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FADE IN: INT. A DARK ROOM A pair of eyes glance around with confusion. These eyes belong to PETE SKOLARI who begins talking in his head. Pete has an expression in his face that says, "I don't know what the hell is going on here, but it surely must not be my day." PETE (V.O.) The way in is the way out, the way in is the way out. I don't know what's going on here. Don't know if things are making any sense. Things that I see. Things I can't explain. Pete stands still while he's observing the room around him. PETE (V.O.) I don't even know where I'm at. I'm standing in a big dark room. There's a big dark room with a spotlight in the center. Under the spotlight lies a television set on the floor, and a glass tank full of scorpions on a table. Behind the television set is a man smoking a cigar. His name is MR. MUNZER. PETE (V.O.) There's a tv on the floor and a man smoking his cigar acting like his the Godfather. On the right side of the room, there is a girl sitting in a chair with a helmet on her head. She's in known as "THE GIRL WITH THE HELMET." PETE (V.O.) There's girl sitting down with a helmet on her head. I don't have a clue why she's wearing the helmet. Pete continues standing. PETE (V.O.) The people are watching, they are watching every move. Don't make a move, because they are watching you. The television screen is showing some kind of bizarre cartoon, when a pair of feet pass by, followed by a politician sweeping the floor. The politician is RANDY FLOYD. The person dragging the politician is MAX THE LOON. Max holds a big red baseball bat. PETE (V.O.) What's this? This guy is dragging Mister Floyd, the dirty politician who mysteriously disappeared one night. Max the Loon places the politician on a board. The board then lifts the politician onto the table of scorpions. Max the Loon smiles while this is going on. PETE (V.O.) Something is wrong with this picture. Something don't seem right. This is not making sense to me. Pete is trying to figure out what is going on. PETE (V.O.) I think I'm losing it. Just calm down and keep it together. You're just a little paranoid about this situation. A little paranoid, that's all. The politician starts screaming as Max the Loon walks to the television and flips the channel. The "Pinky and the Brain" theme song plays in the background. PETE (V.O.) But why do I see these things? Is this real? Is this really happening? Is this the end of the world? We PAN down to Pete's head. PETE (V.O.) Why is this happening? Too many questions. A big ball resembling the Earth drops slowly like a Tim Burton scene. It stops in the middle of the air at a piņata level. Max the Loon hits the ball with his red baseball bat. PETE (V.O.) A boy with one arm once told me that when the end is near, people will turn insane. Well the end of the world is finally here because I'm losing my mind here. Should I let everyone else know? No, because nobody will believe me. It will all be a big joke inside your head. That's it, it's all in your head. Mr. Munzer smokes his cigar. The politician screams from inside the scorpion tank. Max the Loon continues hitting the ball. "The girl with the helmet" gets excited. A person wearing a mask appears behind her. The person wearing a mask will be known as "THE MASKED FIGURE." PETE (V.O.) You're going to get some help. First thing tomorrow, your going to call in from work and go see a doctor. Pete is watching all this madness around him. The politician screams from inside the scorpion tank. MR. FLOYD Stop, Please!! No more pain!! PETE (V.O.) "No more pain," cries the politician. But what can you do when you have 30 seconds left until the end of the world,... A timer posted on the wall, counts down from 30 seconds. PETE (V.O.) .... while a dirty politician is covered with scorpions,.... MS of politician getting bit. PETE (V.O.) .... and all I'm thinking about is eating licorice for one last time? Pete holds a string of red licorice. Max the Loon hits the Earth ball. "The girl with the helmet" laughs. "The masked figure" behind her moves back to the shadow. Mr. Munzer takes one final puff on his cigar and moves away from the spotlight. PETE (V.O.) Of course, there is not enough time in this world to satisfy everyone around you. A scorpion is moving towards the politician. A kid runs towards Pete and takes his licorice and runs off. PETE (V.O.) So basically me and the dirty politician are fucked in this situation..... The counter shows 4 seconds then 3 seconds. Pete looks straight. PETE (V.O.) ....And I guess that you are too!! Counter shows "1" then "0." The theme song finishes and Max the Loon strikes the Earth one more time and the Earth explodes. CUT TO: OPEN CREDITS Echo and the Bunnymen's version of "People are Strange" plays. Title: "The Schizophrenic Diaries" Drawings drawn by persons with schizophrenia appear as the credits roll. DISSOLVE TO: INT. A WALKWAY OF SOME HOSPITAL. DAY There's a wall full of drawings, some of which appeared during the credits. A few people are passing by this wall. Some stop and stare at the drawings. Some of the people include nurses, and others are patients in uniforms. This is a hospital located in the heart of Texas. This hospital are for people who need mental help such as: people with anti-social behavior, troubled persons, and people with schizophrenia. It is made up of people who have been committed to the hospital, and those who volunteered. There are different rooms in the hospital for different things. There are some rooms only for medical staff, which are locked by security doors, a room for treatment, a cafeteria, a playroom, a courtyard, and of course, individual bedrooms for the patients. Two patients walk by this wall full of art. These two patients stare at each other as they walk. We follow these patients and they lead us into some kind of room where Pete Skolari is sitting down writing on a journal. INT. THE WAITING ROOM The waiting room is a room where patients wait for medication or for any activity instructed by doctors or nurses. It looks similar to those rooms where patients wait to see the doctor. There's a television, seats for patients, and two doors. Pete sits in one of the seats. PETE (V.O.) The wheels are spinning, but they only just begun. How long will they spin for? Don't know how long, just got to be patient. Be patient until they call out your name and then you get up and obey orders. No matter what they say, you just got to listen because there is no other way. A PATIENT gets up and a NURSE hands him a pill and a cup of water. PETE (V.O.) If you want to make it, you gotta follow orders. You may not agree with some of the orders, but you make the best of it. A GUARD, whose job is mainly security, stands by a door and looks at Pete. Pete looks at the guard and gets a little paranoid. PETE (V.O.) No matter what, someone is watching. No time to panic, just got to have self control. Just got to have self control, and pretend nobody is watching. Pete turns his head to a patient sitting to his right. The patient is a girl who is brushing her hair and she is looking down. PETE (V.O.) One day they will stop watching. Pete smiles as he writes in his journal. PETE (V.O.) That will be the day I put on my favorite hat and buy some pineapple and coconut ice cream and head to the lake for some good times. Pete pauses for a bit. He looks up at the ceiling then begins to write again. PETE (V.O.) Let's start all over again, my name is Pete Skolari. Why am I writing this down? Well, because Dr. Stevenson recommended me to. I went to seek help. The doctor said, this will help me out. Pete continues writing. PETE (V.O.) So I write my daily thoughts in this little journal. Pete writes then pauses from writing and looks around. PETE (V.O.) But I'm not crazy though. That guy over there, that guy is crazy. The man who was given a pill a little while ago, is standing up shaking his head around. PETE (V.O.) So is this girl next to me who's been brushing her hair ever since I got here. The girl sitting next to Pete, continues brushing her hair. PETE (V.O.) Even the guy dressed in blue, who walks around the room over and over all day. A patient dressed in all blue, walks around the room. Pete glances around. PETE (V.O.) I'm not crazy, i'm just not feeling well. Earlier, I was imagining things like the end of the world. What the hell was that? Just another hallucination. Another angle on Pete sitting down holding his journal. PETE (V.O.) It's all a bunch of tricks inside my head. Doctor Stevenson said, this can get worse. So that's why I'm here, to get better. Pete writes in his journal. PETE (V.O.) I'm going through this new treatment they have going. They give me medication everyday, which sometime helps. But in a couple of weeks, I'll be receiving three yellow pills. Pete looks up. PETE (V.O.) These three pills will make me better. Pete continues writing. PETE (V.O.) In the meantime, I'm here because I chose to be here. I got my time off from work to get treated. Just waiting for the countdown, it's all a matter of time. Pete stops writing. PETE (V.O.) I love writing. I love writing ever since high school. INT. PETE'S BEDROOM FROM LONG AGO (FLASHBACK) Pete's bedroom is somewhat clean except for his desk, which is a mess. Pete types in front of a computer. PETE (V.O.) Even though, I'm terrible with grammar and style, I still love writing. That would of been my major in college except.... Pete stops typing and picks up a pile of bills. PETE (V.O.) .....that I needed money to pay my bills. So instead, I graduated from college with a degree in Business Management. Struggled to get a job for a bit, then moved to Austin to work for Tuff Marketing. INT. TUFF MARKETING CALL CENTER. DAY Tuff Marketing is a call center type environment with cubicles. PETE (V.O.) I've been here four years now. Pete sits in his cubicle. PETE (V.O.) I have my own little space here. It's small, but is comfortable. I'm just working trying to get promoted. But this guy,..... An over-achiever preppy looking guy is walking by Pete with papers in his hand, and a smile in his face that says "look at me, I'm better than you." PETE (V.O.) .....who's only been here for three months, just got promoted to Assistant Manager. It's okay though. Pete types in his computer. PETE (V.O.) Just got to keep reminding yourself that everything is going to be alright. INT. THE HOSPITAL'S WAITING ROOM Pete has his head up while sitting down waiting for his name to be called out for his medication. PETE (V.O.) I need three pills to make me better. And after that, I'm back to where I belong. No more being in this crazy place. A couple of patients talk among each other in the corner of the waiting room. One of them looks like he's telling a very interesting story. PETE (V.O.) I'm just watching these crazy people around me talking nonsense, talking about things that they see. Pete sits back looking around. PETE (V.O.) Sometimes I have hallucinations of my own. One second I'm watching this person sitting next to me, shaking because of the medication,.... The patient shaking his head is sitting next to Pete. He is shaking as if he's having a big seizure. PETE (V.O.) ....and the next, I'm not here any more. Pete puts his head up. PETE I'm outside driving in my car, driving the street with my music turned up. EXT. PETE'S CAR DRIVING ON THE STREET. DAY Pete drives down the street. The song, "Doomsday," by the Transplants plays in the background. Pete continues to narrate while driving. He sees different things on the street. PETE (V.O.) It's a nice day out here. Very nice, except some things feel a little bit strange. A man walks his dog on a leash, except there is no dog, it's just a leash. Pete drives. PETE (V.O.) I see the usual homeless on every corner with their usual signs. But then there's this homeless guy who's wearing a different kind of sign. A HOMELESS MAN is on a corner of an intersection with a big sign on him that says, "THE END IS HERE." It's kind of like the White Zombie video, "More human than human," where someone is holding a 'the end is near' sign towards the end of the video. PETE (V.O.) And that shit-stinking son of a bitch is staring right at me. Instead of looking at everything around him, the homeless stares at Pete. Pete's car approaches. PETE (V.O.) I'll go on ignoring him like everybody else. Pete turns his head around and sees a cop pointing a gun to a kid. The kid is holding a box of donuts, "Creme Delights," any cop's fantasy. PETE (V.O.) Then a cop is on the corner pointing a gun at a kid holding a box of donuts. I'm thinking, that ain't right, but then again.... Pete continues to drive. PETE (V.O.) ....these fuckers need their sugar fix to push us around at night. Always giving us speeding tickets instead of getting to a crime scene in time. Pete's car passes by a billboard. The billboard shows the face and the name of an elected official, MATTHEW G. GILLIAM. PETE (V.O.) Even though, elections were months ago, we still see political billboards. Pete stares at the billboard. PETE (V.O.) We the people have elected mister Gilliam for office. He's making big changes. Pete continues driving. PETE (V.O.) I'm not going to get political though. Nope, I don't have no time for that. Gotta watch the road. A girl walks down the street with a shirt showing her cleavage. A guy passes by and looks at the girl revealing her cleavage. She has a look on her face that says, "Why do people always stare at my chest?" A priest and a young boy walk down the street together. They pass by a Michael Jackson poster, from his 'Thriller' days, hanged up on a window. Pete passes by. PETE (V.O.) Religion is another topic I don't want to get into. It's something you have to think for yourself. While driving, Pete looks at the world around him. PETE (V.O.) I gotta concentrate on the road. Don't know where I'm going? Don't know where I'm headed. Just getting somewhere, that's important. Somewhere comfortable, somewhere to kick back and forget about the world around me. Pete looks to his right and there's a big line of people. The day is somewhat sunny and these people look like they are waiting for something good. A lot of hope in the air. Pete has no idea what this line is for. He is indeed, a bit curious. PETE (V.O.) There's a big line. What is this line for? What's on special? Is it the day after Thanksgiving? The day when millions of people get up early in the morning, they spend a lot of money, and make companies richer. The people waiting in line appear to be the average people we see in public. PETE (V.O.) It could be people trying to get saved. Saved from what? The end of the world? On the left side of the street, a MAN WITH NO LEGS is reading a book to a crowd of people. Behind this leg-less person is an anti-Gilliam sign. These people look like a bunch of hippies ready to protest against Matthew Gilliam. PETE (V.O.) Maybe these people know what's going on? Maybe they know something I don't. For all I know, they may be telling the truth. Pete passes by the protesters. PETE (V.O.) Need to find answers. Need to ask more questions. More questions. Need to watch the road. "The masked figure," from Pete's first hallucination, appears in the middle of the road. PETE (V.O.) Watch out !! Pete hits "the masked figure." PETE (V.O.) Oh shit, I think I ran over that guy with the mask. Pete stops his vehicle and tries to relax. PETE (V.O.) Calm down, calm down. Everything is alright. You're probably imagining things. Remember, everything that you see, might not be real. Pete prepares to get out of the car. PETE (V.O.) Everything that you say, might not make sense. You might think it does, but it might not. Take a deep breath, take a deep breath and lets get out of the car. Pete gets out of the car, and he is in the middle of nowhere. He looks for "the masked figure." PETE (V.O.) Where did he go? Was it all in my head? (pause) Another trick from my head. Pete checks the front of his car for any kind of evidence that proves that it was real, but no trace anywhere. Pete gets a little bit paranoid. PETE (V.O.) What am I looking for? Looking for something. Looking for something to tell me the truth. Pete circles around his car for clues as he gets more confused about everything. PETE (V.O.) But where is it? Where is it? Nowhere, I'm in the middle of nowhere. Little by little, the background gets darker. INT. A DARK ROOM Pete is in a dark empty room. He turns his head to a light shining down on a display. The display shows a gun. He approaches the light. A voice is heard. VOICE OF A MAN Pull the trigger my friend!! Pete turns and sees a man. For the first time, Pete talks out loud. PETE Bob!! BOB is a very calm, very relaxing type of person. He always keeps it cool. He's the opposite of Pete. BOB Hey Pete!! PETE Bob, we are lost. BOB I can see that. PETE What should we do? BOB Relax, Bob's here now. Bob will take care of us. PETE Good. Bob takes a deep breath and relaxes BOB Let's take a walk. PETE Alright. Pete and Bob take a walk in the middle of darkness. PETE Bob, I just don't know if we can get through this. BOB Of course we can, we're in this together. (Pause) We're in this together like the movie Fight Club, remember Fight Club? PETE Yeah!! BOB Or even that other movie, what's the name of that movie? PETE Which one? BOB That movie. The movie with that girl. Damn, I forgot. PETE You got me. BOB Drop Dead Fred. There we go. Well, not really like that movie but you get the picture. Anyways, we're going to get through this. PETE I just want to get better, you know? Just getting better, and go back to how things were. BOB I know, I understand what you want. But you have to admit, that you're a little bit crazy (points to his head). Pete and Bob stop walking. PETE I'm not. I'm not feeling good right now, but I'm not crazy. BOB Pete, I know it's hard for you to admit it. But you are crazy. PETE This is only temporary. I'm going to take those three pills, and I will get better. BOB Better? The world will not get better. Did you see everything that is happening out there? PETE Yeah. BOB What do you think? PETE I don't want to think. I just know that I'm not crazy. Bob points to Pete. BOB But you are. PETE Bob, why you tell me these things? BOB Sit down Pete!! PETE What? A chair suddenly appears by Pete. BOB Go ahead and have a seat. Pete sits. BOB Pete... Bob sits down on a chair that appears beside him. Bob starts lecturing Pete. BOB ...Thoughts come and go. They go here (pointing to the right) then they go there (pointing to the left). And they come and go over and over again. The other side of the mind, is blue. Shades of blue. But you can't see it. You will want to see it. Then you start to make up things in between. Pete sits patiently in his chair. BOB Things you want to believe. Things you want to see. The more you make up these things, the more complicated it all becomes. And then you drive yourself nuts over and over until you convince yourself that it is real. Therefore, you believe, you're not crazy. PETE You sound like Dr. Stevenson. BOB Well, that's where I got it from. Does it make sense? PETE A little bit. BOB Write it in your diary. Pete picks up his diary from the floor. BOB (O.S.) Write every word. This is important Pete. If you want to be sane again, you must admit that you're crazy. PETE I'm not crazy, I'm normal. Normal like the average Joe. BOB (O.S) They're about to call you. PETE Normal. A female voice is heard. FEMALE (O.S.) Pete Skolari? INT. THE WAITING ROOM Pete moves his head up and he is back in the waiting room. The NURSE calls out his name. FEMALE (O.S.) Pete Skolari? Pete whispers. PETE Normal!! NURSE Pete Skolari. Time for your medicine. The nurse approaches Pete and gives him a couple of blue pills and a cup of water. NURSE Here you go. Pete swallows pills. NURSE Now you can go outside if you want. The nurse leaves. Pete stays still. Few seconds later, he continues with his narration. PETE (V.O.) Hallucinations, they don't make sense. You try to make sense out of it, it's like trying to solve a puzzle. But the pieces don't seem to fit. I'm not crazy, that guy over there staring at the wall... A patient is standing facing a wall next to a door. PETE (V.O.) ....he's crazy. Pete sits down patiently as we see the whole room. We see the patient walking around in circles. PETE (V.O.) So is this guy who's still walking around the room. But the world keeps on spinning. The world keeps on going. Pete looks up. PETE (V.O.) Sometimes you just got to remind yourself, that everything will be alright. That things will get better. And that's why I am here. I'm here because I need three pills, (pause) three pills to make me better. Pete closes his journal. The closing of the journal makes a big noise "Thump." FADE TO: INT. A LIVING ROOM A white phone begins to ring. It rings for a few times, then a hand grabs it, and a female voice is heard. FEMALE Hello? Hey, it's you again. Why are you always calling me? CUT TO: BLACK FRAME The song: "They" by Jem begins to play in the background. A title appears: "Why are you always calling me?" Then above that title, the following words appear: "The Diary of Julie Vargas" CUT TO: INT.A LIVING ROOM The living room is a normal living room, except for the woman who is talking on the phone. The woman sounds like she's been crying all day. She has a black long sleeve shirt. Near her wrists appear to be white bandages. She is wearing a name tag on her shirt that says, "JULIE." JULIE You don't know when to quit huh? (Pause) Well, you're lucky you got a hold of me in time. (Pause) You know what I mean. (Pause) Of course I was. (Pause) I guess I have a few minutes. CU of a clock in the living room wall. The room is filled with antiques. Such as an old fashioned clock. The television set is old. Julie lives in the modern world, but she has these second hand antiques because she can't afford new things. JULIE (O.S.) There's always a little bit of time, I guess. (Pause) I know. I didn't mean to hang up last time, it's just that...(Pause)...yeah, it's that I get tired of things all of a sudden. Julie sits down in her recliner chair beside her phone. The phone cord stretches from the table to the floor. JULIE When will you quit, seriously? (Pause) I know the last time we spoke, it wasn't very pleasant. (Pause) Well I had another bad day. I always have bad days. It seems like nobody cares about me. Julie is very emotional, every word coming out, sounds like she is going to cry. JULIE You're the only that calls me, but you always put me down. (Pause) Don't even lie, you know you do. And sometimes, I get tired of you calling me all the time. (Pause) Maybe because there is nobody else. (Pause) No, I gave up. Julie starts crying as she talks to the person on the phone. JULIE (Crying) Sheela, you of all people know that this world is not for me. You should know that, I don't belong here. I'm just taking up space. I'm a waste of time. Never had a true friend, never had someone there to just talk to. I know I have you, but that's not enough. (Pause) Fuck Sheela, do I need to fucking remind you? Every single time you call, we go through this. That's why I'm tired of all this. There's an end table near the recliner. On the table: there's a pair of keys, a purse, a teddy bear, and a gun. JULIE (O.S.) I been putting up with this shit for all my life now. It has to end one day. Julie wipes her tears away with her long sleeve shirt. JULIE But why have hope? Hope is just more pain along the way. And pain, i'm tired of it. (Pause) Yeah, no one understands. No one. I have to do it Sheela. Every night you try to stop me. But not tonight. Julie pauses for a moment to hear SHEELA on the phone. JULIE Because, I'm sick and tired of this shit. Can you hear me crying. (Pause) Here I am crying like a baby, crying for attention. But it's true. (Pause) Is because, you never go through what I always go through. (Pause) Please Sheela, you have to stop. You say that and you still put me down every single time. We SEE Julie's back sitting on the recliner. The camera slowly moves around her, showing Julie in her state of depression. JULIE Why not? (Pause) Frustrated Sheela, just frustrated. Besides, why do I want to stay here, and watch the world end with everybody else? (Pause) The end, yes, the end of the world. (Pause) Sheela you of all people should know why. Hello, there are signs everywhere. (Pause) Well you don't have to believe me. No one else does. (Pause) But I do know some things. We slowly pan to the right near the television. JULIE (O.S.) Things I suspect. (Pause) Why do you care? (Pause) It's what I saw at work the other day. A dead flower sits on top of the television. DISSOLVE TO: INT. FRONT DESK OF THE ATTORNEY'S OFFICE A fresh living flower sits on the desk. The desk is filled with papers and a computer. The sign on the wall states, "The law office of Randy G. Floyd." Julie sits on the desk reading through a big pile of documents. The phone rings. Julie answers it. JULIE Thank you for calling the law office of Randy Floyd, can I help you? (Pause) Okay, can you hold on for a minute please? Julie turns around and she is clueless of what to do. She walks to a door on her left and opens it. It's the office of Randy Floyd, but there is no one there. She closes the door, and walks past the receptionist area to the other side of the room. INT. BREAK ROOM There's two young ladies sitting down eating cupcakes. This appears to be some formal employee break room. There's a refrigerator and a sink. Julie walks in. JULIE Christine? The ladies ignore her. JULIE Excuse me? The two ladies turn to her with disgust, because comparing to Julie, these ladies are high class bimbos. CHRISTINE answers. CHRISTINE (With an attitude) Yeah? JULIE Uhm, this guy called and asked if we do lawsuits with injuries? CHRISTINE Well, tell him that we specialize in medicine practices and like malpractice. JULIE Okay. CHRISTINE What's your name again? JULIE Julie! CHRISTINE Julie, don't forget to apologize for the wait. JULIE Okay. Julie backs away as the girls stare at her in the background. We can almost hear them whispering. They giggle. INT. FRONT DESK OF THE ATTORNEY'S OFFICE Julie returns to the desk and picks up the phone. JULIE Sorry for the wait. Hello? Hello? Sir? Julie hangs up the phone because there is no answer. Julie continues going through the paperwork. She gets another call. She answers. JULIE Thank you for calling the law office of Randy Floyd, can I help you? (Pause) Oh. Julie looks to her left staring at Mr. Floyd's door. JULIE He's not in his office at the moment. Can I take a message? (Pause) Oh, can you hold for a moment? Okay. Julie gets up and goes to the break room again. INT. BREAK ROOM JULIE Christine? CHRISTINE What? JULIE Where is Mr. Floyd? CHRISTINE He's in a very important meeting. Why? JULIE This lady would like to speak with him. CHRISTINE Well, take a message. JULIE I try to, but she wants to know when he comes back? CHRISTINE He won't come back until tomorrow. Didn't you hear the news? JULIE What news? CHRISTINE Mr. Floyd is going to be running for office. JULIE For office? CHRISTINE Yeah!! JULIE I'll let the person know. CHRISTINE You need to hurry, the person is still waiting. Julie walks away to go back to the desk, but she overhears them talking about her. The OTHER GIRL talks. OTHER GIRL Is she new? CHRISTINE Yeah, but she don't work here. She's from a temp agency. OTHER GIRL Well, she wont make it. Julie turns around because she heard the comment. CHRISTINE (To Julie) Is there a problem? JULIE No. CHRISTINE Don't forget to apologize for the wait. (to her friend)What!!Ever!! Julie exits the room as they both giggle. INT. FRONT DESK OF THE ATTORNEY'S OFFICE Julie picks up the phone again. JULIE Maam? (Pause) Hello? Julie hangs up the phone and gets frustrated. INT. JULIE'S LIVING ROOM JULIE I was getting irritated. I didn't want to lose it, but I still had to do my job. Knowing that Mister Floyd was going to leave in a few months, reduced the number of calls. Then strange things started happening when mister Floyd showed up the next day. INT. FRONT DESK OF THE ATTORNEY'S OFFICE Attorney Randy Floyd (the dirty politician) walks up to Julie. Mr. Floyd is your typical lawyer. He's very conservative, very strict, and talks fast. Julie is going through her pile of papers from earlier. MR. FLOYD Hey Julie!! I got an important assignment for you. JULIE Yes mister Floyd? MR. FLOYD You can go ahead and turn that work in to Christine (referring to the stack of papers). And come to my office and I'll explain. Randy Floyd enters his office. Julie gathers her stack of papers. She gets up and leaves the front desk. INT. FLOYD'S OFFICE Mr. Floyd has a big office. There's a table on the side for coffee, and three chairs in front of his desk. MR. FLOYD Julie, sit down. Julie sits down in front of Mr. Floyd. JULIE What you want me to do? Randy Floyd gives her a look that says, "I want you to flirt with me." MR. FLOYD Julie, I know you been here for only two days. Mr. Floyd pulls out a box full of papers and sits it in front of Julie. MR. FLOYD But, I want you take care of these forms for me. Julie stares at the box full of papers. She hates this job. MR. FLOYD (O.S.) I want you to go through these forms, and highlight every time you see the words, pills, medication, experiment, and manipulative. Mr. Floyd raises his voice a little to intimidate poor Julie. MR. FLOYD Now this is a very important case for me. I don't need to go into detail of what this case is about. But it's nothing good, in fact it's something very dangerous. This is also my last case as an attorney. It's going to take a long time to close this case. Now, a very important thing about this Julie, is that I'll be running for office soon. I will be running against Matthew Gilliam. Mister Gilliam has a lot to do with this case. In fact, he's the one that agrees with everything in here. I need to win this case, in order to look good. I need to beat mister Gilliam. You, Julie, have to have an eye for details. Because if you miss a word, it could cost you the possible job of working for me in the future. So highlight these words for me. Did I make myself clear? JULIE Yes. MR. FLOYD Go on and start working on it. JULIE Yes sir. Julie lifts the heavy box full of papers while Mr. Floyd calls Christine in. MR. FLOYD (to the telephone) Christine, come to my office. Julie exits office. INT. FRONT DESK OF THE ATTORNEY'S OFFICE Julie is about to close the door to Floyd's office. Christine interferes. Christine walks inside Floyd's office. The door closes. Julie walks to the desk. Julie puts the box of papers by the desk. She sits down. She grabs a high-lighter and begins going through the papers. She looks up and sees a tall man waiting in front of her. THE TALL MAN holds a tube to his throat. JULIE Can I help you? THE TALL MAN I would like to have a word with Mister Floyd. JULIE Give me a second. Julie approaches Mr. Floyd's door and opens it. Randy Floyd is holding Christine in a sexual manner. Julie interrupts. MR. FLOYD Julie!! For God's Sake, don't you know the rules? JULIE I'm sorry but there's someone here to talk to you. MR. FLOYD Give me a moment. Julie closes the door. JULIE (to the tall man) He will be here shortly. THE TALL MAN Thank You. Christine walks out of the office and approaches Julie. CHRISTINE Julie, never walk in like that. You always have to call and let him know on the phone first. JULIE I didn't know that, I'm sorry. CHRISTINE Well now you know. You're going to get it with mister Floyd later. Christine walks away and Mr. Floyd walks out to greet the Tall Man. MR. FLOYD Hi, how can I be a service to you? THE TALL MAN I've got a message from Mister Munzer. Mr. Floyd gets nervous all of a sudden. MR. FLOYD Come inside and we'll talk. Julie will make us some coffee. (to Julie) Julie make some coffee for our guest. JULIE Yes. Mr. Floyd and the Tall man both enter the office. Julie walks around to go make coffee when she encounters a man holding a red baseball bat in the hallway. It is Max the Loon. Julie suspects something going on. Max the Loon stares at Julie. Julie turns around and heads for the break room. INT. BREAK ROOM Julie starts making coffee. She gets two cups ready. Max The Loon stands by the break room door. Julie turns around and notices him. Max The Loon waves. JULIE Hi. Max the Loon puts the bat at a side and takes out his notebook and a marker. Max the Loon is a mute, so he writes everything he wants to say on a paper. Julie wonders what he's doing. Max the Loon writes, "Hello." JULIE What's your name? Max the Loon writes, "Max." JULIE Max? Max the Loon nods his head. JULIE What are you all doing here? Max the Loon turns around and writes down on his notebook. After a little bit, he hands Julie a page. Julie reads the page that says, "We are here to stop Randy Floyd's case." JULIE His last case? Max the Loon nods his head saying yes. JULIE Why? Max the Loon turns around again and writes some more. He hands Julie another page. Julie reads the page that says, "We are paid to do so." JULIE But why? Max the Loon grabs a piece of paper from his back pocket and holds it out to Julie. The paper says, "The end of the world is around the corner." Julie has a face of confusion. Max the Loon gives her a bizarre look. The coffee is ready. JULIE I better get back to work. Max the Loon nods his head and exits the break room. Julie gets the pot and two cups and puts it on a tray. INT. FRONT DESK/MR. FLOYD'S OFFICE Julie carries a tray with coffee and opens Mr. Floyd's door and enters. We Follow her inside. Mr. Floyd is sitting down talking to the Tall Man who is not sitting down. MR. FLOYD I don't care about what is going on. All I want is to win this race. Now you tell Mister Munzer with all do respect, that I'm not going to give in. You will not threaten me, not you, not him, not anybody else. Julie hears the conversation as she puts the tray down on the table. She begins pouring coffee into the cups. THE TALL MAN Mister Munzer does not like to hear bad news from me. You do realize who he works for, don't you? MR. FLOYD Look, I don't give a damn, who Mister Munzer is and who he works for. In fact, I don't care if he happens to work for the devil himself. I will not drop this case. And that's my answer. THE TALL MAN I hope you realize what you're saying. Mr. Floyd gets up from his chair. MR. FLOYD Ooh!! I know what I'm saying, and this conversation is over. (to Julie) Julie, please escort this gentleman outside. Julie puts the coffee down and walks with the Tall Man to the door. THE TALL MAN Thank you Mister Floyd for your time. MR. FLOYD Have a good day. The tall man is about to leave the office but then turns around to Mr. Floyd. THE TALL MAN Ooh, Mister Floyd? MR. FLOYD Yes? THE TALL MAN I hope you like scorpions!! Mr. Floyd gives him a confused look. INT. FRONT DESK OF THE ATTORNEY'S OFFICE Max the Loon and the Tall man leave the office. Max the Loon waves bye to Julie. Julie waves back at Max the Loon. Mr. Floyd yells at Julie. MR. FLOYD Julie? Get in here!!! INT. MR. FLOYD'S OFFICE MR. FLOYD Never, ever walk in through my office without calling me first. Even when there's somebody waiting to see me. You got that? JULIE Yes, Mr. Floyd. I'm sorry. Mr. Floyd gives her a mean look and then changes mood. MR. FLOYD Julie come closer. Julie walks up to Mr. Floyd. Mr. Floyd touches Julie's shoulders. MR.FLOYD If you want to make it in this business, you have to follow orders. You have to be professional. Julie gets bothered by Mr. Floyd touching her. MR. FLOYD And once you're there, you'll begin to love your job. Now go ahead and continue to work on the case. Julie finally gets away from Mr. Floyd, until he grabs her from behind. Julie makes a face that says, "I'm tired of this world." MR.FLOYD Thank you Julie. INT. MR. FLOYD'S OFFICE/FRONT DESK We Follow Julie exiting the lawyer's office to the front desk. She sits down and continues working through the stack of papers from the box. INT. JULIE'S LIVING ROOM Julie continues talking to Sheela on the phone. She is more angry, she's still emotional, but with more anger this time. JULIE I hated working there, in fact I hated all the jobs I ever had. But you see, Sheela, all my life is just useless. (Pause) What you mean what happened? (Pause) I told you that last time we spoke. Do I need to tell you what happened again? (Pause) I was just doing my job and then that bitch fucked me over. INT. FRONT DESK OF THE ATTORNEY'S OFFICE Julie is highlighting words. Christine walks by and offers to help Julie. CHRISTINE Julie, here let me help you out with some of that. JULIE But, Mister Floyd told me to be responsible over this. CHRISTINE Yeah, but this is an important case, and we like need this done as soon as possible. So let me help out. Christine takes a handful of papers out of the box. JULIE But, CHRISTINE Don't worry, I know which words to highlight. Christine looks like she's up to something. Julie suspects something wrong. Julie goes through the papers searching for words to highlight when she sees a man passing by. He is a bodyguard hired by Mr. Floyd. The BODYGUARD looks like he's part of the secret service. JULIE Can I help you? BODYGUARD Ooh, I'm mister Hernandez. I'm a bodyguard to Mister Floyd, I'm just checking out the place. JULIE Ooh, okay. Julie continues working. Julie encounters the words: pills, experimentation, and manipulative, within the same sentence, and she gets curious. "Yelling in my Ear," by the Blue Meanies, plays. She pays special attention to these words and reads the whole page. She looks around to make sure no one is watching her. It looks like she found something juicy. She highlights the words. DISSOLVE TO: A series of shots of Julie reading through the documents, she is not really working, she's reading important information. Mister Hernandez walks by looking around. Christine talks on her cellphone and sees Julie reading through the important documents. We see a clock on the wall. The time is 10:14 and it dissolves into 3:32. Julie continues reading. She looks worried, but interested in the material. The music fades down for now. Christine comes out of Mr. Floyd's office. CHRISTINE Julie, Mister Floyd wants to see you. Ooh yeah, and like bring all these papers with you. Julie stops what she's doing and walks inside the dirty lawyer's office with the box of papers. MR. FLOYD Julie, put the box down. Julie puts the box on the floor. MR. FLOYD Show me what you've done. Julie picks up a pile of papers from the box and hands it to the lawyer. Mr. Floyd goes through the papers. MR. FLOYD It's been brought to my attention that you haven't been doing the job correctly. Julie looks at Christine who has a bitchy look in her face. JULIE What do you mean? I did every.. Mr. Floyd interrupts her. MR. FLOYD No, you did not do what I told you to do. Look at these papers. Mr. Floyd shows Julie some of the forms. MR. FLOYD I can see a lot of words that need to be highlighted. What did I tell you in the beginning? Huh? I told you, you need to have an eye for details. You are making us work double here. Julie gets hurt by his words. JULIE I'm sorry mister Floyd, I'm trying my best here. I could of sworn,.. Mr. Floyd interrupts her again. MR. FLOYD Then explain this. Christine hands Mr. Floyd a stack of papers. The papers have highlights on every word on the whole page. Some pages are blacked out. Julie is confused by all of this and looks at Christine. She knows damn well that Christine is responsible for most of this. But since Julie hates this job anyway, she puts the whole blame on herself. JULIE I'm sorry.. Julie lets out a tear while Mr. Floyd continues to yell at her. MR. FLOYD Julie, I don't hire amateurs like you. I'm calling the temp agency, and I'm telling them not to recommend anyone else in here. All we get are these stupid people. Julie cries while Mr. Floyd yells at her in front of Christine. "Yelling in my Ear," by the Blue Meanies, begins playing again. This time we hear the whole song while the lawyer yells at Julie. The song is at a low volume slowly getting higher. When the lyrics begin, Julie recalls all the bad times working at the office. The flashbacks go with pace of the song. Some of the flashbacks include: when Mr. Floyd touched her, and Christine being rude to her. When the chorus of the song begins, we see Mr. Floyd yelling in slow motion. Then he turns red. Christine laughs. Julie walks away from the office crying in pain. The song gets higher and higher. INT. FRONT DESK OF THE ATTORNEY'S OFFICE Julie knocks every single thing on the desk down to the floor. She picks up her flower and leaves the office. Julie does not turn back. The song fades down but we can still hear it. INT. JULIE'S LIVING ROOM Julie continues talking to Sheela. JULIE I just don't know if I can go on, Sheela. I mean it's not just this, it's my whole life in general. So if the world is going to end, why not end tonight for me? (Pause) You say that, then tomorrow you call and it's the same thing. The same thing over and over. And that's what I'm tired of. Nothing is going to change. (Pause) Sheela (Pause), Sheela (Pause), Sheela, I know. I know, it's, it's..(Pause) Nothing, I'm tired of explaining things, no more explaining. (Pause) I'm going to hang up now.(Pause) No, don't say that. (Pause) I'm hanging up, okay? (Pause) I'm hanging up. (Pause) Okay, Bye. As soon as Julie hangs up the song, "Emotional Abuse," by the Horrorpops begins. The camera stays at the phone while Julie gets up and exits to the right of the frame. The camera slowly pans to the left to follow the cord of the telephone. We reveal that the phone was never plugged in to the jack. We pan to the right slowly and move to the side table and see that the gun that was their earlier, is no longer there. We focus on the teddy bear that sits on the table, then a gunshot is heard. The teddy bear gets splattered with blood. The music stops and we hear a silence. Then the camera moves rapidly away from the bloody teddy bear to another place, another time, another story. INT. A DARK HALLWAY OF AN APARTMENT A mirror is thrown into the wall and it breaks. A man walks by the hallway. The man goes inside a bathroom. INT. THE BATHROOM On the counter next to the sink, we find: a rope, a gun, a razor blade, pills, and a bar of soap. The man approaches the counter and looks at the mirror. His name is MITCH, a schizophrenic with an outburst problem. He has a big temper. He's quiet at times then he turns into a madman. Mitch talks out loud to himself. MITCH Look at yourself, look. Now say it, say the words. Mitch, tonight is the night. Yes, it is the night. It's the perfect night. It's not like last night, this is it. This is it. Mitch picks up the rope. MITCH We got a rope.. Pan into the counter of the different deadly items. MITCH ..a gun, maybe the razor blade, and some pills. We got everything. Mitch gets mad at himself in the mirror. MITCH Don't you dare let me down Mitch. Don't fucking dare. What are you doing? What's taking so long? Go for it. Are you waiting on something? Are you waiting for the end to arrive, or you just waiting for it to be two fifty one in the morning? Mitch changes mood. MITCH You're not going to do it, are you? You son of a bitch. Not now, I need something to cheer me up. INT. HALLWAY/KITCHEN Mitch exits bathroom and we follow him down the hall into the kitchen. MITCH Gotta find the perfect thing. The answers to all of my problems. The only thing worth living for. The only thing I need. Mitch opens the cabinet door where we find some canned foods and a few jars of peanut butter. MITCH And it's right here. Mitch pulls out a jar of peanut butter. MITCH Everything, i ever wanted. When feeling down, all you need is peanut butter. Jackie Wilson's "You're Love keeps lifting me higher" plays. Mitch holds the jar of peanut butter and begins to jump in the air. While he's up in the air, the frame freezes and it turns to a cartoon version of the frame. CUT TO: BLACK FRAME The title appears: "When feeling down all you need is peanut butter." Then above the title, another title appears: "The Diary of Mitch Rowe" CUT TO: DIFFERENT ANGLES Mitch opens his jar and begins eating peanut butter. He's got about two other jars in the cabinet. We see in the counter near the trash can, about fifteen to twenty empty jars of peanut butter. There's also a mess everywhere. Mitch is happy eating peanut butter. He's obsessed with the jar. He feels insecure without it. He needs it like a heroin fix. INT. MITCH'S DINING ROOM Mitch eats peanut butter. He uses a spoon, and at times, he uses his hands. His dining room is a mess. There's also peanut butter stains on the walls. Mitch talks to himself. MITCH What you gonna do? Nothing absolutely nothing. Except finish this jar. All my worries are gone. I guess, I always been a big fan of peanut butter. It's just so damn good. Nobody can fuck with me. Song fades down. Mitch looks around his apartment. He walks and turns on the television. MITCH I can hear all the bullshit going on out there. It's election day. That's right, elections. On the television screen. We have Mr. Gilliam shaking hands with several citizens. Footage of people voting and the polls stating that Mr. Gilliam is up by 1%. His opponent is a man named MR. GEISELMAN. MITCH I don't need to vote. Don't want to go out there. I'm safe in here. Safe, nothing can hurt me. Besides, the end is near. I can feel it. But as long as I got peanut butter, I'm safe. Even the apocalypse can't hurt me. Mitch eats more peanut butter while staring out his window. MITCH The devil is out tonight. It lurks around the bushes waiting for me to fuck up. Waiting for me to run out of peanut butter. As long as I have this jar, the devil can fuck himself. Pete looks at a broken mirror located near his television. MITCH You just keep it together man. Gotta have your own system. No matter what people say. You can't trust no one. No one. People talk a lot of shit. Pete in outburst mode. MITCH Why do they talk all kinds of shit? Fuck leave me alone. So what if I love to eat peanut butter? So what if I think, this is the only answer and the only thing that will save me from all of this. (screams)Fuck!! Mitch drops the jar of peanut butter, he kneels down to grab it. When he gets up, he sees the figure with the mask in the reflection of the mirror. He panics and looks back. Nothing is really there. He holds the jar close to him. MITCH (screams) What the fuck do you want from me? Mitch jumps on the couch and looks for "the masked figure." MITCH You can't separate us. Don't you dare fucking try. I swear I'll fucking kill you. (relaxes) Keep it together Mitch. Nobody can mess with you. Mitch gets down from couch. CU on the peanut butter jar in Mitch's hands. MITCH I'm safe. This is my shield. My shield. My shield. Mitch looks up sees "the masked figure" again. MITCH Come on, get closer to me!! Mitch picks up a candle holder next to him, and throws it at "the masked figure." MITCH Motherfucker!! "The masked figure" begins to walk towards him. Mitch throws him his shoe. MITCH Get Away!! "The masked figure" continues walking. MITCH Piece of shit!! Mitch picks up a chair and slams it towards the figure. The figure gets closer. Mitch looks at his jar of peanut butter. MITCH Oh Fuck!! Mitch throws his jar of peanut butter to the figure. "The masked figure" turns the other way and runs into the darkness of the hallway. MITCH He's gone. You saved my life. (referring to his jar) Mitch relaxes. He's quiet. MITCH It's quiet. Everything is calm. My girlfriend is in the bedroom, she's quiet. Then again, she's not supposed to make any noise because she's dead. "The Loons," by the Insane Clown Posse, plays. MITCH Gotta check on her!! Mitch walks to the bedroom and opens the door. INT. MITCH'S BEDROOM His girlfriend Christine, from Randy Floyd's office, lays dead on the ground near the bed. It appears that she is somehow covered in peanut butter. She's wearing a "Betty Boop" shirt. MITCH She's okay, but she's starting to stink again. Mitch pulls his shirt up to avoid the smell. MITCH I better cover the smell again. INT. MITCH'S KITCHEN. Mitch opens his cabinet door and grabs another jar of peanut butter. He also grabs an air freshener spray from underneath the sink. INT. MITCH'S BEDROOM Mitch sprays the room with the air freshener. And begins covering Christine's body with peanut butter. MITCH I don't how long she's been dead. It's probably been a couple of days. (referring to the body) Christine, can you hear me? I don't think so. You used to work for that lawyer, what was his name? Anyways, he mysteriously disappeared while he was running for office. No one knows what happened to him. Randy Floyd, that was his name. He's lucky he disappeared, because I was going to take care of him. His replacement is another shithead, mister Geiselman. Did you fuck him too? Maybe. It's too bad, you wont get to be by me while the world ends. You won't get to bitch at me anymore. INT. MITCH'S DINING ROOM. FLASHBACK Mitch watches television while eating out of his jar of peanut butter. Christine, with her Betty Boop shirt on, walks in and yells at him. CHRISTINE Mitch!! What the fuck is wrong with you? Mitch yells. MITCH What?!!? CHRISTINE You haven't paid my credit cards this month. This is not like you!! MITCH Can you leave me alone, I'm fucking busy!! CHRISTINE Busy!! What ever!! All you do is eat peanut butter. You been acting so weird lately. MITCH Look!! I don't feel good unless I have this. CHRISTINE Whatever Mitch!! No matter what, I'm like so way better than you!! MITCH You think you're better than everybody else. CHRISTINE Yeah Mitch, I am. I'm even better than that stupid peanut butter. She grabs the jar away from Mitch and goes into the kitchen. MITCH What the fuck are you doing? Mitch follows her. INT. MITCH'S KITCHEN Christine throws the peanut butter jar into the trash can. Mitch tries to stop her. MITCH What the fuck!! CHRISTINE Fuck you Mitch, you need to listen to me. Mitch grabs her head and smashes her to the wall. Christine makes struggling noises, but no words comes out, since she's in shock. Christine falls to the ground. Mitch grabs peanut butter jar and smashes her in the head with it. The jar breaks. Mitch kicks her and opens a drawer and grabs a kitchen knife. INT. MITCH'S HALLWAY Mitch drags Christine's body into the bedroom. INT. MITCH'S BEDROOM He lays Christine by the bed. MITCH (screams) Fuck!! Mitch realizes what he's done, but blames it all on her. MITCH Why did you make me do that? Huh? Why? (screams) Why? DISSOLVE TO: INT. MITCH'S BEDROOM (IN THE PRESENT) Mitch continues putting peanut butter all over Christine's body. MITCH Why, Christine? Even after, I let you slide every time you cheated on me. Why? You tried to stop me from enjoying myself. This peanut butter, is my happiness. You should of understood that. But I guess, it's too late. Come to think of it, you been dead for a week already. Mitch runs out of peanut butter and leaves the bedroom. INT. MITCH'S KITCHEN Mitch opens cabinet door and finds no more peanut butter. Mitch freaks out. MITCH Fuck!! There is no more. I could of sworn there was more. What the fuck am I going to do? He relaxes. MITCH Calm down!! He snaps. MITCH Fuck!! Fucking shit!! Opens the refrigerator. There is nothing in the refrigerator except some expired food. He closes the refrigerator, and "the masked figure" appears beside him. MITCH Shit!! Get the fuck away from me!! Mitch leaves kitchen. INT. MITCH'S LIVING ROOM Mitch walks around the living room and he is paranoid. MITCH The antichrist is near me. The antichrist is in here. I'm not safe, I need peanut butter. That is the only fucking thing that can save me. Should I blow my brains out? Is tonight the night Mitch? Mitch looks outside his window. MITCH Is not safe out there. I gotta go buy some more at the store, but it's not safe. Mitch looks around the apartment. He sees "the masked figure" coming out of the dark hallway. MITCH It's not safe in here. Gotta go buy some more. He grabs his wallet on a side table near the front door. He goes outside. EXT. APARTMENT COMPLEX. NIGHT Mitch walks out his apartment door. He locks the apartment and sees his neighbor staring at him. Mitch's NEIGHBOR is covering up his nose, he can smell something awful coming out of the apartment. MITCH What are you staring at? Huh? Neighbor gets inside his apartment. MITCH Fucker!! This is not a good night. Mitch walks away. EXT. SIDEWALK OF A STREET. NIGHT Mitch walks the streets. It is a full moon. Mitch is very paranoid when he's out there in the dark. MITCH Just a few blocks away. Going to make it. I wish i could just get a fucking uzi and blast everyone in my way. Few people pass by and they react to the awful, awful scent of Mitch's presence. Mitch walks a little bit faster. INT. SUPERMARKET STORE Mitch Walks inside the supermarket store. He grabs a shopping cart. He goes by an isle checking for peanut butter. People are staring at him. Mitch minds his own business. He finally sees a shelve full of peanut butter, and it's like heaven to him. He fills his cart with all the jars on the shelve. An OLD LADY stares at him from the other side. MITCH (to the lady) What are you looking at? The old lady turns around. Mitch clears up the shelve and walks past the old lady. Poor grandma covers her nose while Mitch passes by. Mitch hits her cart with his cart. MITCH Bitch!! At the cash register, there's a female employee staring at Mitch. The EMPLOYEE reminds us of a zombie. Mitch notices her. She's the only register open. Mitch puts the jars up for her to scan. EMPLOYEE Did you find everything alright? MITCH Yes. She scans the jars like a robot. EMPLOYEE Do you have a shopper's card? MITCH No. EMPLOYEE Would you like to get one? MITCH No. EMPLOYEE Would you like any of these items, they're on sale for only a dollar? The employee shows Mitch a basket with items. Mitch gets frustrated. MITCH Look, I just want to buy this and that's it. Mitch stares at a television above him. Mr. Gilliam wins the election. (We never know or reveal for what elected office the elections were for.) The employee scans the items slowly. MITCH Can you hurry? Time is running out for me? EXT. APARTMENT COMPLEX. NIGHT Mitch approaches his apartment door with four bags full of peanut butter jars. He looks to his right. A couple of his other neighbors are staring at him. Mitch opens his apartment door and shuts it loud for them to hear. INT. MITCH'S KITCHEN Mitch stocks up his pantry with peanut butter jars. He grabs one and walks to the living room. Mitch opens the jar and grabs some peanut butter with his hands and eats it. There's a knock on the door. Mitch peeks out his window, and sees a man. MITCH My landlord, he probably wants his rent money. The LANDLORD knocks on the door again. MITCH Fuck!! LANDLORD Mitch open up, I know you're in there. Mitch puts the jar down on the table and grabs his check book. MITCH I'll make this quick. Mitch opens door. LANDLORD Mitch, can you come out for a second? MITCH I have the rent money, I'm sorry I'm late. LANDLORD You already paid me last week, remember? MITCH I don't know!! Mitch gets suspicious. LANDLORD Come out Mitch, are you feeling alright? And what is that smell? MITCH I got to go!! Mitch tries to close the door. The landlord blocks the door from being closed. LANDLORD Wait Mitch. MITCH What? LANDLORD These gentleman want to speak with you. Two men wearing security guard uniforms bust in. They both grab Mitch. MITCH Fuck, I didn't do nothing. LANDLORD Mitch, everything is going to be alright. Mitch stares at his peanut butter jar at the table as he's being pulled out by the two guards, UNIFORMED MAN #1 and UNIFORMED MAN #2. MITCH (screams) Fuck!! Leave me alone. Why is everybody against me? Why?!? EXT. APARTMENT COMPLEX. NIGHT A couple of other men, along with the landlord, walk inside the apartment. MITCH Leave me alone. I didn't do it. She did. UNIFORMED MAN #1 Relax buddy, just stay put. MITCH Fuck, I'm not safe anywhere. UNIFORMED MAN #2 You're safe with us mister Rowe. MITCH Who the fuck are you guys? One of the persons walks out of the apartment. The PERSON yells. PERSON Lock him up. MITCH Leave me the fuck alone. I'll swear I'll fucking kill you all. The men take Mitch to a black car. UNIFORMED MAN #1 Come on buddy, get inside. UNIFORMED MAN #2 We'll take you somewhere safe mister Rowe. MITCH Fuck!! Mitch breaks the car window with his feet. Uniformed man #1 pulls out stun gun and zaps Mitch. UNIFORMED MAN #2 Lights out mister Rowe. FADE TO: INT. A CELL Mitch, in a strait jacket, talks to a DOCTOR who is standing outside his cell. MITCH Doctor? You gotta understand. I need peanut butter. I need it. It's the only way I can get better. DOCTOR Sorry Mitch, until you undergo treatment, no peanut butter will be around you. MITCH Fuck doctor, don't let me be like this. DOCTOR I'm going to get the proper documents to get this treatment started. In the mean time, take it easy Mitch. See you in a couple of months. Doctor leaves. MITCH Doctor wait, doctor? Mitch talks to himself. MITCH I'm not safe anywhere. Not safe!! No. I'm not safe. I'm going to fucking kill you Mitch. You're gonna die. You're gonna die. You're gonna die. That's right, tonight is the night. The end, the end is right here. Is here. A PATIENT walks by. MITCH Hey you? PATIENT Yes. MITCH Go to the kitchen and tell that bitch to give me some peanut butter. PATIENT Okay!! MITCH Hey, don't let anybody see you. You got to be very fucking careful. PATIENT Why? MITCH Because, don't you know? Peanut Butter can protect you from anything. I mean anything. It will make us safe. A big pause from the patient. PATIENT Ooh, in that case. I'll get some for me too. I'll be right back. MITCH I'll be here. (to himself) I'll be here. Not going anywhere. Not going anywhere. (Takes a few breathes) Not feeling good. I'm feeling down. Feeling very down. (yells out from his cell) Huuurrrryyyyy!!! Mitch is very paranoid, and wants to kill himself. Mitch needs peanut butter like a crack-head needs a little fix. MITCH I'm not feeling good. Mitch starts shaking. MITCH Not feeling good. Not feeling good at all. Is this it, Mitch? It is time yet. Calm down, that guy went to get us some good stuff. Just calm down Mitch. Not feeling good. It will be time soon. Time is running out. Mitch falls to the ground. FADE TO: INT. A DARK ROOM A big clock is ticking. Pete Skolari begins narrating. PETE (V.O.) The countdown continues... The countdown continues... A timer is counting down from 90 seconds. Pete is in a dark room similar to his early hallucination. He stands near the big clock. Everything appears to be some dream, even the way Pete talks. PETE (V.O) Countdown until there is no more time. No more time. Looks like I been here before. I been here, but I don't know when. Don't know if this is the past or the present, or even the future. Pete's eyes wander around. PETE (V.O.) Things get repetitive. Things get repetitive. Thoughts keep on coming. Got to figure it out. Got to make it through this. I feel like, I'm lost. Lost in a world full of confusion. "The Masked Figure" appears behind Pete. PETE (V.O.) No matter what, someone is watching. The antichrist is watching. I got to get some help. Got to find a way to get help and go back to how things were. Pete encounters pieces of a giant jigsaw puzzle. He lifts two giant pieces and tries putting them together. PETE (V.O.) Got to get help. Help me in this puzzle. Life is a big puzzle. Try to find the pieces that fit. I try to make it fit. The pieces wont fit until you find the right one. The counter shows: "3, 2, 1." PETE (V.O.) Got to make it through before time runs out. As soon as the counter shows "1," we hear a whisper: A VOICE Wake Up. Pete's eyes open up. INT. PETE'S HOSPITAL ROOM Pete gets up from his hospital bed. Pete is somehow little bit different than before. His behavior is a little bit more strange. Pete begins writing in his journal. PETE (V.O.) Today, is another day. Another day closer to my destination. Need to stay focus to reach my destination. Pete writes in his journal, this time with little bit more confusion. PETE (V.O.) But somehow, it feels like I'm losing focus. Starting to feel like, I don't know where I'm at. In the dream world, or reality? I said, Pete, you got to stay focus. Focus for what? I'm losing it here. Remember, you chose to be here. Pete stops writing and looks up. He looks at the room around him. He notices a calendar on the wall. PETE (V.O.) You chose to go see Dr. Stevenson. That's right, Dr. Stevenson told me to stay here until I get better. I'm losing track of how many days its been, but luckily writing my thoughts in this diary, helps me stay focus. Pete continues writing. The words on the journal are very hard to read. PETE (V.O.) I just got to stay put, and take medication everyday, until that final day. My last day, I will take three special pills. Three pills to make me better. I'm not crazy. That guy staring at the wall is crazy. INSERT: A guy stares at the wall next to a window. INT. PETE'S HOSPITAL ROOM PETE (V.O.) I feel like I'm repeating myself. I'm going to get up and take a break. Get my thoughts back in order. Pete gets up and exits his room and begins to walk down the hallway. INT. THE HOSPITAL HALLWAY PETE (V.O.) Down this hallway, we find a couple of patients wandering around. Each of these doors are rooms to the other patients. The more dangerous patients, they keep them upstairs. Pete passes by a door that is locked with chains. PETE (V.O.) I heard they keep them sedated twenty four seven. I mean they have them in strait jackets. They don't even have access to pens or journals. I hate to go up there. Staff members who include nurses, are seen behind glass doors. They sort out pills and are sitting in chairs. PETE (V.O.) In each corner, we have the staff. The staff keeps an eye on us. Telling us the times for food and medication. I met this one crazy guy, his name is Woodchuck. Pete passes by WOODCHUCK who is staring at a clock. PETE (V.O.) I guess everybody calls him woodchuck. Pete talks to Woodchuck. PETE Hey Woodchuck? Woodchuck stares at the wall while he talks to Pete. WOODCHUCK Hey man, how's it going? PETE Just another day. WOODCHUCK I hear you. Days are going by slow for me though. PETE Really? WOODCHUCK Yeah. PETE Well, is just of matter of days for me. WOODCHUCK Why? PETE Well, my last day is after I take the three yellow pills. And I'll be gone Woodchuck. Time to go back to work and stuff. WOODCHUCK Hey, I'm supposed to take those three yellow pills too. PETE Really? I didn't know that. WOODCHUCK Yeah, a whole bunch of us do. I heard everybody has to take them. Pete looks around the room. PETE Maybe you all will get out of here soon then. WOODCHUCK Aww man, I doubt it. I'm in this motherfucker forever. PETE Why? What did you do? WOODCHUCK Nothing really. I just can't really take care of myself out there. PETE I don't understand. Woodchuck looks at Pete for the first time. WOODCHUCK You know, having a steady job. Paying bills. Having a girlfriend, buying her ice cream and shit like that. I can't do it. PETE Maybe after taking those yellow pills, things can get better for you too. WOODCHUCK I sure hope so. If not, fuck it. PETE Just got to have hope Woodchuck. Keep on having hope. That's what I'm doing. I'm trying to stay focus. Just need three pills to make me better. WOODCHUCK Say, what's your name again? PETE Pete, Pete Skolari. We met on my first day here, when you and a few others were in the same room taking medication. WOODCHUCK Nice talking to you Pete. Woodchuck starts walking somewhere. PETE Where you going? WOODCHUCK I'm trying to learn how to fly, Pete. Woodchuck points to the clock. WOODCHUCK Everyday at this time, I go to Blake's room, and he teaches me how to fly. PETE Okay then. We'll see you. Woodchuck leaves. Pete stares at the clock then walks around. PETE (V.O.) Woodchuck is definitely crazy. Crazy like these others. But i'm not crazy. I know what I got to do. Just wait until that very day. And when it gets there, I will be one happy guy. Maybe I'll have some ice cream walking down the street on a sunny day. One thing is for sure though, I'm not feeling good today. The NURSE approaches Pete. NURSE Time for your medication, mister Skolari. Pete follows the nurse as he narrates. PETE (V.O.) Not feeling good at all. Maybe a little medication will help me. Help me get by. INT. WAITING ROOM The nurse hands Pete a cup and a couple of blue pills. PETE (V.O.) Time for my medication. Hope I don't act like that guy over there. Pete looks to his right and sees a patient who is shaking as if having a seizure. Pete swallows the blue pills. The patient next to Pete is turning red while he continues to shake. The nurse gets some kind of device and calms him down. Pete sits down on a chair. PETE (V.O.) Circles are circling around me. Feeling a little bit better. Just waiting for the time to come. The countdown. It's funny that one minute I'm sitting here, the next, I'm in the streets. EXT. THE STREETS. DAY A pair of wheels from a car pass by. "Marmalade," by System of a Down, plays. Pete is on the sidewalk staring at the road. PETE (V.O) This time I'm not in the car. Things repeat but this time with slight differences. Pete appears to be more confused and a little bit more paranoid as he crosses the street. PETE (V.O) It feels like I'm either back in time or went to the future. Pete walks on the sidewalk. PETE (V.O) I'm repeating the same scene. A kid eating ice cream walks by. The kids wears a "Kill your Parents" shirt (a la Marilyn Manson). PETE (V.O) This time we have a kid eating ice cream. But is no longer a sunny day. Pete walks down a block. PETE (V.O) In fact, it looks like it wants to rain. The homeless are still out. The homeless man with "The End is Here" sign is at the same corner as before. The homeless takes off his sign. PETE (V.O.) The homeless takes off his sign. The homeless walks into an alley with his sign. PETE (V.O.) He goes into the alley. CU of needle shooting heroin into veins of a dirty junkie. PETE (V.O.) Grabs a needle and starts shooting. The homeless man shoots heroin and slowly puts his head up. PETE (V.O.) He sees the future. (Pause) Meanwhile, on the other side... The cop from earlier is eating a donut from the box. PETE (V.O.) ....the police don't care about the homeless shooting up because he's enjoying his Creme Delights. Pete then sees "the masked figure" walking towards him. PETE (V.O.) The masked figure is out there. This only makes things complicated for me. Pete, calm down. Pete turns away from "the masked figure" and walks at a faster pace. "The masked figure" starts following him like a stalker. PETE (V.O.) This is not happening. Everything is not real. You might think that it is, but it's not. You might want to make sense out of these things. But don't even try. Don't try because you're just wasting time. Pete reaches a corner and loses "the masked figure." PETE (V.O.) Are you going to get some help Pete? Help? Who are you looking for? I am looking for myself. Who are you looking for? Pete takes a little break and repeats himself. PETE (V.O.) I am looking for myself. Looking for myself because, after finding myself, I will get back on track. Pete sees "the masked figure" again and begins walking fast again. PETE (V.O.) I'm losing it, but I got to find myself before it's too late. Pete walks into a line of people. The same people from earlier, but this time, the mood is gloomy. Pete is at the end of the line. PETE (V.O.) Now I'm waiting in line. Waiting. It's all about time. Why am I standing in line for? Scenes repeat over and over. This time with more and more details. Things appear more closer. With slight differences. The cycle keeps on moving. Circles are in motion. I just got to find out why I'm here for? I look at across the street, and there's protesters. On the left side of the street, the man with no legs from earlier, continues to read a book to a crowd of protesters against Mr. Gilliam. PETE (V.O.) These protesters have some special visitors. A black van pulls up with several uniformed men. The men approach the crowd of protesters. The uniformed men look like they are ready to either kill or arrest these people. PETE (V.O.) I wonder was going on? Something I don't have a clue about. Like this line. What is this line for? Pete bothers the GIRL in front of him. PETE Hey excuse me? The girl in front of him answers. GIRL Yeah? PETE What is this line for? GIRL You're joking, right? PETE No. I'm not. GIRL You really don't know? Pete nods his head saying no. GIRL Hey Johnny, this guy doesn't know what this line is for. JOHNNY, the guy in front of the girl, turns around. JOHNNY What a fucking idiot. GIRL Everybody knows what this line is for. PETE I realize that, but I need to know. JOHNNY Hey buddy, you see way up ahead? Pete tries to see ahead. PETE I can't see that far. JOHNNY Well, let me explain. You wait in line. When you get to the front, you'll find a gun, and you'll kill yourself. Simple as that. Pete is confused. GIRL (to Pete) After that, the government takes your body and makes weapons of mass destruction out of it. (to Johnny) Johnny, this guy's is a fucking idiot. Pete is still confused. Pete can hear gunshots in the background. Pete gets out of the line and walks to the front of the line. PETE (V.O.) Need to find answers. Need to find out what is going on. Something's wrong. There's a stand in front of the line. The person in front of the line, touches a button, then a gun pops out. The person grabs the gun and enters a door. Another gunshot is heard. Up to this point, Pete loses his mind completely. Things become more dark and more bizarre for him. Pete runs. PETE (V.O.) Don't know if things are making any sense? Things that i see. Things I cannot fully explain. You might want a better explanation, you might want me to tell you everything. But I can't. I can't because I don't know if I'm making any sense? My head is spinning. Then it gets dark. INT. A ROOM OF DARKNESS PETE (V.O.) Dark again, get a hold of yourself Pete. Lights turn on. Bob stands next to a light switch. INT. A DREAM LIKE ROOM The room has a dream look to it. Similar to the dreams of Laura Palmer in David Lynch's "Twin Peaks: Fire Walk With Me." PETE Bob, what is going on? Bob mimics Pete. BOB Pete, what is going on? PETE I don't know Bob. BOB I don't know Pete. PETE Bob, stop it. BOB Pete, stop it. PETE I'm serious man, quit repeating me!! BOB I'm serious man, quit repeating me!! PETE Bob, this is crazy. BOB Pete...(silence)..you are crazy. PETE Crazy? BOB Yes!! Crazy. I mean here you are having a conversation with yourself. What do you think? That you're sane as a shit in the toilet? PETE What? BOB Admit it, there's something wrong with you. PETE What's going on Bob? BOB Remember what Doctor Stevenson said, just calm down. We are going to get through this. Things will fall into place. PETE You're right. BOB Pete, you just got to open your eyes a bit. PETE Yeah, I'm trying. BOB Let's have a drink. Bob and Pete walk to a bar in the other side of the room. Behind the bar, lies a cd player and a cd booklet. Bob gets behind the bar. Pete sits in one of the chairs. BOB What about some music? PETE Sure. Bob flips through the cd case full of cd's next to the player. BOB What you in the mood for? There's different music for different days, different occasions. Pete looks at Bob. BOB Sometimes you need some good rock or something dark. Then other times you need maybe some salsa or some ska. In between, whatever you're in the mood for. PETE I don't care. BOB How, about something jazzy? PETE Sure. Bob puts on something jazzy. "La Grippe," by Squirrel Nut Zippers, plays. BOB What can I get ya? PETE What about a vodka tonic? BOB Sure. Bob pulls out a bottle and a glass with ice. He pours liquor into the glass. Then pulls out a lemon and a lime. BOB Lemon or Lime? PETE Lemon!! Bob cuts a lemon and squeezes a lemon slice inside the glass. He then pours tonic into the glass. He hands the drink to Pete. BOB Pete, all I can say is, you need to take it easy. Pete takes a sip of his drink. BOB You're making up shit. Then you don't want to admit that you're crazy. Pete listens to Bob while drinking. BOB Yup, very complicated stuff here. A STRANGE MAN appears in the other side of the bar also drinking. STRANGE MAN I once bought this half dog and half monkey on ebay. Pete wonders "where the fuck did this guy come from?" STRANGE MAN I was looking forward to receiving it. Hell, I even put in a little extra for the shipping. I waited and waited, and finally after a few weeks, this package came. I knew it was my half-dog half monkey because of the holes around the box. I opened the box, then I immediately closed it. It was so horrible, I didn't want to see the damn thing again. I mean, on the internet, the pictures were different. So I was disappointed. I put the box in the closet. Went to the bar, started drinking for a while. The strange man takes a sip from his drink and continues with his story. STRANGE MAN Anyways, after a few days of depression. I decided, what the hell. I paid a lot of money on the thing, I might as well enjoy it. So I went to the closet and opened the box. And that fucking thing, (pause) that fucking thing died on me. And so here I am. But I'm making the best of it. BOB Pete, you just got to make the best of it too. Just make the best of it, you know? PETE The best of it? THE STRANGE MAN And if the world is going to end, you might as well go out with a bang. Bob gives a "what the hell are you talking about" look to the strange man. PETE But you're right Bob. You're right. Earlier you said, I was crazy. I think that I am. BOB Are you accepting it? PETE Yes. I'm crazy. Something is wrong with me. THE STRANGE MAN Hey, if you're crazy, why don't you go through that door over there? Pete looks at a door at the end of the room. PETE That door? THE STRANGE MAN Yeah. You go in there and you get you some help. BOB That's right Pete, go in there and get some help. Pete takes one last sip of his vodka tonic and leaves the bar area. He walks slowly pace with the music behind him. He opens the door and enters. INT. THE HOSPITAL'S HALLWAY Pete is back at the hospital, wondering what the hell happened. Pete closes the door behind him. Music fades as the door closes. He walks down the hallway. He sees patients everywhere. He gets a little paranoid. Every patient and everyone around him, appears different to Pete now. PETE (V.O.) Hallucinations, they don't make sense. You try to make sense out of it, it's like trying to solve a puzzle. But the pieces don't seem to fit. The pieces don't fit. INT. PETE'S HOSPITAL ROOM Pete enters his room and grabs his diary. PETE (V.O.) The pieces don't fit. Everything is not real. Everything is not real. Thoughts come and go. They go here and then they go there. Am I crazy? Maybe so. Maybe not like these people out there. But I'm sick. Pete looks at his clock by the bed. PETE (V.O.) But the countdown continues. The countdown continues. Pete sits down and writes in his journal. PETE (V.O.) Dr. Stevenson said, that after these two weeks, I will take three yellow pills. I will get better. It's just a matter of days. Matter of days. Just another day closer to my destination. Back to work. Back to paying bills. Back to paying taxes. Back to obeying laws and eating crappy food. Back to having a normal life. Looking forward to it. That's right. Pete stops writing and gets up. He looks at the right. PETE (V.O.) I may be crazy, but you just gotta have some hope. Sometimes you just got to remind yourself, that everything will be alright. That things will get better. Three pills to make me better. Yes my friend, the countdown continues. Pete stares at the wall with a look that says, "Hope is my only friend, and I can only hope for good times." He takes a deep breath. PETE (V.O.) The countdown continues. Pete closes his journal. The closing of the diary makes a big noise, like slamming a big door. BLACK FRAME We are in darkness for a few seconds. We hear sounds like we are on a cellar somewhere. Then through the lens of a camera, someone takes the cap off the lens. INT. A CELLAR ROOM We are looking at some kind of cellar through some kind of camera. The screen is black and white and it's a wide shot. The man who just uncover the lens presses a button. The screen then has a big red circle at the top and it says, "REC." The man is BUCKETS LANE. He looks innocent and acts like a kid, but he's in his late twenty's. He is sometimes sarcastic, but mostly paranoid and always looks behind him. (His personality resembles the character, "Charles Freck" in "Scanner Darkly," and also David Arquette's character in "Dream with the fishes.") Buckets begins talking to the camera. BUCKETS LANE Today is Thursday. My name is Bucket's Lane. A lot of people might pay money for that information. Maybe not. Today is Thursday. I am recording this as a testimony of what is happening out here. A lot of things are happening, crazy things. You got to excuse my behavior. I have not taken any medication since we escaped a few weeks ago. You see a lot of us escaped out of the nut house. We escaped, and now we're hiding somewhere down here. We are survivors of the (in quote) Human Experimentation. A lot of people died up there. We are down here now, but we are not safe. Nope, we're not safe anywhere. Even in this hidden place, we're not safe. CUT TO: OVER BLACK The title appears: "Even in this hidden place, we're not safe" Then another title appears above these words: "The Diary of Buckets Lane" CUT TO: INT. A CELLAR ROOM BUCKETS LANE In case you see this video, I just want to let you know that there are crazy things happening here. Maybe we are all just a little bit traumatized of the things that happened up there. There are a lot of us down here. Some of us came from different hospitals. When I first arrived here, I couldn't believe my eyes. It was like another city that is hidden underground. No one up there knows this place exists. Hell, I couldn't believe it myself. (Pointing two fingers) Two things happened yesterday. One, I fell in love with this girl. I'm actually going to see her today. The second thing is, I came up with a theory that we will also die down here. We are not safe anywhere. I think people need help. Let me tell you about yesterday. Yesterday began with me eating an apple. TRANSITION TO: INT. THE CELLAR The screen is in color now and it takes place in the same room. Buckets is wearing a different outfit. He is eating a shiny red apple sitting in a chair. A VOICE Hey Buckets.... Buckets turns to his left. A bizarre guy named CHINIKERS yells at Buckets from the door. CHINIKERS Buckets? Let's go. BUCKETS LANE Where? CHINIKERS To the Waker pad. BUCKETS LANE But why? CHINIKERS They are doing a show for us. BUCKETS LANE For us, what kind of a show? CHINIKERS I don't know Buckets, just it's something to entertain us. You know? BUCKETS LANE I kind of wanted to stay here and relax. CHINIKERS You always stay here man. You need to get out more. Besides, few of the guys went up there to get some more food and stuff for us. Say, where'd you get that apple? BUCKETS LANE I saved some from last week's break in. You want one? CHINIKERS Of course I want one. Buckets pulls a box with apples and throws Chinikers an apple. BUCKETS LANE They're really good. Chinikers bites on the apple. CHINIKERS So do you want to go or what? BUCKETS LANE Last time you invited me somewhere, I ended getting all covered with tomato sauce. CHINIKERS Buckets why you got to bring that up again? You can't take a joke? This is for real. BUCKETS LANE I don't know Chinikers. You're a fucking asshole sometimes. CHINIKERS Yeah, but I'm still your friend. Buckets looks around knowing that he'll be bored if he stays. BUCKETS LANE Would there be any kind of drugs? CHINIKERS Buckets, we are going to the Waker Pad. You know they'll have something for you. BUCKETS LANE In that case, let's go, I just don't want to be covered in tomato sauce again. CHINIKERS Buckets, I promise, there won't be any tomatoes in sight. Now lets hurry and get to the show. BUCKETS LANE Okay. Both of them walk out the left door. "Carousel," by Mr. Bungle, plays. INT. THE WAKER PAD A big colorful christmas jester stands in front of a big room. The room has a hallway leading to another room. This is a place that is hidden underneath the ground near a hospital. There's a big muscle man with a big gun guarding some kind of entry door. That entry door is the gateway to the surface. This place belongs to SMUCK and his Waker Clan. The group that is responsible for helping patients escape out of mental institutions. There's about 15-20 people walking in this room. A man holding a bowl of white pills, stands near the hallway entry. People grab pills as they pass by. "Carousel" by Mr. Bungle continues playing. Buckets and Chinikers walk down this room. They stop to greet Smuck who happens to be standing in the center of the room. CHINIKERS Buckets I want you to meet Smuck, the leader of the Waker Clan. SMUCK Hello Buckets, at last we meet. Smuck and Buckets shake hands. SMUCK Chinikers, can you see if Glimpie is almost ready? He's back there practicing his lines. CHINIKERS Yeah!! I'll be right back. Chinikers leaves to a door. Buckets and Smuck talk. BUCKETS LANE Chinikers said something about a show? SMUCK Yes. The show will start in a few minutes. It should be good and entertaining. BUCKETS LANE Chinikers also said something about some "medication." Smuck directs Buckets to the person holding a bowl of white pills. SMUCK Buckets, help yourself. Buckets grabs a handful of white pills. SMUCK Which hospital were you in? BUCKETS LANE I don't know the name, but it's the one up north. SMUCK It's a shame about those who didn't make it, huh? BUCKETS LANE Yeah. SMUCK I heard society is revolting. It's chaos up there, Buckets. BUCKETS LANE I just want it to be over. SMUCK We all do Buckets, we all do. But who knows when? BUCKETS LANE We were just a bunch of guinea pigs. Buckets puts a couple of pills in his mouth, he swallows them. SMUCK Fucking doctors. Always want to fuck you up even more than you already are. Just to get a quick buck. It's not all about money, Buckets. BUCKETS LANE These are good (referring to the pills). SMUCK It will get better when the show starts. Come on let's go to the show room. They walk to the hallway. INT. SMUCK'S HALLWAY Buckets and Smuck walk down the hall passing a few people. A man and a woman are making out. It's all colors in the hallway, like going to a night club. SMUCK Buckets, there's going to be more shows like tonight. If you like tonight's show, and if you're interested, you can be part of the next show. Buckets starts acting like he's tripping on some kind of trippy drug. SMUCK Let me know later if you're interested? It is your decision. Buckets feels lost. BUCKETS LANE Sounds like something I got to think about. SMUCK This is our future now, Buckets. We can't trust people up there anymore. INT. THE SHOW ROOM The show room is a big room with a stage on one side, and a set up for an audience on the other. A spotlight lights the stage. The left side of the stage consists of a cd player on a stand, and a little stairway that leads to a podium high on the stage. On the right side, is a microphone set up. Approximately 20 people are sitting down in chairs on the other side of the room facing the stage. The people are waiting for the show to start. Smuck and Buckets walk by the people sitting down. Sitting among the crowd is CHUCKZ and SMILEY. Smuck introduces Buckets to them. SMUCK This is Chuckz and Smiley. Guys, Buckets Lane. Chuckz is kind of hyper and talkative. Smiley is a very serious person, he looks depressed. CHUCKZ Buckets Lane, you're from the north hospital aren't you?. BUCKETS LANE Yeah, I got out of there before it was too late. CHUCKZ Shit, we all got out those places before it was too late. My friend Willie didn't make it though. (Pause) Fucking bastards. Chinikers enters the scene. CHINIKERS Ronald and Glimpy are ready Smuck. SMUCK Good. You boys make yourselves comfortable, I'm going to the side and coordinate some things. Buckets, it was nice meeting you. BUCKETS LANE Same here. SMILEY We gotta go too!! CHUCKZ See you later Buckets. Chuckz and Smiley leave with Smuck. Chinikers grabs Buckets and introduces him to a girl sitting down. CHINIKERS Hey Buckets, I want you to meet somebody. Buckets turns around and sees a girl sitting down in one of the chairs. The girl is wearing a helmet (she is the same girl wearing a helmet during Pete's hallucination from the beginning). When Buckets and the girl make eye contact, there is dead silence. A love song starts playing. (Shaboom, Shaboom oldie song) DISSOLVE TO: A MONTAGE OF THE GIRL WITH BUCKETS. They hold hands and kiss on this twenty to thirty second montage. They both run in the park, kiss by a tree, and hold each other while staring at a beautiful lake. It is obviously a fantasy inside Bucket's brain. After the love montage, Buckets gets interrupted by Chinikers. CHINIKERS Buckets, hello, come back to me!!! BUCKETS LANE Yeah!! I'm here. CHINIKERS I want you to meet, the beautiful, the wonderful, but dangerous, Sheela. Both of them shake hands. BUCKETS LANE Hi Sheela!! SHEELA Hi!! Buckets sits next to her. Buckets is a bit shy, like a 5th grade boy having his first crush. BUCKETS LANE (V.O.) I fell in love right there as I sat next to her. I tried not to get too obsessive and weird, but I couldn't help myself. INT. BUCKETS BEDROOM Behind the camcorder lens in "REC". BUCKETS LANE I have a big feeling about this one. Sheela, is a wonderful name. I can't wait to see her again. She'll be here any minute now. But let's continue with the show. INT. THE SHOW ROOM The show is about to start. The audience are making a lot of noise as the stage fills up with smoke and strobe lights strobe around the room. The audience consists of mentally ill patients, some appear normal, others appear strange. The strobe lights turn off and we have two spotlights on the stage, one on the right side and the other on the left. Smiley brings a man in a wheelchair to the right side of the stage up to the microphone. Smiley exits stage. The man in the wheelchair looks very serious and very strange. His name is RONALD. Smuck is standing by the right side of the stage. Chuckz walks up to the cd player on the left side of the stage. Ronald begins talking to the audience with his deep voice. RONALD My name is Ronald. I'll be your host for today. Music is such passion, a very great tool to escape and forget the harsh of reality. Let us forget these hard times for a moment. Let us forget for a moment, that there is no pain and no suffering. Ladies and gentlemen, let your minds go free. The audience applauds. Chuckz hits the play button on the player. A light turns on lighting up a small door on the back left side. A bizarre song starts playing in the player. Ronald sings along with the song. The song is "Happy Colored Marbles" by Ween. RONALD (SINGING WITH THE SONG) Most people are not ok, but they're taking their siestas in the sun. Got some ideas on the way it should be. But most of em' just carrying on. The little door on the left side, opens. A little man holding a sack of marbles comes out. The little man has the name, "GLIMPY," written on his forehead. He sings the chorus of the song as he walks forward to the audience. GLIMPY (SINGING WITH THE SONG) Happy Colored Marbles that are rolling in my head. I put em' back in the jacket of the one I love. Carry the velvet sack full of pretty colored marbles. And I'll ask you for em' back, when I'm ready and done. He stops at the stairway that leads to the podium. Ronald continues singing. RONALD (SINGING WITH THE SONG) Most people are not ok, and they're slackin' cause the job ain't done. Fillin' up on the poison nut. And getting down till the dawn. Glimpy climbs up the stairway as he sings the chorus one more time. When he reaches the podium, he lifts his sack of marbles. GLIMPY (SINGING WITH THE SONG) Happy Colored Marbles that are rolling in my head. I put em' back in the jacket of the one I love. Glimpy empties the sack of marbles from his right hand to his left. The marbles are shiny and dark colored. GLIMPY (CONT.) Carry the velvet sack full of pretty colored marbles. And I'll ask you for em' back, when I'm ready and done. As soon as he finishes his line, he drops the marbles to the floor. The marbles roll and fall down the stage. Pace with the music: Chuckz walks towards Glimpy with a gun. He hands Glimpy the gun. Smuck stands near the stage like some kind of stage manager. Glimpy drops the empty sack to the ground. The audience are confused. Glimpy points the gun to his forehead. Ronald watches the audience with a straight face. While the marbles are still rolling, Glimpy blows his brains out. (BANG!!!!) Fog covers up the stage as the song fades. FADE TO: INT. BUCKETS BEDROOM Buckets talks to the camera while it is recording. The image is black and white. BUCKETS LANE And that was the show. After that, I don't remember how i got back. All I know is that we are dying down here. Slowly but surely. That is why I'm recording this. Because our days are numbered. I think I'll call this video, Chronicles of the endtimes. We may have escape those hospitals, escape out of those experiments. But, we are not safe down here. Seems like someone is doing this on purpose. Seems like we are being watched. Sheela enters frame and interrupts Buckets. SHEELA Buckets? BUCKETS LANE Oh, Hi Sheela. SHEELA What are you doing? BUCKETS LANE I'm doing a documentary. SHEELA Ooh Cool, about what? BUCKETS LANE I'll explain it to you in a moment. SHEELA Okay. Are you almost done? BUCKETS LANE Yes. I'm done. Buckets presses a button to stop recording. The red circle disappears and all we have is the black and white video. Buckets grabs a few things from the floor while Sheela talks to him. SHEELA Buckets, I got a message from Smuck. BUCKETS LANE Yes? SHEELA He wants you to be part of the next show. BUCKETS LANE Did he tell you what I'll be doing if I do it? SHEELA Yeah, he said, you'll be playing the part that Glimpy played. He said it's your decision. Buckets is silent for a few seconds. BUCKETS LANE What do you think? SHEELA I think you'll be good for it. Buckets is silent for a few seconds more. BUCKETS LANE In that case, I'll do it. Let's go. Buckets looks back at the camera, he's paranoid. Buckets and Sheela exit frame. Few moments later, the camera starts shaking and then it starts moving forward, it makes a turn and we see a door. The door opens, and it's dark. The sounds of the cellar fade away. A match is lit, and we SEE "the masked figure." The same guy with the mask who's being appearing throughout the story. The masked figure is about to take off the mask. As soon as we're about to see who's behind the mask, the screen goes black. BLACK FRAME The title appears: "I saw the monster behind the mask" Then above these words, another title appears: "The Diary of Carlos Montes Cervantes" CUT TO: INT. THERAPIST'S OFFICE. DAY A young man sits on a couch talking to his therapist. The young man is named CARLOS. He seems scared and confused. The therapist is DR. STEVENSON. DR. STEVENSON What did you see? CARLOS (with a spanish accent) I keep telling people what I saw, but they don't believe me. I don't believe it myself. DR. STEVENSON Carlos, you can tell me. This visit is for you to be open. CARLOS I just don't know where to start. Everything is crazy, you know? DR. STEVENSON I understand. You tell me one thing, and then it leads to something very different. I've seen that kind of behavior before. CARLOS It's a mess. After that night, my head started hurting. I couldn't sleep. I couldn't be with my family. DR. STEVENSON Carlos, just take it easy. You're here, and I'm here for you. CARLOS My head still hurts. DR. STEVENSON Let me give you some pills for your head. The therapist gets up and exits frame. Carlos is shaking a little bit. He looks around the office. The therapist comes back with a glass of water and a couple of white pills. DR. STEVENSON Here you go. Carlos grabs the water and the pills. He questions the medicine. CARLOS What's this? DR. STEVENSON It's for your head. They're good, it really helps. Carlos swallows the pills and takes a sip of water. DR. STEVENSON (O.S) Now lets go back and tell me from the beginning. CARLOS The beginning? (Pause) I guess I can start where me and Pistacho were going to work. Just to think of it, the morning started out weird. EXT. PARKING LOT OF A FANCY HOTEL. DAY "Da, Da, Da," by Molotov, plays. Outside of a big building, are a few cars parked on the parking lot. Music is coming out from one of the parked cars near the building. Carlos and co-worker friend, PISTACHO, walk by this car. The car belongs to SERGIO, another co-worker, he's jamming to the music. PISTACHO Hey, Sergio, what's up? SERGIO Hey guys, what's going on? PISTACHO I thought you were going to quit? SERGIO I am, I am. You'll see. CARLOS Hey, we're going out tonight after work, what you got going? SERGIO You guys ain't going out tonight. We have a big banquet. PISTACHO That's right. CARLOS Which one? PISTACHO That one guy running for office, he's going to be here tonight. SERGIO A lot of important people tonight. CARLOS Fuck, I should call in. Pistacho looks at his clock. PISTACHO Aww, we better clock in and shit. SERGIO Ay los vemos. (Translation: See you later.) CARLOS (To Sergio) Don't you got to clock in? SERGIO Yeah, in a minute. I'm waiting for a couple of fools, I got to meet. PISTACHO You're dealing again? SERGIO Business, is business brother. PISTACHO See you man. CARLOS Later. Carlos and Pistacho enter the building. The music from the car fades down and we hear other music fading up from the inside. INT. BACKROOM/KITCHEN "Rey de los Sonideros," by Chon Arauza, plays. Carlos and Pistacho walk in the backroom and they both clock in to work on the computer. PISTACHO Otro pinche dia en este trabajo. (Translation: Another fucking day in this job.) CARLOS Can't wait to get out, man. Carlos and Pistacho walk to the kitchen where a few of the hotel staff are preparing lunch. They are listening to music while they cook. Carlos and Pistacho greet the other workers in the way. An OLDER MAN stops them. THE OLDER MAN Hey cabrones (fuckers)!! Get ready for a busy day. PISTACHO Shit, I'm ready, man. CARLOS Another day of slavery. THE OLDER MAN Did Sergio finally quit? CARLOS No, he's in the back. THE OLDER MAN I knew that fucker wasn't going to quit. Pistacho encounters someone on the side. PISTACHO Fuck, there's Locket. MR. LOCKET, the general manager of the hotel, walks around with his manilla folder. PISTACHO Why is he here so early? THE OLDER MAN Maybe because of tonight. Big event tonight. Everybody's going to be here. CARLOS What's this event anyway? THE OLDER MAN I don't know, is something to do with the elections coming up. PISTACHO We better get to work, before Locket starts talking shit. THE OLDER MAN Chale, este pelon no me asusta. (Translation: I ain't scared of this baldie) I been working here under six different managers, all of them are the same. PISTACHO Later. CARLOS Later, man. THE OLDER MAN Hey Pistacho? PISTACHO Yeah? THE OLDER MAN You still going to help me with that thing on Monday? PISTACHO I don't know, we'll see what happens. THE OLDER MAN Alright. Carlos and Pistacho walk to the Dishwasher area. INT. THE DISHWASHER AREA Carlos and Pistacho start up the dishwasher. They start sorting out dishes from the night before. PISTACHO Estos marranos (translation: These Pigs. Referring to the waiters who brought the dishes there). Carlos gets the dish soap box. It is empty. CARLOS Hey, I'm going to get some more soap. PISTACHO Alright, man. Don't take your time, now. Carlos leaves the dishwasher area. INT. STORAGE ROOM Carlos enters a storage room in the basement somewhere underneath the hotel. Carlos is alone for the first time, and he gets a little scared. He's trying to find the soap among the items on the shelf. He grabs it. INT. HALLWAY NEAR STORAGE ROOM On his way back, Carlos encounters a MAN WITH GLASSES. Carlos gets scared. MAN WITH GLASSES Are you Carlos? CARLOS What? The man with glasses walks towards Carlos. MAN WITH GLASSES Are you Carlos Montes Cervantes? Carlos takes a look at the man with glasses to see if he knows him, but he's never met him before. CARLOS Yeah! What's up? MAN WITH GLASSES I have a message for you. CARLOS From who? MAN WITH GLASSES From a very important man who wants you to do him a favor. CARLOS Well, I'm working right now. I (Pause), I don't have time. MAN WITH GLASSES It is nothing big, just a little favor. Carlos doesn't care what he's saying. CARLOS I'm not interested. Carlos walks away from him. MAN WITH GLASSES You'll live to see your kids. Carlos pauses and turns to him. CARLOS My kids? MAN WITH GLASSES Carlos, I work for mister Munzer. Do you know who Mister Munzer is? CARLOS No. MAN WITH GLASSES Mister Munzer is a man who works for very, very important people. And he wants you to do him a favor. CARLOS But, I don't know him. MAN WITH GLASSES Mister Cervantes, do you see that person over there? The man with the mask is in the corner of the hallway walking towards Carlos. Carlos freaks out. MAN WITH GLASSES That guy, will poison your children. "The masked figure" shows Carlos a photo of Carlos and his children. MAN WITH GLASSES Now, all you got to do mister Cervantes, is get the card to room three hundred and thirty three, you get the card, and you let this person inside that room. That's it. You do that, and everything will be okay. Carlos in confused state of mind responds. CARLOS Why me? MAN WITH GLASSES You were randomly chosen by our organization. You do this favor for us, and everything will be okay. INT. THERAPIST'S OFFICE. DAY Carlos sits frustrated in Dr. Stevenson's office. He is very confused. CARLOS I'm confused doctor. This doesn't make sense, none of this. But it really happened. DR. STEVENSON I see. So what did you do? CARLOS I became different. I acted different. But I came through. I have a friend named Rosa who works on the front desk. She has a crush on me, at least that's what I heard. DR. STEVENSON Did you ask Rosa for the key? CARLOS Yes. DR. STEVENSON And what did you tell her? CARLOS I told her,... INT. FRONT LOBBY OF HOTEL Carlos talks to ROSA in the front lobby. Carlos flirts with Rosa. Rosa flirts back. Carlos talks to Dr. Stevenson while this is going on. CARLOS (V.O.) Hey, I need this key because...(Pause) Because..(Pause) Carlos pauses to Dr. Stevenson while We SEE that both him and Rosa are flirting. CARLOS (V.O.) Because, I fucking need it. DR. STEVENSON (V.O.) And what did she do? CARLOS (V.O.) What do you think? She gave me the key. Rosa gives Carlos the key. INT. THERAPIST'S OFFICE. DAY DR. STEVENSON Then what happened? CARLOS (Takes a deep breath) I did it. (Pause) The whole hotel was crowded with people, the banquet had already started, but I did it. There was security everywhere. Everywhere, except for room three hundred and thirty three. INT. HALLWAY TO HOTEL SUITES Carlos and "the masked figure" walk up to the door that says "333." Carlos opens it with the card. He lets "the masked figure" inside. The door closes. Carlos stares at the door for a little bit. Carlos heads back. He takes a deep breath and releases a sign of relief that is over. Then, he hears music coming out from that room. "Space Mutants 4," by The Phenomenauts, plays. Carlos is curious about what is going on. He hesitates for a moment, then he goes back to door and opens it. He enters. INT. HOTEL ROOM The room is dark. Carlos flips the light switch. The lights turn on. Carlos looks for "the masked figure." He's nowhere to be found. The music still plays. Carlos walks around the room. He finds the radio near the window. He turns off the radio. Music stops. There's a brief case, by a table. Carlos is still curious about the situation. He opens the brief case. Carlos realizes this room is booked to Randy Floyd. Then he hears the door open. He is fucked. Carlos tries to hide somewhere. Randy Floyd, a prostitute, and his bodyguard, Mr. Hernandez, enter the room. Carlos hides behind the thick curtains from the window. He watches them. Randy Floyd is talking in his cell phone. MR. FLOYD Of course it's going to happen. We got a lot of people paying big money for this to happen. Mister Gilliam doesn't have nothing on me. Mister Gilliam will be through after this case closes next week. There is no way in hell, they are going to pass those bills. It's unreal. Human experimentation? Come on. Testing drugs on patients will not happen. Look, it's obvious that this is so bogus. The prostitute gets on the bed. Mr. Floyd watches her. MR. FLOYD Yeah, (Pause) I got to go. Alright. Bye. Randy Floyd hangs up the phone. MR. FLOYD (to bodyguard Mr. Hernandez) Thanks for your help. You can just be on the lookout outside. The bodyguard goes outside. Randy Floyd starts making out with prostitute. "The masked figure" lurks around in the background. "The masked figure" slowly opens the door, then a man and Max the Loon walk in. The man has a camera and takes a picture of Randy Floyd. The flash interrupts Randy Floyd and the prostitute. MR. FLOYD What the fuck? Max the Loon swings his baseball bat at him. CUT TO: INT. HOTEL ROOM. MOMENTS LATER Moments later, we are in the same room, except that the prostitute is taped up and Mr. Floyd is knocked out. Mr. Floyd gets conscious. Carlos watches while hiding in the curtains. "The masked figure" opens the door and Mr. Munzer and one more man walks in. Mr. Munzer whispers to the man beside him. THE MAN talks to the people. THE MAN Mister Munzer is here. Ray... RAY is the man who took the picture of Mr. Floyd and the prostitute. THE MAN ....get the dead bodyguard in here and let's try not to make a scene. Mr. Munzer whispers to the man again. THE MAN Mister Munzer says hi mister Floyd, how are you? Mr. Floyd getting back to reality from his blackout answers. MR. FLOYD Son of a bitch!! Mr. Munzer smokes his cigar and nods his head. THE MAN Mister Munzer does not like your response. MR. FLOYD You can tell Mister Munzer, that he won't get away with this. This is not the end. Mr. Munzer whispers to the man. THE MAN Mister Munzer said, this is the beginning of the end. Carlos is very scared hiding behind the curtains. Ray walks in to the door with the bodyguard's body. He drags him to another room. THE MAN Mister Munzer would like me to explain what is going on. You see, Ray over there, took a picture of you and the lady. That picture will be posted all over the media. You Mister Floyd, will now be referred to as a dirty politician. Mr. Floyd lays on the ground while Max the Loon puts his bat down and takes out a needle. THE MAN Mister Floyd, Max the Loon there, will be drugging you. Now that drug will put you to sleep for a while. You won't be running for office anymore. Mr. Floyd stares at the needle. THE MAN You're replacement will be a gentleman by the name of Mister Geiselman. You will sign the papers stating you're resignation, and appointing Mister Geiselman in your place. The people will then vote for who they think should win. It's a very good democracy. MR. FLOYD Mister Gilliam hired you all to do this? Mr. Munzer whispers to the man's ear. THE MAN Mister Gilliam works for us. In fact he is here right now. Mr. Floyd is very, very fucking confused. Mr. Munzer whispers to the man's ear. "The masked figure" walks towards Randy Floyd. "The masked figure" takes off the mask. WE SEE, Mr. Matthew Gilliam, the same person on the billboards, on the tv, the next leader. MR. FLOYD That's not Mister Gilliam. Mr. Gilliam talks for the first time. MR. GILLIAM Of course I am. It looks like we're going to have a bright future without you. MR. FLOYD Why are you doing this? MR. GILLIAM Too many questions. Too many answers. Let's not break our heads right now, let's relax. Carry on Mister Munzer. Mr. Gilliam puts his mask back on and walks near the door behind Mr. Munzer. MR. FLOYD What are you going to do with me? Mr. Munzer whispers to the Man. THE MAN You'll see. The man signals to Max The Loon. Max the Loon injects Mr. Floyd with a needle to his neck. He is unconscious. The prostitute screams with tape around her mouth. Ray smacks the girl with his gun. She's unconscious too. The room is quiet. Mr. Munzer whispers to the Man. THE MAN Max and Ray, start dragging these people to the bathroom. We are going to wait for transportation to arrive. Max the Loon begins dragging Mr. Floyd. Mr. Munzer whispers to the man. THE MAN One more thing. They all stare at the curtains. Carlos is spotted. "The masked figure" slowly walks to the curtains to reveal Carlos. Carlos is scared as hell. The man lights up Mr. Munzer's cigar. Ray drags prostitute from room. Max the Loon drags Mr. Floyd away from the room. " The masked figure" pulls Carlos from the curtains. CARLOS Wait.... INT. THE THERAPIST'S OFFICE Carlos is sitting down with the therapist. He takes a long sip of his water. He is more paranoid than before. DR. STEVENSON What happened? Carlos lost his train of thought. CARLOS Nothing. Forget I said anything doctor. DR. STEVENSON You were getting somewhere, Carlos. What happened next? Finish the story. CARLOS No. I'm lost. DR. STEVENSON Carlos, but I'm listening. CARLOS Can I start all over? DR. STEVENSON No, I'm afraid our time is up. CARLOS Doctor, I just can't think straight. DR. STEVENSON Carlos, you need to focus. You were telling your story fine. But then you lost yourself there for a minute, then it got confusing. CARLOS Sometimes, I have dreams about the end of the world. DR. STEVENSON Have you told anyone about this? CARLOS No, nobody would believe me. They all think I'm crazy. DR. STEVENSON Well, based on what I'm seeing and hearing, it sounds like you are having some issues. CARLOS I don't want to have these issues. DR. STEVENSON Carlos, I'm going to help you out. I think, everything that you're saying, does not make sense. Carlos looks at Dr. Stevenson. CARLOS Yes doctor, make this nightmare go away. DR. STEVENSON This is what I'm going to do to help you. Dr. Stevenson stands up and walks to her desk, she writes on a paper. DR. STEVENSON I'm going to prescribe you some medication, mainly some anti depressants. After a couple of months, if things are still the same, I am going to recommend you to commit yourself to a hospital. Dr. Stevenson sits back down. THERAPIST There's this hospital, where they are going to do this special treatment starting in January. I think this treatment can help you. After a few weeks at the hospital, you will take three yellow pills. After these pills, you can go home and be yourself again. CARLOS That sounds good. Whatever you think is best. THERAPIST Good. I'll get things started for you Carlos. CARLOS Thank you Doctor Stevenson. DR. STEVENSON Throughout this, I want you to take it easy. If things get hectic for you, remind yourself that things will get better. Always a good reminder. Carlos listens to his therapist. DR. STEVENSON (V.O.) Take some time off work if you have to. Keep a journal with your thoughts, that might help you get rid of these bad moments. Dr. Stevenson stands up. DR. STEVENSON Always, always, always have hope and wish for the best. Carlos stands up. CARLOS You're right, doctor. DR. STEVENSON We are going to get through this. I'll follow up in a couple of weeks. CARLOS Okay. Carlos walks towards the door. Dr. Stevenson interrupts him. DR. STEVENSON One more thing Carlos. CARLOS Yes? DR. STEVENSON The man with the mask, who did you say it was? Carlos is already too confused. CARLOS I don't remember. DR. STEVENSON Carlos, this is between you and me, okay. But try not to think about things like that. It might confuse others. CARLOS Was this all in my head? DR. STEVENSON Yes, I'm afraid so. But, we're going to take care of this. CARLOS Okay. Carlos turns around and walks towards the door. He turns back to Dr. Stevenson. CARLOS Wait, I think I know who was behind the mask. DR. STEVENSON Who? CARLOS The monster. DR. STEVENSON What monster? CARLOS The monster I had dreams about when I was a kid. I think its name was Alfred the Shoe Monster. My mother used to say, Ya biene alfredo el coo cooi de los zapatos. I always remember that. DR. STEVENSON We'll talk more about this in our next visit. CARLOS Alright. Doctor? DR. STEVENSON Yes? CARLOS You're right, those pills you gave me for my headache, they work. DR. STEVENSON They don't call me doctor for nothing, right? Dr. Stevenson gives him an evil look. Carlos walks away and exits Dr. Stevenson's office. The door closes slowly. Right before the door closes, "the masked figure" walks in the background and stands next to Dr. Stevenson. Door Closes INT. A VERY DARK ROOM Blackness around us while Pete Skolari begins to narrate. PETE (V.O.) The way in is the way out, the way in is the way out. I don't know what's going on here? Don't know if things are making any sense? Pete's eyes glance around. PETE (V.O.) Things that I see. Things I cannot fully explain. You might want a better explanation, you might want me to tell you everything. But I can't. I can't because I don't know if I'm making any sense? Pieces of a jigsaw puzzle float around Pete. PETE (V.O.) Each thought is like a piece of a puzzle. The pieces don't make sense. The pieces don't make sense. You put them together as a whole, it might make sense. You put them together, things become clear. Try to find myself. Don't exactly know what happened. Things are different. I am different. All I know is that I need three pills to make me better. Pete sits down next to a glowing window with darkness behind him. PETE (V.O.) I could be free, I could be normal, I could be just like everybody else. But the only thing I need is those damn pills. I could be free, I could be normal, I could be like everybody else. All I need is those three pills to make me better. CUT TO: BLACK FRAME The title appears: "Three Pills to Make Me Better" Above these words, another title appears: "The Diary of Pete Skolari." CUT TO: INT. THE HOSPITAL'S WAITING ROOM Pete Skolari is sitting down with other patients around him. They are watching television. Pete's behavior and personality has changed dramatically. While we remember Pete as somewhat normal, he is completely insane. PETE (V.O.) Cut the strings. Cut the strings, and I will be free. I am no longer you're puppet. No longer your puppet. If I cut the strings, then I will no longer be your puppet. Stand still. Have hope. What is today? Should I ask the nurse? Should I ask one of these guys? Questions become unanswered. Questions!! INT. THE HOSPITAL HALLWAY Pete walks along the hallway. PETE (V.O.) The circles continue to spin. Don't exactly know how long they been spinning. One day, I will cut the strings. If I cut the strings, then I will no longer be your puppet. Today is the first day of my last days. That's right. Today is the day I take the three pills. INT. PETE'S HOSPITAL ROOM Pete walks to his room and up to his journal. PETE (V.O.) Dr. Stevenson told me to wait until this day. The waiting is almost over. The countdown is here. When the countdown is over, then it is time. Time to change. Time to end a cycle and begin another. Write that down. Pete writes in his journal. PETE (V.O.) When the countdown is over, then it is time. Time to change. Time to end a cycle and begin another. It keeps repeating in my head. Don't know if this journal is helping me. Just got to remind myself, that everything will be alright. That I will take those three pills and everything will be okay. I was going to major in English. I love writing. Not good with grammar and stuff, but I love writing. Things come to my head. Some things are the past, some things are the future. It's kinda hard to distinguish them. I'm standing in this room, but then I'm not here anymore. I am working at Tuff Marketing. CUT TO: INT. TUFF MARKETING CALL CENTER Pete is in his cubicle at Tuff Marketing, and he is paranoid. He gets up and all the rest of the employees are brainwashed zombies working in their cubicles. PETE (V.O.) Another day of work, another day of making people rich. Another day to pay my bills at home and eat cup o noodles all day. Been working there for a few years now. Mister Fancy pants, who's been working here for a few months, is now assistant manager. MR. FANCYPANTS walks around showing off. Meanwhile on the other side of the room, supervisors are looking around while guards whip some of the workers. Pete gets up from his cubicle and tries to get away from this. He sees that everyone is sitting in their cubicles with helmets on their heads. A lady walks around with a control. She stops by a worker. She presses the button on the control. The worker works harder and harder. Mr. Fancypants approaches Pete with a helmet. MR.FANCYPANTS Hey Pete, put your helmet on and get back to work. Pete gets away from him and starts walking fast. A co-worker is dead in his cubicle. PETE (V.O.) Things become clear to me. Things are becoming clear. The world is somewhat different. I am hallucinating. This is not real, everything that I see is not real. EXT. THE STREETS.DAY Pete is back on the streets, the same streets as before. Things are different. The day is more gloomy than ever. "Ich Bin Auslander," by Pop will Eat Itself, plays. Pete walks by and sees the homeless man who was wearing "the end is here" sign. The homeless is dead on the street with a needle sticking out of his arm. Pete gets away from him. Across the street, is a kid walking while eating ice cream. The kid is smiling. His smile turns upside down when he encounters a dead body on the street. He is in disgust. After a few seconds, he licks his ice cream and continues walking. A cop eating his Creme Delight donuts is arresting a kid who previously had the box of donuts. Pete walks by all of these events. He is confused like he's been here before. Everything repeats except this time with slight differences. At a glance, Pete sees the protesters protesting against Mr. Gilliam. They are surrounded by uniformed men. The uniformed men force the protesters inside the black van. Pete walks in the streets looking around. PETE (V.O.) The homeless man dies of an overdose. People dead on the street. Cops arresting people for no reason. Protesters being taken away. Someone is watching. No matter what, someone is watching. Pete turns around and sees "the masked figure" who is close to him. He walks faster. "The masked figure" appears in front of him. Pete begins running in another direction. Pete is by himself, and just when he thought it was safe, the figure stands next to him and grabs him. INT. THE HOSPITAL'S HALLWAY A GUARD from the hospital grabs Pete. GUARD Alright buddy, settle down. Pete believes the guard is "the masked figure." He struggles. He tries to get away. He hits the guard. The guard calls for help. Others come to help the guard. They grab Pete and put him to the ground. A nurse comes in with the needle and puts Pete to sleep. INT. SEDATED ROOM Pete is in another room. Is the opposite of his regular room. He has a strait jacket on. He is all fried out because of the shot. He is strapped to a chair. Pete narrates at a lower pace. PETE (V.O.) Bunch of schizophrenics around here. That's what they have. They say I am one of them too. There are different kinds of schizophrenia. And different kinds of symptoms. Each person is different. But I'm not here to talk about what schizophrenia is. I'm here to talk about how I can get better. I know I have a problem, I admit it. But I also have hope. Hope is a good thing. I remember when I was normal, don't know exactly what happened. Just one day it hits you without a warning. We are a few, but our numbers are rising. A boy with one arm once told me that when the end is near, people will turn insane. All I know is that you got to have some kind of hope. And I hope, that after I take those three pills, things will get better. A lot better!! Bob interrupts Pete. BOB Hey Pete? PETE Bob!! BOB What are you doing here? Today is the day!! PETE I know. But I'm strapped here. BOB Well, there's a big line out there!! And you're missing it. Bob is outside the room. PETE Well, get me out of here. BOB I can't do that Pete. You gotta call for some help. PETE Where's the help when you need it? BOB Man, everybody is busy. It's chaos out here. PETE I need to make it. I need those three pills. BOB There's all kinds of doctors around here. There's even visitors checking things out. PETE Is Doctor Stevenson here? BOB I haven't seen her yet. PETE Bob, I'm fucking scared. BOB Why are you scared? This is the day you were waiting for. I mean all this time you been bragging about this day and about those fucking pills. PETE Fuck, I don't know. I guess I'm a little paranoid. BOB Paranoid? You look like a fucking puppet. That's what you are. PETE I am a puppet. BOB You just gotta cut the strings. Pete tries to get the strait jacket off. PETE The strings. BOB The strings. PETE The voices in my head are coming back again. BOB Fuck those voices man. You're going to get better. PETE I'm going to better, better. Back to normal, back to being like everyone else. BOB Thoughts come and go Pete. They go here and there. You got to be strong. PETE Strong. Everything is a puzzle to me. The pieces don't fit. I'm trying to make it fit. BOB You were never good with puzzles to begin with. PETE You're right. BOB Pete? PETE Yes. BOB You have to stop doing this to yourself. PETE What? BOB This. Talking to me. Thinking thoughts about the past and the future. Talking all this nonsense. You're crazy Pete, you're totally going insane. I mean, haven't you noticed? Pete looks confused. BOB Everything you said, everything you seen. It's all in your head buddy. PETE All in my head. All in my head. BOB It's all in your head. PETE Everything I'm saying it's all in my head. Everything that I see, it's all in my head. It doesn't make sense, because it's not real. I tried making sense out of it. But I failed. There is no puzzle. No puzzle. I don't make sense. I don't make sense. I'm not making any sense. Bob? Pete looks around for Bob. Bob is not there. Pete needs Bob. He is insecure. PETE Bob? I'm not making any sense. The nurse and a guard walk to Pete's room. NURSE Mister Skolari? Pete is speechless. NURSE Mister Skolari, it is time for you to take your special medication. The guard releases Pete from his chair. Pete gets up. NURSE You're going to feel a lot better mister Skolari. Bob will take you where you need to go. Pete looks at the guard. The guard has his name tag that says "Bob." Pete looks at the name tag. They both walk. INT. THE HOSPITAL'S HALLWAY The guard and Pete walk down the hallway. Pete narrates. His narration is more poetic and more stranger than ever. It is inspired by "Doppelherz," the short film by Marilyn Manson. PETE (V.O) Walking, walking is a journey one must do themselves. Walking to the other side. Faces look at me walk. They are watching. Watching every move. Maybe one day, they will stop watching. The shadows are behind, I'm walking away. The shadows are way behind. And I'm walking away. Everything that I'm saying does not make sense. Everything that I'm saying does not make sense. Following orders, we follow orders everyday. If you want to make it in this world, you have to follow orders. The guard leads Pete into the waiting room. INT. THE WAITING ROOM There's a big line of patients getting ready to take the three pills. The guard leaves Pete in the back of the line. The patients resemble the people waiting in line in Pete's hallucinations. Pete looks around the room. PETE (V.O.) I am standing in line. Waiting like everyone else. We been waiting in line for all of our lives. Waiting to reach our turn. Our turn and then we wait again. I am standing in line. Waiting like everyone else. We been waiting in line for all of our lives. Waiting to reach our turn. Our turn and then we wait again. Waiting for the three pills. The three pills that will make me better. The line moves a little. PETE (V.O.) Waiting for our turn. Have some patience. Have some hope. Hope is a good thing. Those who have hope are the lucky ones. Hope is a good thing, those who have it, are the lucky ones. Pete encounters Dr. Stevenson. PETE (V.O.) Doctor Stevenson is here, everything appears in order. Just in waiting in line. Waiting like everyone else. We been waiting in line for all of our lives. Waiting to reach our turn. Our turn and then we wait again. The line continues to move. Dr. Stevenson pulls a girl out of the line. The girl is Sheela. PETE (V.O.) The mind is a magician full of tricks. Tricks that are hard to understand. But when you kill the magician, the tricks are gone and the fun is over. Dr. Stevenson walks Sheela near the door that says, "faculty." A nurse walks by and hands Dr. Stevenson a helmet. She puts the helmet on Sheela. Sheela begins to smile. They go inside the door to the faculty room. Pete sees Mr. Munzer and few of his men walk into the waiting room. They all go into the faculty room as well. PETE (V.O.) The mind is a magician full of tricks. Tricks that are hard to understand. But when you kill the magician, the tricks are gone and the fun is over. A person who is staring at a wall, the same person staring at the wall earlier, begins to turn around. He is Max The Loon. Pete sees him and begins to get paranoid. Max the Loon walks to a trash can near by and picks up a red baseball bat. He also enters the faculty room. PETE (V.O.) The mind is full of tricks. You get to know all the tricks, the fun is over, and there's nothing else to look forward to. When there's nothing else to look forward to, there's nothing else to live for. And if there's nothing else to live for, then the end has arrived. The line moves forward. PETE (V.O.) When all of your dreams become true, reality will be destroyed. Pete looks at the television screen, Mr. Gilliam sits on a desk talking to the audience. We have no idea what he is saying. PETE (V.O.) When all of your dreams become true, reality will be destroyed. The line moves again. Pete is almost there. PETE (V.O.) Three pills to make me better, three pills to change my life. Three pills to make it all go away. The frustrations, the hallucinations, the confusion. Three pills to make me better. Woodchuck approaches a girl who is in front of Pete. WOODCHUCK Excuse me? GIRL Yeah? WOODCHUCK What is this line for? GIRL You're joking, right? WOODCHUCK No. I'm not. GIRL You really don't know? Hey Johnny, this guy doesn't know what this line is for. JOHNNY What a fucking idiot. GIRL Everybody knows what this line is for. Pete stares at them like he's been there before. A dejavu for Pete. The guard grabs Woodchuck and takes him away. The line moves inside another room. INT. EXAM ROOM A nurse hands Johnny a cup of water. Another nurse, holding a pair of latex gloves, hands Johnny three yellow pills. A guard stands guarding an exit door. Johnny takes the pills. The girl also gets her pills. Pete is the next in line. PETE (V.O.) The moment of truth. The moment of hope. The moment has finally arrived. I am a monkey waiting for my banana. I am a robot waiting for my battery. I am a zombie waiting for my brains. I am Pete Skolari, and I'm about to take three pills to make me better. Music begins. Pete grabs a cup of water from the nurse. The other nurse hands Pete three yellow pills. Pete looks at his pills. Pete puts one of the pills into his mouth. Waters it down with water. He swallows the second pill. He looks up and there's a camera pointing at him. Pete stares at the camera. The guard and the nurse pressures Pete to hurry up. He swallows the third pill. He puts the cup in the trash and leaves the room through the "exit" door. INT. HALLWAY Pete is on the other side of the door. A guard awaits him there and guides him into his room. Pete feels a little bit dizzy. Pete walks by other patients who are also dizzy. Some of them are on the floor, not moving a bone. Others walk slow. The rest of the patients are in their rooms laying down. INT. PETE'S HOSPITAL ROOM Pete finally reaches his room. The guard leaves him there. Pete walks for a bit in his room. He sees his diary. He opens it and begins writing. PETE (V.O.) It is done. It is done. Looking forward to the future. Looking forward to the future. Days on the lakes, eating ice cream. Cruising down the street. Looking forward to the future. I am feeling weak. It's probably the side effects. When the side effects are over, I will be a different person. I will be a different person. I feel like I'm in a coma. Feels like a big dream. Pete falls down and drops his journal. He gets up. Pete sits down in his chair. PETE (V.O.) I am falling into a coma. When you see me, I will no longer be here. I am falling into a coma. When you see me, I will no longer be here. I am falling into a coma. When you see me, I will no longer be here. I am falling into a coma. When you see me, I will no longer be here. I will be a different person. Pete grabs the journal from the ground. He flips the pages to the first page. He reads. PETE (V.O.) My name is Pete Skolari. I'm Pete Skolari. He flips a couple of pages forward. PETE (V.O.) Sometimes you got to remind yourself that everything is going to be alright. Everything is going to be alright. You are going to get better. You are going to get a lot better. Pete looks up and says his final words. PETE (V.O.) The future is just around the corner. I just got to have hope. I'm looking forward to the future. Pete collapses. His journal drops to the floor again. We PULL away from the room and we are now in the hallway. INT. THE HOSPITAL'S HALLWAY We See Pete's body laying on the chair. A pair of feet runs across. Few moments later, another pair of feet passes by. The camera PANS up and another patient runs across. While we SEE, Pete's room in the background, a little patient runs. It is Glimpy. We follow Glimpy. Glimpy runs along the hallway and he is encountered by a couple of other patients who happen to be, Chuckz and Smiley. They call his name. CHUCKZ Hey Glimpy, come over here. Glimpy stops and walks towards them. SMILEY Hey Glimpy, where are you running to? Glimpy with his kid-like voice answers. GLIMPY Away, somewhere. CHUCKZ What you got there? GLIMPY Just my sack of marbles. Glimpy pulls out some marbles from his sack. Smuck comes out of a hole from underneath. SMUCK Alright boys, get moving. Chuckz and Smiley walk towards the hole. Smuck talks to Glimpy. SMUCK Hey, Glimpy? Do you want to come with us? We found the perfect place down here. Nobody will find us. Glimpy is undecided. GLIMPY I don't know. I just, I.. SMUCK Come on Glimpy, it will be alright. Besides, you don't want to be up here and see the world end, do you? GLIMPY No, I guess not. SMUCK Say you like marbles? GLIMPY Yes I do. SMUCK Well, I found some more marbles down here. Let's go. Chuckz and Smiley step down into the hole. Glimpy looks back at the hallway, then he decides. GLIMPY Okay. Glimpy approaches Smuck and looks at the hole. GLIMPY It's dark in there. SMUCK Don't worry, that's just the basement. There's plenty of lights underneath that. Smuck pats Glimpy's shoulders. SMUCK Besides Glimpy, we're going to have a very bright future. You'll see. A bright future indeed. Glimpy smiles. CUT TO: CLOSING CREDITS "Clint Eastwood," by Gorillaz, plays. FADE OUT.
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