoon! (He swerves in and out of traffic. In the Hospital room, Eddie reaches for his Army field jacket on the nightstand.) EDDIE Then who wrote this?

82. (Eddie pulls a tattered paperback from the jacket and tosses it to Paul. Paul looks at the cover. CLOSE ON the BOOK. It is the Biography of Jim Morrison. Paul reads the author's name out loud.) PAUL Jerry Hopkins and Danny Sugerman. EDDIE Look inside the cover. (Paul opens the book. The following inscription is written on the first page and projected on the screen overhead: "Ed, I know you love The Doors. I've always found this biography very interesting. I hope it bring you as much enjoyment as my copy has brought me. Happy birthday! John G." Paul gasps, covering his mouth with his free hand. FLASHBACK TO: Paul staring at himself in the mirror of a modern minimalist bathroom. He begins to shave.) EDDIE Your research in nanomechanics caught the attention of Dr. Regents from the CIA's Counter Terrorism Center. INT. LIVING ROOM (Minimalist furniture. Bookcases full of books: Foundations of Nanomechanics, The Genomic Fight for Social Justice, Marxism's Ethical Thinkers, No One Here Gets Out Alive - The biography of Jim Morrison. Paul walks past the bookcases, into his kitchen.) EDDIE You relocated to Santa Cruz and we brought you onboard Project JO-CASTA: the Joint Case Study of Terrorist Activity.

83. INT. MODERNIST KITCHEN (Paul finishes his espresso then closes his briefcase on the granite countertop. He turns to leave then stops. An empty wine glass and bottle sit beside a disordered stack of letters, children's drawings, and photographs, scattered across the dining table. Paul turns and walks out the front door.) EDDIE You took the position because you needed something to immerse yourself in after your divorce. INT. TOYOTA PRIUS - MORNING (MUSIC plays. Paul's eyes are visible in the rear view mirror. He looks down at the console. A dogeared photograph of a woman and two children is tucked into the cup holder between a $1.99 pack of Alka-Seltzer and a receipt.) EDDIE I suppose you immersed yourself more than I had anticipated. INT. COORIDOR (Paul walks down a long hallway lined with industrial pipes and cables overhead. He stops in front of a door with a glass porthole. He unlocks it.) EDDIE It was your research in nano-electro-mechanical systems that led us to experiment on human subjects, using N.E.M.S. behavior modifiers. INT. OFFICE - MORNING (Paul sets his briefcase down then reclines into his chair with a sigh. ) EDDIE I was against all of it. Regents wanted me gone and you turned a blind eye when they performed the procedure on me. You knew about it, John.

84. (On the screen, MEN IN BLACK SUITS rush into the room and restrain Paul in his chair, wrapping duct tape over his mouth, nose, and forehead. He struggles to no avail. Orderlies enter the room with a gurney. They lift Paul onto the gurney and strap him down. In the hospital room, Paul stares down at the handwriting on the inside cover of the book, shaking his head in disbelief.) EDDIE That's your handwriting. And now they've used your own creations against you. PAUL (whispers) Thebes... EDDIE Ana's sister, Isabel, saved my life. She helped me to escape. FLASHBACK TO: (On screen: Nurse Boucher wipes Paul's face with a washcloth, unfastening his restraints, Paul stabs the anesthesiologist then escapes out the emergency door. In the hospital room, Tears roll down Paul's cheeks.) EDDIE They've been using you to find me, John. PAUL (breaking down) But, how can you be sure? (Eddie points behind each of his earlobes.) EDDIE You have two scars. I have one. One from the termination switch, mine must be faulty, it only gives me seizures. The other is probably your GPS implant.

85. (Paul touches the skin behind his ear. He backs away from Eddie. VOICES and FOOTSTEPS echo down the hallway outside the door.) FEMALE NURSE (OFF STAGE) Hey, you can't go in there! DR. CRAIG REGENTS (OFF STAGE) He's a relative of mine. This will only take a moment. (Paul looks around the room in a panic.) PAUL Eddie, I'm sure they have Ana. (Eddie nods.) EDDIE Do what you can for her. My time is up, John... (Eddie lays his head back down on the pillow. He stares up at the ceiling.) EDDIE (sings) And then one day A magic day he passed my way (Paul yanks the I.V. out of his own arm.) EDDIE (sings) And while we spoke of many things Fools and kings This he said to me... (Paul looks franticly around the room for an escape.) EDDIE The greatest thing you'll ever learn Is just to love and be loved in return.

86. (Meanwhile, The black sedan races toward Dominican Hospital. It swerves in and out of traffic on the screen behind it.) DETECTIVE REYES Are you sure there is no Paul Hunter registered? Yes, Detective Ted Reyes, SCPD! (Dr. Regents walks down a cooridor accompanied by four agents in black suits. They stop in front of an open doorway to Eddie and Paul’s room. On the other side of the stage, the black sedan pulls into the parking lot. Reyes jumps from the vehicle and runs toward the entrance of the hospital. Regents and his agents stand in the open doorway. Eddie struggles to sit up in his bed.) DR. CRAIG REGENTS Time to come home, Eddie. EDDIE You're a brazen hypocrite, Craig. DR. CRAIG REGENTS And you're your own worst enemy, Ed, always have been. Those damnable tempers have ruined you. (Dr. Regents notices the empty bed and the bloody I.V. tubing.) DR. CRAIG REGENTS (CONT’D) Where's the prodigal son? (Eddie points to the open window.) DR. CRAIG REGENTS (CONT’D) (to agents) After him! Downstairs, now! (Two of the agents run offstage. The other two help Eddie to his feet then follow Dr. Regents offstage, dragging Eddie between them. HEAR doctors protest against Regents and his men taking Eddie away.

87. After everyone is gone and all is quiet, Paul peeks his head out from behind the open door, still inside the room. THUNDER rumbles in the background, outside. Projection on screen: EXT. DOMINICAN HOSPITAL - EVENING The SHOT GOES INTO SLOW MOTION: Dr. Regents, Eddie, and the agents walk through the carrousel entrance doors of the hospital. Detective Reyes stops in his tracks as they walk past him.) DETECTIVE REYES Eddie! (A white cargo van pulls up, bringing us back to real time. Eddie looks back at Detective Reyes. The men throw Eddie into the van and climb in behind him. The van peels out and drives away. Detective Reyes runs back onstage, toward the cutout of the black sedan. He REACTS. Paul is sitting in the driver's seat. Paul starts the engine. Youâ&#x20AC;&#x2122;re Lost Little Girl by the Doors plays over the radio. Reyes smacks the window with his hands. He tries the door handle. PAUL Sorry detective... DETECTIVE REYES Hunter! HEAR the sedan peel out. The rest of the stage is dark now. On the screen behind the sedan and overhead, SEE Paul turn onto Soquel Avenue, heading back toward Santa Cruz. The sky darkens with storm clouds as Jim Morrison sings.) JIM MORRISON (V.O.) You're lost little girl... You're lost little girl...

88. (The black sedan arrives at the Fireside Inn. Its neon sign glows, center stage. A white cargo van is parked in front of it. Paul opens the glove compartment. A small .380 pistol is inside.) PAUL Thanks, Detective. JIM MORRISON (V.O.) You're lost, tell me who are you? (Paul struggles into his peacoat. He pockets the .380, takes a deep breath, then steps out of the vehicle, grunting with pain. He walks toward the motel. He looks toward the check-in office. There is no sign of Moira. No one is at the front desk.) JIM MORRISON (V.O.) I think that you know what to do. Impossible? Yes, but it's true... (Paul climbs the stairs, back to his room. The lights are on inside. The curtains are closed. Paul pats his pockets, searching for his room key, then realizes he left it behind the night before. He reluctantly then gently KNOCKS on the door.) MOIRA (BEHIND DOOR) Just a second... The peek-hole goes dark. MOIRA (CONTâ&#x20AC;&#x2122;D) Well, speak of the devil. JIM MORRISON (V.O.) You're lost little girl... You're lost little girl... (Moira opens the door and pulls Paul inside. She shuts the door and locks it behind him. She slaps Paul across the face.)

89. MOIRA (CONTâ&#x20AC;&#x2122;D) (whispers) Where the hell have you been?! There were men out there watching me! PAUL The van's still there but I think they're gone. MOIRA What the hell is going on, Paul? I was so worried about you... (Moira buries her face against Paul's chest and holds him tight. Paul strokes her hair and holds her close. The room is a mess: empty bottles, cigarette butts, bedsheets pulled off, the bathroom door ajar, and in the mirror, a reflection of a man in a black suit! Paul slips his hand into the pocket of his peacoat.) PAUL I missed you, Moira. MOIRA I missed you too. (Moira looks up at Paul. Her eyes are full of fear. She mouths the word "bathroom." Paul nods.) PAUL What happened here? This place is a pig sty. Why don't you fix us a drink while I go freshen up. (Paul walks toward the bathroom door. He swallows hard.) JIM MORRISON (V.O.) I'm sure that you know what to do... PAUL (CONTâ&#x20AC;&#x2122;D) Did you know I got shot yesterday? MOIRA Oh my God... (Special Agent Broadside throws the door open and points a pistol at Paul's face.)

90. AGENT BROADSIDE Goodbye, Johnny... (Seven GUNSHOTS send Agent Broadside crashing back into the bathroom. He slumps over, bleeding onto the tile floor. Smoke rises from the hole in the pocket of Paul's peacoat. He looks up just in time to see Moira in the mirror behind him, holding a syringe overhead like a dagger. She stabs it into Paul's shoulder. Paul dives away from her before she can drive the plunger home. He falls onto the bed, points the pistol at Moira, and pulls the trigger. It clicks empty.) PAUL Filthy bitch! (Paul throws the pistol but misses her. Moira jumps onto the bed and begins to kick Paul's ass with elbows, knees, and feet. She pulls the syringe from his shoulder and points it down at his throat with both hands. Paul tries to hold her off with his one good arm. Moira presses down with all of her weight. The syringe is a centimeter away from Paul's larynx.) MOIRA (struggling) I told you there was no prize for getting... (Paul SCREAMS. He rolls, with the last bit of strength left in his body. They tumble off the bed, onto the floor. HEAR a GASP and a GURGLING SOUND. Paul stumbles to his feet. He is holding the syringe. It is empty. Moira bucks and convulses on the floor then falls still, her eyes fixed on the ceiling. HEAR a muffled SCREAM coming from the bathroom. Paul staggers over agent Broadside and peeks behind the door. Ana is zip-tied and gagged, sitting in the empty bathtub. Paul exhales with relief. He removes her gag then helps her out of the tub. They embrace. A moment later, Paul tucks Agent Broadside's pistol into the back of his belt.)

91. ANA Paul, they'll kill you if you go back to Thebes. Just wait for Detective Reyes! Paul zips up his peacoat. PAUL There's nothing anyone can do. I have to go back for Eddie. ANA No one is going to find Eddie, Paul! He's gone! You still have a choice! (Paul walks to the door. He stops.) PAUL Promise me something. ANA No. PAUL Don't let them bury me in some unmarked pit, Ana. ANA Paul, stop. (Paul lifts the corner of the mattress up and removes a file folder and a voice recorder from the box springs. He gives them to Ana.) PAUL My name is John Gutenberg. Everything I've learned about what we did is in that folder. If I don't come back, tell anyone who will listen. Goodbye Ana. (Paul looks at Ana for a moment. Ana nods. Paul walks out the door. THUNDER rumbles in the cloudy night sky.) ANA Goodbye Paul. (The lights go out. HEAR the sound of a crowd at a rock concert. Spotlights pan over the audience.

92. A sold out crowd awaits the final act of the Solstice and Posidia Festival. A man wearing a toga, sunglasses, combat boots, and satyr horns rappels from the rafters onto the stage!) SATYR M.C. Satyrs and Maenads! For our closing act, Poseidon's favorite chorus, the stallions of Colonus, Santa Cruz's very own: Ghost and the White Sox!!! (The crowd goes wild. The band is nearly naked except for white body paint and black lipstick. Skinny taps his drum sticks together.) SKINNY One...two...three...four! Music plays. Ghost dances like a snake, approaching the microphone. On screen: EXT. TREELINED ROAD - NIGHT (The black sedan drives through the entrance of Leland University.) GHOST (sings) Where is the man who wants more length of days? Yeah... INT. BLACK SEDAN (Paul drives with one arm. Headlights illuminate his eyes in the rearview mirror. He winces with pain then shakes his head, fighting to stay conscious.) THE WHITE SOX (sings) Oh, cry it out! Yes, cry it out! Oh, cry it out! Cry it out... GHOST (sings) There is a fool, his wasted years are loaded down... down... down...

93. INT. THEBES WAREHOUSE BAY - NIGHT (Eddie lies on his back with his eyes closed inside a wooden crate. Dr. Meyers nods to a group of agents. They cover the crate with a lid and nail it shut. Dr, Meyers turns and leaves.) GHOST (sings) His joys are flown yet the time still trickles on. (On the opposite corner of the stage, lights illuminate Paulâ&#x20AC;&#x2122;s office space. Nurse Boucher stands at the windows, gazing out at the lights across the Monterey Bay.) GHOST (sings) He awaits the shadow who comes to each and every one.... (Dr. Meyers appears in the open doorway behind her. Nurse Boucher notices his reflection in the glass and turns around.) GHOST (sings) No wedding march... No dancing song for you, my love... EXT. THEBES EMERGENCY STAIRWELL - NIGHT (Paul creeps out of the shadows behind the dumpster and climbs the stairs to the third floor tier. He takes a bloodied Key-card from his pocket and swipes the door lock. A green light flashes. Paul opens the door and steps inside the corridor.) GHOST A sudden view down stark avenues... (Dr. Meyers steps into Paulâ&#x20AC;&#x2122;s office. Nurse Boucher backs against the window. Paul enters the theater through the front doors and walks down the aisle toward the stage.)

94. GHOST Down, into Hades realms... (Paul struggles to climb onstage.) GHOST (sings) Then death at last... Death at last... (Paul walks through the open doorway, into what was once his own office. Nurse Boucher shakes her head. Dr. Meyers turns around. Paul stands beside his old desk, swaying, his eyes fight to stay open.) DR. ETHAN MYERS Welcome home, John. (All is silent except Skinny's bass drum beating like a heartbeat...) GHOST Yeah!!! (The music races to a climax. Strobe lights flash. Dr. Meyers rushes at Paul with a syringe in his hand. Nurse Boucher SCREAMS. Paul doesn't move. Dr. Meyers tackles Paul to the ground and stabs the syringe into his chest. Paul's eyes close. HEAR a GUNSHOT. Dr. Meyers' eyes widen. He rolls onto the ground next to Paul, dead, with a bullet through the heart. Agent Broadside's pistol drops from Paul's hand. On screen: PAUL's POV: Nurse Boucher leans over him. Her lips move but we can't hear what she's saying. The music ends.) FADE TO BLACK.

95. (HEAR the CROWD CHEERING.) (END SCENE)

(It is a sunny morning. The cutout of Paul’s vehicle is parked in front of THEBES. Students walk to classes. Two agents escort Paul to the vehicle and place him in the drivers’s seat. Dr. Craig Regents leans into the open driver's side door. Paul has a sedated look on his face. He is clean and freshly dressed. Dr. Regents buckles Paul's seatbelt. Paul looks at Regents.) DR. CRAIG REGENTS You've had a long night, John. Why don't you go home and get some rest. (Paul nods his head.) PAUL Thanks, Craig. (An agent shuts Paul's door for him. Paul starts the engine. Dr. Regents walks back toward the entrance of THEBES. Projection on the screen overhead and behind Paul’s vehicle: EXT. TREELINED ROAD - MORNING The Prius descends the hill, winding beneath the shade of ancient redwood trees. It passes deer and cattle grazing on a hillside. A spectacular view of the Monterey Bay stretches to the horizon. A moving truck climbs the hill in the distance, in the opposite lane.) (On the other side of the stage, Dr. Craig Regents sits behind a desk, staring out at the view of Moss Landing and Monterey, across the bay. He takes a small radio-like device from a desk drawer. He nurses a Glenlivet on the rocks. On the opposite side of the stage, Paul is driving in the cutout of the Prius. Ghost and the White Sox Enter carrying acoustic instruments. They are dressed in black and wear sunglasses. They stand center stage and begin to play.)

96. GHOST I saw her today at the reception, a glass of wine in her hand... (On screen: Paul's eyes are visible in the rear view mirror. He looks down at the console. A dogeared photograph of a woman and two children is tucked into the cup holder between a $1.99 pack of Alka-Seltzer and a receipt. Paul smiles. He reaches out and touches the photograph with his fingertips. Suddenly, Paul contorts with pain. He slumps over. The Prius drifts across the center divider into the path of the moving truck. A HONN HONKS. The screen whites-out.) GHOST & THE WHITE SOX You can't always get what you want... You can't always get what you want... (On one side of the stage, Ana enters the Evergreen Cemetery carrying a hand-picked bunch of flowers. She walks to a headstone. Projection on screen: the headstone reads "John Gutenberg - Scientist, Journalist. You are not forgotten." Ana places the flowers beneath the headstone then steps back.) GHOST I went down to the demonstration... to get my fair share of abuse... (Nurse Boucher arrives. She places a flower beside the grave then takes her sister's hand. Detective Reyes enters wearing dark sunglasses. He walks to the cemetery and joins Ana and her sister. Ghost and the White Sox walk into the cemetery, playing their instruments. A woman with two children arrives. DelfĂn the Dolphin Dream walks through the cemetery gates accompanied by several other people from the streets. More and more people arrive until the cemetery is nearly full.) GHOST & THE WHITE SOX You can't always get what you want... You can't always get what you want... (Special Agent Sugarfoot stands in the audience, watching through dark sunglasses. He touches the frame of his glasses, adjusting the zoom. On screen: video of the funeral captured by Sugarfoot's "spook-glass" continues to play.)

97. (Special Agent Sugarfoot stands in the audience, watching through dark sunglasses. He touches the frame of his glasses, adjusting the zoom. On screen: video of the funeral captured by Sugarfoot's "spook-glass" continues to play.) GHOST But if you try sometimes, you just might find... You get what you need... (Across the stage, in the office space, Dr. Craig Regents stands up. Footage of the funeral plays on a laptop computer on the desk in front of him. A breathtaking view of the hillside and the ocean beyond, stretches to the horizon behind him. Dr. Regents closes the laptop. He exits. On screen: press clippings and archival footage from the CIA's MK-ULTRA program plays. The archival footage becomes current footage from Guantanamo Bay, then photos and video clips from the The Senate Intelligence Committee’s report on the CIA’s detention and interrogation program and other illicit CIA activities.) GHOST & THE WHITE SOX WITH EVERYONE IN THE THEATER You can't always get what you want... You can't always get what you want... (Projection on screen: Οἰδίπους ἐπὶ Κολωνῷ )

FADE TO BLACK.