NAME
0 MARY IN PLANE 0
Fade in with airplane noise. Then fade in to MARY
seated by window in a small commercial turbojet
plane. Sunny day. Mary is looking ahead, blankly,
lost in thought.
MARY
(voice over)
Fancy girl in college. Fancy girl
in college. Fancy girl in college.
(She looks out of window.)
(Aerial shot of plush
deciduous trees in the
late summer, about labor
day.)
Am I a fancy girl? Am I going to
college? I'm definitely going to
college.
(Warning bell sounds inside
cabin. Mary looks up from
window and at indicator
panel.)
(Fasten seat belt and no
smoking sign.)
(Mary from outside window,
looking down. Camera
dolly in as airplane
noise becomes lower in
tone, louder in volume.
The dolly makes the
window portal larger
making it appear as
if we are entering some
kind of gateway, reaching
Mary.)
I wonder what I will find down
there...
1 OPENING CREDITS 1
Credits are superimposed over
the view from the bottom of a
landing plane. The trees
pick up speed as the plane
descends. Finally, we see the
runway.
return to top
2 MARY MEETS VANESSA 2
Close up of VANESSA
looking dead on to
camera. She appears
to be reading.
Sign on elevator:
THIS ELEVATOR IS
FOR FREIGHT ONLY.
NO PASSENGERS.
Vanessa looks around,
then presses
elevator button. It
doesn't stay lit.
Vanessa's face,
showing signs of
frustration. We
hear bumping
noises.
Vanessa looks
camera right.
We see Mary,
pulling trunk
through door.
MARY
First floor?
Vanessa points to
floor number in
background, a big
"3." She shakes
her head.
MARY
Elevator?
VANESSA
Broken.
Mary sits down on
her trunk.
MARY
Whoever heard of entering
a building on the 3rd floor?
VANESSA
Whoever heard of building a dorm
in the side of a hill?
return to top
3 DOWN THE STAIRS 3
Graphics at the foot
of the stairs.
Prolonged series of
bumps. Then sound
of a trunk tumbling
down the stairs.
Mary and Vanessa
spill into the frame.
VANESSA
Man, this sucks! Any bones broken?
MARY
No, thanks. You? (pause, as they
gather themselves.) I can get it
from here. You don't have to go
out of your way.
VANESSA
You're crazy. Take the help girl.
This trunk must weigh two of you.
Besides. I just gotta see how
the girl with the mondo trunk
saga turns out.
They come into frame
in front of dormroom
door.
MARY
Well, this must be me.
VANESSA
Well, you must be my roommate.
(She looks down on name on
trunk.) Mary Agnes Day.
Vanessa Dapprich. No middle
name. Let's say we dump this
thing and go get tanked up.
MARY
Can we do that?
return to top
C T D P N P D C
4 THE PUB #1 4
(Mary and Vanessa,
seated on bar stools
at table in PUB.
This is the local
watering hole,
located
conveniently near
the dormitories.)
MARY
Wow, they have a bar right next
to our dorm?
VANESSA
Welcome to college. I'll get the
first round. What'll you have?
MARY
Well, I haven't really eaten much
today. Maybe I'll have a
Calistoga or something.
VANESSA
Come on. You nurse a soda and I
look like the lush with all the
drinks around me. At least get a
virgin.
MARY
A virgin? Does it have alcohol in
it?
VANESSA
No, it's a virgin, Mary.
MARY
Okay, I'll have that, then.
VANESSA
That is just too perfect. Don't get
picked up while I'm gone.
(Vanessa leaves. Mary
sits at bar stool,
scanning the Pub.
There's a well-lighted
bar in the center of the
room. To the side is a
piano. Off to another
corner is a popcorn
machine. Off to the side
is a booth with four
fellows. They are checking
Mary out.)
(Vanessa returns.)
VANESSA
Here's your virgin, (places drink in
front of Mary.) And here's to all that
good buzz. (Puts pitcher on the table
with two glasses.)
MARY
How did you carry all of that?
VANESSA
Used to be a waitress.
MARY
You're going to drink all of that?
VANESSA
Maybe you'll just have to break down
and help me. Or do you want to see
me helplessly inebriated and get picked
up by some serial date rapist?
(Pause)
VANESSA
So tell me more about Mary, who doesn't
sleep by windows.
MARY
What do you want to know? I'm from
California. I played softball and did
some gymnastics in high school. Cornell
gave me a good scholarship so now I'm
here.
VANESSA
A sports scholarship?
MARY
No, silly, academic.
(Waitress puts down
basket of popcorn.)
VANESSA
I was about to say, how could you be
a college jock and not drink?
Besides, who gets a sport's
scholarship at Cornell?
MARY
(Slightly put off)
It's not that I don't drink. You
make me sound like a girl scout or
something. I just don't want to
drink on an empty stomach.
VANESSA
(Mock introduction)
Mary, popcorn, popcorn, Mary.
(Vanessa pushes the
popcorn basket in
front of Mary, who
eats some. Vanessa
proceeds to pour
Mary a beer.)
VANESSA
Hey, check out those guys.
(VIC, DUDE and two
other guys are seated
at a booth. Vic picks
up a kernel of popcorn,
lights it with the
candle and throws it
into his mouth, followed
by some beer. He looks
very smooth doing this.
The fellows react to
this, joking.)
MARY
That was pretty wild. Would you
do that?
VANESSA
Hell no.
MARY
I knew this girl in high school. She
was lighting the stove one day and
set her hair on fire.
VANESSA
Sucks to be her. What happened to
her?
MARY
Oh, she was okay. There was this
rumor that she was trying to kill
herself but the stove lit by
accident. Her brother came in
and...
(Geek 1 pops his
head into camera
view.)
GEEK 1
Hey, ladies, my friend and I were
just sitting there talking and
chilling and were wondering what
two fine women like yourselves were
doing all by yourselves. Perhaps
we could join you?
(They look over. Geek
2 is sitting alone at
a booth. He waves,
stands up.)
return to top
DELETED
return to top
7 STADIUM 7
(Close up of Mary
upside down, swinging
to and from the
camera. She is
swinging from the
goal post in the
stadium, from her
knees.)
MARY
God, those guys at the Cabbage Patch
were such losers! We should have
stuck with the first bar.
(Close up of Vanessa
in end zone,
squatting)
VANESSA
You're way loaded, Girl.
MARY
And that little guy. He wanted to
put his wiggly little penis in
your body!
VANESSA
God, chill, girl!
(Vanessa urinates in
the endzone, wipes
herself, pulls up
panties.)
(Mary does cherry
drop and is more or
less standing.)
MARY
This is the campus of our
struggle, the canvus recording
our adolescent strivings. Thus
begins our journey, our goal to
reach the other end without
falling through the cracks.
VANESSA
So, you're a poet now? Are
you going to puke?
MARY
(Begins skipping)
She's coming, she's going. She's
going, she's coming. She's
rocking and rolling.
(Mary lies down and
begins to roll toward
end zone.)
VANESSA
She's going to puke.
MARY
(Does Dorothy step,
starts to whirl around
in a circle.)
Turning and turning and turning
and turning...
(Vanessa is on hands
and knees, throwing up.)
C T D P N P D C
(Mary looks upward,
talking as if to
herself.)
MARY
Okay, okay, I'm drunk. And
it's great. Never perfect is life.
Is that what makes life so perfect?
CUT
return to top
8 MARY"S FIRST CLASS 8
(Mary is sitting in a
large lecture hall.
The instructor is
droning on about the
syllabus for the course,
the curve, the exam
schedule, the homework
and the percentage that
it counts toward the
final grade. He then
says a few words about
the holiday schedule
and the truncation of
Week 12 due to the
thanksgiving break.
adds a few words about
office hours and the
recitations and the
availability of the
TA's. While this is
happening we see
the various students,
some taking notes,
some spacing out.
Mary is in a bit of a
daze, a little hung
over from the previous
night. Fade out on
the professor.)
C T D P N P D C
PROFESSOR
In this our first lecture I would
like to review some vector
principles as well as a few other
concepts that will prove
indispensible to success in this
course. I have on the board
representations of three vectors
which are, after a fashion, drawn
in three-dimensional space, though
in this course we will dispose of
this insipid crutch. So let's
break this crutch straight away and
represent said vectors by an n x m
matrix. And if you are to remember
any one thing in your entire
academic career, let it be this:
Any representation, no matter how
intricate or seemingly complete, is
only an imperfect model at best,
designed to facillitate weak
mortals in visualization, or for
the sake of expediency. There
will be situations where that
model will fail miserably and
should be discarded for another.
So let us complete...
CUT
return to top
9 FIRST WALK DOWN HILL 9
(Mary and a few friends
walking down the hill
to the dorms, books in
hand. The scene is
somewhat reminiscent of
high school, with a
feeling of comraderie.
We here Mary talking.)
MARY
I don't know about some of my
classes. Chemistry is a total
weed, but I guess I need it for
my major, once I figure out my
major.
(They come to a fork.)
GUY
Well today my major is not stressing
too much on the first day of class.
You guys want to hit happy hour and
then grab some chow?
VANESSA
Where are you from, Guy? Nobody
says "grab some chow".
GUY
Well, excuse me, Vanessa. You want
to go or not?
(Guy and a few others
begin to walk away.)
MARY
I don't know, you guys. I'm kind
of hurting from yesterday.
VANESSA
Come on, Mary. You probably don't
even have much reading or homework
or anything. It'll be chill. We
don't have to even drink.
MARY
I think I'll go back to the room
and transcribe my notes and just
take it easy.
VANESSA
Alright, suit yourself. I'll
catch you later, Mary.
MARY
Okay.
(Mary lingers,
watching Vanessa walk
away. She finally
says)
MARY
Hey, guys...
return to top
10 THE PUB #2 10
VANESSA
...like a constant shadow. Everything
slipping. Everything falling away.
VINEETA
That's pretty intense.
(Mary falls back
into her chair. She
is quite drunk.)
MARY
I thought you said we weren't
going to drink anything.
VANESSA
(Looks at Mary, a little
disgusted. She's
beginning to form an
opinion tha Mary is a
goody-two shoes who needs
reorientation.)
(Pause. Vanessa sees
Dude and Vic at a
booth.)
VANESSA
Hay, aren't they those two guys?
MARY
What guys? The two guys that
walked us back last night?
VANESSA
No, the guys with the popcorn.
VINEETA
The popcorn guys...
(More of Vic and
Dude at distant
table)
VANESSA
(Hits table with
her hand)
That's it, ladies. Vanessa's going
to score tonight. See that guy over
there? Well she wants him and she's
going to get it. You might as well
put a bull's eye on his crotch. You
can stick with her and see how it's
done or you can go back to the virgin
vault and spank each other senseless.
return to top
11 FRAT PARTY #2: FIRST DAY OF CLASS PARTY 11
(Crowded bar inside
the frat house. SRI
is behind bar serving
beer from a keg to
the masses. Mary and
Vanessa are in the
crowd inching there way
forward.)
SRI
Careful. Ooh now, careful careful.
Plenty of beer to go around. This
is nectar from the gods. It
is not only bad to spill the gods'
nectar, it is very very bad.
(Mary and Vanessa reach
the front of the line.
Sri spies them and is
impressed by their
suspicious pulchritude.)
SRI
And what have we here? I have been
blessed by a vision of sheer beauty,
form, power, grace. I kiss the
ground and pray to the heaven's for
such pulchritude from out of the
blue.
(Mary giggles.)
VANESSA
We want to die and go to heaven.
SRI
Ooh, angel number 1 is well-versed
in the secret nomenclature of our
beloved brotherhood. Die and go to
heaven you want? Ask and ye shall
receive. Knock, and it shall be
opened.
(Sri takes two glasses
of beer and drops them
down beneath the counter.
He then opens a bottle
of tequila and adds
two stiff shots into
each glass.)
SRI
And so it was in our father's
time and our father's father's
time so it shall be in our
time now. Two shots from the
arrow that pierces men's souls,
for the angels that have fallen
and soon will no longer find the
door. Knock and it has been
opened. But first one must
find it. And find it you shall.
(Passes the two drinks
across the bar. Mary
and Vanessa pick them
up.)
SRI
(Pouring more drinks)
The Theta Eta Potata first day of
classes party is now in full effect
Weed out those weak brain cells
to let the strong flourish.
Natural Selection never had a
more perfect example...
return to top
12 DRINKING GAME 12
(Mary and a bunch of
guys are sitting on a
couch playing quarters.
Mary is ecstatic, almost
out of control.)
return to top
13 VIC'S APPARITION 13
(Vic walks by the room
and spies Mary through
the doorway. Cymbals.
Close up of Mary
laughing, gesturing as
Vic's reaction weighs
in.)
(Vanessa walks up to
Vic.)
VANESSA
What's up?
VIC
(Still distracted)
What's up?
VANESSA
Nice house. You live here?
VIC
(Challenging cooly)
Yeah...
VANESSA
Cool. You got any weed?
VIC
No, but my roommate does.
(He now gives Vanessa
his full attention.)
VIC
You want to party?
return to top
14 DOWN THE STAIRWELL 14
(Vineeta standing,
talking to the camera.
Black backdrop.
Tilting camera, first
left, then right.
Vineeta gets
progressively drunker.
Finally we see her
sitting on a couch
in stoic silence,
oblivious to FRED
sitting next to her,
trying to put the
make on.)
FRED
I'm telling you, girl, this is
love. This is something. We
can hook it up. I want to get
with you, all right? I layed
it out. No bullshitting with
Fred. He calls it like it is.
I think if you get with me,
you'll respect my style. I'll
treat you good. Girl, you hot!
(Vineeta is cross-
eyed with drunkenness
during Fred's rap.
Her body is weaving,
unfocused. She
looks at him and
ultimately throws
up all over his
lap. Fred just sits
there dumbfounded
for a few beats.)
FRED
Dang, Girl!
(Pause)
FRED
So you want to go to my room
and clean up? We can take a
bath together.
CUT
(Mary, Vanessa, Vic,
Dude, and a few others
standing around in a
circle. Vanessa takes
a big hit from the
joint being passed
around. Vanessa
hands joint to Mary.)
VANESSA
Okay, toke the fuck out of that
mother fucker.
MARY
I don't know. I'm pretty messed up.
Those drinks were strong!
VANESSA
You hear that weak shit? What I
have to live with? I'm not letting
you off, Mary, 'til you toke that
mother fucker!
DUDE
Aw, she doesn't have to hit it if she
doesn't want to.
VANESSA
Yes she does! I'm not rooming with some
dope virgin!
FELLOW
Are you a dope virgin, Mary?
VIC
She's pretty dope, alright.
(Vanessa scowls at
this comment.)
(Mary takes a big hit,
holds it in coughing
some. Looks up at the
crowd meekly, as if
for approval.)
CUT
(Mary, now so drunk
she can barely stand,
walks down an old,
rickety back stair-
well in the frat.
Her face is completely
blank, and her legs
can barely hold her.
It is noisy and the
basement has as many
people as upstairs.
She gets to the
bottom of the stairs
and meets CRAZY MAN
at the landing.)
(Crazy man has the
earnest look of
someone that has
taken some weird drug
that makes you very
lucid, yet
incomprehensible.
He turns to Mary
sternly. He says
the following as if
he were reciting a
poem.)
CRAZY MAN
My connection to the World
Is tenuous at best
I had her, then I lost her.
I embraced her, but now she's gone.
(PAUSE)
How many more suns?
How many more seasons?
(Crazy Man looks at
Mary like he is asking
her a straightforward
question and is
awaiting an answer,
a reply.)
(Mary gives him a
ghostly look. Their
eyes meet briefly.
He then turns his head
almost as if he had
forgotten that she
was there. He walks
away. Mary continues
to walk in her drunken
fashion.)
return to top
15 SEX WITH ROOMMATE AND DUDE 15
(Dude and Vanessa are
having rigorous,
drunken sex in
Vanessa and Mary's
room.)
return to top
16 MARY GETS SICK IN BATHROOM 16
(Mary is in adjoining
bathroom, her head in
the toilet, throwing
up. We hear Dude and
Vanessa in the
background. Mary
eventually sits down
on the floor, flushes
the toilet, then
crawls to the door,
knocking to get
permission to get
*out* of the bathroom.
They ignore her.
Ultimately Mary
realizes how ludicrous
it all is and in
her bad state relaxes
the rules of cordiality.
MARY
Fuck!
(She makes a little
leap to attack the
doorknob and spills
out into the room.)
return to top
17 MARY, DUDE AND ROOMMATE 17
(Dude and Vanessa are
in a post-coital
position on the bed.
Dude lifts his head
up in a confused fashion.
Vanessa laughs.)
VANESSA
Christ Mary! Drop in any time.
MARY
Fuck you, Vanessa. Why did you let
me drink so much?
VANESSA
Welcome to college, Mary. Hiding
in the bathroom like a little
voyeur pervert!
MARY
Fuck yourself, Vanessa.
VANESSA
Nope. Didn't have to. Mary, Dude.
Dude, Mary.
MARY
Come on, I met him at the party.
VANESSA
"I met him at the party." You're
such a girl scout! You've been
puking your guts out. We've been
fucking our brains out. There are
no formalities here! I've got to
pee.
(Vanessa leaves to go
to the bathroom. Sits
down to pee. Leaves
door open. Mary and
Dude are relatively
alone for a spell.)
DUDE
There's nothing wrong with
formality. I think it's nice.
I hope it wasn't my dope.
MARY
I just drank too much. But I think
I threw it all up. I don't think
there's any thing left. I hope.
(Toilet flush)
MARY
Thanks for caring.
VANESSA
Well, this is all really touching,
but all this screwing has made me
hungry. You hungry?
(Vanessa turns to
Dude and gives him
a soft smile.)
DUDE
I could eat a bit.
VANESSA
Careful what you say.
(Putting on clothes.)
DUDE
I wouldn't mind some food.
VANESSA
Well, come on, then.
DUDE
What about Mary?
MARY
Well, I should, um, stay here and,
you guys go.
VANESSA
Mary's a very good girl. In bed
by midnight. No sleep by the
window. Might catch cold.
DUDE
No, you should really eat something.
It might coat your stomach.
MARY
(Looking at Vanessa,
defiantly)
I guess I could eat something. I'll
go.
return to top
C T D P N P D C
18 THE FOOD TRUCK 18
(Vic orders at the
food truck window.
Vanessa and Mary are
huddled together out
of earshot.)
VANESSA
That boy has some talent.
MARY
What happened to the other one?
The one you said you were going to
get with?
VANESSA
Who, Vic? Oh, he's Dude's roommate. We
all started to smoke out and he ended
up going off to some sorority party.
return to top
19 VIC AT SORORITY GIRL'S ROOM 19
(Vic is lying on a
bed in a girl's room.
Lights dim. He is
alone and on his back.
He is talking to
himself.)
VIC
Vic, you be chill. You're the man.
You the Mac Daddy. Who the man?
You the man. Who the man? Why
you the man. In some hot babe's
room. You chill. Hit it, get her
off. Hit it again. Hit the truck
and back home before she wants another
piece of the Mac Daddy. I'm fucked
up. Drunk, high. Drigh! Man, what
if I can't get it up? Vic, you the
man. These sorority girls, they be
begging you for it. Begging you for
a little piece of that funky thang.
Oh man. Where the fuck is she? How
come I'm talking to myself?
(LINDA enters the room
wearing a white bath
robe and carrying a
candle.)
LINDA
I'm ready, Vic.
(She gets onto the bed
and straddles him,
opening her robe. Vic
reaches up to touch her
breasts. She takes his
hands and entwines their
fingers.)
LINDA
No, boy. I want you to lie back and
let me do it all.
(She makes the necessary
adjustments.)
LINDA
That's it. You just let it go.
Oh yeah, baby. You just let momma
do all the work. Oh yeah, that's
the one, baby.
(Close up of Vic as
passion overtakes him.
WHITE OUT
return to top
20 MARY IN BED 20
(Somber, quiet mood
of Mary in bed, musing,
listening to crickets.)
MARY
(Voice Over)
I've only been here three days and
I'm throwing up from gluttony. Am
I happy? Am I sad? I almost feel
something ecstatic in this night's
air. Do I know myself or am I
slowly going insane? Chill, Mary.
Don't be so introspective. Live a
little.
return to top
21 CRICKETS 21
(Camera gets progressively
farther with each sentence.
We see outside Mary's
window looking in, then
The dorm from a distance,
then the surrounding area.
Finally we see the entire
dorm facility. All to the
sound of crickets.)
return to top
22 DUDE IN CIRCUITS CLASS 22
(Dude is sitting in
a small lecture class.
The Professor is
giving a lecture on the
method of superposition.
This leaves Dude's mind
to wander. Camera pans
in on Dude. He is
musing about Mary. It
is evident at this
point that Dude has a
bit of a crush on Mary.)
DUDE
(Voice over)
She's a honey, alright. That Mary.
Those lips. That smile. Something.
It feels like... It feels like I
already know her somehow. Now why
is that?
return to top
23 DUDE DREAMS ABOUT MARY 23
(Segue to fantasy
sequence. Young boy
is playing with an
electric train set.
He is in an empty room.
There are circuit
wires about. Young
girl comes up, smiles
at him, then laughs,
scratches her knee.
She waves to him then
begins running away.
Young boy gets up and
begins chasing her.
She runs through a
doorway and down a
corridor. When the
boy reaches the
doorway, a larger
than life black and
white headshot of
Vanessa swings in
like a door. The
headshot shows
Vanessa, eyes
wide, mouth wide
open, her facial
features in a
vulgar laugh.)
DISSOLVE
return to top
24 HAPPY HOUR #2 24
(We dissolve in to
a close up of this
live image of
Vanessa in Pub in
same pose, halfway
through a hearty laugh
at some vulgar joke.)
SUSHMA
That's like so gross.
VANESSA
Oh, come on. You know it happens.
MARY
Yeah, but you don't have to beat
us over the head with it. That's
like so embarrassing.
VANESSA
Okay, tell us, then, Mary. What
would you do in that kind
of situation?
MARY
Well, first of all, I wouldn't have
a guy put his head, you know, down
there if I wasn't feeling too well.
And then...
return to top
25 MARY THROUGH PUB WINDOW 25
(View of Mary through
pub window. Sounds
of bar are muffled
As is Mary's voice.
Building cymbal sound.)
(View of Vic, looking
in, presumably at
Mary. Sound increases.)
(Back to Mary. Sound
builds.)
WHITE OUT
return to top
26 MARY STUDIES #1 26
(Mary at her desk,
studying. Enter
Sushma.)
SUSHMA
Mary, we are going to get something
to eat in Collegetown. Would you
like to come with us?
MARY
Oh, my Savior. I'm starving..
return to top
27 TRIP TO COLLEGETOWN 27
VANESSA
Pulls it out and next thing I know
is all this stuff is coming out of
my butt. I'm thinking this is just
too perfect...
MARY
Vanessa! Your stories are getting
grosser by the minute. It's not
fun!
SUSHMA
I don't know. I think they're
interesting. You jsut have a
weak stomach.
VANESSA
Weak stomach? She just hasn't
had any and gets frustrated when
she hears about somebody having
a good time.
MARY
I don't think pooping on some guy's
bed constitutes having a good time.
VANESSA
And what would you know about
what constitutes, as you would say,
a good time? Only good times you've
had probably involves your right
hand, when you're asleep.
RUTH
You can't say that about Mary.
(Pause)
RUTH
She's left-handed anyway.
(The girls laugh,
except Mary.)
MARY
I don't care what any of you say.
Theres' something wrong with
filling up space with gross
stories about pooping on some
guy's sheets all the time. You
probably just say all of this to
make up for some sexual
insufficiency.
(Sushma and Ruth
make a noise at
this innuendo.
Vanessa turns
livid.)
VANESSA
You don't have to come to have
a good time! Any sex therapist
will tell you that! And the
boys come to me because they
know I know what they like. And
that's a lot more action than I
ever saw sniffing around your
little cutesy ass little
snatch!
MARY
I don't know about you, you
little stuck up bitch, but I
haven't been a virgin since I
was 13!
(Vanessa takes a
breath to shout
back, but then
she, Ruth and
Sushma stop and
look at Mary.)
return to top
28 THE MICHAEL STORY (IN SUB SHOP) 28
(Close up of restaurant
window while we hear
voice-over of Mary
beginning the Michael
story.)
MARY
There are certain moments in life
that are extraordinary. You can
deny them. You can try to ignore
them, but you can't change the
reality of their existence. It
was an extraordinary moment when
I first met him, that summer in
the library. And I know in my
heart of hearts that it was the
same for him. You can get hung up
on our relative ages, that he
was my teacher, that I was 13.
You can say it was flat out wrong.
I wouldn't argue with you. But
there's no convincing me that it
wasn't meant to happen. That
summer, that school year, was
magic. I'll spare you the
carnal details of our love. But
suffice it to say that he, that
man, was my first lover, and for
that, that time, I'll be forever
grateful.
VANESSA
So, you got a picture of this guy?
(Pause)
MARY
Yeah. Let's see...
(Mary fishes in her
purse. Pulls out
small picture. Hands
it to Vanessa.)
VANESSA
Whoa.
CHELSEA
Woof, he's a honey. He's so
much older.
SUSHMA
You didn't say he was black.
MARY
You guys...
CHELSEA
I bet he was hung.
MARY
I can't believe you. You're so
vulgar. Grow up. It wasn't
even like that. It wasn't even
physical like that. The time we
spent, it was, well, spiritual,
the walks, those things we talked
about, even holding hands.
VANESSA
He must've been hung like a
horse.
(The girls laugh.
Mary smiles.)
MARY
Yeah, he was pretty big...
return to top
29 CARNIVAL W/MICHAEL 29
(Images accompanying
the preceding dialogue)
A young Mary at an amusement park
with Michael, playing games,
shooting amusement guns, riding the
merry-go-round. Strong lighting and
shadows. Last shot of this sequence
is an image of a nude girl in bushes,
her white skin radiant, contrasting
with the dark shadows of the bushes.
A dark figure's head is between the
girl's legs. The girl is arching
her back and raising her pelvis as
the man's mouth rises in like
fashion. The girl has the look of
passion.
return to top
30 SHOOTER'S BAR AND GRILL 30
(Mary, Vanessa, Dude,
Vic and a few others
at a noisy restaurant/
bar. They are playing
a drinking game and
ordering stiff shots
with beer. Every time
they order shots to go
around the lights dim,
a smoke machine blows
out smoke, sirens go,
police lights flash as
does a strobe light.
Dialogue about how much
fun they're having and
how nice Vic seems to be
(Vanessa to Mary). The
girls notice Vic has his
eye on Mary.)
return to top
31 MIDNIGHT MOVIES 31
(Segue to the inside
of a local movie house.
The crew is watching
that film classic
From Out Of The Blue
at the midnight movies.
Rowdy bunch. Close up
of Mary mouthing the
words to the scene
where Carol throws wine
on Michael. "Wait,
wait! I love
this scene. She stands
up and pantomimes
Carol's actions then
falls over into the
aisle, convulsed with
laughter. She then
yells, "Paratrooper"
and proceeds to roll
down the aisle, curled up
in the fetal position.
All of her friends
follow suit, first
shifting over then
rolling down the aisle
one by one. They end up
all tangled up at the
foot of the screen,
laughing raucously.
The audience stands
and gives them an
ovation.)
return to top
32 BURSAR BILL PROBLEMS - GAY HALL 32
(Clerk behind a
counter talking
directly to the
camera, which is
slightly below.)
CLERK
I'm sorry, but the computer shows
your registration has a hold on
it. The record indicates you
haven't cleared your student
fees. You'll need to do this
before you can register.
MARY
They told me it was all taken
care of.
CLERK
No, you'll need to go to the
administration building and take
care of the hold before you'll
be able to register.
MARY
But I already tried. I waited
in line for an hour and they said
I needed to go pick up my student
loan check so that they could debit
my fees from it and reissue it to
me.
CLERK
Miss, however you work it out
between student loan and the bursar
is up to you. I'm telling you that
you won't be able to register before
you clear your student fees. The
record won't go through without it.
MARY
(Raising her voice)
But I can't pick up my student loan
check until I'm registered.
CLERK
Don't get testy with me. It's not
my fault you waited until the last
minute to take care of this.
MARY
(Now quite irate)
Waited until the last minute!?
The student loan letter said the
check would be available today.
Registration said I was to register
today. The check is for student
fees and living for the semester.
And now I can't pick up my check,
can't pay my bill and can't even
eat because I've been getting the
runaround for 4 hours now and
counting.
CLERK
Welcome to reality , Miss
Born. You take care of your
little problem and then you can
register. We close at 5 today.
Beginning tomorrow a $150 late
registration fee will be assessed.
May I help the next person in line?
(Mary turns away,
furious.)
MARY
That fucking bitch. I'm not
going to cry. I'm not going to
cry. I'm not going to cry...
(Cut to Mary in
lounge area, seated.
Her hands are over
her face and she is
rocking slightly.
Enter the PROFESSOR.)
PROFESSOR
Now you appear quite distraught.
(Mary rubs her eyes.
Doesn't look up.)
PROFESSOR
Might I help?
MARY
What can you do?
PROFESSOR
I overheard your description of
your state of triple jeapordy and
it appears to me the most expedient
way out of your predicament would
be for you to convince a faculty
advisor, e.g. me, Professor Mark
Shris, to sign your registration
form, clearing you to pick up your
student disbursement check, pay,
your bursar's bill, come back to
this lovely hall to register and
acquire the all-powerful reg card,
take your newly issued disbursement
proceeds to your local bank by 5
and even have enough time to allow
me to introduce you to my favorite
cafe. This plan presents itself
for your approval, of course.
(Pause)
MARY
Okay, let's do that.
return to top
33 PROFESSOR AND CAFE 33
MARY
I really feel like I'm in college,
now. Registered, sitting in a
caffe (Mary says this with
much affectation.) Talking to a
professor over a warm drink.
PROFESSOR
Here's to your college career.
(They toast.)
MARY
So, what kind of professor are you,
anyway?
PROFESSOR
Why, a very good professor.
MARY
I mean, what do you teach?
PROFESSOR
I'm a professor, Mary. Nowadays
professors don't exactly teach.
They perform research, write
grant proposals, perform
administrative activities, and
delegate teaching and office
hours to lowly, underpaid
disgruntled graduate students.
You probably want to to know
which courses, if any, I lecture
these days. In my spare time I
discourse on such diverse topics
as stochastic theory, quantum
mechanics and thin-film
technology in the illustrious
college of engineering in the
esteemed department of theoretical
and applied mechanics.
MARY
Oh. So, what's that all about?
PROFESSOR
I would be shirking my
responsibility as an educator if
I didn't warn you that delving into
such topics with the uninitiated
is a surefire way to kill a party
dead in its tracks, or at least
take the warmth out of the most
incendiary cup of java. so let's
talk about you, Mary Agnes Born,
Date of Birth August 15th, 1983,
who is a freshman in the College
of Arts and Letters with the
enigmatic major of Undecided and
lives somewhere in the wilds of the
vast freshman Zoo obliquely referred
to by many as West Campus.
MARY
How did you know that?
PROFESSOR
I saw it on your Reg card.
MARY
Oh. (Laughs)
PROFESSOR
And is life, if not major,
becoming more decided for you?
MARY
Not exactly. It's so big and
confusing here. Like a city where
everybody's the same age. And my
friends. I think they're all
alcoholics.
PROFESSOR
Yet I'm sure your presence in the
mix gives them a certain sense of
stability, for which they should
all be grateful.
MARY
I don't know about that. What
makes you say that?
PROFESSOR
I sense a certain inner strength
in you, Mary Born, rare in someone
your age and experience set.
MARY
That's a pretty funny thing to say
say about someone you met crying
her eyes out when she couldn't
figure out how to register.
PROFESSOR
Knowing when to throw up your hands
is certainly no shortcoming.
(Pause)
PROFESSOR
College appears deceptively simple.
In fact this place you may one day
lovingly refer to as your Alma
Mater poses an environment that
can prove and has proven on
occasion quite dangerous, lethal.
Keep your wits about you, child.
My prayer is that those pretty
blue eyes of yours remain in the
course of your education here if
not free from noxious harm then
at least clear to see through to
the end.
(Focus on Mary,
wondering about
the professor's
concern and what
drives it.)
return to top
34 FRAT PARTY #3 - SMOOTHIES 34
(Dude and Vic are
sitting on a wooden
bench, both dressed
in semi-formal attire.
Vic is smoking a
cigar and drinking
from a bottle of
hard alcohol. We
first see the bottle
of liquor as Vic
slams it down.)
C T D P N P D C
VIC
Fuuuuuck! Wicked, man, sorely
wicked.
DUDE
You've got to lay off that shit.
At least until the girls show
up. Better not be another Wells
episode, you hear me?
VIC
I'm smooth tonight, Dude. I got
my cigar, I got my mellow. I'm
mellow, man. It's peaceful.
DUDE
All right, then.
VIC
We got some honeys, Man.
(Dude softens his
tone.)
DUDE
Yeah, we got some honeys, Man.
VIC
Mary. I can't figure that girl
out. Is she an angel or a devil?
(Dude casts Vic an
inquisitive, concerned
look.)
VIC
Anyway. I know how to treat her.
And you know how to treat that
Vanessa, based on all that
hollering I heard the other night.
DUDE
She can be a kinky lady, Man. I
don't know, though. Sometimes I
don't know if she's all there.
Maybe I'm not the one that's all
there.
VIC
Just be chill, man. We're two
smoothies, cruising on that water.
Riding those waves. We've got
our lines cast out there. We put
it out. Those honeys take it in.
DUDE
Don't you think you're getting a
little ahead of yourself?
(Vic continues
unfettered.)
VIC
Man, don't you like it when you
see it and know it, and then it
happens like right away. That's
the best sex, man. You're both
like animals, behaving
instinctively. Humans, sometimes
we lose that. Remember that girl
at the cafe? She hadn't even
seen me, didn't know I was alive.
But I knew, man. Saw those
flowers in her hair and smelled
that smell and I knew. And in a
half an hour we were doing the
big bone dance.
(We see this as
Vic narrates.)
DUDE
Yeah, but that ain't happening
with Mary.
VIC
How do you know that, man? She's
a girl just like any other.
They all want it just as much as
we do.
DUDE
Yeah, Mary's different...
VIC
Besides, you got with Vanessa
just like that. You were there.
DUDE
Yeah, but Mary's different...
(Vic starts to sing.
He sounds like a cat
being strangled.)
VIC
I am strong. I am virile. My
clothes, they ain't no hand-me-
downs. So the ladies, they drop
their panties down. For me.
DUDE
Why do you always fuck up the words?
VIC
I am strong. I am virile. The
ladies, they want to lay me down.
They take my pecker out and they
pull it down. I put out. I'm on
the prowl.
(Enter RED, in
underwear, looking
down from the 2nd
floor balcony.)
RED
You can put it out all right, Vic.
That cigar. You know there's no
smoking in the common area.
DUDE
Aw, come on, Red. It's party time.
Cut him some slack.
VIC
It's chill, Dude. I'll deal.
(To Red)
VIC
I'm putting it out and I'm taking
this under advisement, Red.
You're a mother fucker, but we love
you. And I'm going to be especially
chill because me and homes are two
smoothies and here come our honeys
and the only honeys you have tonight
are rosy and her five sisters.
(Enter Mary and Vanessa)
DUDE
Hi, Ladies.
(Dude stands up.)
VANESSA
Hey hey, party time.
(Vanessa takes a puff
from Vic's cigar and
hands it back to him.
Vic turns to look at
Mary, as does Dude.)
VIC
Hi, Mary.
MARY
Hi, guys.
(Vanessa notices all
the attention Mary is
getting.)
VANESSA
Alright, let's break it up.
Give me some of that good stuff.
(Vanessa grabs the
liquor and takes a
good swig. Vic takes
his cigar and drops
it into a deep shot
glass. Close up of
this action.)
return to top
35 ROOM PARTY - STEREO BOB 34
(Seque to dorm room.
STEREO BOB is putting
on music. His room is
crowded with boys and
girls, drinking, trying
to mingle, dance. Bob
is looking wild-eyed, a
little out of sorts in
an urgent way. The
right music mix seems to
be crucial to him. Some
of the girls aren't with
his tastes while others
are into it.)
STEREO BOB
(To friend, by stereo)
You know, some of the things that
used to not matter I realize are
crucial. The right music, the right
mood. I'm an electrical engineering
student. I study circuits. It's
all dry, really boring. But I study
it. And to night I'm having a party.
I'm all fucked up. But I know now
that electricity is crucial. We have
to nourish that spirit inside of us
before it turns into the beast. Okay,
I'm fucked up. I don't know what I'm
talking about. Tomorrow I'll forgot
what I was trying to say. That
doesn't mean it isn't true."
return to top
36 FRAT PARTY #3 - DATE RAPE 34
(Shift to the billiard
room. From the level
of alcohol in the
liquor bottle it can
be surmised that much
time and drinking has
gone on. Vanessa is
literally staggering
as she and the three
other principals are
playing pool. There
is a foosball table
in the distance. Mary
is lining up to take
a shot.)
VIC
No, that's fucked up, Mary. That's
like 3-bodies collision. You have
no idea how fucking rare that is.
VANESSA
A what?
DUDE
He's talking smack again. Every
time he gets too wasted it's back
to three-bodied collisions.
VIC
Fuck you. You're not even there.
MARY
Victor, why do you have to swear
so much? We're here. We're your
friends. We like you.
VIC
You like me, Mary?
MARY
Of course. Would we be here if we
didn't?
ABEL
Yeah, we like you too, Vic. We'd
like you to leave.
(Laughter from the
foosball table)
VIC
Fuck you!
VANESSA
Anyway, Mary, hurry up and finish
your shot.
VIC
Wait, Mary was saying she liked me.
Why do you like me, Mary?
MARY
Well, you're good-natured and
sensitive, intelligent, and can be
downright magnanimous when you're
not being defensive.
VIC
You really mean all that?
(At this point it
is apparent that
Vic is more drunk
than his lack of
slurring suggests.
His eyes are narrow
and he's not really
making much rational
sense at this point.)
MARY
Well of course I do, Victor.
VIC
You and my mom are the only two
to call me that.
(They embrace.)
DUDE
Aw, shit, Vic.
(Close up of Vic
and Mary.)
VIC
You really know what to say. I
love you, Mary.
MARY
Vic, I, I'm flattered.
VIC
No, I really mean it.
MARY
Well, I really like you, Vic. It's
a little early to talk about being in
love.
VIC
Too early?
MARY
Yes, too early.
VIC
I don't think it's too early.
(Pause)
VIC
I want to fuck you, Mary.
(They begin to
wrestle.)
DUDE
That's it, Vic!
(Dude begins to walk
around the table to
pry Vic away from
Mary. In one motion
Vic pushes Mary onto
the pool table then
picks up a pool
stick and clobbers
Dude with it on the
ribs.)
VIC
Leave me alone, you fuckers! This
is between me and my lady!
(Vic pulls down his
pants then tries to
hike up Mary's dress.
The foosball boys
storm the table,
grabbing Vic, who's
now swearing like a
maniac. Vanessa
bends down and looks
after Dude, who's
crawling about,
holding his side.)
(Mary runs out the
door. Slow motion
shot of her running
down a corridor and
ending up in a room
where she stops,
looks around, out
of harm's way but
frazzled, confused.)
FADE OUT
return to top
37 SUSHMA AND TV ROOM 35
(Mary enters dimly-lit
TV room in her dorm
where Sushma is
watching a program,
alone. Sushma is
smoking pot and
staring at the screen.
Mary comes into room,
looking very drunk and
disheveled. She sits
down next to Sushma.)
SUSHMA
And how are you doing?
MARY
Ugh, don't ask.
SUSHMA
How can you say don't ask when I
have already asked you?
MARY
It's just an expression, Sushma.
And I'm not in the mood to explain
it, okay?
(Pause)
MARY
Listen, I'm sorry. I'm just a
little drunk and confused and
really fucking hurt.
SUSHMA
So how was the party, then?
MARY
Ugh! don't ask! Okay, now don't
start.
(Pause)
MARY
What are you watching?
SUSHMA
It is a Hindi movie.
(Pause, Mary watches
some.)
MARY
Wow, this is pretty wild. What
language are they speaking? Is
that Indian?
SUSHMA
Hindi. It is a Hindi movie.
MARY
Wow. What are they saying?
SUSHMA
I do not know. I don't know Hindi.
MARY
I thought you were from India.
SUSHMA
Yes. From Mumbai.
MARY
They don't speak Hindi in Mumbai?
MARY
There are many different languages
in India.
MARY
Wow. What's the main one?
SUSHMA
English. That is why I am speaking
English to you.
(Pause)
MARY
You are upset, though. I think
perhaps you need some marijuana.
(Close up of a dance
routine on the
screen for a spell.)
(Mary and Sushma
falling back onto
the couch seat,
laughing
hysterically.)
MARY
Then he looks at me with this
weird look on his face and
tells the whole room that he
wants to fuck me!
SUSHMA
He is crude. But I can understand
his sentiment, especially if he
was wasted. Mary you must accept
that you do put out vibes that a
man might pick up on. And an
unscrupulous man might force his
way to what he wants. Or woman.
It is not right but it is the
way things can be.
MARY
So, what are you trying to tell
me?
(Mary is looking
very high,
complacent, tired,
inebriated. Sushma
sits up.)
SUSHMA
I'm not trying to tell you anything.
I'm merely talking to my good friend,
Mary, who needs a massage right now.
MARY
Oh, all right.
(Mary close her eyes.)
MARY
Sushma, that's a little too
intimate, don't you think?
SUSHMA
No, I do not think and neither do
you. Because if you did you wouldn't
be posing it as a question. I think
you should just lie back and enjoy
pleasure when it comes your way in
this manner, from a friend.
(Close up of Mary)
MARY
Sushma, listen, I don't think...
I don't know what you think...
Listen, I don't think you should
be doing that...
(Sushma places her
head between Mary's
legs.)
MARY
Sushma. No, Sushma. No.
FADE OUT
return to top
38 MARY'S FIRST TEST 36
(Mary sitting in a classroom, paper
and pencil in hand. She is taking
a test, or at least trying to.
Other students are writing while
Mary is staring blankly at the
paper, as if in a daze. Camera
dollies in to her face. She
looks up, staring blankly ahead.)
return to top
39 MARY DAYDREAMS 37
(Young Mary running in a
grove by a stream, playing
on a log, then swinging on
a tall swing. Shot in black
and white infrared.)
(Michael lying down by a
tree, presumably watching
Mary, smiling. His head
follows her motion. Extreme
close up of his eyes,
following Mary back and
forth, back and forth.)
(Momentary close up of
grandfather clock.)
(Abruptly back to close up
of Mary, in class as she
jumps. She's snapped out
of her daydream and is now
frantically trying to
focus, to put something
down on her paper.)
return to top
40 WALK DOWN THE HILL #2 38
(Mary, Chelsea,
Vanessa, walking
down hill from
class. Chelsea
is animated,
Vanessa quietly
musing. Mary is
in a daze.)
CHELSEA
Then he moves out of the way and
there's this big nozzle behind
him and he's like, "Yes, I'm
your grad assistant. I may not
be paid but I have the power."
(Vanessa laughs.
The conversation
doesn't even
register with Mary.)
VANESSA
So you coming to eat with us or
what, Princess?
MARY
(Jumps on this
innocuous comment.)
DON'T you call me princess! I
don't like it when you say that!
I never did!
VANESSA
Shit, all right! You don't have
to be so touchy!
(They stop. They're
about to separate.)
MARY
I'll see you later.
(Turns and walks out
of frame.)
CHELSEA
What's with her?
return to top
41 MARY SLEEPS AT STUDY DESK 39
(Mary is asleep at her desk. Books
and papers are all around her. Her
arms are like lifeless snakes,
winding around the books, which
are like little thick sckyscrapers.
Mary is completely knocked out.)
FADE OUT
return to top
42 MARY AND DUDE AT BASKETBALL COURT 40
-
From far away to near
I came and now I'm here
To play for you
To sing to you
Play hoops for you
Burning up that court
In this sweet night air
To smell that dear fragrance
Of your hair,
Taking me back...
Been far too long since I've felt this way
return to top
43 MARY AND DUDE WALK TO DORM 41
NAME
DIALOGUE
return to top
44 MARY TALKS TO VANESSA ABOUT SMOOTH PARTY 42
NAME
DIALOGUE
return to top
45 MARY SMOKES POT AT STUDIO 43
NAME
DIALOGUE
return to top
44 MARY CONFRONTS SUSHMA 44
NAME
DIALOGUE
return to top
45 FRAT PARTY #4 - FORMAL 45
NAME
DIALOGUE
return to top
46 THE BAND AND DANCE FLOOR 46
NAME
DIALOGUE
return to top
47 BEDROOM AFTER-PARTY 47
(Dude, Mary, Sushma,
PB, CATHY and POJO
are sitting around a
board game, watching
it attentively.)
PB
And I'm telling you if you try to
invade Asia they're all going to
burn you, man. Stay in South
America, man. Get stronger. Then
later we'll join forces and invade
Africa, ridding the world of the
evil empire of Dude, the oppressor
man.
DUDE
Don't listen to him, Pojo. He's just
trying to talk you out of attacking
Yahkutsk.
POJO
(Shorts, suspenders,
no shirt)
I'm not listening to either of you.
(PAUSE)
Any of you feeling anything?
(Close up of Mary,
staring blankly. She
squeezes Dude's hand.)
DUDE
Just old age setting in waiting for
you to take your fucking turn!
PB
Yeah, would you roll the fucking
dice? And let me feel that titty.
(PB tweaks one of Pojo's
nipples.)
POJO
Get the fuck out of here, PB!
Nobody tweaks my nipple unless they
pay. And you, my man, do not have
the funds or the equipment.
SUSHMA
Why do you fellows call Arthur PB?
POJO
PB. Short for Piss Boy.
SUSHMA
Okay, then why do you call him
"Piss Boy"?
POJO
(Tweaks PB's nipple
again. PB slugs him
in retaliation.)
'Cause he's such a fucking pissboy!
DUDE
(Over the rough
housing)
We were down at the Warfield one
Friday night a few semesters ago.
It was open mike. We were in the
front row. This crazy, punked out
girl went onstage and starting
doing a piece she called "baptism",
a singularly vulgar poetic tirade.
Before she was through she hiked up
her skirt and began urinating on
the occupants in the front row.
PB, er, Arthur, was so drunk he
didn't even move. He got it right
in the mouth.
CATHY
Ooh, that's disgusting.
POJO
How did it taste, PB?
PB
Like chicken.
DUDE
Your turn, Mary.
(Mary takes the dice
and starts shaking
them. She rolls an
absurd amount of time.
All motion at the
table is suspended as
the players wait for
Mary to roll. A
close up of Mary's
face reveals that
she is a sitting
zombie, oblivious of
all around her.)
DUDE
Mary?
(Mary finally throws
the dice on the table,
stands up and walks
away from the table.)
MARY
I'll be back, you guys.
SUSHMA
Are you alright, Mary?
MARY
I just need some water.
(Mary steps out of
the room.)
POJO
Piss Boy. Fuck. Who's turn is it?
DUDE
Mary's.
POJO
Oh. Well, where the hell is she?
SUSHMA
She went to get some water.
PB
Oh, yeah, that's right. Water.
That sounds like a good idea. Man,
I'm starting to feel fuckied up!
return to top
48 MARY FREAKS OUT IN STAIRWELL 48
(Mary goes from
relatively quiet
living quarters to
acoustically bright
stairwell, closer
to the downstairs band.
She bursts in through
the door, covering her
ears.)
MARY
I just need to relax a spell, get
away and I'll be okay. I am not
okay. It's getting worse. This
is bad. This is bad. Wait a minute,
relax. No, it's building. It's
just vibrating. It's still vibrating!
My head is going to explode. It's
too strong! I can't take it. I
have to get out of here!
(On "here" Mary leaves
stairwell, screaming it
in hallway. PAUL
sees her and greets her.
She runs by him and down
the hallway, grabbing
her head with both hands.
He looks after her,
concerned.)
return to top
49 MARY GETS SICK IN SHOWER 49
(Mary barges into
men's living quarters
bathroom where there
are a few naked fellows,
one or two in towels,
one in the toilet stall.
She runs in screaming
and immediately
collapses to the floor
then crawls on her
hands and knees into
the shower where she
chases two naked guys
out. She crawls
underneath a stream
of water then stands
herself up in a
climbing motion.
MARY
GET AWAY FROM ME!!!
return to top
50 PAUL TELLS DUDE ABOUT MARY 50
(Paul comes into
bedroom where the
others are still
sitting around looking
at the board. PB is
saying something
unintelligible.)
PAUL
Hey, that chick you brought
tonight is wigging out in the
upstairs bathroom.)
(LONG PAUSE. The
five look up, stone-
faced.)
DUDE
What?
PAUL
Your girlfriend is upstairs in the
men's room freaking out, trying to
take a shower with her dress on.
(PAUSE)
DUDE
She's not exactly my girlfriend
man. She's like. Well, I mean maybe
she might be my girlfriend one day.
But, you know, we haven't really talked
about that. But I mean, yeah, she's a
girl and she's my friend. And we're
like really close. But I don't think
it's like this exclusive thing that I
think you're trying to lay down on me.
PAUL
Well? Are you going to help her?
(PAUSE)
DUDE
I don't think I can stand up, man.
return to top
51 SHOWER CONCLUSION 51
MARY
All alone here. All alone here.
Why can't I get outside of myself?
What do I have to do to reach
outside of myself?
(She looks up at
her audience.)
You don't even know what the fuck
I'm talking about! But I don't
even remember how we got home!
I'm just a loser just like
everybody else. Am I special?
Do you think I'm special? Do you
love me? If I opened up and you
saw everything would you love me?
I'm a fucking child! What's so
special about me? Fuck you!
You're just talking because you
think I'm fucking going down the
drain! Don't let me go down
there! We're all alone here!
DUDE
I'm just a guy, Mary. I'm
not God. You're right. I
don't know what the fuck
you're talking about.
(Pause)
I'M going to throw up.
(Dude gets on his
hands and knees to
vomit. Then crawls
over to Mary in the
shower, sits down in
the water. Mary puts
her head in his lap.)
DUDE
It's all vibrating. We're in
the water, Mary. That's the
place to be. It's a wave. Just
ride it out. Just ride it out.
Can I touch you? Can I touch
your hand?
FADE OUT
NAME
DIALOGUE
return to top
52 MARY'S CHILDHOOD MEMORY 52
NAME
DIALOGUE
return to top
53 PROFESSOR CALLS MARY 53
(The Professor calls
Mary to check up on
her.)
return to top
54 MARY IN BED 54
Mary is in bed in an
awkward position,
pillow over her face
to blot out the light
from the sun. From
her motions, or lack
of animations, she
appears to be barely
registering a pulse.
It's all very
reassuring, though:
She's survived the
night before and is
more or less back to
the waking state.
The professor and Mary
agree to meet later
that evening. Mary
is very eager to get
away.)
return to top
55 THE ACCIDENT 55
NAME
DIALOGUE
return to top
56 MARY AT HOSPITAL 56
DIALOGUE
return to top
57 WALK HOME FROM HOSPITAL 58
(Mary and Professor
are walking back from
the hospital. Mary
is considerably more
distraught than the
last time we saw the
two in similar
environment two scenes
ago.)
(Mary mentions at
length that the
world is filled with
darkness and she's
sick of it. Just
sick of it.)
PROFESSOR
There's nothing inherently evil
about night. Evil night, that's
a correlation that's persisted
throughout history in one form or
other. But think about it. Night
comes. Day comes. Too much of
either one wouldn't be goodness.
Things seem dark for too long
to you, though. That's what you're
reacting to, now isn't it? That's
the disadvantage of going to school
so far north.
(Laughs, then stops
when he looks over to
Mary and notices the
sad look on her face.)
But really, Mary. Think about it.
It's night right now. And aside
from what's happened to your friends,
an accident that occurred at mid-day,
I might add, it's pretty peaceful.
And your college career: You
may think you're miserable, that
your days are steeped in confusion,
but you might look back at this day
and realize this was one time in
your life when things were real,
and incredibly straightforward,
that when you were in pain you
cried, when you were happy you
laughed, that you were young enough
to think you didn't know who you
were, but that you were more
yourself now than then or any time
in the future. What sane person
wouldn't be confused in this
world? And you're intelligent
enough to register your confusion
to all who listen.
(PAUSE. Professor
turns to Mary.)
And I'm listening. You have my
ear.
MARY
What do you want me to say?
PROFESSOR
You needn't say anything. Not
anything.
return to top
58 PROFESSOR'S HOUSE 58
return to top
59 MARY IN STUDIO #2 59
NAME
DIALOGUE
return to top
60 THE PERFORMANCE PIECE 60
NAME
DIALOGUE
END
From Out Of The Blue
Go to the Hollywood GeoPage