Dead Like Me
Episode 1.07: "Reaper Madness"
Written by Tom Spezialy
Directed by Robert Duncan McNeill
Transcribed by Kevin Z. for TWIZ TV.com
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DISCLAIMER:
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"Dead Like Me" and other related entities are owned, (TM) and (c) by
Bryan Fuller and Showtime Television. All Rights Reserved. This transcript
was made without their permission, approval, authorization or endorsement.
Any reproduction, duplication or distribution of this material in any form
is expressly prohibited. It is absolutely forbidden to use it for
commercial gain.
Episode opens with an opening shot of a CD player and then expands
to the rest of the room, with focuses of several workers.
GEORGE (VO): I remember once learning that the average human head
weighs 20 pounds. I know a lot of that is skull, flesh, and hair, if
you've got hair, but that still leaves a couple of pounds for pure
gray matter. And that means tons of tiny neurons are firing away
sending little signals to each other like, "I love to do the
salsa."(shot of a lady co-worker walking down an aisle)Or testing
other neurons with questions like, "Why am I only having sex with
myself?"(shot of male co-worker sitting at his desk reading a
magazine) And while we work hard making our brains work for us, a
little war is quietly underway. Half of these brain cells up there
are telling the other half to chill. Too many firings at once and
we'd be having siezures day and night. I wasn't about to take that
risk.
Delores walks up to George's desk with a girl.
DELORES: 'Ahem'. This is Fiona. She's going to be joining us
part-time. Helping us get a handle on that mess in data input.
GEORGE: Welcome aboard, Fiona.
FIONA: Thanks.
DELORES: I was hoping you could be Fiona's Mentor, get her up to
speed.
GEORGE: Mentor?
DELORES(excited): Mentor.
GEORGE: Mentor - a promotion without a pay raise.
Transition to a storage room where George is showing Fiona her job.
GEORGE: Basically all you have to do is peel off these edges so they
fit neatly in the box. And once you fill the boxes, they're to be
filed away never to be seen again, unless people start to eat paper.
FIONA: No ones ever gonna come look at these?
GEORGE: They don't even bother to label the boxes. At 12:30 you get
a 35 minute lunch 'hour'. Don't even ask.
FIONA: Does anyone ever come in here?
GEORGE: Not a lot, why?
FIONA: Just feels like a good place to do stuff.
GEORGE: Okay, like what?
FIONA: Stuff I like to do. Do you have any tatoos?
GEORGE(annoyed): No. Do you?
FIONA: Oh yeah. Yeah.
GEORGE(faking interest): What are they?
FIONA: Flowers. They're all flowers.
Fiona starts to unbutton her pants.
GEORGE: Uh, Fiona, I don't need to see flowers just this second.
FIONA: Cool. Sigh.I'm gonna be in this storage room all the fucking
time.
GEORGE: Fiona, I've been at "Happy Time" a long time, and if I'm
going to be your Mentor, then I'm just saying, you know, you can
really benefit from my experience.
Fiona searches drawers and cabinets.
GEORGE: What are you doing?
FIONA: I'm stealing pens.
GEORGE: Well, the really good ones are up there.
FIONA: Cool.
Transition to George going back to her office space.
GEORGE (VO): So when you think about it, half your brain is up there
telling you not to do stuff, and for the first 18 years of my life,
I listened...and then I died.
Transition to the Toilet Tree where George spies on Reggie who is
reading a book.
GEORGE (VO): Truth is, when you finally do eat it, or bite it or get
hit by a flaming toilet seat, it's not the big stuff you regret, you
know, the "live your dreams" crap. Near as I can tell, it's the
small stuff, like not reaching out to those who needed you the most.
Imagine yourself journeying through a world that is deranged, empty
and devoid of anchors to reality.
Transition to a street where Ronnie walks up to a man and starts
talking. George and Mason are sitting at a table nearby.
GEORGE (VO): That is the daily struggle for those suffering
schizophrenia.
RONNIE(to the man): Hi, I'm Ronnie Dobbs. I'm a Capricorn. I really
like long walks in the rain and stuff(laughing).
MASON: That's your boy.
RONNIE(to himself): I've seen them, I've spotted them, I've made
contact...
GEORGE (VO): A struggle where they can no longer distinguish what is
real from what is unreal.
RONNIE: I might be late.
MASON: He's not quite right, is he?
RONNIE: See. That's for you, I got to go in here(throws popcorn).
MASON: Well this one's mine over here. Oh well.
Mason walks over to the window washer and takes his soul. Mason sits
back down.
MASON: Come on. Occupation hazard, no? As far as I can tell, this
ones gonna fall on that one, blah, blah, blah, blah, blah.
Cell phone rings.
MASON: Yeah?
GEORGE: Yeah. It sucks.
MASON: George, wait.
GEORGE: I have to go after him.
MASON: Rube wants to see you.
GEORGE: Tell him I'm busy.
MASON: He said now.
Transition to the Waffle Haus where George, Mason, Daisy and Rube
are sitting at a table.
GEORGE: What do you mean, "clerical error?"
RUBE: What can I tell you, peanut, they had the date wrong.
GEORGE: So this guy, Ronnie Dobbs, is not supposed to die?
RUBE: No, he's supposed to die. Just not today.
Daisy looks through a car magazine.
MASON: See anything you like?
DAISY: No. I've never owned a used car. I just don't see myself
starting now.
RUBE: My first car was an 1898 'Systeme Panhard'. It's actually a
little more buggy than car. But it had beautiful lines. Actually, it
was a little jarring on my nuts.
DAISY: Used cars are for...well they're for other kinds of people.
Waitress delivers Daisy her food. Daisy looks annoyed as she glances
at it.
RUBE: Is there a problem, princess?
DAISY: This is not small-curd cottage cheese. It's large-curd.
MASON: And?
DAISY: And it's just too much curd. I can't eat it, and I won't.
GEORGE(annoyed): What is wrong with you?
DAISY: There's nothing wrong with me. I like things the way I like
them and I despise big fat globules of cottage cheese. Does that
make me strange?
RUBE: A little bit.
GEORGE: This Ronnie guy gives me the creeps. He looked at me as if
he knew what I was up to. He gave me this weird look.
MASON: The guy's a schizophrenic, all he has is weird.
DAISY: You know what? I don't think I've ever been in a used car.
RUBE(handing out post-its): One for you, and one for you.
DAISY: I don't think I've ever used anything used.
RUBE: Mind if I look?
GEORGE: Congratulations.
DAISY: I have slept with married men.
RUBE: Oh yeah? How many?
MASON: Can I go watch the window washer fall to his death?
RUBE: Sure.
DAISY: Oh, can I come?
Transition to inside building, where Ronnie is meeting with his
psychiatrist.
PSYCHIATRIST: Ronnie, you cannot go off your meds again, I'm your
psychiatrist, I have responsibilities here, okay?
Window washer passes the window. Ronnie looks at him.
PSYCHIATRIST: Ronnie, are you listening to me?
RONNIE: Yeah.
PSYCHIATRIST: I'll tell you what. Why don't you let me be the one
voice in your head that you actually listen to, alright? And since
you've proven to me that you can't be trusted, you're going to be
tested twice a week.
Ronnie see's a graveling pass the window towards the window washer.
The window washer falls to his death.
PSYCHIATRIST: It's just urine tests.
Transition to outside the building where the window washer is lying
and people are crowding and screaming.
DAISY: It's weird how they always fall butter-side down.
MASON(to the window washer's soul): Come one, man.
WINDOW WASHER(regretting): That's what I get for coming to work
wasted.
MASON: Do you mean drunk?
WINDOW WASHER: I just got a sweet beer-bong for my birthday, man.
MASON: Yeah?
WINDOW WASHER: Now that I'm dead, can I still get high?
MASON: Well, have you got some?
WINDOW WASHER: Yeah.
MASON(excited): Yeah? Great.
Mason and the window washer walk off as Ronnie enters. He see's the
graveling on the building. He then looks at George who is also
looking at the graveling.
Transition to inside "Happy Time" where George gets on an elevator
with Fiona.
GEORGE: Hey
FIONA: Hey
GEORGE: Sorry for sticking you with that job. If you need any help--
FIONA: No thanks, it's done.
GEORGE: Really?
FIONA: Yeah. Thanks for all your guidance. Here, have a pen(Fiona
hands George a pen as she exits).
Transition to George inside the storage room. She looks around to
find boxes neatly stacked around the room. She opens a box on the
table and notices the edges weren't peeled off.
GEORGE (VO): That's when I realized my favorite trainee was laying
down on the job. I had been a caring and compassionate Mentor and
she threw it back in my face.
Transition to George finding Fiona at a table reading a magazine.
GEORGE(hostile): Um, I checked the boxes. You can't just stuff the
paper in like that. The job was to remove the perforated edges.
FIONA: How can you be mad?
GEORGE(annoyed): Because you're not doing your job.
FIONA: But you said it was all bullshit.
GEORGE(hesitant): So?
FIONA: So, I believed you. You seemed to know what you were doing.
GEORGE (VO): I wasn't disappointed. In fact, I was kind of proud of
myself. I convinced her, like me, not to care. I, George Lass, could
be a role model.
FIONA: Are you reporting me?
GEORGE: No, Fiona, I don't think I will.
George leaves and on the way to her office she picks up a few
magazines from the recycle bin.
GEORGE (VO): And with that epiphany, long-ignored neurons went to
work, igniting new connections and reconnecting old ones.
Transition to George's apartment where she is ripping out pictures
from the magazine.
GEORGE (VO): Like the memory, that when I was a kid, the tooth fairy
never came to my house.(Flashback to a young George sleeping and her
mom is putting a note under her pillow.)Sure I lost plenty of teeth
and sure I stuck them under my pillow, expecting a cool reward like
cash or candy...(Young George wakes up and finds the note under her
pillow)But my mom thought cash and candy were crass, so tooth after
tooth was instead rewarded with a thoughtful note, meant to
inspire.(Young George opens note. It says, "You are loved!")
YOUNG GEORGE(throwing the note in the trash can): This sucks.
GEORGE (VO): At the time I thought it was a total rip off.
(Flashback to Georges mom finding the crumpled note in the
trash)Like I said, it's the little things you regret. The next time
I lost a tooth, it was still under my pillow in the morning.
Transition to Reggie walking to her Toilet Tree.
GEORGE (VO): And then my young brain started putting it all
together. No tooth fairy, no Easter Bunny, no Santa. And I know my
sister Reggie must have felt the same.
Reggie finds a box hanging from the tree with a label, "George's
Box".
Transition to a park with people playing baseball. George walks up
to a person behind a ladder and looks at her post-it note. It reads,
"J.C. Yakimoro, 32 North Rd., ETD 11:01 AM". George finds Ronnie
sitting on a bench talking to himself and throwing popcorn to the
ground.
RONNIE(to himself): Time to embrace the glory and be free.
George sits down next to Ronnie on the bench.
RONNIE: Hey.
GEORGE: Hey.
RONNIE: I love the park. Especially all the beautiful things you
find in it.
GEORGE (VO): In case I haven't been clear, I'm undead, not
dead-dead, all those biological urges still apply.
RONNIE: I think I've seen you around. I'm Ronnie.
GEORGE: I'm just sitting here, you know, as in not talking to
anyone.
RONNIE: I thought you were sitting here because I was sitting here.
GEORGE (VO): Okay, another regret is that I never learned to flirt.
I guess it had something to do with the fear of rejection.
Fortunately, fear's grip loosens when you're already dead.
GEORGE: I'm sorry, that was rude, I'm George.
RONNIE: What do you do, George?
GEORGE: Office work, you?
RONNIE: I talk to pretty girls named George.
GEORGE(shy): Oh.
RONNIE(embarrassed): That was lame.
GEORGE: Yeah.
RONNIE: I'm sorry, I'm trying to flirt with you, it's not really my
thing.
GEORGE: And with that, we weirdly bonded. The only thing standing in
the way of even more bonding was that I may have been his grim
reaper. That I was as close as he's ever been to death.
RONNIE(stumbles): You want some popcorn?
GEORGE: No, that's okay.
RONNIE: You know what's crazy? Did you know that the human body has
over two pounds of living bacteria in it? Not human cells, but
foreign cells, okay? Like living creatures that set up entire
communities inside our bodies. We house them, uh, we feed them, we
carry them around. It's a pretty sweet deal for germs.
GEORGE: I'm not really a popcorn person. I have to go do something
right now.
George stands up from her seat.
RONNIE: He's gonna die...that guy over there.
George looks back at him astonished.
RONNIE: Death's coming for him, you know it too, don't you?
GEORGE (VO): I admit he'd caught me off-guard. So I played dumb.
GEORGE: I-I-I don't know...huh?
GEORGE (VO): Real, real dumb.
George and Ronnie see a graveling on a tree. A guy in the park hits
a baseball with a bit and it heads towards the walkway.
BASEBALL GUY: Heads up!
MAN: I got it.
A cyclist comes around the corner and continues on the walkway.
George takes his soul as he passes her on his bike. The man swings
with his shovel and hits the cyclist in the face knocking him off
his bike. People crowd around him. Ronnie looks surprised.
Transition to Rube's apartment where George is standing at the
doorway and Rube is sitting down.
RUBE: You got sloppy. He's seen you on the scene one too many times.
GEORGE: He knew the guy was gonna die.
RUBE: You said the guy on the bike died.
GEORGE: Well, he knew someone was gonna die.
RUBE: So you talked to him.
GEORGE: He talked to me. I talked back.
RUBE: A young fella?
GEORGE: Young enough.
RUBE: Sloppy.
GEORGE(impatient): What the hell was I supposed to do?
RUBE: Not be sloppy.
GEORGE: I know this is cliche to hate your boss but you're a real
dickweed.
RUBE: What you're feeling right now, the rage and frustration all
knotted together, binding everything from your head to your
digestive tracks? That's my life with you.
GEORGE: The guy talked to me. What was I suppose to do?
RUBE: Steer clear of people, we're undead, peanut. Undead are meant
to exist on the fringe of the living world. We're facilitators, not
participants.
George leaves apartment.
RUBE: These are awful. (throws chocolate in the trash)
Transition to Reggie in her room opening the box George left her.
GEORGE (VO): What I didn't tell Rube was that I should be good at
this because I spent my life living on the fringe. I was determined
not to waste another.
Reggie looks through the magazine cut-outs in the box.
Transition to Joy and Clancy's bedroom.
JOY: She's strange, Clancy. She's a strange 11-year-old.
CLANCY: She's just going through a difficult time.
JOY: She's been going through a difficult time for 11 years.
CLANCY: Yes, well, I don't think changing schools is the answer. In
fact, it'll only exacerbate things.
JOY: I spoke to Hank. He said we could borrow against your pension.
CLANCY: We moved to this neighborhood because the have a great
public school, and now you want to send Reggie to private. It seems
incredibly stupid.
JOY(annoyed): So let's just pretend that we have a normal child.
Okay, so let's just pretend that going to a huge public school where
she's already anonymous is going to cater to her needs, huh.
CLANCY: She lost her sister.
JOY: And she's lost. She lives inside her head. God know what's
going on in there. She's inscrutable.
Clancy scoffs.
JOY(annoyed): What?
CLANCY: Nothing. I'm not disagreeing.
JOY: Yeah, well I'd rather you disagree, at least for once you'd be
committing to something.
CLANCY: Let's talk to her. See how she feels about changing schools.
It may not be what she wants to do.
JOY: She's 11. How about we make the decisions for her, hmm? Act
like the parents.
Reggie enters the room.
CLANCY: Hey, honey.
JOY: Your dad and I were just talking about you. About the
possibility of maybe, you know, changing schools. Maybe going to St.
Theresa's over on Hillhurst.
REGGIE: I want to ride a horse.
Joy and Clancy look surprised.
Transition to the hall of George's apartment where Ronnie is
standing.
GEORGE: Why are you stalking me?
RONNIE: Why are you stalking me?
GEORGE: I'm not.
RONNIE: What were you doing with that window washer the other day?
GEORGE: I don't know what you're talking about.
RONNIE: Yeah, what I say to you right now, these are probably the
last words I'll ever speak.
GEORGE (VO): I was pretty confident it wasn't a pick-up line.
RONNIE: You saw what I saw climbing on that building. It's death,
it's been following me around. It's come to collect me.
GEORGE (VO): I knew better. I didn't have his post-it anymore and I
sure didn't see any familiar faces lurking in the shadows.
GEORGE: It just likes to keep an eye on us. It watches me all the
time and I'm still here.
Transition to inside George's apartment where they are sitting on a
couch watching a music video.
RONNIE: I love music. Well, I like listening to it...World Pop, and
French Club Scene. I could burn you a really great CD, if you want.
Ronnie tries to put his arm around George.
RONNIE: Well, uh...how about you? What do you like listening to?
GEORGE (VO): Except for the fact that he was mentally ill and I was
undead, it was starting to feel like a date.
GEORGE: I don't know. Lots of stuff.
RONNIE: So, do you have a boyfriend?
GEORGE: Not really...no.
RONNIE: That's so strange.
GEORGE: Why is it strange?
RONNIE: I mean, it's just really cool.
George gets up to adjust the TV.
RONNIE: I mean, when you think about it, it's pretty amazing, the
two of us finding each other like this. How many billions of people
are there in the world and only the two of us can see death. We
share a gift.
George sits back down.
GEORGE: You're not seeing death.
RONNIE: Well, whatever it is, it's a lot easier knowing that you can
see it too.
GEORGE: Listen, I have a job, I can't stay all night so...
RONNIE: I can't sleep, so...I haven't slept in days. I'm kind of
self-unmedicating.
GEORGE: You're on medication?
RONNIE: Was. Voices. Sometimes I see things that aren't really
there.
GEORGE: So, uh, do you hear a lot of voices?
RONNIE: No, just one. I call him the Shepherd.
GEORGE: Does he tell you what to do?
RONNIE: Well, he doesn't control me. He spends most of his time
yelling at me and making me feel stupid.
GEORGE: Hmm. Maybe it's my mother.
Ronnie wanders around the room while George sits on the couch.
GEORGE (VO): If I gave speed-racer, soap and a toothbrush, this
place would shine by morning.
Transition to the doorway of George's apartment where Mason is
holding a bag of pills.
GEORGE: Nothing too gnarly, just something to help me sleep.
MASON: What no one tells you is that insomnia goes with the gig.
It's because we're forced to breathe in all that death. Like working
around Asbestos. Oh, there you go(hands George a bottle of pills).
GEORGE: Thank you. One? Is one enough?
MASON: No. You've got that undead metabolism remember?
GEORGE: Well, how many would a normal person have to take?
MASON(suspicious): Have you got a fellow in there?
GEORGE(reading label): It says one.
MASON: Your perversions are coming into disturbing focus, Georgie,
and just don't--(George shuts the door).
Transition to inside the apartment where Ronnie falls asleep on
George's lap.
GEORGE (VO): There's a thin line between crazy people and the rest
of us. I mean we all have voices in our heads. Our parents are in
there, our doubts, our fears, our desires...and just like crazy
people, we all struggle to know which voice to listen to. Maybe one
trick to sorting it all out is being careful of which voices you let
in the first place.
Transition to George waking up with Ronnie standing above her.
GEORGE(surprised): What are you doing?
RONNIE: Oh, um, I didn't feel you up or anything, I was just
looking. I slept great. Whatever you gave me was great. But, I'm
hungry. Are you hungry? We could get some breakfast somewhere. Do
you like waffles?
GEORGE: I'm kind of over waffles. I've got to get to work.
RONNIE: Can I tag along.
GEORGE: Um...it's work.
Transition to George pouring coffee, brushing her teeth and then
leaving the apartment.
Transition to the Waffle Haus where George, Daisy, Mason and Rube
are sitting at a table.
DAISY: I was thinking about looking for hotel rooms today, going
down to the "Four Seasons", something in a suite would be nice.
GEORGE(sarcastic): I think that's a great idea, Daisy.
DAISY: I'm sure you do, Georgia.
MASON: Daisy, darling, if you need a place to crash you know you
can--
DAISY: Yeah, not in that life, not in this one, not ever, but
thanks.
MASON: Okay.
Waitress delivers food to the table.
DAISY(annoyed): Hi, um, how did I say I wanted my eggs? I think I
said soft-poached. These are obviously hard-poached, they're not
runny at all, so I can't eat them, and I won't.
GEORGE: I think they'll come back runny.
DAISY: I think you're right.
GEORGE: Because she's going to sneeze on them.
RUBE: Okay, here we go, everyone, because I cannot enough of your
sweet, sweet company, we're going to have a little group job
tomorrow.
MASON: St. Michaels?
RUBE: Yeah, it's a wedding?
MASON: Oh good.
GEORGE: Does anyone else find this fucked up?
RUBE: Are you familiar with Charlie Chaplin, peanut?
GEORGE: The silent movie guy?
DAISY: I once blew Charlie Chaplin.
RUBE: Charlie Chaplin defined that thin line between comedy and
tragedy. Say you see some poor slob get hit in the head with a
bucket of wet cement. From 20 feet away that's funny as hell. But
you get too close, you get close enough to feel that pain and...and
it's no longer funny.
GEORGE: Okay.
RUBE: So it's like that with jobs like this. You got to learn to
step back like the rest of us have. Far enough to see the funny in
everything.
DAISY: Well, I'll need a new outfit, you want to come shopping?
GEORGE: Not really.
MASON: You need to blend in.
GEORGE: I have to get dressed up for this?
RUBE: Yeah. We get to see what you look like all gussied up.
Daisy looks back to see Ronnie staring at her table.
DAISY: Do you know this guy?
GEORGE(hesitant): No.
DAISY: Well, he definitely know one of us. He's cute in that
check-the-oil kind of way.
RUBE: Excuse me.
Rube gets out of his seat and walks over to Ronnie and sits down
next to him.
MASON: I think he's sniffed out your boy, Georgie.
DAISY: Her boy? Nice.
MASON: Yeah, Georgie girl has had him stashed away in her flat.
DAISY: Good for you!
Transition to Ronnie and Rube.
RONNIE: You work with George?
RUBE: She told you that?
RONNIE: She said she was going to work.
RUBE: Does it look like we're working?
RONNIE: No.
RUBE: No, we just come here to talk. We're sort of a group. And I
sort of lead it.
RONNIE: You're a doctor?
RUBE: Yeah.
Waitress delivers bearclaw to Rube.
RUBE: Thank you.
Rube cuts a piece off and gives it to Ronnie.
RUBE: I dare you not to love it.
RONNIE: So that's like a group session over there?
RUBE: Yeah, that's my group. How's the bearclaw?
RONNIE(eating the bearclaw): It's good.
RUBE: I'm Rube.
RONNIE: Ronnie.
RUBE: This is a little awkward for me Ronnie, and I'm choosing my
words very carefully, as you can imagine, being George's doctor and
all. Even though she's living on her own now, away from the
facility, I try to keep close tabs on here, I try to get a feel for
the quality of people she hangs out with. I'm just saying, whatever
you got planned, be careful. She's had a tough row in life and
frankly, she can be a danger to herself when stressed...and others.
You follow?
RONNIE(nervous): I think so.
RUBE: Good, you seem like a good kid. I'd appreciate if you'd leave
now. You're making my group a little anxious.
RONNIE: Okay.
Ronnie looks at the group and then leaves. Rube heads back to the
table.
RUBE: So, throw in and head out. George and I need to talk, I got to
make a sissy.
Transition to Reggie riding a horse with her parents outside the
fence. Clancy is videotaping.
JOY: Well, she's still on the horse, so I guess that's a good thing.
CLANCY: I guess.
Clancy sits down next to Joy and puts his hand on her knee.
Transition to the Waffle Haus where George and Rube are sitting.
GEORGE: I didn't just pick the guy up. He said he could see
gravelings. You can't get mad at me for that.
RUBE: Do I look mad?
GEORGE: A little.
Waitress delivers food to Rube.
RUBE: Thank you. Do you have any idea what would happen if the
living caught wind we were here, amongst them, breaking bread? It
would upend the world. Believe me, you do not want to be responsible
for that kind of biblical panic.
GEORGE(annoyed): I didn't tell him anything.
RUBE: You didn't mention you were a reaper?
GEORGE: No.
RUBE: You didn't talk about gravelings.
GEORGE: I said that I could see them too, that's all...he think's
they're death.
RUBE: And he told you he's schizophrenic.
GEORGE: He said that he was on medication for seeing things.
RUBE: Well, maybe what we really have here is a mentally unstable
young man who thinks you're the cat's meow.
Rube reaches into his pocket and gets out paper an his wallet.
GEORGE: So this is all some plot on his part to get in my pants?
RUBE: Peanut, all mean are liars where pretty girls are implicated.
You can see their noses growing, trust me.
GEORGE(with a smirk): So you think I'm pretty.
Transition to George and Daisy walking down a sidewalk.
DAISY: Do you like convertables?
GEORGE: Yeah, I guess.
DAISY: I once gave Errol Flynn a handjob in a convertable.
GEORGE: That's a nice story.
DAISY: So tell me about this guy.
GEORGE: What's there to tell, he's crazy and he sees gravelings.
DAISY: That's a first.
GEORGE: Rube says it's not possible.
DAISY: Well, that's Rube.
GEORGE: What do you mean?
DAISY: Rube's too smart for his own good. If he can't wrap his brain
around something weird or unexplainable, it doesn't exist. It's sad,
really. So, do you like him?
GEORGE: Did I mention he was crazy?
BMW drives down the street.
DAISY: What kind of car is that? I am a sucker for platinum.
Daisy unbuttons her coat and flashes the driver. The car screeches
to a stop and reverses.
GEORGE: What are you doing?
DAISY: Getting us a ride.
Daisy walks up to the car.
DAISY: I 'love' your car.
BMW DRIVER: Thanks. I love your breasts.
DAISY: Do you have room for two? We're trying to get downtown.
BMW DRIVER: Um...sure let's just clear this out of here.
BMW Driver gets a couple of bags and brings them to the trunk. Daisy
and George get in the car. They ride off leaving the Driver on the
street.
BMW DRIVER: Hey, what the fuck! Hey! HEY!
Transition to Reggie's room. Reggie is on the computer and Joy comes
in with a box.
JOY: I thought it was really something this morning, seeing you up
on that horse. You know I used to ride when I was young. There was
this stable within walking distance of Grandma Phyl's house.
Reggie opens the box to find a jockey outfit and examines it.
REGGIE: I don't want this.
JOY: Excuse me?
REGGIE: I don't like riding horses. It makes my hips hurt.
JOY: Oh...
REGGIE: I want this.
Reggie shows Joy a printed picture of a drum set.
JOY(surprised): A drum set?
REGGIE: Yeah.
JOY: Well my job is not to give you your every desire...especially
when you throw it back in my face. In the future, when someone gives
you a gift, you might want to have the common decency to say, "thank
you", even if you hate it.
REGGIE(forcefully): Thank you.
JOY: Why does everything always have to be such a struggle?
REGGIE: I don't know.
JOY: Right.
REGGIE: I don't.
JOY: You know, Grandma Phyl was very supportive of my love of
horses. She bought me lessons, she even bought me a hand-made saddle
from Spain. I used to ride every day after school and weekends. She
wanted me to be good enough to compete, which I hated. At the time I
thought she was giving me what I wanted. I suppose you'll be asking
for lesson.
REGGIE: I figure I'd just teach myself.
JOY: Well, I'll have to talk to your father. You know how he likes a
quiet house.
Joy leaves the room.
Transition to inside St. Michaels church where George is sitting on
a bench.
GEORGE (VO): I'm not a big fan of weddings, but a job is a job. So I
sat there watching those 50 happy people gathered to celebrate a
marriage, dressed in their Sunday best. About to hear some priests
flowery words about the joining together of two souls, uniting as
one...blah, blah, blah, blah...until death do them part, which would
be in about 11 minutes.
George looks at a post-it note. It reads, "R.L. Dobbs, St. Michaels
Church, ETD 1:12 PM.
Ronnie appears behind George.
RONNIE: Hey.
GEORGE: You've got to get out of here.
RONNIE: I need to talk to you.
GEORGE: Not right now.
RONNIE: Please?
George looks around the room and finds Rube looking the other way.
She walks to the back with Ronnie.
GEORGE: How did you find me?
RONNIE: I waited outside your building and the rest was pretty easy.
Did I see your doctor in there?
GEORGE(confused): Doc-Doctor?
RONNIE: Rube.
GEORGE: Oh, he might be. We've run in the same circle. What is it
you wanted to say.
RONNIE: I just wanted to kiss you.
GEORGE: No...No way. I can't
Ronnie leans in and kisses George.
GEORGE (VO): It was my first post-death kiss. That alone made it
memorable.
RONNIE: Actually I came to say good-bye.
GEORGE (VO): It was also my first post-death kiss-off.
RONNIE: I'm on the run.
GEORGE: Okay...
RONNIE: I've got friends in Boise. I can't stay in the city. I'll be
tested and I'll have to stay on meds and I won't do that, my eyes
have been opened. I mean, like you...I've seen death and I can't
shut that off. I don't want to.
George and Ronnie see a graveling on the wall.
RONNIE: Did you, uh...
GEORGE: I don't--I can't really say.
RONNIE: Hang on a sec.
Ronnie heads to the benches and stands up on one.
RONNIE: Everybody out! Uh, everybody needs to get out of you're all
going to do.
GEORGE: You really shouldn't have done that.
Transition to outside the church doors where Ronnie is getting
thrown out. George goes outside with him.
RONNIE(as he's being tossed): Woah, woah, wait!
RUBE: You're not welcome in this church, either of you. Peanut, you
are really trying my patience(Rube leaves).
RONNIE: Well, we have to warn them.
GEORGE: Don't. Stop.
RONNIE(suspicious): Why wouldn't we? You want this to happen?
GEORGE: Trust me, this has nothing to do with what I want.
RONNIE: But you're--you're death?
GEORGE: No!
RONNIE: This makes perfect sense. Death taking the form of a
beautiful girl trying to trick me.
GEORGE (VO): Don't think I was getting all mushy because he said I
was beautiful.
GEORGE: I'm not all that. I'm just a cog. I sort of work for death.
RONNIE: Rube? He's death?
GEORGE: No...he's middle management. But he knows about you, which
means upper management knows about you. And in this case, upper
management probably is death.
RONNIE: Oh.
GEORGE: So you might have to run farther than Idaho.
Transition to inside St. Michaels where the Priest is sayings the
vows.
PRIEST: You may now kiss the bride.
The bride and groom kiss as the people attending murmur. Daisy and
Mason look at each other. Rube looks at his watch and sees George
and Ronnie upstairs.
Transition to on the balcony where George is kissing Ronnie.
GEORGE (VO): I can't exactly tell you why I needed to kiss him. I
just knew I'd regret it if I hadn't And then, I did my job.
George touches Ronnie on the forehead, taking his soul.
RONNIE(suspicious): You should stay away from me.
The bride and groom walk down the aisle. As they pass Daisy, she
takes the grooms soul and Mason takes the bride's soul. Rube then
joins George upstairs.
RUBE: Did you do it?
George nods.
RUBE: Good girl.
RONNIE: You're not her doctor, are you? And you're not his patient.
RUBE: No. I'm not a doctor and she's not my patient.
RONNIE: I thought I saw death coming for me. I guess I was right,
huh.
A graveling appears on the wall behind Ronnie. It growls and then
leaps towards him. Ronnie falls off the balcony and lands on the
bride and groom. People scream and crowd around the bodies.
DAISY: They're not going to Bali for their honeymoon are they?
MASON: No.
DAISY: That's really one of the saddest things I've ever heard.
MASON: They don't seem to mind.
Daisy and Mason walk away with the souls of the bride and groom.
Ronnie's soul appears upstairs next to George.
RONNIE'S SOUL: You know, I really liked kissing you.
George takes Ronnies hand and they walk away.
Transition to the Toilet Tree where George finds a box for her
hanging from a branch.
GEORGE (VO): In Ronnies head, maybe he thought he could fly. Or that
I had some special gift. I guess he was right. Maybe I do.
George opens the box to find a picture of a drum set with "Thank
You" written under it.
GEORGE (VO): We all create in our heads who we are and who we want
others to be. And how we view ourselves--hero, victim, loved,
unloved--changes over time.
Transition to George exiting the basement window of her old house.
GEORGE (VO):Those little neurons spark along working overtime
creating what we believe...
Transition to Joy trying to sleep with Reggie playing the drums in
the background. She finds a note under her pillow. It is the picture
of the drum set that George received. At the bottom is written, "I
LOVE YOU!".
GEORGE (VO): So in that way, the mind kind of work like magic,
making what we desire happen. And in the end, maybe the trick to
sorting it all out is trusting your voice, and being true to
yourself, chasing your bliss.
Joy walks to Reggie's room to see her on the drum set, playing.
GEORGE (VO): You know, all-the-cliches on parade crap, like marching
to the beat of your own...whatever.
Transition to George staring at her house as a shooting star glides
across the sky.
--END CREDITS--