812fcb34b18fa3ebdce2e26f5a31c3cc8683e72f
movie
http://www.imsdb.com/scripts/Synecdoche%2C-New-York.html
SYNECDOCHE , NEW
. THE END
 Theater director Caden Cotard (Philip Seymour Hoffman) finds his life unraveling. Suffering from numerous physical ailments and growing increasingly alienated from his wife, Adele, an artist, he hits bottom when Adele leaves him for a new life in Berlin, taking their four-year-old daughter, Olive, with her.
After the success of his production of Death of a Salesman, Caden unexpectedly receives a MacArthur Fellowship, which gives him the financial means to pursue his artistic interests. He is determined to use it to create an artistic piece of brutal realism and honesty, something into which he can pour his whole self. Gathering an ensemble cast into an enormous warehouse in Manhattan's Theater District, he directs them in a celebration of the mundane, instructing them to live out their constructed lives. As the mockup inside the warehouse grows increasingly mimetic of the city outside, Caden continues to look for solutions to his personal crises. He is traumatized as he discovers Adele has become a celebrated painter in Berlin and Olive is growing up under the questionable guidance of Adele's friend Maria. After a disastrous fling with Hazel (the woman who works in the box office), he marries Claire, an actress in his cast, and has a daughter with her. Their relationship ultimately fails, and he continues his awkward relationship with Hazel, who is by now married with children and working as his assistant. Meanwhile, an unknown condition is systematically shutting down his autonomic functions one by one.
As the years rapidly pass, the continually expanding warehouse is isolated from the deterioration of the city outside. Caden buries himself ever deeper into his magnum opus, blurring the line between reality and the world of the play by populating the cast and crew with doppelg채ngers. For instance, Sammy Barnathan is cast in the role of Caden in the play after Sammy reveals that he has been obsessively following Caden for 20 years, while Sammy's lookalike is cast as Sammy. Sammy's interest in Hazel sparks a revival of Caden's relationship with her, leading Sammy to commit suicide.
As he pushes against the limits of his personal and professional relationships, Caden lets an actress take over his role as director and takes on her previous role as Ellen, Adele's custodian. He lives out his days in the model of Adele's apartment under the replacement director's instruction while some unexplained (and likely in-universe) calamity occurs in the warehouse leaving ruins and bodies in its wake. Finally, he prepares for death as he rests his head on the shoulder of an actress who had previously played Ellen's mother, seemingly the only person in the warehouse still alive. As the scene fades to gray, Caden says that now he has an idea of how to do the play when the director's voice in his ear gives him his final cue: "Die."
Theater director Caden Cotard ( Philip Seymour Hoffman ) finds his life unraveling . Suffering from numerous physical ailments and growing increasingly alienated from his wife , Adele , an artist , he hits bottom when Adele leaves him for a new life in Berlin , taking their four-year-old daughter , Olive , with her . After the success of his production of Death of a Salesman , Caden unexpectedly receives a MacArthur Fellowship , which gives him the financial means to pursue his artistic interests . He is determined to use it to create an artistic piece of brutal realism and honesty , something into which he can pour his whole self . Gathering an ensemble cast into an enormous warehouse in Manhattan s Theater District , he directs them in a celebration of the mundane , instructing them to live out their constructed lives . As the mockup inside the warehouse grows increasingly mimetic of the city outside , Caden continues to look for solutions to his personal crises . He is traumatized as he discovers Adele has become a celebrated painter in Berlin and Olive is growing up under the questionable guidance of Adele s friend Maria . After a disastrous fling with Hazel ( the woman who works in the box office ) , he marries Claire , an actress in his cast , and has a daughter with her . Their relationship ultimately fails , and he continues his awkward relationship with Hazel , who is by now married with children and working as his assistant . Meanwhile , an unknown condition is systematically shutting down his autonomic functions one by one . As the years rapidly pass , the continually expanding warehouse is isolated from the deterioration of the city outside . Caden buries himself ever deeper into his magnum opus , blurring the line between reality and the world of the play by populating the cast and crew with doppelg채ngers . For instance , Sammy Barnathan is cast in the role of Caden in the play after Sammy reveals that he has been obsessively following Caden for 20 years , while Sammy s lookalike is cast as Sammy . Sammy s interest in Hazel sparks a revival of Caden s relationship with her , leading Sammy to commit suicide . As he pushes against the limits of his personal and professional relationships , Caden lets an actress take over his role as director and takes on her previous role as Ellen , Adele s custodian . He lives out his days in the model of Adele s apartment under the replacement director s instruction while some unexplained ( and likely in-universe ) calamity occurs in the warehouse leaving ruins and bodies in its wake . Finally , he prepares for death as he rests his head on the shoulder of an actress who had previously played Ellen s mother , seemingly the only person in the warehouse still alive . As the scene fades to gray , Caden says that now he has an idea of how to do the play when the director s voice in his ear gives him his final cue : Die .
http://en.wikipedia.org/wiki/Synecdoche,_New_York
Synecdoche, New York
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<b>                          SYNECDOCHE, NEW YORK
</b>

                               Written by

                            Charlie Kaufman

<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007.
</b>
<b>          A1INT. CADEN AND ADELE'S BEDROOM - FALL 2005 - MORNING A1
</b>
          Darkness. The sound of a radio and pots and pans clanging
          fades in. Caden, 40, opens his eyes in bed, and groggily
          looks at himself in the bureau mirror. The bedside clock
          reads 7:45.

<b>          1 INT. CADEN AND ADELE'S KITCHEN - FALL 2005 - SAME1
</b>
          Adele, 40, in t-shirt and sweats, mixes a bowl of instant
          oatmeal, puts it in the microwave.

<b>          RADIO VOICE
</b>          ... a Labor Day luncheon today --

<b>          OLIVE (O.S.) RADIO VOICE
</b>          Mommy! Done! -- at Stuckey Hall --

<b>          ADELERADIO VOICE
</b>          Okay!-- in downtown Schenectady --
          Adele leaves the kitchen. Caden, also 40, enters as she's
          leaving. He's dressed in a ratty terrycloth robe.

<b>          CADENADELE
</b>          Morning. Morning. Tried not to wake
          you.

<b>          CADEN
</b>          Thanks. You didn't. I was just --
          As Caden's voice goes under, we follow Adele into --

<b>          2 INT. CADEN AND ADELE'S BATHROOM - FALL 2005 - CONTINUOUS 2
</b>
          Olive, 4, sits on the toilet. Adele enters, rips some toilet
          paper off the roll and proceeds to wipe Olive. The phone
          rings in the kitchen.

<b>          ADELECADEN (O.S.)
</b>          Caden, could you get that? It's Maria. I don't want to.

<b>          ADELE
</b>          Ugh. Caden!
          (looks at bright green
          smear on toilet paper)
          That's weird.
          The phone stops ringing.

<b>          OLIVE
</b>          Is something wrong with my poop?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007.
</b>
<b>          2 CONTINUED: 2
</b>
<b>          ADELEMARIA'S VOICE
</b>          No, honey. It's just green.Hi, it's me. Where are you?
          Maybe you ate somethingI'll try you on your cell.
          green.

<b>          OLIVE (CONT'D)
</b>          I didn't! What's wrong with me?!
          A cellphone rings in the other room.

<b>          ADELE
</b>          Honey, I have to get this. You're
          going to be fine.

<b>          OLIVE
</b>          But, Mommy --
          Adele runs into --

<b>          3 INT. CADEN AND ADELE'S KITCHEN - FALL 2005 - CONTINUOUS3
</b>
          She rifles through her purse, grabs her cellphone, answers.

<b>          ADELE
</b>          Hey.

<b>          (LAUGHING)
</b>          Oh, wiping Olive's ass. You?
          Caden is pouring himself a cup of coffee. He sips it and
          stares out the window. It's raining.

<b>          ADELE (CONT'D)
</b>          You're kidding! Holy fuck!
          Caden exits with his coffee, annoyed about the phone call.

<b>          CADEN
</b>          I don't feel well.

<b>          4 INT. CADEN AND ADELE'S BATHROOM - FALL 2005 - CONTINUOUS 4
</b>
          Caden passes the bathroom. Olive is staring into the toilet
          bowl. Adele can be heard chatting in the background.

<b>          OLIVE
</b>          Daddy, my poop is green.
          Caden enters the bathroom, looks into the bowl at the green
          feces and smeared toilet paper. He seems freaked out.

<b>          OLIVE (CONT'D)
</b>          Am I going to be okay?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 20073.
</b>
<b>          4CONTINUED: 4
</b>
<b>          CADEN
</b>          Of course, honey.

<b>          OLIVE
</b>          Did you have green poop when you
          were little?

<b>          CADENOLIVE
</b>          I'm sure I did, honey. Am I going to die?

<b>          CADENOLIVE
</b>          Of course not. You probablyI didn't! I didn't eat
          ate something -- green!

<b>          CADEN
</b>          It'll be fine, sweetie. I'll be
          back in a minute.

<b>          OLIVE (O.C.)
</b>
<b>          (CALLING)
</b>          Is poop alive?

<b>          5EXT. CADEN AND ADELE'S HOUSE - FALL 2005 - MORNING 5
</b>
          Caden steps out the front door in his bare feet and hurries
          down the driveway in the rain. He picks up the newspaper,
          pulls the mail from the box. As he heads back inside, he
          flips through the mail. There's a magazine called Attending
          to your Illness addressed to Caden. A diseased person on the
          cover. Across the street a gaunt man watches Caden, unseen.

<b>          6INT. CADEN AND ADELE'S KITCHEN - FALL 2005 - MORNING 6
</b>
          Caden sits at the kitchen table with his coffee, reading the
          paper, dated Friday, October 14, 2005.

<b>          ADELE
</b>          All right, baby. See you then.
          Adele clicks off her cellphone.

<b>          CADEN
</b>          Harold Pinter died!

<b>          ADELECADEN
</b>          Yeah? Huh. Well, he wasOh wait. He won the Nobel
          old, right?Prize. Good for him.

<b>          OLIVE (O.S.)
</b>          Mom!

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 4.
</b>
<b>          6 CONTINUED:6
</b>
<b>          ADELE OLIVE (O.S.)
</b>          What?!Do you need to come look at
          my poop again?!

<b>          ADELE OLIVE (O.S.)
</b>          No, Olive, it's fine. JustWhat if it's alive? What if
          flush.I kill it? It's green! Like
          plants!

<b>          ADELE CADEN
</b>          It's not alive, honey.God, remember that production
          of The Dumbwaiter I did at
          Albanyfest?
          The toilet is flushed.

<b>          OLIVE (O.S.) (CONT'D)
</b>          Everything's alive. Everything
          grows big. That's how you know.
          Olive enters.

<b>          ADELE
</b>          I have your oatmeal, honey.

<b>          OLIVE
</b>          I want peanut butter and jelly.

<b>          ADELE OLIVE
</b>          Olive, c'mon. You told me I don't want oatmeal.
          oatmeal. This isn't a
          restaurant.
          Adele growls, grabs the oatmeal, dumps it in the sink.

<b>          OLIVE (CONT'D)CADEN
</b>          Sorry, Mommy! I'm sorry!(looking at paper)
          They found Avian flu in
          Turkey. In the country
          Turkey not turkeys. It's in
          chickens.
          Adele is making a peanut butter sandwich for Olive.

<b>          OLIVE (CONT'D)
</b>          Can I watch TV till school?
          Caden clicks the remote for Olive and goes back to his paper.
          A cartoon cow talks to a cartoon sheep.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 5.
</b>
<b>          6 CONTINUED: (2)6
</b>
<b>          COW
</b>          There is a secret, something at
          play under the surface, growing
          like an invisible virus of thought.
          The sheep nods. Caden pours himself some more coffee, opens
          the milk carton to pour some in, then sniffs at the spout.
          He checks the date on the carton. It's October 20.

<b>          CADEN COW
</b>          Man. Milk's expired. Jesus. But you are being changed by
          it. Second by second. Every
          breath counts off time.
          Caden goes back to his paper. Adele puts a peanut butter
          sandwich in front of Olive.

<b>          ADELE
</b>          Here. Now you better eat this.

<b>          OLIVE CADEN
</b>          I will. The first black graduate of
          the University of Alabama
          died. Vivian Malone Jones.
          Stroke. Only 63.
          Adele stares out the window at the rain.

<b>          7 INT. DENTIST'S OFFICE - FALL 2005 - DAY 7
</b>
          Caden is in the dentist's chair, a bloody bib around his
          neck. The dentist, in surgical mask, probes his open mouth,
          calls out numbers to an assistant, who records them.

<b>          DENTIST
</b>
<b>          2, 2, 1.3, 4, 2.3, 4, 4.
</b>          (to Caden)
          Family coming for Thanksgiving?

<b>          8 INT. CADEN AND ADELE'S BATHROOM - WINTER 2005 - NIGHT 8
</b>
          Caden shaves. A faucet explodes and smacks him in the
          forehead. He is sent staggering backwards with a yelp, into
          the far wall, his razor flying and blood pouring from a
          jagged cut above his right eyebrow. Off-screen, we hear the
          pounding footsteps of someone running toward us. Half of
          Caden's face is covered with shaving cream. Rivulets of
          blood intermingle with it. Water shoots out where the tap
          was, spraying the mirror, which is spattered with blood.
          Adele, dressed in heavily paint-splattered clothes, hurries
          in and takes in the scene: the wet, the mess, the blood.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 6.
</b>
<b>          8CONTINUED:8
</b>
<b>          ADELE
</b>          Jesus! Caden! What the fuck -- ?!
          Olive, in a nightgown, stands quietly in the doorway, her
          curled toes clenched. She holds a large stuffed owl.

<b>          CADENADELE
</b>          Um. I was shaving and -- My God! Jesus! Look at your
          head!
          Dumbly, Caden tries to look up at his forehead, then squints
          nervously at himself in the mirror.

<b>          ADELE (CONT'D)
</b>          (to Olive)
          Honey, don't look.
          Olive turns around.

<b>          ADELE (CONT'D)
</b>          Put pressure. Press. Press!

<b>          CADEN
</b>          Do I press above or below it?

<b>          ADELE
</b>          I don't know! Just... both!
          Caden sits on the toilet, presses a towel to his head. Adele
          squats, goes into a spasmodic coughing fit, finishes, opens
          the cabinet under the sink, pushes her arm through bottles of
          cleaning products, old sponges, old toothbrushes, toilet
          paper rolls and other junk to the shut-off valves.

<b>          ADELE (CONT'D)
</b>          I can't turn it! It's gonna flood!
          Olive hugs the owl tightly and it speaks.

<b>          OWLADELE
</b>          Whooo. Whooo. Whooo areI can't -- Oh wait, got it!
          you?
          Adele turns off the water. Olive looks back into the room.

<b>          OLIVE
</b>          Mommy, Daddy has blood.

<b>          9INT. EXAMINATION ROOM - WINTER 2005 - NIGHT 9
</b>
          Caden sits on a metal table. The room has some meager
          Christmas ornaments. A doctor stitches Caden's forehead.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 7.
</b>
<b>          9 CONTINUED:9
</b>          Caden squints into the bright light the doctor uses to see
          his work. In the background we hear another patient.

<b>          PATIENT (O.S.)
</b>
<b>          (CRYING)
</b>          Please, please, please...
          Caden sees a nurse shoving a tube far up into a man's nose.
          Another nurse wipes away the blood leaking out his nostril.

<b>          CADEN
</b>          Will there be a scar?

<b>          DOCTOR
</b>          Probably. It looks like a mudflap.

<b>          CADEN
</b>          I prefer there not be a scar.

<b>          DOCTOR
</b>          That fellow is annoying. He's in
          here every week. Like clockwork.
          The off-screen patient continues to whimper. The doctor
          finishes his work on Caden.

<b>          DOCTOR (CONT'D)
</b>          There. I think that should --
          He looks at Caden's eyes, turns off the bright lamp and looks
          again. He turns the lamp back on and looks once more.

<b>          CADEN
</b>          What?
          The doctor feels Caden's pulse, then listens to his heart.
          He presses hard against the glands in Caden's neck.

<b>          DOCTOR
</b>          Changes in bowel movements?

<b>          CADEN
</b>          A little more yellow than usual.
          What?

<b>          DOCTOR
</b>          I'd like you to see an
          ophthalmologist.

<b>          CADEN
</b>          A neurologist?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 20078.
</b>
<b>          9 CONTINUED: (2) 9
</b>
<b>          DOCTOR
</b>          What? No, an ophthalmologist. I
          said, ophthalmologist.

<b>          CADEN
</b>          Oh.
          The doctor stares blankly at Caden for a long moment, then
          looks suspiciously in Caden's ears.

<b>          10INT. CADEN AND ADELE'S CAR - WINTER 2006 - NIGHT 10
</b>
          Adele drives and coughs spasmodically. The car swerves a bit.
          Caden has a bandaged head and a prescription in his hand.
          Olive, in her car seat, sings. Caden sees revelers in winter
          coats and party hats outside a house. They blow noisemakers
          and yell "happy new year!"

<b>          OLIVE
</b>
<b>          (SINGING)
</b>          It's a beautiful day and the sun is
          shining and yellow. And the world
          is too big to understand and today
          is Tuesday and --

<b>          (SPEAKING)
</b>          Mom, is today Tuesday?

<b>          ADELE
</b>          No, it's Friday, honey.

<b>          OLIVE
</b>
<b>          (SINGING)
</b>          And today is Friday and...
          Olive's singing continues but goes under.

<b>          ADELE
</b>          So what exactly did he say?

<b>          CADEN
</b>          My pupils weren't properly dilating
          and, um, not doing the opposite ...

<b>          ADELE
</b>          Constricting.

<b>          CADEN ADELE
</b>          No. Yes. The bump to the head?

<b>          CADEN
</b>          He doesn't know. Maybe. He said
          he doesn't think so. But maybe.
          But he doesn't know. But --

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 9.
</b>
<b>          10CONTINUED:10
</b>
<b>          ADELE CADEN
</b>          Okay. I got it. Jesus.Sorry. I'm a little anxious.

<b>          OLIVE
</b>          Did you have to get a shot, Daddy?

<b>          CADEN
</b>          No, honey.
          (to Adele)
          It's the start of something awful.

<b>          OLIVE
</b>          Do I have to get a shot?

<b>          CADEN
</b>          What? No. Of course not.
          (pause, to Adele)
          This is really fucked timing.

<b>          ADELE
</b>          Caden.

<b>          CADEN OLIVE
</b>          Sorry. Bad timing.Did you tell him I have green
          poop?

<b>          ADELE (CONT'D)CADEN
</b>          Remind me to call the (realizing)
          plumber, would you? I need aI have rehearsal! Fuck!
          to-do list. Caden!

<b>          CADEN OLIVE
</b>          Sorry.How many years till I have to
          get more shots?

<b>          ADELE (CONT'D)
</b>          Not for a long time, honey.
          Caden pulls out a cell phone and dials.

<b>          OLIVE
</b>          A million years?

<b>          ADELE OLIVE
</b>          Remember Dr. Woodman said Dad, what's a plumber?
          after the last vaccination --

<b>          CADEN
</b>          He's the man who --

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 10.
</b>
<b>          10 CONTINUED: (2)10
</b>
<b>           ADELE CADEN
</b>           Or woman, Dad.Right. He's the man or woman
           who fixes sinks and toilets
           and... do you know what pipes
           are?

<b>           OLIVE
</b>           No.

<b>          CADEN
</b>          (into phone)
          Hey, Jim. I know. I'm sorry. I
          had an accident. No, I'm okay.

<b>          OLIVE
</b>          Like to smoke out of?

<b>          CADEN
</b>          Different kind of pipe.
          (into phone)
          Just run lines. I'll be there
          soon. 'kay.
          (hangs up)
          Houses have pipes. They're, like,
          tubes and they're behind walls and
          under the floor everywhere and --
          Olive begins to whimper in horror.

<b>          ADELE
</b>          What's wrong, baby?

<b>          OLIVE
</b>          (hushed anxious whisper)
          Every-single-where?

<b>          CADEN
</b>          It's okay. They just carry water
          to and from sinks and bathtubs and
          toilets. It's like in your body
          you have veins and ... um...

<b>          ADELE
</b>          Capillaries.

<b>          CADEN
</b>          And they're filled with blood.
          Olive is crying in earnest now.

<b>          OLIVE
</b>          I don't want blood. I have blood?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 11.
</b>
<b>          10CONTINUED: (3)10
</b>
<b>          ADELE
</b>          (to Caden)
          What are you doing? Jesus.

<b>          CADEN
</b>          I'm trying to explain plumbing.

<b>          ADELE
</b>          Well, stop it.
          (to Olive)
          It's okay, honey.

<b>          OLIVE
</b>
<b>          (WEEPING)
</b>          I don't want blood. Will it hurt?
          Will it hurt, Daddy?!

<b>          CADEN
</b>          No, honey, you're fine.

<b>          OLIVE CADEN
</b>          I don't want blood! I don't (holding head)
          want blood! I don't wantI can't do this now.
          blood...

<b>          ADELE
</b>          You don't have to worry, baby. You
          don't have blood.

<b>          CADEN
</b>          Well, I don't think you should tell
          her she doesn't have blood.

<b>          ADELE
</b>          Caden, stop it!
          Olive cries. Adele coughs. Caden stares out the window. It's
          dark, but his pupils are pinpricks.

<b>          11INT. OPHTHALMOLOGIST'S OFFICE - WINTER 2006 - DAY 11
</b>
          An ophthalmologist examines Caden's eyes. An eyeglass
          calendar on the wall is open to March 2006.

<b>          CADEN
</b>          Thanks for getting me in right
          away.
          The doctor touches Caden's eye repeatedly with a small probe.

<b>          CADEN (CONT'D)
</b>          Is it the bump to the head?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 12.
</b>
<b>          11CONTINUED:11
</b>
<b>          OPHTHALMOLOGIST
</b>          No.
          (writes in chart, then:)
          Could be. But I think we need to
          get you to a neurologist. Nothing
          urgent.

<b>          CADEN
</b>          A neurologist?

<b>          OPHTHALMOLOGIST
</b>          Yes, a brain expert.

<b>          CADEN OPHTHALMOLOGIST
</b>          I know what a neurologist is. Fine. I just thought from
          the way you asked --

<b>          CADEN
</b>          I thought maybe you said urologist.
          Why do I need to see a neurologist?

<b>          OPHTHALMOLOGIST
</b>          For a look-see. The eyes are part
          of the brain, after all.

<b>          CADEN
</b>          That's not true, is it?

<b>          OPHTHALMOLOGIST
</b>          Why would I say it if it weren't
          true?

<b>          CADEN
</b>          It just doesn't seem right.

<b>          OPHTHALMOLOGIST
</b>          Like morally correct? Or right as
          in accurate?

<b>          CADEN
</b>          I'm not sure. Accurate, I guess.

<b>          OPHTHALMOLOGIST
</b>          Hmm. Interesting.
          The doctor writes in Caden's chart.

<b>          12INT. SCHENECTADY THEATER - 2006 - DAY 12
</b>
          Caden sits in the almost empty theater. A few people with
          note-pads are scattered around. Centerstage, a 1948 Dodge
          Business Coupe. The car is surrounded by various rooms from
          that period: a kitchen, bedrooms, etc.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 12A.
</b>
<b>          12CONTINUED:12
</b>          Tom, the actor playing Willy Loman, stands center stage.
          Claire, the actress playing Linda Loman, sits in the set's
          bedroom. Davis, the actor playing Biff, lies on the top bunk
          of a bunk bed upstage. A fourth actor, playing Happy, lies on
          the bottom bunk.

<b>          CLAIRE (AS LINDA)
</b>          Willy, you coming up!!!!

<b>          TOM (AS WILLY)
</b>          Sssssh!!

<b>          CLAIRE (AS LINDA)
</b>          Willy?
          Tom climbs in the car.

<b>          CLAIRE (AS LINDA) (CONTÃ¢â¬â¢D)
</b>          Willy? Answer me!...Willy!
          Tom starts the car and guns the engine. A brick wall off
          stage speeds into the car, accompanied by crashing and
          screeching sound effects.

<b>          CLAIRE (AS LINDA) (CONTÃ¢â¬â¢D)
</b>          No!!!

<b>          DAVIS (AS BIFF)
</b>          Pop!!
          The wall continues to be pulled past the car crashing into
          the rest of the set, knocking walls over, creating havoc. A
          lamp post falls and hits Claire, knocking her over.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 13.
</b>
<b>          12CONTINUED: (2)12
</b>
<b>          CADEN CLAIRE
</b>          (running to stage)Yeah yeah, I'm fine. It's no
          Oh crap, Claire, are youbig deal.
          okay?

<b>          CADEN DAVID
</b>          David, what's happening here? (looking back from seat)
          Sorry, Caden. Hold on.
          David runs on stage to deal with the mess.

<b>          CADEN
</b>          It's too late in the game to be
          having these problems, David.
          (to Claire)
          You're sure you're okay?

<b>          CLAIREDAVID
</b>          God yes, it was funny.I know, Caden. I'm sorry.
          We'll get it.
          Tom emerges from the car, covered with stage blood.

<b>          CADEN (CONTÃ¢â¬â¢D)
</b>          Please.
          (to Tom)
          That was good, Tom.

<b>          TOM
</b>          Yeah? I was trying something
          different. I was crashing
          differently. Ambivalently.

<b>          CADEN
</b>          I saw that. I like it.
          Caden meets Tom at the foot of the stage. Behind them a
          group of technicians are lifting the wall and trying to re-
          set it. Claire primps in the bureau mirror.

<b>          CADEN (CONT'D)
</b>          Try to keep in mind that a young
          person playing Willy Loman thinks
          he's only pretending to be at the
          end of a life full of despair. But
          the tragedy is that we know that
          you, the young actor, will end up
          in this very place of desolation.

<b>          TOM
</b>          (taking this in)
          Okay.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 14.
</b>
<b>          12 CONTINUED: (3)12
</b>
<b>          CADEN
</b>          Great. Let's try it again.

<b>          (CALLING)
</b>          How long, David?

<b>          DAVID
</b>          I think fifteen.

<b>          CADEN
</b>          Why don't you get cleaned up, Tom,
          and we'll go again.
          Tom exits. Caden rubs his temples, then heads to the back of
          the house, pulling out his cell phone. He exits the theater.

<b>          13 INT. SCHENECTADY THEATER LOBBY - 2006 - DAY 13
</b>
          Caden passes the box office. Hazel, 35, sits inside, reading
          a novel. She looks up, smiles warmly, and waves.

<b>          HAZEL
</b>          I just heard the death of the
          salesman.

<b>          CADEN
</b>          In more ways than one.

<b>          HAZEL
</b>
<b>          (COMPASSIONATELY)
</b>          Oh no.

<b>          (THEN:)
</b>
<b>          CADEN
</b>          (holding up cell phone)
          In search of elusive signal.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 15.
</b>
<b>          13 CONTINUED:13
</b>
<b>          HAZEL
</b>          Signal's good here, oddly.
          She pats her lap in a friendly manner.

<b>          CADEN
</b>          That is odd.

<b>          HAZEL
</b>          I know! Cell phones, they're
          crazy!

<b>           CADEN HAZEL
</b>           (chuckles)(back in her book)
           See you in a few. Yup.

<b>          14 EXT. SCHENECTADY THEATER - 2006 - DAY14
</b>
          Caden has the phone to his ear. He's squinting in the bright
          sunlight, pupils dilated. The gaunt man watches him unseen.

<b>          CADEN
</b>          Dr. Heshborg said I should see Dr.
          Scariano. My pupils don't work.

<b>          15 INT. SCHENECTADY THEATER BOX OFFICE - 2006 - CONTINUOUS 15
</b>
          Hazel reads the first page of Swann's Way. The other volumes
          of In Search of Lost Time are stacked neatly nearby. She
          looks up and sees Caden standing outside the box office
          window watching her.

<b>          HAZEL
</b>          I keep reading the first line.
          It's a good line, I think. But I
          don't know much about literature.

<b>          CADEN
</b>          Maybe you should read the first
          line of another series of books.

<b>          HAZEL
</b>          I'm trying to better myself, Caden.
          Recommend me something. You're a
          genius; you must've read nearly a
          dozen books.

<b>          CADEN
</b>          Exactly twelve. Have you read
          Kafka?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 15A.
</b>
<b>          15 CONTINUED:15
</b>
<b>          HAZEL
</b>          Um, I've read his name. A lot! I
          swear!

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200716.
</b>
<b>          15 CONTINUED: (2) 15
</b>
<b>          CADEN
</b>          His whole name?

<b>          HAZEL
</b>          Okay, not his entire name. Heinz?

<b>          CADEN
</b>
<b>          (LAUGHS)
</b>          You should read The Trial, maybe.

<b>          HAZEL
</b>          If you say so, I will. Can't wait
          till Wednesday. I'm so excited to
          see it.

<b>          CADEN
</b>          I hope you like it.

<b>          HAZEL
</b>          It's pretty impossible that I
          won't, you know. I mean...
          She trails off, shrugs. They smile at each other. Caden
          exits. Hazel looks at her book, re-reads the first sentence.

<b>          16 INT. CADEN AND ADELE'S BATHROOM - 2006 - NIGHT 16
</b>
          Caden sits on the toilet. He finishes, looks in the bowl.
          His bowel movement is dark and loose.

<b>          17 INT. CADEN AND ADELE'S BEDROOM - 2006 - NIGHT17
</b>
          Adele lies in bed asleep. Caden steps out of the bathroom
          and climbs into bed.

<b>          CADEN
</b>          I think I have blood in my stool.
          Adele looks over, half asleep.

<b>          ADELE
</b>          That stool in your office?

<b>          18 INT. THERAPIST'S OFFICE - 2006 - DAY 18
</b>
          Caden and Adele sit across from Madeline, 40's, their
          therapist. Silence. Adele has a coughing fit. Then:

<b>          ADELE
</b>          When I was pregnant with Olive...

<b>          MADELINE
</b>          What was it like?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 17.
</b>
<b>          18CONTINUED:18
</b>
<b>          ADELE
</b>          Um... I don't know. Hopeful or
          something. Like something was
          going to change.

<b>          MADELINE
</b>          Something did, no?

<b>          ADELE CADEN
</b>          Yes, of course. Yes. I mean... big time.

<b>          ADELE
</b>          Maybe not as much as I had hoped.
          That's a terrible thing to say.

<b>          MADELINE
</b>          There are no terrible things to say
          in here. Only true and false.

<b>          ADELE
</b>          I feel alone sometimes. I feel
          exhausted. Can I say something
          awful?

<b>          MADELINE
</b>          Yes. Please do.

<b>          ADELE
</b>          I've fantasized about Caden dying
          and being able to start again.
          Guilt free. I know it's terrible.

<b>          19EXT. SCHENECTADY THEATER - 2006 - DAY 19
</b>
          Caden sits sadly on the steps; drinks coffee. He watches as
          Hazel pulls into the parking lot, gets out of her car. The
          gaunt man is behind the trash bin. She sits next to Caden.

<b>          CADEN
</b>          It's a nightmare in there.

<b>          HAZEL
</b>          The car crash?

<b>          CADEN
</b>          Well... not only.

<b>          HAZEL
</b>          Sorry. So I'm reading The Trial.

<b>          CADEN
</b>          Yeah? You like?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 18.
</b>
<b>          19 CONTINUED:19
</b>
<b>          HAZEL
</b>          Love. I'm such an idiot for not
          knowing about this book.
          (conspiratorial whisper)
          It's famous, it turns out.

<b>          CADEN
</b>          You're not an idiot.
          Pause.

<b>          HAZEL
</b>          Then you say, in fact, you're very
          bright, Hazel. And I love your
          eyes.

<b>          CADENHAZEL
</b>          In fact, you're very bright, (playing charmed)
          Hazel. And I love your eyes. Oh, am I? Oh, do you? Oh,
          darling!

<b>          CADEN
</b>          Then what do I say?

<b>          HAZEL
</b>          I can't say what then you say.

<b>          CADEN
</b>          Why?

<b>          HAZEL
</b>          Cause it's dirty.
          A whistling noise turns their heads. In the distance a man
          with an unopened parachute is plummeting.

<b>          HAZEL (CONT'D)
</b>          Oh my God! Jesus!
          They watch as the man falls behind a building. A scream. A
          screech of brakes.

<b>          HAZEL (CONT'D)
</b>          He's gotta be dead. Right?

<b>          20 INT. CADEN AND ADELE'S BATHROOM - 2006 - DAY20
</b>
          Caden enters. The plumber is working on the sink.

<b>          PLUMBER
</b>          Go ahead. I've seen boy parts.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 19.
</b>
<b>          21 INT. ADELE'S STUDIO - 2006 - DAY21
</b>
          The studio is a mess, the floor covered with paint. Adele,
          in her paint-spattered clothing, works on a tiny canvas, an
          inch square. She paints with a single-hair brush while
          looking through a magnifying glass. Caden pokes his head in.

<b>          CADEN
</b>          Can I piss in your sink?

<b>          ADELE
</b>          Um, yeah, I guess.
          Caden pisses in the sink in the corner of the studio. His
          urine is amber. He finishes and peeks over Adele's shoulder,
          through the magnifying glass at the painting. It's an
          amazingly detailed and angrily colored painting of a woman in
          a state of profound despair, screaming to the heavens, while
          standing in a field of flames.

<b>          CADEN
</b>          It's gorgeous, Ad.

<b>          ADELE
</b>          Thanks. How was rehearsal?

<b>          CADEN
</b>          Awful. We have five hundred and
          sixty lighting cues. I don't know
          why I made it so complicated.

<b>          ADELE
</b>          It's what you do.

<b>          CADEN
</b>          Yeah. Anyway, we got through it.
          I think you'll be impressed.

<b>          ADELE
</b>          Caden, listen, I'm really sorry. I
          just can't go tonight.
          (off his look)
          I'm sorry. I've got to get two
          canvases ready to ship. By
          tomorrow. I know it sucks.

<b>          CADENADELE
</b>          But it's opening night.I know. I'm sorry. I would
           go if I could.

<b>          CADEN
</b>          I have to get ready.

<b>           (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 20.
</b>
<b>          21CONTINUED:21
</b>
<b>          ADELE CADEN
</b>          I'll go tomorrow! We'll makeI mean, I can't take a dump
          tomorrow like the premiere! in your sink! What am I
          supposed to do? I have to
          get ready!

<b>          22INT. SCHENECTADY THEATER - 2006 - NIGHT 22
</b>
          The theater is full. Caden stands nervously in the back.
          The lights dim. Hazel looks back from her seat at Caden and
          mouths the word "yay." He smiles. The curtain rises on a
          dark stage. Tom, as Willy, gets out of the car parked center
          stage and walks into the kitchen.

<b>          TOM (AS WILLY)
</b>          Oh boy, oh boy.

<b>          CLAIRE (AS LINDA)
</b>          Willy!

<b>          TOM (AS WILLY)
</b>          It's all right, I came back.

<b>          CLAIRE (AS LINDA)
</b>          Why? What happened?

<b>          (PAUSE)
</b>          Did something happen, Willy?

<b>          TOM (AS WILLY)
</b>          No, nothing happened.

<b>          CLAIRE (AS LINDA)
</b>          You didn't smash the car, did you?

<b>          TOM (AS WILLY)
</b>          I said nothing happened. Didn't you
          hear me?

<b>          CLAIRE (AS LINDA)
</b>          Don't you feel well?

<b>          TOM (AS WILLY)
</b>          I'm tired to death. I couldn't make
          it. I just couldn't make it, Linda.

<b>          CLAIRE (AS LINDA)
</b>          Where were you all day? You look
          terrible.

<b>          TOM (AS WILLY)
</b>          I got as far as a little above
          Yonkers. I stopped for a cup of
          coffee... maybe it was the coffee.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 20A.
</b>
<b>          22CONTINUED:22
</b>
<b>          CLAIRE (AS LINDA)
</b>          What?

<b>          TOM (AS WILLY)
</b>          I suddenly couldn't drive any more.
          The car kept going off onto the
          shoulder, y'know?
          The audience is rapt. Caden relaxes.

<b>          23INT. QUINCY'S, BACK ROOM - 2006 - NIGHT 23
</b>
          The cast party is in full swing. The opening was a success.
          Lots of drinking. Caden chats with Claire. Hazel watches
          from across the room.

<b>          CLAIRE
</b>          (scrunching her nose)
          Ugh, I hated myself tonight. Plus
          I'm so bloated and enormous.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 21.
</b>
<b>          23CONTINUED:23
</b>
<b>          CADEN CLAIRE
</b>          No. You looked great. You I thought Tom was amazing!
          were great. I was very
          pleased.

<b>          CADEN
</b>          Yeah. Absolutely.
          (squints suddenly)
          Sorry. I have a bit of a headache.

<b>          CLAIRE
</b>          (kisses his forehead)
          I just want to thank you for
          everything. You've been absolutely
          brilliant and it's going to be
          miserable going ahead without you.

<b>          CADEN
</b>          I'll be around. I'll check in.
          She gets teary, gives him a kiss on the cheek.

<b>          CLAIRE
</b>          God, I'm such a baby.
          She just looks at him and smiles and nods.

<b>          CLAIRE (CONT'D)
</b>          I'm going to get drunk, that's
          what.

<b>          CADEN
</b>          Ok, Claire.
          She backs away and gets lost in the crowd. Caden massages
          his temples. Suddenly Hazel is next to him.

<b>          HAZEL
</b>          I figured I'd better get in fast.

<b>          CADEN
</b>          Hey!

<b>          HAZEL
</b>          I loved it! And, by the way,
          Claire is trouble. And not
          terribly bright.
          Caden laughs.

<b>          HAZEL (CONT'D)
</b>          Just wanted you to know the word on
          the street.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 22.
</b>
<b>          23 CONTINUED: (2)23
</b>
<b>          CADEN
</b>          So you liked it?

<b>          HAZEL
</b>          Are you kidding? I cried for like
          fifteen minutes after. I loved
          every minute of it. Except Claire.
          I thought she was weak.

<b>          CADEN
</b>          Easy on the eyes.

<b>          HAZEL
</b>          Oh, Caden, not you, too. What I
          want to know is why she started
          crying in her last monologue, right
          after she had the line, 'I can't
          cry for you Willy...'?

<b>          CADEN
</b>
<b>          (LAUGHING)
</b>          She felt very strongly that it was
          right.
          They sip their drinks.

<b>          HAZEL
</b>          Where's el wife-o?

<b>          CADEN
</b>          Had to work. Her Berlin show is in
          two weeks. We're going to spend
          like a month there.

<b>          HAZEL
</b>          Ah.

<b>          CADEN
</b>          Ah.

<b>          HAZEL
</b>          Ah.

<b>          CADEN
</b>          Choo!

<b>          HAZEL
</b>          Hooray! We've still got it!

<b>          (PAUSE)
</b>          I'll miss you.

<b>          CADEN
</b>          Yeah, me too.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 22A.
</b>
<b>          23 CONTINUED: (3)23
</b>
<b>           HAZEL CADEN
</b>           You're going to miss you? Yeah, that's it.

<b>           HAZEL
</b>
<b>           (PAUSE)
</b>           Why do I like you so much?

<b>           (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 23.
</b>
<b>          23 CONTINUED: (4)23
</b>
<b>          CADEN
</b>          I couldn't begin to guess.

<b>          HAZEL
</b>
<b>          (SIGHING)
</b>          Me neither. It must be that you're
          married. Do you get high, my
          friend?

<b>          CADEN
</b>          Y'know. Sometimes.

<b>          HAZEL
</b>          You want to now? With me.
          In my car.

<b>          CADENHAZEL
</b>          I don't know.Come on, it's a party.

<b>          CADEN
</b>          I get kind of... something when I'm
          stoned.

<b>          HAZEL
</b>          What does something mean?

<b>          CADENHAZEL
</b>          I don't know. Bothered?What does bothered mean?

<b>          CADEN
</b>          Y'know... bothered. Horny.

<b>          HAZEL
</b>          And me with a station wagon and
          all. Could be dangerous.

<b>          CADEN
</b>
<b>          (LAUGHING)
</b>          Yeah, it really could.

<b>          HAZEL
</b>          You're absolutely zero fun.

<b>          CADEN
</b>          You know I wish I could.

<b>          HAZEL
</b>          Jesus, I like you. I'm going.

<b>          CADEN
</b>          You're not staying for the reviews?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200724.
</b>
<b>          23CONTINUED: (5) 23
</b>
<b>          HAZEL
</b>          I know it's brilliant. I don't
          need some dope with elbow patches
          telling me.
          She smiles, gives him a hug, and heads toward the door.

<b>          24INT. HAZEL'S CAR - 2006 - NIGHT24
</b>
          Hazel drives down a dark street, crying. People watch her
          passing car from various windows. There's a run-over dog,
          lit by a streetlight, glistening on the side of the road.

<b>          25EXT. RESIDENTIAL SCHENECTADY STREET - 2006 - A FEW MOMENTS 25
</b>

<b>          LATER
</b>          Hazel studies the dog. It's a bloody, gutty mess, squashed
          flat. Against all odds, it's still alive. Its head is
          lolling. She bends down to pet it.

<b>          HAZEL
</b>          You're not going to make it, baby.

<b>          26INT. HAZEL'S BATHROOM (APARTMENT) - 2006 - NIGHT 26
</b>
          Hazel takes off her make-up, hair back in a clip. She
          watches herself blankly in the mirror, somewhat erased
          without eye make-up. The run-over dog is sleeping in a box
          on the floor.

<b>          27INT. QUINCY'S, BACK ROOM - 2006 - ABOUT DAWN 27
</b>
          The party has thinned out. The remaining people are sitting
          around a table, drinking. Claire, next to Caden, rests her
          head, sleepily drunk, against his shoulder. Caden studies a
          series of lumps under the skin of his arm.

<b>          CLAIRE
</b>          What are you going to do now?

<b>          CADEN
</b>          I'm going to Berlin for a month for
          my wife's show. Then I don't know.

<b>          CLAIRE
</b>          I wish I was your wife or a wife or
          had a wife. Or was German even.
          I'm so lonely with none of those
          things.
          A man walks in with a bunch of newspapers.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 25.
</b>
<b>          27CONTINUED:27
</b>
<b>          CADEN
</b>          Yay or nay?

<b>          28EXT. BURNING HOUSE - 2006 - DAY 28
</b>
          Hazel gets out of her car and walks up to a neat little house
          on a street of neat little houses. Faint swirls of smoke
          escape from the windows. She rings the doorbell. The button
          is hot; Hazel pulls her finger away.

<b>          29INT. BURNING HOUSE - 2006 - A FEW MOMENTS LATER 29
</b>
          The rooms are hazy. The realtor coughs a little. Hazel
          surveys the scene.

<b>          HAZEL
</b>          I've always loved this house.

<b>          REALTOR HAZEL
</b>          Yes. It's a wonderful place.The truth is, I never really
          imagined I could afford it.

<b>          REALTOR
</b>          The sellers are very motivated now.

<b>          HAZEL
</b>          It's a scary decision. I never
          thought I'd buy a house alone.
          But, y'know, I'm 36, and I wonder
          what I'm really waiting for.

<b>          REALTOR HAZEL
</b>          Home-buying is always scary.But I mean with the fire and
          all especially.

<b>          REALTOR
</b>          It's a good size though, twenty-two
          hundred square feet. Not including
          the partially-finished basement

<b>          HAZEL REALTOR
</b>          I don't know. I'm thinking IIt's a perfect size for
          should go.someone alone.

<b>          HAZEL
</b>          I like it, I do. But I'm really
          concerned about dying in the fire.

<b>          REALTOR
</b>          It's a big decision, how one
          prefers to die. Would you like to
          meet my son? Derek?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200726.
</b>
<b>          29 CONTINUED: 29
</b>           Derek, 40 and scruffily handsome, appears around a corner.

<b>           DEREKREALTOR
</b>           Hey, Mom.Derek's living in the
          basement since his divorce.
           If that's okay.

<b>          30 INT. ADELE AND CADEN'S LIVING ROOM - 2006 - DAWN 30
</b>
           Caden enters. Adele sits at the table across from Maria, 40.
           They are drunk and eating nachos.

<b>           ADELECADEN
</b>          Hey. Hey.

<b>          MARIA
</b>          Hi, Caden. How'd it go?

<b>          CADEN
</b>          Hi. It's late.

<b>          ADELE
</b>          Maria came over to keep me company
          and we lost track. I'm sorry I
          missed the play. But I got
          everything done here. How'd it go?

<b>          CADEN
</b>          We're a hit. Reviews are great.
          New York Times said it was
          brilliant to cast young actors as
          Willy and Linda.

<b>          ADELEMARIA
</b>          Great. That's great, Caden! Good
           for you!

<b>          ADELE
</b>          I'll see it tomorrow. Tonight!
          Adele and Maria laugh.

<b>          MARIAADELE
</b>          Jesus, it is late. Early!Can we get a ticket for
          I'd love to see it, too. Maria?
          Adele smiles.

<b>          CADEN
</b>          Are you stoned?

<b>           (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 26A.
</b>
<b>          30CONTINUED:30
</b>
<b>          ADELE
</b>          A little. I don't know. Y'know?
          I mean, are you happy with it?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 27.
</b>
<b>          30CONTINUED: (2)30
</b>
<b>          CADEN
</b>          Yeah. Love to know what you think.

<b>          ADELE
</b>          It doesn't matter what I think.

<b>          MARIA
</b>          Absolutely! It's all about your
          artistic satisfaction, Caden.

<b>          31EXT. RESIDENTIAL SCHENECTADY STREET - SPRING 2006 - DAY 31
</b>
          Caden and Olive walk along. Caden holds a tax envelope. His
          face has pustules on it. The gaunt man follows.

<b>          OLIVE
</b>          What's wrong with your face, Daddy?

<b>          CADEN
</b>          It's pustules. It's called
          sycosis. Spelled differently than
          psychosis, but it sounds the same.

<b>          OLIVE
</b>          I don't know what that means.

<b>          CADEN
</b>          Well, there's two different kinds
          of psychosis. They're spelled
          differently. P-s-y is like if
          you're crazy and s-y is like these
          things on my face.

<b>          OLIVE
</b>          You could have both though.

<b>          CADEN
</b>          I could. But I don't.

<b>          OLIVE
</b>          Okay, pretend we're fairies. I'm a
          girl fairy and my name is ...
          La-ru...lee. And you're a boy
          fairy and your name is Teeteree.

<b>          CADEN
</b>          Ok.

<b>          OLIVE
</b>          What's my name again?

<b>          CADEN
</b>          La-ru-lee.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 28.
</b>
<b>          31CONTINUED:31
</b>
<b>          OLIVE
</b>          No. I said ... La-ru-la...ay.

<b>          32INT. SCHENECTADY POST OFFICE - SPRING 2006 - CONTINUOUS 32
</b>
          Caden and Olive are at the back of the long line of people.

<b>          OLIVE
</b>          Pretend we fight each other. And I
          say stop hitting me or I'll die.
          And you say okay, but you're
          fibbing. And you hit me again.

<b>          CADEN
</b>          Okay.

<b>          OLIVE
</b>          Okay. Let's go. Hit me.
          They pretend to hit each other. Olive makes hissing and
          roaring noises. She stops.

<b>          OLIVE (CONT'D)
</b>          Okay. You have to stop hitting me
          now or I will die.

<b>          CADEN
</b>          Okay.
          He stops.

<b>          OLIVE
</b>          No! Pretend you're fibbing!
          Remember?
          He mock hits her again. She falls.

<b>          OLIVE (CONT'D)
</b>          Now I have to die.

<b>          (BEAT)
</b>          Pretend you say you don't want me
          to die.

<b>          CADEN
</b>          I don't want you to die.

<b>          OLIVE
</b>          (compassionate whisper)
          But I have to.

<b>          CADEN
</b>          But I'll miss you.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200729.
</b>
<b>          32 CONTINUED: 32
</b>
<b>          OLIVE
</b>          I have to. And you'll have to wait
          a million years to see me again.
          Caden tears up at this and tries to conceal it.

<b>          OLIVE (CONT'D)
</b>          And I'll be put in a box. And all
          I'll need is a tiny glass of water.
          And lots of -- tiny pieces of
          pizza. And the box will have
          wings, like an airplane.

<b>          CADEN
</b>          Where will it take you?

<b>          OLIVE
</b>
<b>          (THINKS)
</b>          Home.

<b>          33 INT. SCHENECTADY THEATER - SPRING 2006 - NIGHT 33
</b>
          Performance in progress. There is now a cemetery on stage.
          Linda, Biff, and other characters stand around a gravesite.
          Caden sits in the audience between Adele and Maria and his
          parents. He glances over at Adele's stony face. Maria is
          drunk and blurry.

<b>          DAVIS (AS BIFF)
</b>          Let's go, Mom.

<b>          CLAIRE (AS LINDA)
</b>          I'll be with you in a minute. Go
          on, Charley. I want to, just a
          minute.
          The other characters exit the stage.

<b>          CLAIRE (AS LINDA) (CONTÃ¢â¬â¢D)
</b>          (talking to the grave)
          I never had a chance to say good-
          bye. Forgive me, dear. I can't cry.
          (begins to cry)
          I don't understand it; I can't cry.
          It seems to me that you're just on
          another trip. I keep expecting you.
          Willy, dear, why did you do it? I
          search and search and I search, and
          I can 't understand it, Willy. I
          made the last payment on the house
          today. Today, dear. And there'll be
          nobody home. We're free and clearÃ¢â¬Â¦
          We're freeÃ¢â¬Â¦ We're freeÃ¢â¬Â¦ We're freeÃ¢â¬Â¦

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 29A.
</b>
<b>          33 CONTINUED:33
</b>          The stage lights go dark.

<b>          34 EXT. URBAN-ISH SCHENECTADY STREET - SPRING 2006 - NIGHT 34
</b>
          Caden, Adele, Maria, and his parents walk along.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 30.
</b>
<b>          34 CONTINUED:34
</b>
<b>           CADEN ADELE
</b>          I just --I don't know what it matters
           what I think.

<b>           CADEN'S MOTHER
</b>           I loved the story. So interesting.

<b>           CADEN ADELE
</b>           Because your opinion is --It was good. It was well
          done. It was very ...
          successful.

<b>          MARIA
</b>          Oh, I thought it was wonnnderful!

<b>          CADEN'S FATHER
</b>          Why were the old people so young?

<b>          CADENADELE
</b>          It was a choice, Dad. I'll Nothing. But nothing.
          explain later. (pause)
          (to Adele) I can't get excited about
          But? your restaging someone else's
           old play. There's nothing
           personal in it.

<b>          CADENCADENÃ¢â¬â¢S FATHER
</b>          I put my soul into thatI mean, they were younger
          thing. than their kids. That
           doesnÃ¢â¬â¢t make sense.

<b>          ADELE
</b>           Do you really believe that tripe?

<b>          CADENCADENÃ¢â¬â¢S MOTHER
</b>          Wow. It's not tripe. Jesus.I liked that the old people
          were so young. It was
          interesting.

<b>          ADELE (CONTÃ¢â¬â¢D)
</b>          Ok, fine. But it's not you. It's
          not anyone. It's not real.

<b>          CADENADELE
</b>          People come out crying,Great. Be a fucking tool of
          saying their lives are suburban blue-hair regional
          changed and -- theater subscribers. But
          what are you leaving behind?
          You act as if you have
          forever to figure it out.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 30A.
</b>
<b>          34 CONTINUED: (2)34
</b>
<b>          CADEN
</b>          Why are you being like this?
          Adele has a coughing fit.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200731.
</b>
<b>          34CONTINUED: (3) 34
</b>
<b>          ADELECADEN
</b>          I'm not being like anything. Are you seeing someone else?

<b>          ADELE
</b>          Is that your entire frame of
          reference for relationship
          problems?

<b>          CADEN
</b>          No. I don't know. It's a
          stressful time. Our shows. The
          whole health thing.

<b>          ADELE
</b>          Oh, you're fine.

<b>          35INT. CADEN AND ADELE'S LIVING ROOM - SPRING 2006 - MORNING 35
</b>
          Caden, in shorts and t-shirt, tiptoes past his parents,
          sleeping on the fold-out couch.

<b>          36INT. CADEN AND ADELE'S KITCHEN - SPRING 2006 - MORNING 36
</b>
          Adele sits at the kitchen table with Olive. She drinks
          coffee and talks on the phone. Olive eats cereal and watches
          a cartoon. Caden enters. Olive doesn't look away from her
          show. A cartoon jackal talks to a man who looks like Caden.

<b>          JACKAL
</b>          When you are dead there is no time.
          The world is a timeless rock.
          Caden pours a cup of coffee, sits down at the table.

<b>          CADEN
</b>          I think I might have arthritis.
          Adele continues to talk on the phone.

<b>          ADELE
</b>          No, I know. Exactly.
          Caden picks up the newspaper. It's dated May 25th, 2006. He
          flips through, finds the obituaries and starts to read.

<b>          ADELE (CONT'D)
</b>          Ok. All right. Yeah. Ok, bye.
          Adele hangs up the phone, looks at the paper.

<b>          CADEN
</b>          My joints are stiff. Who was that?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200732.
</b>
<b>          36CONTINUED: 36
</b>
<b>          ADELE
</b>          Maria.

<b>          CADEN
</b>          Right. It's been three hours since
          you spoke.

<b>          ADELE
</b>          Caden, I think I want to go to
          Berlin with just Olive.
          Caden looks up.

<b>          ADELE (CONT'D)
</b>          I think it would be good for us.
          Silence. Caden's father appears in the doorway.

<b>          CADEN'S FATHERCADEN
</b>          Morning, kiddos.(to Adele)
          Christ. Is this about last
          night?
          Caden's father smiles, nods, and exits.

<b>          37INT. CADEN AND ADELE'S BEDROOM - SPRING 2006 - NIGHT 37
</b>
          Adele packs. Caden sits on the bed.

<b>          CADEN
</b>          Can I ask you a question, Ad?
          She looks up at him.

<b>          CADEN (CONT'D)
</b>          Have I disappointed you somehow?
          She starts to cry, hugs him.

<b>          ADELE
</b>          Caden. I don't know. Y'know? I
          don't know what I'm doing. It's
          just a little time apart.

<b>          (PAUSE)
</b>          We'll talk when I get back.
          Everyone is disappointing. The
          more you know someone. The whole
          romantic love thing is just
          projection. Right? I don't know.

<b>          (PAUSE)
</b>          I'm sorry. I love you. I don't
          know what I'm doing. We'll talk
          when I get back.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200733.
</b>
<b>          38INT. ADELE'S STUDIO - 2006 - DAY 38
</b>
          Cobwebs. The room is long abandoned. Caden slumps against a
          wall and stares into space. He starts to cry and can't stop.
          Later: Caden watches a paint-spattered TV. A commercial:
          diffused images of people flying kites, having picnics,
          watching sunsets. A shot of Caden among them.

<b>          ANNOUNCER
</b>          Flurostatin TR allows you to live
          life when it's your turn to face
          the challenges of chemotherapy.
          Ask your doctor if it's right for
          you.
          He feels the bumps on his arm, which have grown. He writes
          down Fluorostatin TR. He starts to clean Adele's studio.
          Later: The room is sparkling. No more paint anywhere.
          Caden is on his knees, scrubbing the last bit of dirt. He is
          sweaty and focused.

<b>          39INT. SCHENECTADY THEATER BOX OFFICE - 2006 - DAY 39
</b>
          Caden, neatly groomed, leans on the counter chatting with
          Hazel. Her crushed dog sleeps on the floor in a box.

<b>          HAZEL
</b>          We should get a drink. Be fun.

<b>          CADEN
</b>          Be weird.

<b>          HAZEL
</b>          I like weird. I like you. See?
          He doesn't say anything.

<b>          HAZEL (CONT'D)
</b>          Anyway. I don't want to make you
          uncomfortable. I just thought it
          would be a fun diversion. Okay, I
          do want to make you uncomfortable.

<b>          CADEN
</b>
<b>          (LAUGHS)
</b>          Oh, Haze. I wish I could.

<b>          HAZEL
</b>          You can, Cade. You can!

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 34.
</b>
<b>          39 CONTINUED:39
</b>
<b>           CADEN
</b>           I have an appointment.

<b>           HAZEL
</b>           Crease.

<b>           CADEN
</b>          What do you mean?

<b>          HAZEL
</b>          It's just a word. Don't get all
          bent out of shape. Jeez.

<b>          CADEN
</b>          I won't. Sorry.

<b>          40 INT. DENTIST'S OFFICE - 2006 - DAY 40
</b>
           The masked dentist probes Caden's mouth.

<b>           DENTIST
</b>
<b>           3, 3, 3.3, 3, 5.3, 4, 3. 3, 4,
</b>
<b>           4.5, 3, 3.2, 4, 3.
</b>          (to Caden)
          Some fives this time. Not good.
          Keep with the flossing. We'll see
          in three months.

<b>          41 INT. THERAPIST'S OFFICE - DAY 41
</b>
           Caden sits across from Madeline.

<b>           CADEN MADELINE
</b>          I'm lonely.Yes. Anything else?
           Caden notices Madeline's feet in too-small shoes. There are
           visible blisters and band-aids on her feet.

<b>           CADEN MADELINE
</b>          I'm hurt.Yes. And?

<b>           CADEN MADELINE
</b>           I think Adele's right whenWhat would be real?
          she says I'm not doing
          anything real.

<b>          CADEN
</b>          I'm afraid I'm going to die. They
          don't know what's wrong with me. I
          want to do something important.
          While I'm still here.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 35.
</b>
<b>          41 CONTINUED:41
</b>
<b>          MADELINE
</b>          That would be the time to do it,
          yes. I have a book that might help
          you get better.

<b>          CADENMADELINE
</b>          Better?Yes. It's called Getting
           Better.

<b>          CADEN
</b>          Who wrote it?

<b>          MADELINE CADEN
</b>          I did. Oh.
          (goes to full bookcase)(looking at titles)
          All of these.Wow. I never knew that.

<b>          MADELINE
</b>          Wow. Yes, wow. Wow indeed.
          She hands Caden the very thick book. He flips through it,
          catching words and snippets here and there: Clairaudience
          ... vaginal juices... The echo began ... Plumbing ... Cats
          eat rats ... Me who am as a raw nerve ... Crease.

<b>          MADELINE (CONT'D)
</b>          That's forty-five dollars. Wow.

<b>          42 INT. CADEN'S OFFICE - 2006 - NIGHT42
</b>
          Caden finds a website online for Madeline Gravis. Amazing
          graphics. She is touted as one of the foremost psychologists
          in the world, a sought-after public speaker, advisor to world
          leaders. Her book Getting Better has sold millions of
          copies and is translated into fifteen languages. In a box
          at the bottom is a photo of a smiling Caden; it reads:
          Theater Director Caden Cotard says, "It'll change my life!"

<b>          43 INT. DENTIST'S OFFICE - 2006 - DAY43
</b>
          The dentist probes Caden's mouth. The Hygienist writes the
          numbers.

<b>          DENTIST
</b>
<b>          5, 6, 5. 5, 5, 6.4, 6, 5.
</b>          (to Caden)
          I'm going to recommend a
          periodontist. He'll probably
          recommend gum surgery.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 36.
</b>
<b>          44INT. CADEN AND ADELE'S LIVING ROOM - 2006 - DAY 44
</b>
          Caden is on the phone. His legs are elevated and his pant
          legs are rolled up, revealing swollen, discolored calves.

<b>          CADEN
</b>          I'm looking for... I'm sorry, I
          don't speak German. No. I'm --

<b>          45INT. QUINCY'S - 2007 - NIGHT45
</b>
          Caden sits by himself in a booth, reading the self-help book.

<b>          VOICE
</b>          We must live in the present moment.
          The now. The now. The now.
          Caden tries to be in the present moment as a women sings
          about gingivitis on a small stage in the back. 

<b>          SINGER 
</b>          How do you know if youÃ¢â¬â¢ve got  
          gingivitis? / HereÃ¢â¬â¢s an experiment,  
          Go ahead try this: / Brush your  
          teeth, then spit in the sink / Does  
          it come out red? / Do they say your  
          breath stinks? 
          ItÃ¢â¬â¢ll only get worse, thatÃ¢â¬â¢s just  
          the beginning / Your mouth will be 
          cursed, thereÃ¢â¬â¢s no hope of winning 
          / Necrotizing ulcerative gingivitis  
          is next / Also called trench mouth,  
          / youÃ¢â¬â¢ll never get sex.  
          Later: Caden nurses a beer. He seems unwell.

<b>          SINGER (CONTÃ¢â¬â¢D)  
</b>
<b>          (THROUGHOUT) 
</b>          IÃ¢â¬â¢m just a little person 
          One person in a sea  
          Of many little people  
          Who are not aware of me. 
          I do my little job 
          And live my little life  
          I eat my little meals  
          Miss my little kid and wife. 
          And somewhere  
          Maybe someday  
          Maybe somewhere  
          Far away 

<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 36A.
</b>
<b>          45 CONTINUED:45
</b>
<b>           SINGER (CONTÃ¢â¬â¢D)
</b>           IÃ¢â¬â¢ll meet another little person  
           Who will look at me and say  
           I know you 
           YouÃ¢â¬â¢re the one 
           IÃ¢â¬â¢ve waited for  
           LetÃ¢â¬â¢s have some fun  
           Life is precious 
           Every minute 
           And more precious  
           With you in it.  
           So letÃ¢â¬â¢s have some fun.  
           LetÃ¢â¬â¢s take a road trip 
           Way out west 
           YouÃ¢â¬â¢re the one 
           I like the best. 
           IÃ¢â¬â¢m glad I found you 
           Like hanging Ã¢â¬Ëround you  
           YouÃ¢â¬â¢re the one 
           I like the best. 
          Hazel plops down across from him. She has a smudge of soot
          on her nose.

<b>          CADEN
</b>          Hey! Thanks for meeting me.
          He points to his nose. She wipes at the soot on hers.

<b>          HAZEL
</b>          God, I'm delighted. Thought you'd
          never ask. You did ask, right?

<b>          CADEN
</b>          I didn't want to be alone.

<b>          HAZEL
</b>          Who does?

<b>          (PAUSE)
</b>          You don't look like you feel well.

<b>          CADEN
</b>          I'm going through some things.

<b>          HAZEL
</b>          You want to tell me about it?

<b>          CADEN
</b>          I can't really. But I'm meditating
          and running and taking vitamins.

<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 36B.
</b>
<b>          45CONTINUED: (2)45
</b>
<b>          CADEN (CONT'D)
</b>          Cutting out sugar. I can't really
          say any more. It's ...

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 37.
</b>
<b>          45 CONTINUED: (3)45
</b>
<b>          HAZEL
</b>          Ok. Tell me something else.

<b>          CADEN
</b>          You tell me something. Oh. I've
          cut out wheat.

<b>          HAZEL
</b>          Um, I bought this really nifty
          sweater today. On sale. Fifty
          dollars reduced from three hundred!

<b>          CADENHAZEL
</b>          It's beautiful.It's cashmere. So very soft.
          You must feel it.
          Hazel holds her arm out. Caden touches it.

<b>          CADEN
</b>          What do we do with all this, Hazel?

<b>          HAZEL
</b>          I don't know. We fuck? We
          continue to sort of flirt? You
          divorce your wife and marry me and
          I make you happy for the very first
          time in your life and all your
          symptoms disappear?

<b>          (BEAT)
</b>          We call it a day?

<b>          (BEAT)
</b>          Don't choose the last one. I just
          said that one for effect.

<b>          CADEN
</b>          Do I have to choose at all?

<b>          HAZEL
</b>          No, I suppose not. Choosing is not
          your strong suit. You want to come
          over to my place, Cotard?

<b>          CADENHAZEL
</b>          Um ... I'm won't let you off the
           hook by saying "never mind"
          this time.

<b>          CADEN
</b>          Adele is only on vacation.

<b>           (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 37A.
</b>
<b>          45CONTINUED: (4)45
</b>
<b>          HAZEL
</b>          She hasn't called you since she
          left. You've left countless
          messages. It's been a year.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 38.
</b>
<b>          45 CONTINUED: (5)45
</b>
<b>          CADEN
</b>          It's been a week.

<b>          HAZEL
</b>          (stares at him, then:)
          I'm going to buy you a calendar.
          Caden rips a cocktail napkin into little pieces.

<b>          CADEN
</b>          Okay, just for one drink.
          Hazel smiles and stands. She scoops up the torn napkin
          pieces and puts them in her purse.

<b>          HAZEL
</b>          Scraps for my scrapbook.
          Caden watches her ass as she turns to leave.

<b>          46 INT. HAZEL'S CAR - 2007 - NIGHT 46
</b>
          Hazel drives. Caden follows in his car. We see him in her
          rearview mirror, peering into her car. Hazel hikes her skirt
          and causally begins to play with herself with her right hand.

<b>          47 INT. BURNING HOUSE - KITCHEN - 2007 - NIGHT 47
</b>
          Hazel fixes drinks, mixes them with her right index finger.
          She hands Caden one.

<b>          CADEN
</b>          I really can't drink very much
          because of my condition.

<b>          HAZEL
</b>          Caden's mysterious condition.
          Well, have one sip, anyway.

<b>          CADEN
</b>          Did you put something in it?

<b>          HAZEL
</b>          Would you like me to have? A
          little love potion, perhaps?

<b>          CADEN
</b>          Sure, why not?

<b>          HAZEL
</b>          If that's what it takes, consider
          it done. Poof! Love potion number

<b>          69.
</b>
<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 39.
</b>
<b>          47 CONTINUED:47
</b>          Caden laughs and takes a sip.

<b>          CADEN
</b>          It's good.
          She takes a sip of her drink. Caden drinks some more of his.

<b>          HAZEL
</b>          Does it make you want to kiss me?

<b>          CADEN
</b>          Yeah. Kind of.

<b>          HAZEL
</b>          Tell me why?

<b>          CADEN
</b>          Um, I feel a lot of longing.

<b>          HAZEL
</b>          Hmm. Beg a girl, why dontcha.

<b>          CADENHAZEL
</b>          Um, okay. Please, Hazel, let On your knees.
          me --

<b>          CADEN
</b>          What?

<b>          HAZEL
</b>          I'd like you to beg me on your
          knees for a kiss. Just for fun.
          Dumbly, Caden gets down on his knees.

<b>          CADEN
</b>          Why am I doing this?

<b>          HAZEL
</b>          (smiling warmly)
          For fun, baby.

<b>          CADEN
</b>          You'll help me forget my troubles?

<b>          HAZEL
</b>          Oh, kiddo, you don't even know.

<b>          CADEN
</b>          I have a wife.

<b>          HAZEL
</b>          You have me. And I adore you.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 40.
</b>
<b>          48 INT. BURNING HOUSE - BEDROOM - 2007 - NIGHT 48
</b>
          Caden and Hazel have violent sex. Hazel watches Caden's
          contorted face. They finish and lie there. Caden starts to
          weep.

<b>          HAZEL
</b>          What? What is it?

<b>          CADENHAZEL
</b>          I don't know. I'm sorry. What?

<b>          CADEN
</b>          I'm just so confused. I'm sorry.
          I'm really sick. I think I'm
          dying. I have a kid. I'm married.

<b>          HAZELCADEN
</b>          Oh, Jesus. Oh, fuck me.I'm sorry. It's terrible, I
           know.

<b>          HAZEL
</b>          Yeah. I just thought this might
          change things. I hoped. Ugh.

<b>          CADEN
</b>          (still crying)
          I had a good time. I think you're
          a very nice person. Really.

<b>          HAZEL
</b>          That is just the wrong thing to say
          right now, Caden. You should go.

<b>          49 INT. CADEN AND ADELE'S LIVING ROOM - 2008 - NIGHT 49
</b>
          Caden is on the phone.

<b>           CADEN
</b>
<b>           (CRYING)
</b>           I'm so glad I finally got you.

<b>           INTERCUT WITH:
</b>
<b>          A50INT. ADELE'S BERLIN APARTMENT - 2008 - SAME A50
</b>

<b>           ADELE (PHONE VOICE)
</b>           Hello? Hello? Who is this?

<b>           CADEN
</b>           It's Caden!

<b>           (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 41.
</b>
<b>          A50 CONTINUED:A50
</b>
<b>          ADELE (PHONE VOICE)
</b>          Ellen?

<b>          CADEN
</b>          Caden! I can't wait to see you and
          Olive on the 12th. um... I went
          someplace without you tonight, Ad.
          I went some place you couldn't come
          with me. I'm sorry.

<b>          ADELE (PHONE VOICE)
</b>          What? Who is this? Oh, I have to
          go. There's a party. I'm famous!

<b>          CADEN
</b>          Oh. Ok. Great. Have fu --
          The connection is lost. Caden sits there, looks at the 2007
          tax form in front of him, goes into convulsions. He manages
          to grab the phone, his hand flopping all over the dial.

<b>          OPERATOR (PHONE VOICE)
</b>          911. What's the problem, ma'am?

<b>          CADEN
</b>          I'm sick.

<b>          OPERATOR (PHONE VOICE)
</b>          We're out of ambulances, miss, but
          we'll send a taxi. Please wait in
          front of your house, miss.

<b>          50OMITTED 50
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 42.
</b>
<b>          A51 OMITTED A51
</b>
<b>          51INT. HOSPITAL - 2008 - NIGHT51
</b>
          Caden waits on a plastic chair in a dimly lit hallway, his
          beat-up suitcase at his feet. He reads a very old Vogue and
          opens to a spread about his wife. She seems glamorous.
          There are photos of her in Berlin, her work, her flat. She is
          the toast of the art world. Photos of her with two men, and
          also with Olive, who seems somewhat Nazi Youth-like now.

<b>          NURSE
</b>          Mr. Cotard?
          He looks up, having forgotten where he was. He grabs his
          suitcase and follows the nurse down a dismal hallway: gurneys
          against dirty walls, empty wheelchairs. Skinny man takes a
          flash picture of Caden. Nurses drinking coffee out of paper
          cups eye him. Puddles of vomit on the floor. They arrive at
          the end of the hall. A doctor pokes his head out of a room.
          He studies a file and doesn't look up.

<b>          DOCTOR
</b>          Mr. Cotard?

<b>          52INT. SMALL EXAMINING ROOM - 2008 - CONTINUOUS 52
</b>
          The doctor never looks up from the files.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 43.
</b>
<b>          52 CONTINUED:52
</b>
<b>           DOCTOR
</b>           You've had a seizure of sorts.

<b>           CADEN DOCTOR
</b>           What does that mean?Seems to be some synaptic
          degradation. Fungal in
          origin. Autonomic functions
          going haywire.

<b>          CADEN
</b>          It's serious?

<b>          DOCTOR
</b>          We don't know but yes.
          They both sit there in silence for a long while.

<b>          DOCTOR (CONT'D)
</b>          We'll get you enrolled a
          biofeedback program. Maybe you can
          learn some sort of manual override.

<b>          53 INT. SCHENECTADY POST OFFICE - WINTER 2008 - DAY53
</b>
           Caden waits in line, holding a big wrapped box, addressed to
           Olive in Germany.

<b>          54 INT. CADEN AND ADELE'S LIVING ROOM - WINTER 2008 - NIGHT54
</b>
           Caden sits on the couch, wheezing and reading a dictionary
           entry for the word "crease." The definition is "n. a fold."
           He squirts artificial saliva in his mouth.

<b>          55 OMITTED 55
</b>
<b>          56 INT. PERIODONTIST'S OFFICE - WINTER 2008 - DAY56
</b>
           Caden is having periodontal surgery. It's bloody.

<b>          57 INT. SCHENECTADY THEATER LOBBY - WINTER 2008 - NIGHT57
</b>
           Caden, with swollen lower face and bleeding mouth, approaches
           the box office with a gift-wrapped box. Hazel looks up. The
           damaged dog barks.

<b>           HAZEL CADEN
</b>           Be quiet, Squishy.Hi.

<b>          HAZEL
</b>          Caden, I won't be yet another woman
          you feel guilty about.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200744.
</b>
<b>          57 CONTINUED: 57
</b>
<b>          CADEN
</b>          Okay. Thank you anyway.

<b>          HAZEL
</b>          Here. Take this. I got like five
          for Christmas. Goddamn Christmas.
          She hands him a 2009 calendar. It features photos of Adele.

<b>          58 INT. CADEN'S OFFICE - SPRING 2009 - NIGHT58
</b>
           Adele calender on wall, open to March. Caden reads Getting

<b>          BETTER:
</b>
<b>           VOICE
</b>           Now. Now. Now! Be here now!

<b>          INTERCUT WITH:
</b>
<b>          A59INT. ADELE'S BERLIN APARTMENT - 2009 - SAMEA59
</b>
          Adele feeds a piece of paper into a fax machine.
          A fax starts to come in. Caden watches as the words appear,
          fuzzy as if there is some interference in the process.
          Olive wanted me to ask you not to read her diary. She left
          it under her pillow by mistake. Glglf n mesr-siy. Hewz wec.

<b>          59 INT. OLIVE'S ROOM - 2009 - NIGHT 59
</b>
          Caden lifts the bed pillow and finds a kid's diary. He
          studies it, puts it back. There's a knock at the front door.

<b>          60 INT. CADEN AND ADELE'S LIVING ROOM - 2009 - NIGHT60
</b>
          Caden opens the front door. A man hands him an envelope.

<b>          61 INT. THERAPIST'S OFFICE - 2009 - DAY 61
</b>
          Madeline's feet are swollen and bloody.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 45.
</b>
<b>          61 CONTINUED:61
</b>
<b>           CADEN MADELINE
</b>           So I just got this MacArthurOh, Caden!
           Grant last night.

<b>           CADEN MADELINE
</b>           Yeah. A lot of money. Do you know what you're going
           to do with it?

<b>           CADEN
</b>           A theater piece. Something big and
           true and tough. Y'know, finally
           put my real self into something.

<b>           MADELINECADEN
</b>           Oh, Caden! What is your realI don't know yet. The
           self, do you think? MacArthur is called "the
          genius grant." And I want to
          earn it.

<b>          MADELINE
</b>          That's wonderful. God bless! I
          guess you'll have to discover your
          real self. Right?

<b>          CADEN
</b>          Yeah, I mean, yeah. Oh, I wanted
          to ask you, how old are kids when
          they start to write?

<b>          MADELINE
</b>          Varies.

<b>          CADEN
</b>          Could a four year old keep a diary?

<b>          MADELINE
</b>          Listen, there's an absolutely
          brilliant novel written by a four
          year old.

<b>          CADENMADELINE
</b>          Really?Little Winky. By Horace
          Azpiazu.

<b>          CADEN
</b>          Aww. Cute.

<b>          MADELINE
</b>          Hardly. Little Winky is a virulent
          anti-Semite.

<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 45A.
</b>
<b>          61CONTINUED: (2)61
</b>
<b>          MADELINE (CONT'D)
</b>          The story follows his initiation
          into the Klan, his immersion in the
          pornographic snuff industry and his
          ultimate degradation at the hands
          of a black ex-convict named Eric
          Washington Jackson Jones...
          Johnson... Jefferson, with whom he
          embarks on a brutal homosexual
          affair.

<b>          CADEN
</b>          Wow. Written by a four year old?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 46.
</b>
<b>          61CONTINUED: (3)61
</b>
<b>          MADELINE
</b>          Azpiazu killed himself at five.

<b>          CADEN
</b>          That's horrible.

<b>          MADELINE
</b>          He would've written so much more
          had he lived. They developed a
          method -- some software -- to
          determine what he would've written
          had he lived to ten, twenty,
          thirty, etcetera.

<b>          CADEN
</b>          Is that possible?

<b>          MADELINE
</b>          Which part?

<b>          CADEN
</b>          Any of it. Why did he kill
          himself?

<b>          MADELINE
</b>          I don't know, why did you?

<b>          CADEN
</b>          What?

<b>          MADELINE
</b>          I said, why would you?

<b>          CADEN
</b>          Oh. I don't know.

<b>          62INT. OLIVE'S ROOM - 2009 - NIGHT62
</b>
          Caden paces nervously. He sits on Olive's bed and jimmies
          open her diary with a screwdriver. He reads:

<b>          VOICE
</b>          Deer Diry. Thank you for being my
          new best frend. My name is Olive
          Cotard. I am for yers old. I like
          choclit and --

<b>          63INT. SCHENECTADY TOY STORE - 2009 - DAY 63
</b>
          Caden looks at the toys.

<b>          VOICE
</b>          -- my favorite color is pink.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 47.
</b>
<b>          63CONTINUED:63
</b>
<b>          CLERK
</b>          Can I help you?

<b>          CADEN
</b>          I'm looking for a Christmas present
          for my daughter. Something pink.

<b>          CLERK
</b>          How about this?
          The clerk holds up a pink box with a picture of a nose on it.

<b>          CADEN
</b>          Yes. That's good.

<b>          64OMITTED 64
</b>
<b>          65INT. QUINCY'S - 2009 - DAY65
</b>
          Caden sits with Hazel. She seems somewhat distant.

<b>          CADEN
</b>          The idea is to do a massive theater
          piece. Uncompromising, honest. I
          don't know what it is yet or how to
          do it, but it'll come. It'll
          reveal itself.

<b>          HAZEL
</b>          Huh.
          Pause.

<b>          CADEN
</b>          HereÃ¢â¬â¢s what I think theater is:
          itÃ¢â¬â¢s the beginning of thought. The
          truth not yet spoken. ItÃ¢â¬â¢s a
          blackbird in winter. The moment
          before death. ItÃ¢â¬â¢s what a man
          feels after heÃ¢â¬â¢s been clocked in
          the jaw. ItÃ¢â¬â¢s love... in all its
          messiness. And I want all of us,
          players and audience alike, to soak
          in the communal bath of it, the
          mikvah, as the Jews call it. WeÃ¢â¬â¢re
          all in the same water, after all,
          soaking in our very menstrual blood
          and nocturnal emissions. This is
          what I want to try to give people,
          Hazel. And I want your help.
          Hazel just stares. The food arrives. Caden looks at his
          plate and concentrates.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200748.
</b>
<b>          65CONTINUED: 65
</b>
<b>          HAZEL
</b>          What are you doing?

<b>          CADEN
</b>          Salivating.

<b>          (PAUSE)
</b>          I have to concentrate.

<b>          (PAUSE)
</b>          Biofeedback training.

<b>          HAZEL
</b>          Huh.

<b>          CADEN
</b>          So I was wondering if you'll help.

<b>          HAZEL
</b>          In your box office?

<b>          CADEN
</b>          No. Like as my assistant.

<b>          HAZEL
</b>          I'm not sure I can work with you,
          Caden. I'm kind of angry.

<b>          CADEN
</b>          I just want to normalize it, Hazel.
          I think we'd have fun together.
          He swallows some food then concentrates. She watches him.

<b>          CADEN (CONT'D)
</b>          I miss you.
          He concentrates some more. She stares at him.

<b>          CADEN (CONT'D)
</b>          I'm digesting.

<b>          HAZEL
</b>          It's really disturbing.

<b>          66INT. TINY, CRAMPED REHEARSAL HALL - 2009 - DAY 66
</b>
          Caden, beads of sweat on his forehead, sits with a large
          group of actors, Tom, Claire, and Davis from Salesman among
          them. No one speaks. Finally, Caden clears his throat.

<b>          CADEN
</b>          We'll start by talking honestly.
          Out of that a piece of theater will
          evolve. I'll begin.

<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200749.
</b>
<b>          66CONTINUED: 66
</b>
<b>          CADEN (CONT'D)
</b>          (long pause)
          I've been thinking a lot about
          dying lately.

<b>          CLAIRE
</b>          You're going to be fine, sweetie.

<b>          CADEN
</b>          I appreciate that, Claire, but --

<b>          CLAIRECADEN
</b>          Well, you are. You poor regardless of how this
          thing.particular thing works itself
          out, I will be dying. So
          will you.

<b>          CLAIRECADEN
</b>          Caden!So will everyone here. And I
          want to explore that
          unflinchingly.
          There is a long silence as everyone looks uncomfortable.

<b>          CADEN (CONT'D)
</b>          We are all hurtling toward death.

<b>          (SILENCE)
</b>          Yet here we are, for the moment,
          alive. Each of us knowing we will
          die; each of us secretly believing
          we won't.
          Nobody says anything for a long moment.

<b>          CLAIRE
</b>          It's brilliant. It's brilliant.
          It's everything. It's Karamazov.

<b>          67INT. CADEN AND ADELE'S BEDROOM - WINTER 2010 - NIGHT 67
</b>
          Caden is in bed, reading Olive's diary.

<b>          VOICE
</b>          Dear diary. Germany is wonderful!
          So many friends here. My new dads
          are great and handsome. And
          brilliant directors of theater.
          Caden grimaces in pain for a moment. His mouth bleeds. He
          dials the phone.

<b>          HAZEL'S ANSWERING MACHINE
</b>          It's Hazel. Leave a message or
          don't. Your dime.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 50.
</b>
<b>          67 CONTINUED:67
</b>
<b>          CADEN
</b>          Hi. I haven't heard from you so I
          thought I'd say hi. Hi, Hazel!
          He giggles crazily, coughs, then hangs up, embarrassed,
          grimaces once more, then dials again.

<b>          CLAIRE (PHONE VOICE)
</b>          Hello?

<b>          CADENCLAIRE (PHONE VOICE)
</b>          Hi, Claire, it's Caden.Hi! I was just thinking
          about you!

<b>          CADEN
</b>          Yeah? Um, I was calling to say hi,
          chat about today maybe.

<b>          CLAIRE (PHONE VOICE)
</b>          Hi! Here you are, on my phone!

<b>          CADEN
</b>          Yeah. Do you maybe want to get a
          drink or something? It's late so --

<b>          CLAIRE
</b>          Yeah! Yeah yeah yeah!

<b>          68 INT. QUINCY'S - 2010 - NIGHT68
</b>
          Caden waits in a booth, nursing a martini, watching people
          walk in, but not Claire. After a bit, Hazel enters with
          Derek from the burning house. She's laughing and doesn't see
          Caden. He slinks back into the booth. They sit at a table
          not far from Caden, who can hear their conversation.

<b>          HAZELDEREK
</b>          (giggly) I'm just asking.
          Stop!

<b>          HAZEL
</b>          You are so obnoxious!

<b>          DEREK
</b>          You're so obnoxious.

<b>          HAZEL
</b>          Yeah, well, you find it awfully
          charming. My obnoxiousity.

<b>          DEREK
</b>          Obnoxiousity is not a word.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 51.
</b>
<b>          68 CONTINUED:68
</b>
<b>           HAZEL
</b>           You don't want to cross me.

<b>           DEREK
</b>           Don't I?

<b>           HAZEL
</b>          No. Because you like me so much.

<b>          DEREK
</b>          True. I like your obnoxiousity.

<b>          HAZEL
</b>          And my use of the word
          "obnoxiousity."

<b>          DEREK
</b>          Yes.

<b>          HAZEL
</b>          Yes. You're delicious in your
          acquiescence.
          Claire enters, looks for Caden. She spots Hazel first.

<b>          HAZEL (CONT'D)
</b>          Hi, Claire.

<b>          CLAIRE
</b>          Hi...!

<b>          HAZEL
</b>          Hazel.

<b>          CLAIRE
</b>          Of course. Hazel. I knew that!
          Duh! The box office.

<b>          HAZEL
</b>          Yes, I'm the box office.

<b>          CLAIRE
</b>          How are you?

<b>          HAZEL
</b>          Wonderful! You?

<b>          CLAIRE
</b>          Fine, thanks. I was supposed to
          meet Caden here. You know Mr.
          Cotard, right?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 52.
</b>
<b>          68 CONTINUED: (2)68
</b>
<b>          HAZEL
</b>          Yes, I recall Mr. Cotard.
          Hazel looks around now, too. Both spot Caden at the same
          time. He smiles and waves and approaches.

<b>          CADEN
</b>          Oh, hey.

<b>          HAZELCLAIRE
</b>          Hi, Caden. Hi, Caden.

<b>          CADEN (CONT'D)
</b>          Hi, Hazel. Hi, Claire.

<b>          HAZEL
</b>          This is Derek.

<b>          CADENCLAIRE
</b>          Hi, Derek. Hi, Derek.

<b>          HAZEL (CONT'D)
</b>          Hi, Derek.

<b>          DEREK
</b>          Hi.

<b>          CADEN
</b>          How's everything, Haze... ul?

<b>          HAZEL
</b>          Great, Cade. En.

<b>          CADENCLAIRE
</b>          Good. It's good to see you.(awkwardly)
           Reunion night! How lovely!

<b>          HAZEL (CONTÃ¢â¬â¢D)
</b>          Yes.

<b>          HAZELCADEN
</b>          So --We'll leave you be.

<b>          HAZEL (CONT'D)
</b>          Yeah, okay. Thanks. Derek and I --

<b>          CADENHAZEL
</b>          No, of course. It was nice Take care.
          seeing you.
          Caden and Claire go to Caden's booth.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 53.
</b>
<b>          68 CONTINUED: (3)68
</b>
<b>          CLAIRE
</b>          That was awkward.

<b>          CADEN
</b>          Yeah, I guess.
          Caden steals glances at Hazel, chatting animatedly,
          throughout his conversation with Claire. He hears occasional
          snippets.

<b>          CLAIRE
</b>          Let's talk about our project. I'm
          so excited about it.

<b>          CADEN
</b>          Really? Why?

<b>          CLAIRE
</b>          I just think it's... brave. I feel
          like I'm going to be part of a
          revolution. I keep thinking Artaud.
          I keep thinking Krapp's Last Tape.
          Grotowski, for Christ's sake!

<b>          CADEN
</b>          I don't know what I'm doing.

<b>          CLAIRE HAZEL
</b>          But that's what's so ... cryptology...
          refreshing. I mean, how much
          prepackaged ...

<b>          CLAIRE
</b>          ... theater can we take as a
          country? Y'know? Knowing that you
          don't know is the first and most
          essential step to knowing. Y'know?

<b>          CADEN
</b>          I don't know.

<b>          CLAIRE HAZEL
</b>          I'm proud of you.Ptolemy was the first to
           divide the day into 24...

<b>          CLAIRE
</b>          So tell me what you want from me?

<b>          CADEN
</b>          Hmm?

<b>          CLAIRE
</b>          From my character.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 54.
</b>
<b>          68 CONTINUED: (4)68
</b>
<b>          CADEN
</b>          Oh. Well, we'll build it over
          time together. Find a real person,
          maybe, to model it after.

<b>          CLAIRE HAZEL
</b>          That sounds fun. ...hairstyle called a beaver
           tail. It's a loop of hair...

<b>          CLAIRE
</b>          That Hazel girl is kind of
          interesting, maybe. As a model.

<b>          CADEN
</b>          Um, yeah. Something to think
          about. Sure. Although --

<b>          CLAIRE CADEN
</b>          Y'know, why is she still I don't know. Probably not
          working in a box office at that interesting.
          her age?

<b>          CLAIRE CADEN
</b>          There's got to be a storyYeah. Could be. We'll talk
          there. Did she want to be an about it.
          actress but lacked
          confidence? You seem
          distracted.

<b>          CADEN (CONT'D)
</b>          No. I have these health issues.

<b>          CLAIRE HAZEL
</b>          It's late. ... and the jet, it exploded,
           and she was sent plummeting.

<b>          CADEN (CONT'D) CLAIRE
</b>          Um...Well, we can talk more
           tomorrow maybe.

<b>          CADEN (CONT'D)
</b>          I'm sorry.

<b>          (PAUSE)
</b>          When I get tired I have to remember
          to breathe. It's a new thing. My
          autonomic functions are failing.

<b>          CLAIRE
</b>          Poor darling. It's fine.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200755.
</b>
<b>          68 CONTINUED: (5) 68
</b>
<b>           CADENCLAIRE
</b>           I'm just ... (grabbing his hand)
          Shh. Shh. Shh. Shh. Shh.
          Claire leads Caden past Hazel and Derek, deep in
          conversation, heads close together.

<b>          HAZEL
</b>          Whitrow says, "If a mind is
          regarded to be a memory-based
          process of integration..."

<b>          69 EXT. DOWNTOWN SCHENECTADY STREET - WINTER 2010 - NIGHT 69
</b>
          Caden and Claire walk. It's bitterly cold. They pass a store
          window advertising a Presidents Day sale. The female
          mannequins are dressed as Lincoln and Washington. Caden
          glances at their star-spangled bikini-bottomed crotches.

<b>          CLAIRE
</b>          My mother died last night.

<b>          CADEN
</b>          My God. I'm so sorry. What are
          you doing out?

<b>          CLAIRE
</b>          Ugh, I couldn't deal with my
          sisters. It's like living in a
          Heironymous Bosch painting.

<b>          CADEN
</b>          Oh. I see. Well, um, What
          happened to your mother, if I could
          ask? I mean, God, that's an awful
          thing to ask. I'm sorry. I don't
          mean to -- It's just that, I'm --

<b>          CLAIRE
</b>          Oh, this is me. No, it's okay.
          She fell. Slipped in her bathroom.
          Hit her head. It actually split in
          half. Horrible.
          They stop at a small hatchback with a cow painted on it.

<b>          CADEN
</b>          In half?

<b>          CLAIRE
</b>          Yes. Well, it was nice meeting
          you. Did I say "meeting"? Ugh,
          I'm such an idiot.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200756.
</b>
<b>          69 CONTINUED: 69
</b>
<b>           CADEN CLAIRE
</b>           Slip of the tongue is all.Freudian slip.

<b>          CADEN
</b>          I don't know how it's Freudian.

<b>          CLAIRE
</b>          Y'know. Like "meet"? To meet?

<b>          CADEN
</b>          Oh. Well, I'm sorry about your
          mother. In half?

<b>          CLAIRE
</b>          It's okay. It's life. It's --
          Claire's face contorts into a horrifying, paralyzed grimace.

<b>          CADEN
</b>          What is it? What?
          She weeps silently, with gaping mouth. Caden awkwardly
          embraces her. She remains stiff.

<b>          CADEN (CONT'D)
</b>          Do you want me to drive you home?
          She shakes her head "no" over and over. Then she looks in at
          her reflection in the car window.

<b>          CLAIRE
</b>          Sometimes when I cry, I watch
          myself so I can remember how it
          looks for future roles. It's
          horrible. I hate myself.

<b>          CADEN
</b>          It's okay. Everyone does that.
          It's -- is there anything I can do?

<b>          70 EXT. CEMETERY - 2010 - DAY70
</b>
          Caden sits with Claire and a large congregation. She rests
          her hand on Caden's.

<b>          MINISTER
</b>          ...there she met Ralph Keene. They
          fell in love, married, and soon
          their first child, Claire was born.
          The minister's voice goes under.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 56A.
</b>
<b>          70 CONTINUED:70
</b>
<b>           CLAIRE
</b>           (crying whisper to Caden)
           I used to be a baby.

<b>           (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 57.
</b>
<b>          70CONTINUED: (2)70
</b>
<b>          CADEN
</b>          I'm so sorry.

<b>          CLAIRE
</b>          I was a baby girl with hair of spun
          gold, the prettiest baby anyone had
          ever seen. One day the townsfolk,
          who were jealous of my beauty,
          decided to steal me away.

<b>          71OMITTED71
</b>
<b>          72INT. CLAIRE'S BEDROOM (SCHENECTADY APT.) - 2010 - DAY72
</b>
          Curtains drawn, the room glows with afternoon sunlight.
          Caden sits on the bed. Claire enters naked from the
          bathroom, brushing her teeth and talking.

<b>          CLAIRECADEN
</b>          There was a knock at theGod, you're beautiful.
          door.

<b>          CLAIRE
</b>          (sits on bed next to him)
          It was a bearded old man.
          Caden can hold out no longer. He kisses her. They fall back
          on the bed. He kisses her all over as she continues to tell
          the story. Her voice becomes irresistibly melodious.

<b>          CLAIRE (CONT'D)
</b>          He said to me, "young lady, I have
          in my satchel a ring. Whomever
          possesses it will receive all the
          magic of the woodland sprites."

<b>          CADEN CLAIRE
</b>          (eyes blurring, head(spreading her legs)
          lolling, breathing her"You can have this ring if
          in) you promise me one thing."
          I have to fuck you. I have"Anything," I whispered in
          to. his ear.
          Caden and Claire are having sex now.

<b>          CLAIRE (CONT'D)
</b>          He said, "There is one more thing.
          You must never tell anyone what you
          promised me. If you do, you will
          die."

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200758.
</b>
<b>          73INT. CLAIRE'S BATHROOM (SCHENECTADY APT.) - 2010 - DAY 73
</b>
          Claire sits on the toilet and pees.

<b>          CLAIRE
</b>          So I used my new power to kill all
          the townsfolk. Horrible,
          humiliating deaths. I was reunited
          with my family. And I lived
          happily ever after, doing only good
          with my new powers.
          Caden cries and rests his head on her thigh.

<b>          CLAIRE (CONT'D)
</b>          Why are you crying, honey?

<b>          CADEN
</b>          I'm so in love with you.
          Claire smiles, strokes his hair.

<b>          CADEN (CONT'D)
</b>          I have problems, Claire. I'm still
          attached to my wife. I have also --
          I have also -- feelings for Hazel.

<b>          CLAIRE
</b>
<b>          (WIPING)
</b>          Really? Hazel? Oh. Really? Our
          Hazel? That's really interesting.
          I must've picked that up
          unconsciously. Wow. Boy. Gosh.

<b>          CADEN
</b>          I've left them behind. I've gone
          somewhere without them. I'm guilty
          of so much.

<b>          CLAIRE
</b>          It's okay. We'll be fine. You're
          with me now. We'll be good.

<b>          74EXT. PARK - 2010 - DAY 74
</b>
          Caden and Claire get married. Caden is saying his vows.

<b>          CADEN
</b>          There will be no other before you.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 59.
</b>
<b>          75 INT. SCHENECTADY POST OFFICE - WINTER 2010 - DAY 75
</b>
           Caden stands in line with a gift-wrapped box addressed to
           Olive. The clerks at the counter wear Santa hats and beards.

<b>          76 INT. TINY, CRAMPED REHEARSAL HALL - 2011 - DAY 76
</b>
           Actors piled in. Claire sits at a makeshift "box-office."
           Davis approaches. Caden circles the action. There are
          ponderous pauses.

<b>          DAVIS CLAIRE
</b>          I'd like to buy a ticket. Okay. That'll be forty
           dollars.

<b>          DAVIS CLAIRE
</b>          Okay. Forty dollars it is.Okay. Here's your ticket.

<b>          CADEN
</b>          Okay, hold it. We're not really --
          I think we need to work on your
          characters individually. We need
          to investigate, to really discover
          the essence of each being. Davis,
          I'll start with you.
          Caden walks off with Davis. Claire seethes.

<b>          77 INT. CLAIRE'S KITCHEN (SCHENECTADY APT.) - WINTER 2011 - 77
</b>

<b>          NIGHT
</b>          Claire chops vegetables. Caden feeds a baby. Christmas
          decorations are up.

<b>          CLAIRE
</b>          Davis, I'll start with you.
          There's a difference between
          favoring me and pretending we've
          never met. I mean, we had Ariel, I
          think people know we've fucked.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 60.
</b>
<b>          77 CONTINUED:77
</b>
<b>           CADEN CLAIRE
</b>           That's not the point. Apparently not. I would've
           guessed you were sleeping
           with Davis.

<b>           CADEN CLAIRE
</b>           We'll talk about your Maybe you are. I just want
           character after we get Arielto feel what we used to feel.
           to bed. Okay? Y'know?

<b>          78 INT. CLAIRE'S BEDROOM (SCHENECTADY APT.)- WINTER 2011 - 78
</b>

<b>          NIGHT
</b>          Claire sits on the bed and seems almost in a trance. She
          looks haggard and her cheeks are tear-stained.

<b>          CLAIRE
</b>          She's 36. Works in a theater box
          office. She had acting aspirations
          but lacked the confidence to pursue
          them. Her life is passing by. She
          is alone. She's old and ugly --

<b>          CADEN
</b>          I think you should pick another
          subject. Other than Hazel.

<b>          CLAIRE
</b>          Sacred ground?

<b>          CADEN
</b>          No. It's just. I don't feel like
          there's enough there.
          Claire thinks for a moment.

<b>          CLAIRE
</b>          I suppose not. She is limited.
          Okay. There's this single mother
          who lives downstairs. I find her
          really deep and sad.

<b>          CADEN
</b>          Tell me.

<b>          CLAIRE
</b>          I'm 42. I have a small child and
          no husband. I work long hours as a
          cashier at a mini-mart. Sometimes
          I worry my child will not even
          recognize me when I come home --
          Claire cries like she did when her mother died. Ariel cries.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200760A.
</b>
<b>          78 CONTINUED: 78
</b>
<b>           CLAIRE (CONT'D)
</b>           Check on her. Please, sweetie.
           I'm arriving at something.

<b>          79 INT. CLAIRE'S LIVING ROOM (SCHENECTADY APT.) - WINTER 2011 - 79
</b>

<b>          NIGHT
</b>          Ariel sleeps in a crib in the corner of the living room.
          Caden sits on a tiny chair, thumbing through a magazine.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 61.
</b>
<b>          79CONTINUED:79
</b>          Claire weeps off-screen. Caden sees an article entitled
          "Flower Girl", featuring a photo of a naked Olive, smiling,
          her body covered from neck to ankle in tattoos of flowers.
          The article begins, "Ten year old Olive Wittgart of Berlin is
          the first child in human history with a full body tattoo... "
          Caden stares in disbelief. Claire pokes her head in. Her
          eyes are red.

<b>          CLAIRECADEN
</b>          Caden, I've made aI have to go find my
          breakthrough. This woman is daughter.
          beautiful. I've got --

<b>          CLAIRE
</b>          Your daughter is right here.

<b>          CADEN
</b>          My real daughter.

<b>          CLAIRECADEN
</b>          What? My first daughter. Olive.
          I've got to find her.

<b>          CLAIRE
</b>          Please don't do this to us.

<b>          CADEN
</b>          She's tattooed!

<b>          CLAIRE
</b>          (revealing massive tattoo
          on back)
          Everyone's tattooed!

<b>          CADEN CLAIRE
</b>          I've never seen that before.You have responsibilities.

<b>          CADEN
</b>          I'll be quick. I'll do it quick.

<b>          CLAIRE
</b>          Everyone's tattooed. Please.

<b>          80INT. PLANE - 2011 - NIGHT 80
</b>
          It's dark; most people are sleeping. Caden reads Getting
          Better.

<b>          VOICE
</b>          Redundancy is fluid. Life moves to
          the south. There is only the now.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 62.
</b>
<b>          80 CONTINUED:80
</b>
<b>           MADELINE
</b>           Hi.
          He sees Madeline sitting across the aisle. She is different,
          sexier in make-up and a tight dress.

<b>          MADELINE (CONT'D)
</b>          When you cancelled, it freed me up.
          So I'm traveling, too! Yippee!

<b>          CADEN
</b>          I'm not sure I'm getting the book.

<b>          MADELINE
</b>          But it's getting you. You're
          almost non-recognizable now.
          Madeline spreads her legs a bit and smiles at Caden. He
          nervously grins, goes back to his book. He reads:

<b>          VOICE
</b>          I offer my flower to you and you
          deny it. This book is over.
          He turns the page. Blank. The rest of the book is blank.
          He looks over at Madeline. She is watching a movie.

<b>          81 EXT. BERLIN STREET - 2011 - DAY 81
</b>
           Caden wanders a dirty store-front street looking for an
           address. He finds it. An art gallery. He enters.

<b>          82 INT. GALLERY - 2011 - DAY 82
</b>
           The walls are hung with hundreds of Adele's tiny paintings.

<b>           CADEN GERMAN WOMAN
</b>           I don't speak German. I was - Yes yes. I may help you,
          -Mister?

<b>          CADEN
</b>          I'm looking for Adele Cotard.

<b>          GERMAN WOMAN
</b>          Yes. We must not give addresses or
          other personal informations.

<b>          CADEN
</b>          I'm her husband.

<b>          GERMAN WOMAN
</b>          No. You are not her husbands,
          which is named Gunther und Heinz.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 63.
</b>
<b>          83 EXT. OUTDOOR CAFE - 2015 - DAY83
</b>
          Caden sits nursing a coffee. Maria approaches and sits down.

<b>          CADEN
</b>          You're here, too?

<b>          MARIA
</b>          I live with Adele and Olive and
          Gunther und Heinz and Uschi and
          Britt. I'm everyone's nanny.

<b>          CADENMARIA
</b>          I want to see my daughter. They sent me.

<b>          CADENMARIA
</b>          They? And who the fuck are They decided it's not time to
          Uschi and Britt? see you yet.

<b>          CADEN
</b>          Maria, I can't believe Adele got
          her tattooed like that. I mean --

<b>          MARIA
</b>          I did that. Olive's my project.

<b>          CADEN
</b>          She's a four year old!

<b>          MARIA
</b>          She's almost over eleven now.
          She's my muse. I love her.
          Caden stares at her for a moment, then lunges. He punches
          her repeatedly as she tries to get away. She throws a punch
          which connects with the side of his head and knocks him down.
          She hurries off.

<b>          CADEN
</b>          What'd you do to my family? What'd
          you do to my daughter?

<b>          MARIA (IN GERMAN)
</b>          Screw you, Caden. Faggot! FAGGOT!
          She turns down an alley. Caden, a half-block behind, hurries
          to the alley. She's gone. He walks through, looking for
          her. It's dark. Trash cans and garbage. He spots an
          unopened box next to the trash. It's pink with a picture of
          a nose on it. Caden drops to his knees and weeps. No tears
          come out. His eyes are dry and red. He pulls a vial of
          artificial tears from his pockets and moistens his eyes.
          Suddenly his breathing becomes wildly erratic.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 64.
</b>
<b>          A84EXT. GERMAN HOSPITAL - 2015 - DAY A84
</b>
          Caden limps up to the hospital.

<b>          84 INT. GERMAN HOSPITAL ROOM - 2015 - DAY84
</b>
          German words painted on the walls. Caden, in his underwear,
          lies on a metal table in a cold room, while an old man in
          white military jacket examines him, pressing on his body in
          various places. The man is silent except for slow, long
          inhalations and exhalations through his nose. When he is
          through he leaves the room without saying a word. Caden lies
          there, not sure what heÃ¢â¬â¢s supposed to do. After a while, he
          gets up and opens the door, looks both ways down the empty
          hall. He closes the door, sits in a plastic chair and waits.

<b>          85 INT. PLANE - 2015 - NIGHT 85
</b>
          Caden sits. A tube runs from his nostril to a small whirring
          machine on his lap. A frail old man sits next to him.

<b>          OLD MAN
</b>          Death comes faster than you think.

<b>          86 EXT. NEW YORK CITY STREET - 2015 - DAY86
</b>
          Caden, walking with a realtor, approaches a warehouse in a
          very old, decrepit, and abandoned-looking part of town.

<b>          CADEN
</b>          Yeah, I want to bring my production
          to New York. To get it seen. By
          people, you know, who matter. The
          sooner the better.

<b>          REALTOR
</b>          Well, this theater is centrally
          located. Heart of the theater
          district. So... great for plays.

<b>           CADEN REALTOR
</b>          Yeah?Yeah. Very much so.

<b>          87 INT. WAREHOUSE - 2015 - DAY 87
</b>
          It's massive, empty, old, and dirty. Caden inspects it while
          the agent watches from a distance.

<b>          REALTOR
</b>          (echoey and far away)
          Lots of room for seats over here.

<b>          88 OMITTED 88
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200765.
</b>
<b>          89INT. WAREHOUSE - 2016 - DAY89 
</b>
          It's been scrubbed. There are small squared-off "apartment" 
          areas, with actors in each, going about their days. A couple  
          sleeps in a bed in one, in another there is a conversation  
          between people over dinner, a man watches television alone in 
          one, etc. There are at least fifteen configurations of  
          people with a reel-to-reel tape recorders in each set-up. 
          Caden walks from one to the other, eavesdropping, followed by 
          an assistant, Michael.  

<b>           PATIENT (IN ONE "APARTMENT") 
</b>          (to doctor) 
          And then he said he couldn't see me 
          anymore. Just like that. I don't  
          understand. I... I mean, he just  
          told me two days before how much he 
          loves me. Everything's spinning out 
          of control. 
          He stops at Claire's "apartment." She is ironing and  
          watching a daytime soap, which is a closed-circuit TV. The  
          actors in the soap are across the warehouse in another  
          apartment.  

<b>           JENNIFER (SOAP OPERA ACTRESS)  
</b>          Dr. Williams, that was your last  
          patient for the day.  

<b>           DR. WILLIAMS (SOAP OPERA ACTRESS)  
</b>          Jennifer, let's stop this charade.  

<b>          JENNIFER  
</b>          I don't know what you're talking  
          about, Doctor.  

<b>          DR. WILLIAMS  
</b>          The chemistry between us is 
          palpable. You and I both know that. 

<b>          JENNIFER  
</b>          Dennis... I can't.  

<b>          DR. WILLIAMS  
</b>          Why not? It's the way God made us.  

<b>          JENNIFER  
</b>          I can't because Jerry came back 
          last night. 

<b>          DR. WILLIAMS  
</b>          Jerry, but he's dead. I'm certain 
          of that because...  

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200765A.
</b>
<b>          89CONTINUED: 89
</b>
<b>          JENNIFER  
</b>          Because what? Because what, Dennis? 

<b>          DR. WILLIAMS  
</b>          Because I'm certain, that's all.  
          Ariel sits in a highchair and plays with a bowl of Cheerios.  
          She is about two and a half.  

<b>          ARIELCADEN
</b>          Daddy! Daddy is mine!Daddy can't play now, honey.

<b>          CLAIRE  
</b>          Daddy doesn't live with us anymore, 
          baby. He had to find himself. 
          Claire shoots daggers at Caden and goes back to ironing.  
          Nearby, Tom and Davis rehearse their scene in another 
          "apartment."  

<b>          DAVIS (AS CUSTOMER) 
</b>          I like it but it's a little tight 
          in the toe. Don't you think?  

<b>          TOM (AS CLERK)  
</b>          No. It's right. This is how they're 
          supposed to fit. They're French.  

<b>          DAVIS 
</b>          Oh. French, huh? Okay.  

<b>          90EXT. BUS SHELTER (NEAR WAREHOUSE) - 2016 - NIGHT 90
</b>
          Caden sits in the fluorescent shelter. He looks at a poster
          for a movie called Little Winky and Caden, which features
          Caden in an embrace with a muscular skinhead. The movie is
          "Posthumously Written" by The Late Horace Azpiazu.
          Caden's leg starts to twitch, and he goes into convulsions.

<b>          91OMITTED91
</b>
<b>          92INT. EXAMINATION ROOM - 2017 - NIGHT 92
</b>
          An old doctor examines Caden's shaking leg.

<b>          DOCTOR
</b>          I can't argue with further testing.

<b>          CADEN
</b>          Ok, you're a doctor, right? Am I
          dying? Can you tell me that?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 65B.
</b>
<b>          92 CONTINUED:92
</b>
<b>           DOCTOR
</b>           No.

<b>           CADEN
</b>           No, you can't tell me?

<b>           (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 66.
</b>
<b>          92 CONTINUED: (2)92
</b>
<b>          DOCTOR
</b>          I can't tell you.

<b>          DOCTOR (CONTÃ¢â¬â¢D)
</b>          You can't tell me if you can't tell
          me?

<b>           DOCTOR (CONTÃ¢â¬â¢D)
</b>           No.

<b>          93 EXT. NYC STREET - 2017 - DAY93
</b>
          Caden walks along, his leg shaking. He spots Hazel looking
          in a store window. He just watches her for a while. She
          sees him in the store window reflection. She turns.

<b>          HAZEL
</b>          Caden! I was wondering if I was
          going to bump into you!
          She gives him a hug, notices his shaking leg.

<b>          CADEN
</b>          What are you doing here? You look
          great.

<b>          HAZELCADEN
</b>          Oh, thanks. You... I --New haircut?

<b>          HAZEL
</b>          Um, yeah. For a while now.

<b>          CADEN
</b>          What are you doing in New York?

<b>          HAZEL
</b>          Oh. IÃ¢â¬â¢m here with Derek and the
          boys. Mini-vacation! You know.

<b>          CADEN
</b>          The boys?

<b>          HAZEL
</b>          Yeah. I thought you knew.

<b>          CADENHAZEL
</b>          Ah. Congratulations. Yeah. Thanks.

<b>          CADEN
</b>          How old?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 67.
</b>
<b>          93 CONTINUED:93
</b>
<b>          HAZEL
</b>          Five. Twins. Robert and Daniel
          and Allan.

<b>          CADEN
</b>          Ah. Yes.

<b>          (PAUSE)
</b>          Nice names. Where are they?

<b>          HAZEL
</b>          Oh. Derek took them to Natural
          History. So I could shop.

<b>          CADEN
</b>          Ah.

<b>          HAZEL
</b>          Nice to see you, Caden. How are
          things?

<b>          CADEN
</b>          YÃ¢â¬â¢know. I was with Claire. We
          have a daughter, but we're
          separated now. How about with
          you?

<b>          HAZEL
</b>          Good. The kids are wonderful. I
          have a great job at Lens Shapers.

<b>          CADEN
</b>          Great. You wear a lab coat?

<b>          HAZEL
</b>          ItÃ¢â¬â¢s so good to see you. I should
          run. I want to get some shopping
          in. WeÃ¢â¬â¢re meeting back at the
          hotel at three. Then sushi!

<b>          CADEN
</b>          Okay. Good seeing you, Hazel.
          Hazel smiles and waves and turns to head into the store.
          Caden watches after her.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200768.
</b>
<b>          94OMITTED94 
</b>
<b>          A95 EXT. HOTEL TERRACE - 2017 - DAYA95  
</b>
          Caden watches Hazel and her family, laughing and enjoying 
          each other on the terrace. The gaunt man sits with them.  
          When they head to the pool, Caden just continues, without 
          hesitation, to the edge of the roof, and begins to climb  
          over. A passing lifeguard sees Caden, grabs him and wrestles  
          him to the ground.  

<b>          95INT. CADEN AND ADELE'S HOUSE - 2017 - NIGHT95
</b>
          Caden pulls Olive's journal from under his pillow and reads
          from somewhere in the middle.

<b>          OLIVE'S VOICE
</b>          (with German accent)
          How I love Maria! She is so much
          more of a father than Caden ever
          was, with his drinking and
          unfortunate body odor and rotting
          teeth. I could only loathe him and
          perhaps pity him. But Maria!
          Caden blots his sopping brow and gums, sniffs under his arms.

<b>          96INT. HALLWAY (CLAIRE'S NYC APT.) - FALL 2018 - NIGHT 96
</b>
          Caden, now walking with a cane, approaches an apartment door.
          There's a sad pilgrim cut-out taped to it. He knocks.

<b>          CLAIRE (O.S.)
</b>          Yes?

<b>          CADEN
</b>          It's me.

<b>          ARIEL (O.S.)CLAIRE (O.S.)
</b>          Daddy, Daddy! What, Caden?

<b>          CADEN (CONT'D)
</b>          I want to come back. I want to
          take care of you and Olive. Ariel.
          There's silence then the door opens. Claire is crying.

<b>          CLAIRE
</b>          I just want you to love us.
          Caden hugs her. Ariel hugs Caden's good leg.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200768A.
</b>
<b>          96CONTINUED: 96
</b>
<b>          ARIEL
</b>          Why does you have a canes, Daddy?

<b>          97INT. CLAIRE'S BEDROOM (NYC APARTMENT) - 2018 - NIGHT 97
</b>
          Caden and Claire in bed having sex. The gaunt man stands on
          the fire escape peering in. Ariel watches from the doorway.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200769.
</b>
<b>          CONTINUED: 97 97
</b>           The phone rings. Claire cranes her neck and looks at the
           clock. The gaunt man and Ariel both step out of view.

<b>           CLAIRE
</b>           It's 3:30. For crying out fuck.
           Caden answers the phone.

<b>           CADEN
</b>          Hello? What's wrong? Okay. Okay.
          Caden hangs up. Claire kisses Caden's neck.

<b>          CADEN (CONT'D)
</b>          My father died.

<b>          CLAIRE
</b>          Oh, baby.

<b>          CADEN
</b>          His body was riddled with cancer.
          He didn't even know. He went in
          because his finger hurt.

<b>          CLAIRE
</b>          It's okay, baby. It's going to be
          okay. Let me make you feel better.
          Claire begins kissing her way down Caden's chest.

<b>          CADEN
</b>          They said he suffered horribly.
          That he called out for me right
          before he died. They said he said
          he regretted his life. They said
          he said a lot of things. Too many
          to recount. They said it was the
          longest and saddest deathbed speech
          any of them had ever heard.

<b>          98 EXT. CEMETERY - 2018 - DAY 98
</b>
          Caden, Claire, and Ariel stand with Caden's mother as a child-
          sized coffin is lowered into the ground.

<b>          MOTHER
</b>          There was so little left of him.
          They had to fill the coffin with
          cotton balls to keep him from
          rattling around.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200770.
</b>
<b>          99 INT. CADEN'S MOTHER'S HOUSE - 2018 - DAY 99
</b>
          Crowded with mourners. People chat and eat. Claire and
          Caden, on the couch holding hands, chat with a fat lady.

<b>          CADEN
</b>          Excuse me, I have to use the
          bathroom.

<b>          100EXT. CADEN'S MOTHER'S BACK DECK - 2018 - A FEW MOMENTS 100
</b>

<b>          LATER
</b>          Caden dials his cell phone.

<b>          CADEN
</b>          Hey.

<b>          INTERCUT WITH:
</b>
<b>          A101 INT. BURNING HOUSE - 2018 - SAME A101
</b>
          Hazel is on her phone.

<b>           HAZEL (PHONE VOICE)
</b>          Caden?

<b>          CADEN
</b>          I had to talk to you. My father
          died.

<b>          HAZEL
</b>          Oh no. Oh, Caden. I'm so sorry.

<b>          CADENHAZEL
</b>          Thanks. I know.Are you at your mom's?

<b>          CADEN
</b>          Yeah. With Claire and Ariel.

<b>          HAZELCADEN
</b>          Oh. I see. I'm back with Claire.
          Pause.

<b>          HAZEL
</b>          Yes, I got that.

<b>          CADENHAZEL
</b>          I'm sorry. What are you sorry about?

<b>          CADEN
</b>          I don't know. You got quiet. I
          thought I should say something.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 71.
</b>
<b>          A101CONTINUED:A101
</b>
<b>          HAZEL
</b>          You thought you should say
          something. That's lovely. That's
          what makes our relationship so
          special. The obligation.

<b>          CADEN
</b>          What am I supposed to do, Hazel? I
          have a kid with her. You have
          twins with Derek. Three twins.
          It's confusing!

<b>          HAZEL CADEN
</b>          You're not supposed to do I really miss you.
          anything.

<b>          HAZEL
</b>          Yeah, I guess that's what happens
          when you have a kid with somebody
          else. You having sex with her?

<b>          CADEN HAZEL
</b>          Hazel...I'm asking you a question.
          Did you have sex with her now
          that you're back together?

<b>          CADEN
</b>          Yes. Of course. I mean, what --

<b>          HAZEL
</b>          I have to go. I'm sorry about your
          dad. That's awful news.

<b>          CADEN
</b>          Hazel, please, I can't bear it if
          you go.

<b>          HAZEL
</b>          I have to. I'm going out. I have
          to get ready. Everything's fine.

<b>          CADEN
</b>          I need to use a cane now.

<b>          (PAUSE)
</b>          Okay. Take care.
          Hazel hangs up. Caden sits there.

<b>          101 OMITTED 101
</b>
<b>          102 OMITTED 102
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 72.
</b>
<b>          103 INT. WAREHOUSE - CITY SET - 2020 - DAY103
</b>
          A rehearsal in progress. The shells of apartment buildings
          have been built. The actors, who previously had been spread
          out on the floor of the warehouse, are now perched on
          scaffolding in various apartment spaces. Caden, followed by
          Michael, surveys the scene by climbing up and down ladders.
          It's difficult to manage with his cane.

<b>          104 INT. CLAIRE KITCHEN (NYC APARTMENT) - 2021 - LATE NIGHT 104
</b>
          Caden reads Olive's diary.

<b>          OLIVE'S GERMAN VOICE
</b>          Today I felt a wetness between my
          legs. Maria explained to me now I
          am a woman. And being a woman is
          wonderful with Maria to guide me.

<b>          105 EXT. BERLIN STREET - 2022 - DAY 105
</b>
          Overcast. Caden wanders. Walls are plastered with posters
          of "Flower Girl." It's Olive, early 20's, very sexy and
          naked. There is an address and a date. Seems to be some
          sort of concert.

<b>          106 INT. LOBBY - 2022 - NIGHT 106
</b>
          Caden waits on a long line behind a bunch of men.

<b>          107 INT DARK SMALL ROOM - NIGHT 107
</b>          Caden sits by himself in a cramped space. A light switches
          on behind scarred Plexiglas. Olive dances naked. Caden
          tries to get her attention by banging on the glass but she
          can't see him. A bouncer enters and beats Caden up.

<b>          108 INT. CLAIRE'S BEDROOM (NYC APARTMENT) - 2022 - MORNING108
</b>
          Caden, bruised, lies in bed while Claire hurries past,
          getting dressed.

<b>          CLAIRECADEN
</b>          Get out of bed. I'm depressed.

<b>          CLAIRE
</b>          The cry of the North American
          Caden.

<b>          CADEN
</b>          I'd just like a little sympathy.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 73.
</b>
<b>          108 CONTINUED:108
</b>
<b>          CLAIRE
</b>          I'll save my sympathy for the
          eighty million people with avian
          flu, the Tsunami victims in Puerto
          Rico, the countless millennia dead
          from... how fucked it all is.

<b>          CADEN
</b>          Millennia dead? What? And since
          when do you care about anything?

<b>          CLAIRE
</b>          I care every day about things! I
          care about us! ... Y'know?!

<b>          ARIEL
</b>          Why do Daddy be sad now?

<b>          109 EXT. BURNING HOUSE - 2023 - DAY 109
</b>
          The neighborhood seems abandoned and overgrown. Caden is
          parked down the block and watches Hazel's house. Soon Hazel
          and Derek walk by. Derek says something and Hazel laughs
          delightedly. Caden is in agony. He rolls down his window.

<b>          CADEN
</b>          Hazel!
          Hazel and Derek turn.

<b>          HAZEL CADEN
</b>          Caden, what are you doing Sorry. Can I talk to you?
          here? Please?
          Hazel kisses Derek, whispers something in his ear. They
          share a giggle. Derek waves at Caden and heads into the
          burning house. Hazel approaches Caden's car.

<b>          CADEN (CONT'D)
</b>          Tell me what to do.

<b>          HAZEL CADEN
</b>          Caden, everyone has to figure I want you to look at me like
          out their own life. Y'know? you used to.

<b>          HAZEL
</b>          Oh, honey, I can't anymore.

<b>          CADEN
</b>
<b>          (CRYING)
</b>          I'm sorry. I'm sorry. I screwed
          everything up. I don't have any
          courage. I'm sorry.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 74.
</b>
<b>          109 CONTINUED:109
</b>
<b>          HAZEL
</b>          It's okay. I'm okay.

<b>          CADEN
</b>          I don't want you to be okay. I
          mean, I do but it rips my guts out.

<b>          HAZEL
</b>          I'll always be your friend. I'll
          help you through any way I can.

<b>          CADEN
</b>          I'll help you through, too.

<b>          HAZEL
</b>          Caden, I'm fine. I have Derek.

<b>          110 INT. WAREHOUSE - 2023 - DAY 110
</b>
          Caden stands with his cane before the group of seated actors.
          The actors wait patiently as Caden finishes a coughing fit.

<b>          CADEN
</b>          I won't settle for anything less
          than the brutal truth. Brutal!
          Each day I'll hand you a scrap of
          paper. It'll tell you what
          happened to you that day. "You
          felt a lump in your breast. You
          looked at your wife and saw a
          stranger." Etcetera.

<b>          TOM CADEN
</b>          Caden, when are we going to And I'm not excusing myself
          get an audience in here?from this either. I will
          It's been seventeen years.have someone play me, to
          delve into the murky,
          cowardly depths of my lonely,
          fucked-up being. He'll get
          notes, too. And they will
          correspond to the "notes" I
          truly get each day from my
          God.
          The actors glance uncomfortably at Claire. She smiles
          apologetically.

<b>          111 OMITTED 111
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200775.
</b>
<b>          112OMITTED112
</b>
<b>          113INT. HAZEL'S CAR - 2024 - DAY113
</b>
          Hazel sits in her parked car and talks on her cellphone.
          Little kids in costumes walk by. A little girl walks by in a
          "nude" body suit with Olive's tattoos all over it.

<b>          HAZEL
</b>          They fired me. I caused an
          outbreak of conjunctivitis. I
          didn't wash my hands. I had pink
          eye hands! Pink hands!

<b>          INTERCUT WITH:
</b>
<b>          A114 INT. WAREHOUSE - 2024 - SAME A114
</b>
           Caden sits at his desk, talking on his cell phone.

<b>           CADEN
</b>           Oh God.

<b>           HAZEL
</b>          I didn't wash my hands! I'm a
          stupid cow! I don't have anything
          to show for being on this planet.
          And this fucking private Christian
          school is killing us. It's not
          cheap. It's Derek's thing. I
          don't believe in that shit.
          Y'know? Try to be a good person.
          That's all there is. I'm sorry.
          I'm talking too much. Do you have
          anything for me, Caden?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 76.
</b>
<b>          A114CONTINUED:A114
</b>
<b>          CADEN HAZEL
</b>          Um, I have an assistant,Please, Caden. Everything is
          Hazel. And there's no box falling apart. I miss you.
          office yet. There are problems at home.
          I'm worthless. I'm fat.
          What am I going to do?
          Nobody laughs at my jokes the
          way you did.

<b>          114 INT. WAREHOUSE - AUDITION CORNER - 2025 - LATER 114
</b>
          The actors are in their apartments living their lives. Caden
          is in the far corner of the space, at a little sectioned-off
          area. There are a half-dozen actors sitting on folding
          chairs outside the partition. They all resemble Caden,
          except one very tall one. Hazel steps around the partition.

<b>          HAZEL
</b>          Sammy Barnathan?
          Sammy Barnathan stands. He is the gaunt man we've seen
          following Caden. Hazel leads him to Caden. Caden stands.

<b>          HAZEL (CONT'D)SAMMY
</b>          This is Sammy Barnathan.I don't have a resume or
          picture. I've never worked
          as an actor.

<b>          CADEN
</b>          Good. Tell me why you're here.

<b>          SAMMY
</b>          I've been following you for twenty
          years. So I knew about this
          audition. Because I follow you.
          Caden, hiding is nervousness, nods.

<b>          SAMMY (CONT'D)
</b>          I've learned everything about you
          by following you. Hire me and you
          will see who you truly are.
          Caden stares at Sammy. Sammy stares back. There's fear in
          Caden's eyes but he doesn't drop his gaze.

<b>          SAMMY (CONT'D)
</b>          Peek-a-boo.
          Sammy transforms effortlessly into Caden.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 76A.
</b>
<b>          114CONTINUED:114
</b>
<b>          SAMMY (CONT'D)
</b>          Okay, Hazel, I don't think we need
          to talk to anyone else. This guy
          has me down. I'm going to cast him
          right now. Then maybe you and I
          can get a drink and we can try to
          figure out this thing between us.
          Why I cried. I've never felt about
          anyone the way I feel about you. I
          want to fuck you until we merge
          into a Chimera.

<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 77.
</b>
<b>          114CONTINUED: (2)114
</b>
<b>          SAMMY (CONT'D)
</b>          A mythical beast with penis and
          vagina eternally fused, two pair of
          eyes that look only at each other,
          lips ever touching and one voice
          that whispers to itself.

<b>          CADEN
</b>          Yes, okay. You've got the part.
          Sammy nods and exits. Hazel follows him with her eyes.

<b>          HAZEL
</b>          He's good, Caden.

<b>          CADEN
</b>          Please don't fall in love with him.

<b>          HAZEL
</b>          I only have eyes for you, dear.

<b>          115INT. WAREHOUSE - 2025 - A FEW MOMENTS LATER 115
</b>
          Caden limps with his cane and a backpack toward the men's
          room door. His eyes are rheumy. He pushes open the door.

<b>          116INT. WAREHOUSE - MEN'S ROOM - 2025 - CONTINUOUS 116
</b>
          The room is filthy. Flies buzz. The urinals are covered
          with slime. Caden enters a stall, pulls down his pants, and
          sits. He strains. When he is done, he looks at his stool.
          It's gray. He wipes and flushes, pulls up his pants and
          exits the stall. Sammy stands there.

<b>          SAMMY
</b>          I've never seen your shit gray.

<b>          CADEN
</b>          It's new.
          Sammy jots a note. Caden places his backpack on a sink. He
          looks at himself in the mirror, stalling.

<b>          SAMMY
</b>          I know it's pill time. You don't
          need to hide from me.
          Caden opens his pack and pulls out a baggie full of pills.
          He takes them, one-by-one. Sammy watches and counts. When
          it's over, he speaks.

<b>          SAMMY (CONT'D)
</b>          You're missing your Fosonex.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 78.
</b>
<b>          116 CONTINUED:116
</b>
<b>          CADEN SAMMY
</b>          No. Check your bag.
          Caden pulls out books and notebooks and a sweater. The pill
          falls out of the sweater onto the grimy floor.

<b>          SAMMY (CONT'D)
</b>          Fosonex, 2.5 mg.
          Caden picks the pill up off the floor. It's got grime on it.

<b>          SAMMY (CONT'D)
</b>          Swallow it anyway. It's important.
          Go on, sweetie.
          Caden looks at Sammy and swallows the pill.

<b>          SAMMY (CONT'D)
</b>          Good boy.

<b>          117 EXT. NYC CITY STREET - 2025 - EVENING 117
</b>
          Caden exits the warehouse with Claire and Ariel, who is now
          five. Sammy walks alongside. There is a long line of people
          waiting to find out about tickets for the show.

<b>          MAN
</b>          When is it opening?

<b>          CADEN
</b>          When it's ready.

<b>          MAN
</b>          We need to get in. It's bad out
          here.
          They move on, passing poor people waiting in line for food
          distributed from a military truck. There are sick people
          being herded into a scary bus marked "Fun Land." The guards
          wear surgical masks.

<b>          CADEN
</b>          I was thinking of calling it
          Simulacrum. What do you think?

<b>          CLAIRE
</b>          I don't know what it means.

<b>          ARIEL
</b>          Can me have a nickel if I doesn't
          play with my pee-pee no more?
          A hovercraft glides down the street with searchlights.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 79.
</b>
<b>          117CONTINUED:117
</b>
<b>          CADEN
</b>          How about The Flawed Light of Love
          and Grief?

<b>          CLAIRE
</b>          I'm not sure.
          Sammy jots something in his book.

<b>          118INT. CLAIRE'S BEDROOM (NYC APARTMENT) - 2025 - NIGHT118
</b>
          Caden and Claire have sex. Sammy watches from a chair in the
          corner. Ariel sits on his lap. They finish and Caden glances
          at Sammy.

<b>          119EXT. CLAIRE'S FIRE ESCAPE (NYC APARTMENT) - WINTER 2025 - 119
</b>

<b>          LATER
</b>          Caden and Sammy watch the city: fires in the distance. Human
          wailing. Christmas decorations in windows across the way.
          Occasional explosions. Claire pokes her head out.

<b>          CLAIRE
</b>          I'm going to work in my journal.
          You guys need anything?

<b>          CADENSAMMY
</b>          No, thanks.No, thanks, Claire.

<b>          CADEN
</b>           Claire? I want you to drop your
          study of Mrs. Kranstein.

<b>          CLAIRE CADEN
</b>          Caden -- I want you to play yourself.
           Sammy's going to move into
           your apartment set as me.

<b>          CLAIRE CADEN
</b>          It's just that I've made suchAs the vision reveals itself,
          enormous strides as Jocelynwe all have to be willing to
          and -- adapt, honey.

<b>          SAMMY
</b>          It'd be my honor to play your
          husband, Claire. You're an amazing
          actress. I saw you in Bernarda
          Alba last year at The Roundabout.

<b>          CLAIRE
</b>          Yeah? That was a fun play.
          Emotionally tough, but fucking
          fulfilling.

<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 80.
</b>
<b>          119CONTINUED:119
</b>
<b>          CLAIRE (CONT'D)
</b>          And I loved working with so many
          strong female actresses. Ugh,
          Lorca's a genius. Okay. I'm going
          to start thinking about myself.
          Claire exits.

<b>          SAMMY
</b>          Start, huh?
          Caden chuckles.

<b>          SAMMY (CONT'D)
</b>
<b>          (BEAT)
</b>          Why did we leave Adele, Caden?

<b>          CADEN
</b>          She left us. You know that better
          than anyone. Except me.

<b>          SAMMY
</b>          Amazing artist though. The best
          living artist. There's no one who
          stares the truth in the face like
          she does. A sweet pussy, too.
          Caden looks at Sammy, confused.

<b>          CADEN
</b>          How do you know that?

<b>          SAMMY
</b>          Oh. I read it.

<b>          CADEN
</b>          Anyway, I don't know where she is.
          A strange dirigible flies very low overhead.

<b>          SAMMY
</b>          Maybe she's got a sublet in New
          York. Maybe the Met's doing a
          retrospective. Maybe, baby.
          He hands Caden a slip of paper.

<b>          CADEN
</b>          Why are you giving this to me?

<b>          SAMMY
</b>          I want to follow you there and see
          how you lose even more of yourself.
          Research. For the part. Partner.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 200781.
</b>
<b>          120 EXT. CITY STREET (NEAR 31Y BUILDING) - FALL 2026 - NIGHT 120
</b>
          Dark, deserted part of town. The wind blows wet leaves. A
          kid walks by in a Hallowe'en costume, looking lost. Caden
          finds the address: an old, narrow, very tall, very dark
          building. There's a piece of looseleaf paper with the
          handwritten note "Death in family. God relieve our grief."
          taped to the front door. He approaches the tenant buzzers and
          buzzes 31Y. The name on the apartment is Capgras. The door
          buzzes.

<b>          121 OMITTED121
</b>
<b>          122 INT. ELEVATOR (31Y BUILDING) - 2026 - MOMENTS LATER122
</b>
          It's small. The walls are panelled with ancient, scarred
          wood. Caden presses "31." The doors close; the elevator
          ascends, swaying and creaking. The doors open on 17; nobody
          gets on. As they begin to close:

<b>          FAINT FARAWAY VOICE
</b>          Hold it. Hold it, please.
          Caden reaches for the "door open" button but doesn't press
          it. The doors close and the elevator continues its shaky
          ascent. The doors open on 31 and Caden exits.

<b>          123 INT. 31ST FLOOR HALLWAY (31Y BUILDING) - 2026 - CONTINUOUS 123
</b>
          Sound of the elevator descending. Caden heads down the long
          hall, looking at apartment numbers. He gets to the end and
          is only at 31J. He turns and heads back. The elevator is
          ascending again. As he passes the elevator door, it opens
          and a very old, feeble-looking man or woman steps out.

<b>          OLD PERSON
</b>          I asked you to hold the door.

<b>          CADEN OLD PERSON
</b>          I'm sorry. I pressed it, butYou didn't press it.
          I think it was too late.
          Caden continues to walk down the hall. The old person walks
          behind him. Caden looks behind him and smiles awkwardly.

<b>          CADEN
</b>          Have a good night.
          He picks up his pace, trying to be casual about it. He
          arrives at 31Y, glances over and sees the old person knocking
          feebly on a door down the hall.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 82.
</b>
<b>          123 CONTINUED:123
</b>
<b>          OLD PERSON
</b>          Frances, I need to go to the
          clinic. Something's terribly wrong
          with my nose.
          Caden knocks on 31Y. No answer. He knocks again. Down the
          hall, the door opens and another old person steps out into
          the hall. This person examines the first old person's nose.

<b>          OLD PERSON #2
</b>          Oh yes. I see.
          Old Person #2 squints over at Caden.

<b>          OLD PERSON #2 (CONT'D)
</b>          Are you Ellen? Ellen?!

<b>          CADEN
</b>          What?

<b>          OLD PERSON #2
</b>
<b>          (APPROACHING)
</b>          Are you Ellen Bascomb? I'm to give
          the key to 31Y to Ellen Bascomb.

<b>          CADEN
</b>
<b>          (BEAT)
</b>          Yes, I'm Ellen.
          Old Person #2 fishes a key out of the overcoat pocket.

<b>          OLD PERSON #2
</b>          She said you should just go in and
          get started. She said, don't
          forget to change the sheets.

<b>          CADEN
</b>          Ok. Thank you.
          Old Person #2 turns and heads back down the hall to Old
          Person #1, whose nose has started to bleed.

<b>          OLD PERSON #2
</b>          Oh dear.
          Caden enters the apartment.

<b>          124 INT. 31Y - 2026 - CONTINUOUS124
</b>
          An expansive, well-decorated place. Someone was just here:
          there's a steaming cup of coffee on the kitchen table.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 83.
</b>
<b>          125INT. 31Y BEDROOM - 2026 - MOMENTS LATER 125
</b>
          Clothing strewn about. There's a handwritten note on the
          night table. He reads it:

<b>          ADELE'S VOICE
</b>          Hi Ellen. Be a doll and do the
          sheets and whatever is in the
          hamper. Your money is under the
          toaster. Kisses, Adele. ps. bag
          of stuff in bedroom closet for
          Goodwill. Take what you want.

<b>          126INT. 31Y BATHROOM - 2026 - LATER126
</b>
          Caden scrubs the filthy toilet bowl.

<b>          127INT. 31Y BEDROOM - 2026 - DAWN127
</b>
          Caden folds laundry and puts it away. He spots the bag of
          clothing and goes through it. There are several blouses and
          skirts, a red beret, and some lingerie.

<b>          128EXT. 31Y APARTMENT BUILDING - 2026 - MORNING128
</b>
          Caden exits with bag of clothing. Several Latina and Eastern
          European cleaning ladies are exiting buildings also.

<b>          129INT. CLAIRE APARTMENT (NYC APARTMENT) - 2026 - LATER129
</b>
          Caden enters. Claire is in her bathrobe, worried and angry.

<b>          CADEN
</b>          I went for a walk. I had to think.

<b>          CLAIRE
</b>          All night? You smell weird. Are
          you wearing lipstick?

<b>          CADEN
</b>          No! What do I smell like? Like
          bad? Like an old person?

<b>          CLAIRE
</b>          I don't know. Like mold? I don't
          know. Like mold and ... cleaning
          products? Like you're
          menstruating? I don't know!

<b>          130INT. CLAIRE'S BATHROOM (NYC APARTMENT) - 2026 - MORNING 130
</b>
          Caden is scrubbing himself raw in the shower.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 84.
</b>
<b>          131INT. WAREHOUSE - CITY SET - 2026 - DAY131
</b>
          The actors are in their "apartments" and rehearsal is in
          progress. Caden walks along the scaffolding followed by
          Hazel. He hands scraps of paper to each actor he passes,
          then turns his attention to Sammy and Claire. She's in her
          underwear and getting dressed. Sammy comes up behind her and
          rubs her ass.

<b>          CLAIRE
</b>          I don't like that guy you got to
          play you.

<b>          SAMMY
</b>          You don't like Sammy? Why? I
          think he's good.

<b>          CLAIRE
</b>          I think you need to fire him.
          Caden hands her a scrap of paper.

<b>          CLAIRE (CONT'D)
</b>          (reading, then to Caden)
          Oh, fuck you. I'm forty-five years
          old. I don't want to do this shit
          anymore.

<b>          SAMMY
</b>          I'm not firing him, Claire. He's
          the best thing in the show. Next
          to you.

<b>          CLAIRE
</b>          He's coming on to me. He's feeling
          my ass during rehearsal.

<b>          SAMMY
</b>          He's your husband.
          Claire turns to the real Caden and screams.

<b>          CLAIRE
</b>          He's not my Godamn husband! You
          are! What is wrong with you?
          The actor underneath them pounds on his ceiling.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 85.
</b>
<b>          131CONTINUED:131
</b>
<b>           CADEN SAMMY
</b>           Good, Jimmy!(to Claire)
          It's for the play. We're
          getting at something real
          here.

<b>          CLAIRE (CONT'D)
</b>          Ugh! I'm going to rehearsal.
          She grabs her coat, tosses the note into the trash, and
          storms out and down the stairs.

<b>          CADEN
</b>          That's great, you guys.
          Sammy sits at the table and starts to write on scraps of
          paper. Hazel hovers behind him, watching.

<b>          CADEN (CONT'D)
</b>          Beautiful, Sammy.
          Caden leaves the set and steps onto his platform.

<b>          SAMMY
</b>          Caden, time out?

<b>          CADENSAMMY
</b>          What's up? I feel we need a Hazel in
          here. There's a whole side
          of Caden I'm not able to
          explore without a Hazel.
          Caden looks over at Hazel. Claire watches Caden from the
          street corner.

<b>          CADEN
</b>          I guess, yeah.
          Claire walks off in a huff.

<b>          HAZEL
</b>          I get to be a character? Hooray!

<b>          132INT. ELEVATOR (31Y BUILDING) - 2026 - NIGHT 132
</b>
           Caden rides up. The elevator stops. Old Person #1 gets on
           with a big bloody bandage covering his nose.

<b>           OLD PERSON
</b>           Hello, Ellen.

<b>           (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200786.
</b>
<b>          132CONTINUED: 132
</b>          Caden nods. They continue the ride in silence.

<b>          133INT. 31Y BEDROOM - 2026 - NIGHT133
</b>
          Caden looks at the unmade bed, an imprint of a female form in
          the sheets. He touches it. He gets a melancholy look on his
          face. He lies on his back in the form. He sees a note on
          the night table:

<b>          ADELE'S VOICE
</b>          Hi Ellen. Crackerjack job last
          night! Would you do sheets again?
          We had quite a fuck last night and
          it's musky and gross. Kisses, A.
          Caden smells the sheets, strips the bed.

<b>          A134 OMITTEDA134
</b>
<b>          134INT. 31Y KITCHEN - 2026 - MORNING134
</b>
          Caden sips coffee at the kitchen table. He's writing a note:

<b>          CADEN'S VOICE
</b>          Hi Adele. Relined the cabinets.
          Just wanted to let you know I won a
          MacArthur Grant and I'm mounting a
          play, which I think is going to be
          pure and truthful. Best --
          Caden hesitates for a moment, then signs it "Ellen."

<b>          135INT. WAREHOUSE - CLAIRE'S APARTMENT SET - 2026 - DAY 135
</b>
          Caden and Hazel watch as Claire waits in her bathrobe in the
          kitchen and Sammy enters the "apartment."

<b>          CLAIRE
</b>          Caden, what are you doing at night?
          I have a right to fucking know.

<b>          SAMMY
</b>          I've been going to Adele's place.
          And cleaning it.
          Long pause. Caden rubs his eyes.

<b>          CLAIRE
</b>          Do you know what I've given up for
          you? For this. For you. For you.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 87.
</b>
<b>          135 CONTINUED:135
</b>
<b>          SAMMY CLAIRE
</b>          I'm sorry.I -- I thought I wanted to be
          just a working stage actress.
          But, y'know, I'm watching all
          the young girls crowding me
          out and it's --
          There's a knock on the door. Sammy just stands there.

<b>          CLAIRE (CONT'D)
</b>          Get the door. Please. Just...
          Sammy opens it. Tammy, playing Hazel, stands there.

<b>          TAMMY
</b>          Uh-oh. This looks serious. Am I
          interrupting?

<b>          SAMMY
</b>          What's going on, Hazel?

<b>          TAMMY
</b>          Just wanted to tell you the girl
          playing me is able to start today.

<b>          SAMMY CLAIRE
</b>          Oh, good. That's good.That's all we need around
          here, two Hazels.

<b>          TAMMY (CONT'D)
</b>          Okay. I'll take that as my cue.
          Tammy closes the door and leaves.

<b>          CLAIRE
</b>          Maybe you can clean her toilet.

<b>          SAMMY
</b>          Maybe I will.

<b>          CLAIRE
</b>          It's over, Caden.

<b>          SAMMY
</b>          Claire, no.

<b>          CLAIRE
</b>          I'm not talking to you.
          Claire turns to Caden.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 88.
</b>
<b>          135 CONTINUED: (2)135
</b>
<b>          CADEN
</b>          I didn't say I was going to clean
          Hazel's toilet. He did.

<b>          CLAIRE
</b>          But you thought it.
          There's a silence. Hazel watches Caden closely.

<b>          CADEN
</b>          I thought it. But I didn't say it.
          Claire packs up her stuff.

<b>          CLAIRE
</b>          I got an offer to do Needleman in a
          Haystack and I'm going to take it.
          I want you out of the apartment.
          The real one. You can keep this
          one.
          Claire heads down the stairs.

<b>          CADEN
</b>          Jesus. Claire! Please!

<b>          HAZEL
</b>          Already put out a call for a Claire
          replacement. Would you really
          clean my bathroom?

<b>          CADEN
</b>          (beat, sadly)
          Yeah.

<b>          HAZEL
</b>          God, Caden, it's all so fucked.

<b>          136 INT. WAREHOUSE - BATHROOM - 2026 - DAY136
</b>
          Caden digs in his bag, pulls out a sponge, gets on his hands
          and knees and scrubs the floor.

<b>          137 INT. METROPOLITAN MUSEUM OF ART - 2026 - DAY137
</b>
          Caden, wearing a pair of magnifying glasses that flip up and
          down, enters a crowded gallery of people wearing similar
          glasses. The paintings are microscopic. Museum visitors use
          the special glasses to study the paintings. There's a wall
          inscribed "Small Miracles: The Paintings of Adele Lack."
          Biographical info is under. Caden squeezes his way to the
          wall to look at paintings. He sees one of an African female
          genital mutilation ceremony;

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 89.
</b>
<b>          137 CONTINUED:137
</b>          a woman weeping over the grave of a child; a man raping a
          woman. He comes to a wall titled: "Women I Love." He sees
          a self-portrait of Adele, a portrait of Maria, a portrait of
          Olive, naked and covered in tattoos. Then he comes to a
          portrait entitled "Ellen Bascomb." He steps back for a
          second, unable to look. The people behind him are impatient.
          Finally he flips the glasses and studies the painting. Ellen
          appears to be a chubby, 40 year old white woman, her mousy
          brown hair tied back in a kerchief. She is naked and
          spreading her vulva for the viewer. She has a kind face and
          what appears to be an appendectomy scar.

<b>          138 INT. CLAIRE'S KITCHEN (NYC APARTMENT) - 2026 - DAY138
</b>
          Caden moves boxes. Claire sits at the kitchen table with an
          actor. They are rehearsing lines from Needleman in a
          Haystack.  

<b>          CLAIRE (AS REBA) 
</b>          Oh, Needleman, you had such  
          potential. But IÃ¢â¬â¢m afraid IÃ¢â¬â¢m  
          going to have to move on.  

<b>          ACTOR (AS NEEDLEMAN) 
</b>          Just like that? You donÃ¢â¬â¢t give a 
          guy even a chance? 

<b>          CLAIRE (AS REBA) 
</b>          IÃ¢â¬â¢m not a chance-giving girl. IÃ¢â¬â¢m  
          a fun-loving girl. Remember? 

<b>          ACTOR (AS NEEDLEMAN) 
</b>          I try to be fun-loving. See? 
          Needleman makes a funny face. Reba doesnÃ¢â¬â¢t react.  

<b>          CLAIRE (AS REBA) 
</b>          My analyst says you have complexes.  

<b>          ACTOR (AS NEEDLEMAN) 
</b>          Once you enjoyed NeedlemanÃ¢â¬â¢s 
          complexes. 

<b>          CLAIRE (AS REBA) 
</b>          ThatÃ¢â¬â¢s before my analyst taught me 
          that my enjoyment of them was a  
          sign of my suppressed non- 
          enjoymnent of them.  

<b>          ACTOR (AS NEEDLEMAN) 
</b>          I hate your analyst. 

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 89A.
</b>
<b>          138 CONTINUED:138
</b>
<b>          CLAIRE (AS REBA) 
</b>          She told me your hatred of her is a  
          sign of your latent homosexuality. 

<b>          CADEN
</b>          This is the end of my stuff.

<b>          CLAIREACTOR
</b>          Bye.Bye.
          Caden heads out the apartment door.

<b>          139 INT. APARTMENT HALLWAY (CLAIRE'S NYC APT.) - 2026 - 139
</b>

<b>          CONTINUOUS
</b>          Caden enters the apartment next door and closes the door.

<b>          140 INT. CADEN'S APARTMENT - 2026 - CONTINUOUS140
</b>
          It's filled with boxes. Caden hears laughter coming from
          next door. He puts his ear against the wall to listen.

<b>          141 EXT. CADEN'S APARTMENT BUILDING - 2026 - DAY141
</b>
          Caden exits, crosses the street, and looks up, trying to see
          in Claire's window. He sees her walk by, then nothing.

<b>          142 INT. WAREHOUSE - 2026 - DAY 142
</b>
          Caden sits with Hazel at a table facing the giant, open
          apartment building structure. An actress plays Claire. She
          sits at the kitchen table of her apartment with an actor
          playing the actor. They both hold scripts and read from
          Needleman in a Haystack. Sammy is in front of the building,
          looking up. Caden looks troubled. Tammy sits to the side of
          Hazel and studies her. Every once in a while, Hazel self-
          consciously glances over at Tammy, who does not avert her
          gaze.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200790.
</b>
<b>          142CONTINUED: 142
</b>
<b>          CADEN
</b>          This is a lie!
          Caden paces. The actors stop what they're doing, sit with
          their legs dangling off the edge of their apartments, wait
          for instructions. Caden limps off to the set designer's
          office.

<b>          A143 INT. WAREHOUSE - WILL'S OFFICE - 2026 - CONTINUOUS A143
</b>
          Caden enters the office. Will, the production designer, looks
          up from his drafting table.

<b>          CADEN
</b>          Wall it up.

<b>          143INT. WAREHOUSE - CITY SET - 2028 - DAY 143
</b>
          Sammy stands across the street from the walled-up apartment
          building, an exact replica of the real one. He looks up at
          Claire's lighted window. Caden watches, pleased.

<b>          144INT. CADEN'S APARTMENT - 2029 - NIGHT144
</b>
          Caden, hooked up to pumps, tries to sleep on the floor,
          surrounded by boxes. He listens to Claire having sex next
          door. He detaches his pumps, gets dressed.

<b>          145INT. 31Y BEDROOM - 2029 - NIGHT145
</b>
          Caden sits on the bed and reads a note from Adele:

<b>          ADELE'S VOICE
</b>          Good for you with your grant!
          Listen, I fixed up the walk-in as a
          sort of bedroom if you want. We'd
          love to have you and you wouldn't
          have to schlep all the way to
          Queens. Just a thought. Kisses.

<b>          A.
</b>
<b>          146INT. 31Y WALK-IN CLOSET - 2029 - NIGHT 146
</b>
          Caden sees an unmade cot in the corner and a few cardboard
          boxes marked "Stuff for Olive." The "Olive" is crossed out
          and replaced with "Caden."

<b>          147INT. 31Y WALK-IN CLOSET - 2029 - LATER 147
</b>
          The boxes are empty as Caden finishes making the bed. The
          room is decorated in a girly manner. Pink bedspread. Girly
          lamps and furniture. Girly prints on the walls.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 91.
</b>
<b>          148EXT. CITY SET (INT. WAREHOUSE SET) - 2031 - DAY 148
</b>
          Sammy, walking with a cane, exits his apartment building set
          and walks down the street. Caden and Hazel follow. Sammy
          passes people, nods hello to some. He stops at a newsstand
          and buys a paper. The set seems to go on forever.

<b>          A149 EXT. WAREHOUSE STREET (INT. WAREHOUSE SET) - 2031 - A149
</b>

<b>          CONTINUOUS
</b>           Eventually Sammy arrives at a warehouse that looks exactly
           like the warehouse they are in. He enters.

<b>          149EXT. CITY STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE) - 2031 - 149
</b>

<b>          CONTINUOUS
</b>          Inside it looks exactly like the warehouse, including a
          duplicate city set. Sammy hands little scraps of paper to
          people, then dumps his pack on the table where Tammy sits.
          Hazel and Caden watch.

<b>          SAMMY
</b>          Morning, Haze.

<b>          TAMMY
</b>          Hi, Caden. How was your night?

<b>          SAMMY
</b>          Okay. Yours?

<b>          TAMMY
</b>          Eh. Philip was colicky. I was up
          all night.
          Caden looks over at Hazel for confirmation. She nods,
          slightly freaked out.

<b>          CADEN
</b>          Sorry.

<b>          SAMMY
</b>          (to Tammy)
          Sorry. Everybody here?

<b>          TAMMY
</b>          (looking at clipboard)
          Sammy's not here. Jimmy called and
          said there's some subway problem.
          Jimmy rushes into the warehouse.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200792.
</b>
<b>          149CONTINUED: 149
</b>
<b>           JIMMY
</b>           Sorry. Sorry, sorry, sorry.

<b>           (SWEETLY)
</b>           Hi, Hazel.

<b>           TAMMY
</b>           Hi, Sammy.

<b>           SAMMY
</b>          (to Tammy)
          Sammy likes you.
          Caden looks at Hazel. She nods.

<b>          SAMMY (CONT'D)
</b>          Hazel, could you get everyone
          situated? I need to speak to Will
          about some new sets.
          Sammy pulls some Polaroids out of his backpack.

<b>          TAMMY
</b>          Yeah. We'll take it from June 9th?
          Sammy nods, heads toward the set designer's office.

<b>          CADEN
</b>          Oh, shit. I need to do that, too.
          Haze, keep an eye on things?

<b>          HAZEL
</b>          Yup. June 9th?
          Caden nods, rushes out the door of the warehouse set.

<b>          150OMITTED150
</b>
<b>          A151 EXT. UNFINISHED BRICK BUILDING (BROOKLYN BRIDGE PARK)(INT. A151
</b>

<b>          WAREHOUSE) - 2031 - CONTINUOUS
</b>          Caden finds Will up on some scaffolding, working on the set.

<b>          CADEN
</b>          Will, I need you to build this.
          Caden hands Will shots of the exterior and interiors of
          Adele's building and of apartment 31Y.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 93.
</b>
<b>          151INT. WAREHOUSE - AUDITION CORNER - 2031 - LATER 151
</b>
          Caden sits at his desk. There are several overweight women
          waiting on the other side of the partition. Hazel ushers one
          in. She's a ringer for the painting of Ellen.

<b>          CADEN
</b>          Hazel, what do you think of this
          title: Unknown, Unkissed, and Lost?

<b>          HAZEL
</b>          Eh. Caden this is Millicent Weems.

<b>          CADEN
</b>          Hi, Millicent. Have a seat. How
          are you at cleaning?

<b>          MILLICENT
</b>
<b>          (SITTING)
</b>          I'm very, very good at it.

<b>          CADEN
</b>          Because this part requires a lot of
          it. You'd play a cleaning lady.

<b>          MILLICENT
</b>          I played Egga the cleaning lady in
          Hedda Gabler at the Roundabout.

<b>          CADENMILLICENT
</b>          Great. Okay. And Mrs. Dobson in Scrub-a-
           Dub at the Pantages.

<b>          CADEN
</b>          You're weirdly close to what I've
          visualized for this character.

<b>          MILLICENT
</b>          Glad to be weirdly close.
          Millicent and Caden study each other.

<b>          152EXT. CITY STREETS (INT. WAREHOUSE SET) - 2032 - DAY 152
</b>
          Caden heads to the warehouse set. He hands paper scraps to
          shopkeepers, pedestrians, a guy sweeping the street.

<b>          CADEN
</b>          Good work, everyone.
          Nobody acknowledges him.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 200794.
</b>
<b>          A153 INT. WAREHOUSE - WAREHOUSE SET - 2032 - CONTINUOUS A153
</b>
          Caden enters the warehouse set. Tammy sits alone at the card
          table. There's activity on the street and movement can be
          seen in various windows.

<b>          CADEN
</b>          Where're Sammy and Hazel?
          Tammy jerks her head to the left. Caden sees that Sammy has
          Hazel with her back against a wall. They are talking
          intimately. Caden approaches.

<b>          CADEN (CONT'D)
</b>          Hey, Sammy, what are you doing?
          Sammy and Hazel look over casually.

<b>          SAMMY
</b>          Hi, Caden. I'm being you. You
          like Hazel; I like Hazel.

<b>          CADEN
</b>          This Hazel doesn't exist for you.
          If you want to like a Hazel, like
          that one.
          Caden points indicates Tammy. Sammy squints over.

<b>          TAMMYHAZEL
</b>          That's what I tried to tellAw, no harm, no foul, Caden.
          him! It's Equity break anyway.

<b>          (LOUD)
</b>          Ten minutes, everybody!
          The actors playing the people on the street immediately stop
          what they're doing. Actors pour from apartment buildings and
          shops, lighting cigarettes and talking on cell phones. Sammy
          goes off.

<b>          CADENHAZEL
</b>          Hazel. What?

<b>          CADEN (CONT'D)
</b>          You don't like him, do you?

<b>          HAZEL
</b>          Kind of. He reminds me of you.

<b>          CADEN
</b>          I'm me. You don't need someone to
          remind you of me.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 95.
</b>
<b>          A153CONTINUED:A153
</b>
<b>          HAZEL
</b>          Don't worry, Caden. I like you
          more. I do. Sammy's just fun.

<b>          CADEN
</b>          I'm fun.

<b>          HAZEL
</b>          Oh, sweetie. No, you're not.
          Caden's cell phone rings. He answers it.

<b>          CADEN VOICE
</b>          Yes?Is this Caden Cotard?

<b>          CADEN VOICE
</b>          Yes.This is Officer Mark Mellman
          of Schnectady P.D.

<b>          CADEN VOICE
</b>          Yes?I'm sorry to inform you, your
          mother has been the victim of
          a home invasion.

<b>          153 EXT. CEMETERY - 2032 - DAY153
</b>
          A funeral is in progress. Caden stands with Tammy and his
          father as his mother's coffin is lowered into the ground.
          The coffin is banged up and crumbling.

<b>          154 INT. CADEN'S MOTHER'S HOUSE - 2032 - DAY154
</b>
          Lots of mourners. Caden sits on the couch with Tammy.

<b>          CADEN
</b>          Was my father standing with us?

<b>          TAMMY
</b>          I don't know what he looks like.

<b>          CADEN
</b>          He's dead. He looks dead, I guess.

<b>          TAMMY
</b>          Probably wasn't him then.

<b>          CADEN
</b>          A little moustache?
          She shrugs.

<b>          CADE
</b>          Anyway, Thanks for coming with me.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 96.
</b>
<b>          154CONTINUED:154
</b>
<b>           TAMMY
</b>           It's okay.

<b>           CADEN
</b>          I asked Hazel but she was busy
          tonight and you're the next best
          thing. I mean, it isn't that
          you're the next best thing but
          because you play her, it feels
          comforting. Does that make sense?
          Although the thing is offstage
          you're nothing like her. You play
          her very well though. Did Hazel
          mention what she was doing tonight
          because I called her house before
          we left and her husband said she
          wasn't going to be back till late
          and I thought that was weird
          because she told me Philip was
          sick.

<b>          TAMMY
</b>          She's going to dinner with Sammy.

<b>          CADEN
</b>
<b>          (CALMLY)
</b>          That's interesting.

<b>          TAMMYCADEN
</b>          He's supposed to like me.I'll have another talk with
           him. Can you excuse me. I
           need to use the bathroom.
          Caden gets up and turns to leave.

<b>          TAMMY
</b>          Don't forget your phone.

<b>          CADEN
</b>          Thank you, Yammy.
          Caden takes the phone and limps off.

<b>          155EXT. CADEN'S MOTHER'S BACK DECK - 2032 - DAY155
</b>
          Caden talks on his cell.

<b>           CADEN
</b>           Hey. What you up to?

<b>           INTERCUT WITH:
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 97.
</b>
<b>          A156 INT. HAZEL'S CAR - 2032 - SAMEA156
</b>
          Hazel's driving while talking on her cell.

<b>          HAZEL'S VOICE
</b>          In my car. Heading to dinner with
          Sammy.

<b>          CADEN
</b>          Why didn't you tell me that before?

<b>          HAZEL
</b>          Caden. I don't want to say things
          that are going to make you sad.

<b>          CADEN
</b>          It mostly makes me sad that it
          doesn't make you sad.

<b>          HAZEL
</b>          You want me to be sad that
          someone's taking me out to dinner?
          I don't know how to do that.

<b>          CADEN
</b>          I want you to be sad that we had
          something really special and it's
          going away!

<b>          HAZEL
</b>          It just happened, Caden. I didn't
          plan it. You were with Claire.
          This probably isn't going to go
          anywhere, sweetie. I'm still your
          girl.

<b>          CADENHAZEL'S VOICE
</b>          Oh, Haze. C'mon. It's just dinner. He's got
           stories! It just seems fun.

<b>          CADEN
</b>          He has stories about me!

<b>          HAZEL
</b>          Caden, I know everything about you
          and it's all adorable. I love you
          and I always will. So don't worry.
          I gotta go, I'm there.
          Hazel hangs up. Caden stands there for a minute.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 98.
</b>
<b>          156 INT. CADEN'S MOTHER'S KITCHEN - 2032 - NIGHT156
</b>
          The house has emptied out. Caden and Tammy straighten.

<b>          CADEN
</b>          Did you always want to be an
          actress?

<b>          TAMMY
</b>          Every girl wants to be an actress.

<b>          CADEN
</b>          Is that true?

<b>          TAMMY
</b>          I did. So I figure everyone does.

<b>          157 INT. CADEN'S MOTHER'S BEDROOM - 2032 - LATER157
</b>
          Looks like there's been a horrible struggle. The bed is
          covered with blood. Caden and Tammy stare at it.

<b>          CADEN
</b>          I thought someone would've cleaned
          it up.

<b>          TAMMY
</b>          Who?

<b>          CADEN
</b>          I don't know! Someone.

<b>          158 INT. CADEN'S CHILDHOOD ROOM - 2032 - LATER158
</b>
          It's a kid's room. Caden and Tammy stand there.

<b>          CADEN
</b>          This is my room. You can sleep
          here.

<b>          TAMMY
</b>          Where will you sleep?

<b>          CADEN
</b>          The living room couch.

<b>          TAMMY
</b>          Don't you want to sleep with me?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 99.
</b>
<b>          158 CONTINUED:158
</b>
<b>          CADEN TAMMY
</b>          Um... It's just sex.

<b>          CADEN
</b>          Okay. If you think it's okay.
          Tammy laughs, matter-of-factly gets undressed in front of
          Caden. He just stands there uncomfortably.

<b>          CADEN (CONT'D)
</b>          How can you be like that?

<b>          TAMMY
</b>          I get undressed every day.

<b>          CADEN
</b>          In front of someone is different.

<b>          TAMMY
</b>          I don't see why.

<b>          CADEN
</b>          Maybe because you have a beautiful
          body. Maybe that makes it easier.

<b>          TAMMY
</b>          I suppose it might. Do you want to
          fuck?

<b>          CADEN
</b>          I do. Yes. Um. Do you?

<b>          TAMMY
</b>          It'd be fine.
          Caden starts to cry.

<b>          CADEN
</b>          I'm sorry. I'm very lonely. I
          don't know what's wrong. I just --
          I'm sorry. Can you understand? Do
          you understand loneliness?

<b>          TAMMY
</b>          Yeah, I mean, I don't know. I feel
          okay mostly. Fucking might help.

<b>          CADEN
</b>          I'm sorry.

<b>          TAMMY
</b>          It's okay. I don't mind. Take
          your clothes off.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 99A.
</b>
<b>          158 CONTINUED: (2)158
</b>
<b>          CADEN
</b>          You're very pretty.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 100.
</b>
<b>          158CONTINUED: (3)158
</b>
<b>           TAMMY
</b>           Thanks.

<b>           CADEN
</b>          Sometimes I wish I were pretty like
          that.

<b>          TAMMY
</b>          You wish you were a chick?

<b>          CADEN
</b>          (long pause)
          Sometimes I think I might've been
          better at it.

<b>          TAMMY
</b>          Interesting. It's kind of a drag
          in a lot of ways. You like guys?

<b>          CADEN
</b>          No. No. I like women. I only
          like women.

<b>          TAMMY
</b>          Well, I'm getting cold.
          She climbs into bed.

<b>          TAMMY (CONT'D)
</b>          Take off your clothes.
          Caden does, awkwardly and shyly. He then stands there naked.
          Tammy smiles sweetly at him.

<b>          TAMMY (CONT'D)
</b>          Pretty Caden.

<b>          CADEN
</b>          Thanks. Thank you for saying that.

<b>          TAMMY
</b>          Come to bed, Pretty Caden.
          Caden turns off the lights and climbs into the twin bed with
          Tammy. She looks at his face, then kisses him.

<b>          159INT. CADEN'S CAR - 2032 - MORNING 159
</b>
          A residential street in Schenectady. Caden drives and Tammy
          sits in the front passenger seat.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 101.
</b>
<b>          159 CONTINUED:159
</b>
<b>          TAMMY
</b>          What is attractive? How are
          attractive people treated, how do
          they feel? How do unattractive
          people feel, how are they treated?
          How do attractive people feel about
          unattractive people, how do
          unattractive people feel about
          attractive people? How do
          unattractive people feel about
          other unattractive people? How do
          attractive people feel about other
          attractive people? How do
          unattractive men feel about
          unattractive women? How do
          unattractive men feel about
          attractive women? How do
          attractive men feel about
          unattractive women? How do
          attractive women feel about
          unattractive men? How do old
          people feel about attractive
          people? How do attractive people
          feel about old people? This is my
          study.
          Caden slows down.

<b>          CADEN
</b>          That's Hazel's house.
          Caden points to the house with smoke seeping out the windows.

<b>          TAMMY
</b>          Huh. Do you think we should have a
          Hazel's house on the set for me?

<b>          CADEN
</b>          Um...

<b>          TAMMY
</b>          It would be verisimilitudinous.

<b>          CADEN
</b>          Yeah. I don't know. I have to
          speak to the fire marshal.

<b>          TAMMY
</b>          It would be very verisimilitudinous
          if you could.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 102.
</b>
<b>          160 EXT. HIGHWAY (INT. WAREHOUSE) - 2032 - DAY160
</b>
          Hazel drives a golf cart along a fake highway. Caden and
          Tammy sit in back. Hazel eyes them in the rearview mirror.
          They seem cozy. Hazel scowls. Technicians are on the side
          of the road putting in plants and trees.

<b>          CADEN
</b>          I think both of you Hazels are
          going to like this. Turn off here.
          Hazel rolls her eyes, drives down an exit ramp.

<b>          161 EXT. BURNING HOUSE STREET (INT. WAREHOUSE SET) - 2032 - DAY 161
</b>
          Hazel drives the golf cart down the street in a state of near
          completion. She stops in front of a replica of her house.

<b>          CADEN
</b>          Hank! Okay!
          The house begins to smoke.

<b>          TAMMY
</b>          My house!
          Tammy kisses Caden on the cheek and runs into the house.

<b>          HAZEL
</b>          Is there no end to your pussy
          kissing?

<b>          CADEN
</b>          It's verisimilitudinous. I'm
          thinking of that as a title.

<b>          HAZEL
</b>          Whatever. I've got work to do.
          Tell your girlfriend to get out
          here if she wants a ride back.

<b>          CADEN
</b>          She's not my girlfriend.

<b>          HAZEL
</b>          Give it a rest, Caden. I can smell
          her on your breath.

<b>          CADEN
</b>
<b>          (BEAT)
</b>          Tammy! We have to get back.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007103.
</b>
<b>          162INT. APARTMENT HALLWAY (INT. WAREHOUSE SET) - 2032 - DAY 162
</b>
          Sammy walks down the hall followed by Tammy. He stops at
          various doorways and listens to conversations or other noises
          within the apartments. They are followed by Caden and Hazel.

<b>          SAMMY
</b>          Jeremy is playing to us. Tell him
          he simply needs to talk to Donna.
          We'll hear what we hear.
          Tammy takes down the note.

<b>          CADEN
</b>          Sammy's explaining too much. Feels
          expository. Needs to be shorthand,
          like, "Jeremy big."
          Hazel writes that down. They all continue down the hall.

<b>          TAMMY
</b>          Caden? Can we stop for a second?

<b>          CADEN
</b>          Sure.

<b>          TAMMY
</b>          If Hazel's in love with Sammy and
          Caden's in love with Hazel, there
          would be a dramatic confrontation,
          where Caden turns to me and says,
          "It's obvious he's a substitute for
          me." I think then Hazel could have
          a good moment where she cries or
          gets angry. I'm not sure which
          yet, but it feels dramatically
          sound.

<b>          HAZEL
</b>          That didn't happen, Caden.

<b>          TAMMY
</b>          I think Hazel would do that, Hazel.

<b>          HAZEL
</b>          But Hazel hasn't done it, Tammy.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007104.
</b>
<b>          162CONTINUED: 162
</b>
<b>           TAMMYCADEN
</b>           Caden? What do you think?I think we could try it.

<b>           TAMMYHAZEL
</b>          Great!Fuck. I'm going out for a
          smoke.
          They watch her go. Caden turns back to the others.

<b>          CADEN
</b>          Let's try it. Maybe it could
          happen at the director's table.

<b>          163EXT. CITY STREET (INT. WAREHOUSE SET) - 2032 - DAY 163
</b>
          Caden and Hazel sit at the director's table. The street life
          of the play is going on around them.

<b>          CADEN
</b>          Tammy was right. I don't
          understand why you're with Sammy.

<b>          HAZEL
</b>          He's nice. He's available. He
          fucks me without crying.

<b>          CADEN
</b>          That happened one time! You fucked
          him?

<b>          HAZEL
</b>          Yes! And you and I only fucked one
          time that's why you only cried one
          time! I give you endless
          opportunities.

<b>          CADEN
</b>          What do you mean, he's available?
          Since when are you available?

<b>          HAZEL
</b>          Derek left. Because of you!

<b>          CADEN
</b>          When? How come you never told me?

<b>          HAZEL
</b>          I don't know, Caden. How come a
          lot of things? It's not like we
          can start fresh, like Sammy and I
          can. There's all this pressure on
          us. We're finally both free and
          there's all this fucking pressure.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 104A.
</b>
<b>          163 CONTINUED:163
</b>
<b>          CADEN
</b>          Fuck. I have to let the actor who
          plays Derek go. What is his name?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 105.
</b>
<b>          163CONTINUED: (2)163
</b>
<b>          HAZEL
</b>          That's such a romantic response.
          I'm touched.

<b>          CADEN
</b>          It's not my response. It just
          crossed my mind. We have enormous
          budgetary concerns here.

<b>          HAZEL
</b>          Ugh. Forget it.
          (looking in book)
          Derek is played by Joe --

<b>          CADENHAZEL
</b>          Stop, okay. Just stop. I don't like Tammy and she's
           nothing like me. How can you
           like her? Joe Abernathy.

<b>          CADEN
</b>          She looks like you. And --

<b>          HAZELCADEN
</b>          No she does not. -- and she offered to have
           sex with me. Abernathy?

<b>          HAZEL
</b>          Yes. Was it good?

<b>          CADEN
</b>          I don't know. Yeah. It was nice.

<b>          HAZELCADEN
</b>          Ugh. I'm just trying to be honest.
          It was nice. Not earth-
          shattering.

<b>          HAZEL
</b>          Did you cry?

<b>          CADEN
</b>          No!

<b>          HAZEL
</b>          You're making progress.

<b>          CADEN
</b>          Okay, I cried a little before.
          (long pause)
          Hazel, you've been part of me
          forever. Don't you know that? I
          breathe your name in every
          exhalation.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007106.
</b>
<b>          163CONTINUED: (3) 163
</b>
<b>          HAZEL
</b>
<b>          (STOPS)
</b>          Oh, Caden. Oh, fuck. What the
          fuck are we doing?

<b>          CADEN
</b>          I don't know.
          Hazel latches her pinky around Caden's. Sammy has been
          watching the whole thing from behind a pillar. Caden glances
          at his watch.

<b>          CADEN (CONT'D)
</b>          Crap, Ellen's October 23rd scene!

<b>          164INT. ELEVATOR (31Y BUILDING) (INT. WAREHOUSE SET) - 2032 - 164
</b>

<b>          DAY
</b>          Millicent, Hazel, and Caden wait in the elevator. The
          elevator begins to ascend. Instead of a motor, the sound of
          grunting men is heard. The elevator stops short and sways a
          little bit.

<b>          WORKER (O.S.)
</b>          Sorry, everybody!
           Caden pulls off a wall panel, and sticks his head through.

<b>          A165 INT. ELEVATOR SHAFT (31Y BUILDING) (INT. WAREHOUSE SET) -A165
</b>

<b>          2032 - SAME
</b>          Caden looks down the shaft. Five guys hold the elevator with
          a rope and pulley system.

<b>          CADEN
</b>          What's going on, Maurice?

<b>          MAURICE
</b>          Sorry. We have a couple of new guys
          on and we're not in sync yet.

<b>          CADEN
</b>          Okay. Are we good to go?

<b>          MAURICE
</b>          Yup.

<b>          B165 INT. ELEVATOR (31Y BUILDING) (INT. WAREHOUSE SET) - 2032 - B165
</b>

<b>          SAME
</b>          Caden replaces the panel. The elevator continues its ascent
          to the sound of grunting men.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 107.
</b>
<b>          C165 OMITTED C165
</b>
<b>          INT. 31ST FLOOR HALLWAY (31Y BUILDING) (INT. WAREHOUSE SET)
</b>

<b>          - 2032 - CONTINUOUS
</b>          The elevator doors close. Millicent, Old Person, Caden, and
          Hazel walk down the hall. Old Person knocks on a door, which
          is opened by Old Person #2 (actor version).

<b>          OLD PERSON #2 (ACTOR)
</b>          (to Millicent)
          Are you Ellen? Ellen?!

<b>          MILLICENT
</b>          Shit. Line, please.

<b>          HAZEL
</b>          Ã¢â¬ÅWhat?Ã¢â¬Â

<b>          MILLICENT
</b>          Right. What?

<b>          OLD PERSON #2
</b>          Are you Ellen Bascomb? I'm to give
          the key to 31Y to Ellen Bascomb.

<b>          MILLICENT
</b>
<b>          (BEAT)
</b>          Yes, I'm Ellen.
          Old Person #2 fishes a key out of the overcoat pocket.

<b>          OLD PERSON #2
</b>          She said you should just go in and
          get started. She said, don't
          forget to change the sheets.

<b>          MILLICENT
</b>          Ok. Thank you.
          Old Person #2 looks back to Old Person #1, whose nose has
          started to bleed.

<b>          OLD PERSON #2
</b>          Oh dear.
          Millicent puts the key in the lock. It doesnÃ¢â¬â¢t turn.

<b>          MILLICENT
</b>          Wrong key.

<b>          OLD PERSON #2
</b>          What?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007107A.
</b>
<b>          CONTINUED:
</b>
<b>          MILLICENT
</b>          ItÃ¢â¬â¢s the wrong key. It doesnÃ¢â¬â¢t
          turn.

<b>          OLD PERSON #2
</b>          (fishes in pockets)
          ItÃ¢â¬â¢s the one they gave me.

<b>          ADELEÃ¢â¬â¢S VOICE
</b>          IÃ¢â¬â¢m jumping in the shower. Make
          some coffee, would ya?

<b>          CADEN
</b>          (to Hazel)
          Did you hear that?

<b>          HAZELCADEN
</b>          What?Did we hire an Adele?

<b>          HAZEL
</b>          IÃ¢â¬â¢m sure I wouldÃ¢â¬â¢ve remembered
          that. No.
          The shower turns on. Caden grabs the key from Millicent.

<b>          MILLICENT
</b>          Caden, youÃ¢â¬â¢re breaking the fourth
          wall. I get to open the door.
          He tries to turn the key in the lock. It wonÃ¢â¬â¢t budge.

<b>          CADEN
</b>          This is the wrong key, Sandy.

<b>          OLD PERSON #2
</b>          It isnÃ¢â¬â¢t.
          Caden bangs on the door.

<b>          CADEN
</b>          Adele! Adele, are you in there?

<b>          OLD PERSON #1
</b>          Maybe itÃ¢â¬â¢s the wrong key.

<b>          CADEN
</b>          Adele?

<b>          HAZEL
</b>          Caden, there's no one in there.
          You've got to let go of her. She's
          not here anymore. I'm here.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 107B.
</b>
<b>          CONTINUED: (2)
</b>
<b>          CADEN
</b>          Yeah, okay. Can we just get the
          right key, so we can do the scene?
          Please, somebody?

<b>          HAZEL
</b>          Yeah, we'll get the right key.

<b>          165 OMITTED 165
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 108.
</b>
<b>          166 EXT. HOTEL STREET (INT. WAREHOUSE SET) - 2032 - DAY 166
</b>
          Caden and Hazel walk past the set of the hotel she had stayed  
          at with her family.  

<b>          CADEN  
</b>          Look familiar? 

<b>          HAZEL  
</b>          Oh my God! It's an exact replica of  
          the Tethered Maiden Terrace! Derek 
          and the kids and I had so much fun 
          on that trip!  

<b>          CADEN  
</b>          Listen, I built this because I 
          wanted to show you what happened --  

<b>          SAMMY  
</b>
<b>          (CALLING)  
</b>          After me, Caden, there's no one  
          left to watch you. 
          They look up. Sammy stands on the ledge above them.  

<b>          HAZEL SAMMY
</b>          (running off) There's nothing to talk
          Oh fuck! Sammy, Just stay about, Hazel! This is not
          right where you are! I'myour fault!

<b>           
</b>          coming up!

<b>          CADEN  
</b>          No fair, Sammy! She wouldn't see 
          you jump. She never saw me! You're 
          not being authentic. 

<b>          SAMMY  
</b>          This is where we part ways. This is  
          authentic. This is what the real 
          Caden would do. This is what real  
          love looks like. 
          Sammy leaps. The actors below scatter. Sammy hits hard,  
          breaks through the fake cement, and is dead. Blood 
          everywhere.  

<b>          167 EXT. NYC CEMETERY - 2032 - DAY167
</b>
          Sammy is buried. An enormous crowd there: all the actors
          from the play, Caden and Hazel in front. Hazel weeps. Caden
          looks at the assembled group, from face to face.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 109.
</b>
<b>          167 CONTINUED:167
</b>
<b>          CADEN
</b>          I know how to do it now. There are
          nearly thirteen million people in
          the world. Try to imagine that many
          people! None of those people is an
          extra. They're all the leads of
          their own stories. They have to be
          given their due.

<b>          168 INT. WAREHOUSE - CEMETERY SET - 2035 - DAY168
</b>
          The actor playing Sammy is in the coffin. There's an
          enormous crowd. Tammy plays Hazel and weeps. A stand-in for
          Sammy as Caden stands next to her. Caden and Hazel watch
          from the director's table.

<b>          CADEN
</b>          Do you see what I'm saying?
          Hazel has her head in her hands. She looks over at Caden,
          imploringly.

<b>          HAZEL
</b>          Come over tonight? Please?

<b>          169 OMITTED 169
</b>
<b>          170 INT. BURNING HOUSE - BEDROOM - 2035 - NIGHT 170
</b>
          The smoke is thick and there are flames. Hazel, in a robe,
          walks around lighting candles. Caden unpacks his pumps and
          monitors and places them next to the bed.

<b>          CADEN
</b>          We could get a place together. We
          could get a loft.

<b>          HAZEL
</b>          God, Caden, that sounds nice. I
          miss my daughter. Maybe she could
          come live with us.

<b>          CADEN
</b>          Yeah. I miss Olive. And the other
          one. The retarded one.

<b>          HAZEL
</b>          I'm a bad person.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 110.
</b>
<b>          170CONTINUED:170
</b>
<b>           CADEN HAZEL
</b>           No you're not. I'm a badI am. I should never... have
          person.gone out with Sammy. I was
           just trying to get to you.

<b>           CADEN
</b>          You can't cause someone to kill
          himself. He was troubled.

<b>          HAZEL
</b>          I'm so ashamed of myself.
          Caden walks over to her and touches her shoulder.

<b>          HAZEL (CONT'D)
</b>          Oh, Caden. I wish we had this when
          we were young. And all the years
          in between. So many years, so
          fast.

<b>          (CRYING)
</b>          What did we do?
          Caden kisses Hazel's forehead. She coughs and smiles up at
          him, then cranes her neck and kisses him on the lips.

<b>          CADEN
</b>          My heart aches so much for you.

<b>          HAZEL
</b>          We're here, Caden. I'm here.

<b>          CADEN
</b>          I'm aching for it being over.

<b>          HAZEL
</b>          Yeah. The end is built in to the
          beginning. What can you do?

<b>          CADEN
</b>          God. You're just perfect.

<b>          HAZEL
</b>          I'm a mess. But we fit, don't we.
          They kiss, then Hazel climbs into bed.

<b>          CADEN
</b>          It doesn't always happen for me
          now. Because of the medication and
          everything. I take a lot of pills.

<b>          HAZEL
</b>          I don't care. It's okay.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007111.
</b>
<b>          170CONTINUED: (2) 170
</b>
<b>          CADEN
</b>          (climbing into bed)
          I'm embarrassed. I just want you
          to know it's not you. And it's not
          me. It's the medication.
          They are tender and quiet and intensely focused. The smoke
          in the room is dense. When it's over, they lie there
          quietly, with the occasional cough from both of them. Caden
          cries quietly.

<b>          CADEN (CONT'D)
</b>          I'm sorry.

<b>          HAZEL
</b>          It's okay. It's different crying
          this time. I can tell. I'm
          crying, too. And I cried last
          time. After you left. I never
          told you. But I cried, too.
          Caden kisses her again.

<b>          CADEN
</b>          I have a title. The Obscure Moon
          Lighting an Obscure World.

<b>          HAZEL
</b>          I think it might be too much.

<b>          171INT. BURNING HOUSE - KITCHEN - 2035 - MORNING171
</b>
          Caden agitatedly paces through the dense smoke. He passes a
          scrapbook on the table. It's open to a page with ripped-up
          napkin pieces glued to it. He's crying hard. There's
          mumbling, quiet conversation coming from somewhere. He walks
          into --

<b>          172INT. BURNING HOUSE - BEDROOM - 2035 - CONTINUOUS 172
</b>
          Hazel lies in bed. A medic hovers over her, swabs in her
          mouth and pulls out cotton black with soot.

<b>          MEDIC
</b>          Might be smoke inhalation.
          Caden just nods his head for a long time.

<b>          173INT. CADEN'S CAR - 2041 - DAY173
</b>
          Caden drives. He stops at a school crossing as a group of
          young children are led across the street in front of his car.
          A young girl with red hair is among them.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 112.
</b>
<b>          173 CONTINUED:173
</b>          She looks at Caden and he is struck by her resemblance to
          young Olive. Suddenly the passenger door opens and Maria gets
          in the car. He glances over at her, then looks back out the
          windshield.

<b>          MARIA
</b>          Olive wants to see you. God knows
          why; the way you abandoned her.

<b>          CADEN MARIA
</b>          Oh, shut up.She's had a fucked-up life
          with issues, thanks to you.

<b>          CADEN MARIA
</b>          You're insane.She's dying, asshole. Is
          that insane enough for you?

<b>          MARIA (CONT'D)
</b>          Anyway, she wants to say goodbye to
          you. God knows the fuck why.

<b>          174 INT. NYC HOSPITAL ROOM - 2041 - DAY 174
</b>
          Maria leads Caden into the room. Olive, 40, lies in bed,
          emaciated and pale. Maria and Olive speak only in German.

<b>          MARIA OLIVE
</b>          Hello, darling. Hi.

<b>          MARIA
</b>          This is him.

<b>          OLIVE CADEN
</b>          Hello.Hi, Olive. I've missed you
          so much.

<b>          OLIVE
</b>          Maria, would you leave us?
          Maria kisses Olive again on the forehead.

<b>          MARIA
</b>          In heaven, my darling.
          Maria exits.

<b>          OLIVE
</b>          (broken English)
          Forgive me but no longer remember
          English. Speak German?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 113.
</b>
<b>          174 CONTINUED:174
</b>
<b>          CADEN OLIVE
</b>          No. I'm sorry.I had hope you have learned.
          Weakly, Olive points to a headset on her night table. She
          pantomimes putting it on. Caden puts it on. Olive puts on
          her own. There follows a slightly delayed and staticky
          translation, in an accented male voice, of everything Olive
          says, with a delay between what Caden says and Olive's
          response, as she listens in translation.

<b>          OLIVE (CONT'D)
</b>          I'm dying, as I'm sure Maria told
          you. The flower tattoos have
          become infected and they're dying.
          So I am, as well. This is life.
          Olive pulls down her hospital gown a bit to show Caden the
          now sickly and decayed flower tattoos.

<b>          CADEN
</b>          It's Maria. She did this.

<b>          OLIVE
</b>          Maria gave me reason to live once
          you left. The flowers defined me.

<b>          CADEN
</b>          Your mother and Maria took you
          away. I tried for years to find
          you. I didn't leave you.

<b>          OLIVE
</b>          You did something.
          Caden is affected by this. It resonates.

<b>          OLIVE (CONT'D)
</b>          I want to talk to you about your
          homosexuality.

<b>          CADEN
</b>          What? I'm not a homosexual!

<b>          OLIVE
</b>          Maria said you would deny it.

<b>          CADEN
</b>          She's lying to you.

<b>          OLIVE
</b>          I had the same struggle when I
          first fell in love with Maria and
          we began to have dirty, aching sex.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 114.
</b>
<b>          174 CONTINUED: (2)174
</b>
<b>          CADEN
</b>          Maria is your lover?

<b>          OLIVE
</b>          Of course. She introduced me to
          myself. To my vagina and to hers.

<b>          CADEN
</b>          You have no idea how evil she is.

<b>          OLIVE
</b>          I need to forgive you before I die,
          but I can't forgive someone who has
          not asked for forgiveness.

<b>          CADEN
</b>
<b>          I --
</b>
<b>          OLIVE
</b>          I have no time! I need you to ask
          for forgiveness!

<b>          CADEN
</b>          (long pause)
          Can you ever forgive me?

<b>          OLIVE
</b>          For what?

<b>          CADEN
</b>          For abandoning you.

<b>          OLIVE
</b>          "For abandoning you to have anal
          sex with my homosexual lover Eric."

<b>          CADEN
</b>          For abandoning you to be have anal
          sex with my homosexual lover Eric.

<b>          OLIVE
</b>          (long hesitation)
          No. No, I'm sorry, I cannot.
          Olive dies. Dead flower petals slip from her hospital gown.
          Caden sits there. Maria hurries rushes to Olive's side.

<b>          MARIA
</b>          I hope you're happy, faggot.
          Caden gets up and leaves.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007115.
</b>
<b>          175 EXT. NYC STREET - SUMMER 2045 - DAY175
</b>
          It's sweltering. Caden sits on his stoop, holding some dead
          flower petals, watching the world pass by. People are sick,
          angry. Some people wear gas masks. Government vehicles with
          strange symbols and gun turrets drive by. A woman walks a
          naked man on a leash. He defecates on the sidewalk. A wild-
          eyed man in a white t-shirt and Santa hat attacks Caden. As
          he knocks Caden to the ground and wrestles with him, Caden
          sees the t-shirt has a little dot: a painting from Adele's
          show. It's a moment in time, a street scene very much like
          the one Caden's in. In the painting, a man in a white t-
          shirt and Santa hat beats up a man who looks like Caden. The
          flower petals blow away. Caden tries to limp after them.

<b>          176 EXT. NYC STREET - 2045 - DAY 176
</b>
          Caden dials his cell phone.

<b>          HAZEL'S ANSWERING MACHINE
</b>          It's Hazel. Leave a message or
          don't. Your dime.

<b>          CADEN
</b>          My love. I know how to do the
          play. It'll take place over the
          course of one day. The day will be
          the day before you died, the
          happiest day of my life. I'll be
          able to relive it forever.

<b>          177 EXT. CITY STREET (INT. WAREHOUSE SET) - 2048 - NIGHT 177
</b>
          Caden weeps inconsolably at the director's table, Michael the
          pre-Hazel assistant is back, neat and efficient-looking, but
          old now. Hazel's dog, Squishy, sleeps on the floor. The
          scene in the play is dull. People walk back and forth
          aimlessly. Various passersby on the street have hacking
          coughs. Tammy steps out of the bathroom, meanders over to
          the director's table. Hazel's sweater is on Michael's chair-
          back. She casually pulls it off and tries it on. Caden
          watches. She looks so much like Hazel now, it's unbearable.
          He looks away. Millicent walks by carrying a mop and bucket.

<b>          CADEN
</b>          I need a Caden for my Hazel.

<b>          MILLICENT
</b>          I... I'd very much like to play
          Caden.

<b>          CADEN
</b>          Um...

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 115A.
</b>
<b>          177CONTINUED:177
</b>          Tammy watches intently. Millicent smiles at her.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 116.
</b>
<b>          177CONTINUED: (2)177
</b>
<b>          MILLICENT
</b>          I know it would be non-traditional
          casting, but I think I'm right for
          it. I think I understand Caden.

<b>          CADEN
</b>          I don't understand him.

<b>          MILLICENT
</b>          Caden Cotard is a man already dead,
          living in a half-world between
          stasis and antistasis. Time is
          concentrated and chronology
          confused for him. Up until
          recently he has strived valiantly
          to make sense of his situation, but
          now he has turned to stone.

<b>          CADEN
</b>          Okay. That sounds good.

<b>          MICHAEL
</b>          She's right? I didn't see that at
          all. I saw it all as more hopeful.

<b>          178INT. NYC WIG STORE - 2050 - DAY 178
</b>
          Caden and Michael look at a wig called "The Director."

<b>          MICHAEL
</b>          Any thoughts for today's rehearsal?

<b>          CADEN
</b>
<b>          (BEAT)
</b>          I have a new title, maybe.
          Infectious Diseases In Cattle.

<b>          MICHAEL
</b>          Huh.

<b>          CADEN
</b>          The title is about a lot of things.
          You'll see. It's about a lot.

<b>          (PAUSE)
</b>          Are you gay, Michael?

<b>          MICHAEL
</b>          Yes. I don't see what that has to
          do with anything.

<b>          CADEN
</b>          Do you know someone named Eric?

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 117.
</b>
<b>          178 CONTINUED:178
</b>
<b>          MICHAEL
</b>
<b>          (DEFENSIVELY)
</b>          No.

<b>          179 INT. WAREHOUSE - CEMETERY SET - 2050 - DAY179
</b>
          Caden, in "Director Wig," and Michael watch Millicent,
          dressed Caden-esque, sitting at the director's table. Tammy,
          in Hazel's sweater, sits next to her. They watch the "Sammy
          Funeral" scene replayed with actors playing Tammy playing
          Hazel and an actor playing the stand-in for Sammy playing
          Caden. Tammy has her head in her hands. She looks over at
          Millicent, imploringly.

<b>          TAMMY
</b>          Come over tonight? Please?

<b>          MILLICENT
</b>          I'd like that.

<b>          CADEN
</b>          Ok, take off the sweater.
          Tammy takes off the sweater, puts it on the chair back.

<b>          TAMMY
</b>          I'm hot.

<b>          MILLICENT
</b>          Yes, you are.

<b>          CADEN
</b>          Smile shyly at each other.
          They do. It lingers. Millicent looks over at the funeral
          scene. It's dull and static.

<b>          MILLICENT
</b>          This is tedious. This is nothing.
          Millicent touches Tammy's hand, heads over to the funeral
          scene. She whispers things to some actors, has longer
          conversations with others.

<b>          MICHAEL
</b>          What's she doing?

<b>          TAMMY
</b>          He's directing.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 118.
</b>
<b>          179 CONTINUED:179
</b>
<b>          MICHAEL
</b>          She's not getting the feel of you,
          Caden. You don't move around. You
          don't talk to people. It's not --

<b>          MILLICENT
</b>          Okay, folks, let's run it!
          The scene comes alive with specific activity: weeping Hazel, 
          a little boy in the back playing with dirt clods, a man and a  
          woman eyeing each other flirtatiously from a distance, an old  
          woman with Parkinson's fiddling with Rosary beads, a well- 
          dressed woman squatting and peeing near a gravesite. A 
          minister addresses the mourners. 

<b>          MINISTER 
</b>          Everything is more complicated than  
          you think. You only see a tenth of 
          what is true. There are a million  
          little strings attached to every 
          choice you make; you can destroy 
          your life every time you choose. 
          But maybe you won't know for twenty  
          years. And you'll never ever trace 
          it to its source. And you only get 
          one chance to play it out. Just try  
          and figure out your own divorce. 
          And they say there is no fate, but 
          there is: it's what you create.  
          Even though the world goes on for  
          eons and eons, you are here for a  
          fraction of a fraction of a second.  
          Most of your time is spent being 
          dead or not yet born. But while  
          alive, you wait in vain, wasting 
          years, for a phone call or a letter  
          or a look from someone or something  
          to make it all right. And it never 
          comes or it seems to but doesn't 
          really. And so you spend your time 
          in vague regret or vaguer hope for 
          something good to come along.  
          Something to make you feel 
          connected, to make you feel whole, 
          to make you feel loved.  

<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007118A.
</b>
<b>          179CONTINUED: (2) 179
</b>
<b>           MINISTER (CONT'D)
</b>           And the truth is I'm so angry and 
           the truth is I'm so fucking sad,  
           and the truth is I've been so 
           fucking hurt for so fucking long  
           and for just as long have been  
           pretending I'm ok, just to get  
           along, just for, I don't know why,  
           maybe because no one wants to hear  
           about my misery, because they have  
           their own, and their own is too 
           overwhelming to allow them to 
           listen to or care about mine. 
           Well, fuck everybody. 
           Amen. 
           Soon it starts to rain. Thunder rumbles. People pull out  
           umbrellas. Caden looks up, surprised that such a system is  
           rigged here.  

<b>          180EXT. BURNING HOUSE STREET (INT. WAREHOUSE SET) - 2050 -180
</b>

<b>          NIGHT
</b>          Caden sits with Michael at the director's table and stares
          into space. The actors are doing what they've always done,
          milling, walking to and fro. Millicent, holding hands with
          Tammy, heads up the walk to the Hazel's house set.

<b>          CADEN
</b>          Millicent.
          She turns. He waves her over. Tammy sits on the stoop.

<b>          CADEN (CONT'D)
</b>          That was ... spectacular.

<b>          MICHAEL
</b>          It really was! Delightful!

<b>          MILLICENTCADEN
</b>          Thanks.I'm out of ideas. I'm dead.

<b>          MILLICENT
</b>          Oh. I... could take over... as
          you... for a bit. Until you feel
          refreshed.

<b>          MICHAEL
</b>          Yes! Yes!
          Caden, looks sideways at Michael, remains silent.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 119.
</b>
<b>          180 CONTINUED:180
</b>
<b>          MILLICENT MICHAEL
</b>          I think you're tired, Caden.Yes. I think you just need
          All these years of creative some time. To regroup.
          work.

<b>          CADEN
</b>          I need to keep my hand in.

<b>          MILLICENT
</b>          Well, Ellen needs to be filled.

<b>          CADEN
</b>          Filled? You mean...?

<b>          MILLICENT MICHAEL
</b>          Her role. Just for a bit. It's a choice role. Just
          until you're refreshed.

<b>          CADEN (CONT'D)
</b>
<b>          (BEAT)
</b>          I do like to clean.

<b>          181 INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2050 - NIGHT 181
</b>
          Caden sits on the unmade bed and reads the note:

<b>          ADELE'S VOICE
</b>          Ellen, Olive has died. It's a time
          of overwhelming grief so please
          forgive my mess; I haven't been
          able to get out of bed. Until
          today. Much affection, A.
          Caden crosses to the window and looks up at the night sky,
          even though it's clearly the ceiling of the warehouse. A
          tiny plane flies by.

<b>          182 INT. 31Y HALLWAY (INT. WAREHOUSE SET) - 2050 - NIGHT182
</b>
          Caden walks down the hall carrying a bag of garbage to the
          incinerator chute, dumps it in, and turns back to apartment
          31Y. Old Person #2 (actor version) is standing there.

<b>          OLD PERSON #2 (ACTOR)
</b>          Ellen? Is your name Ellen?

<b>          CADEN
</b>          Yes?

<b>          OLD PERSON #2 (ACTOR)
</b>          Caden asked me to give you this.
          You're to keep it in all the time.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 120.
</b>
<b>          182CONTINUED:182
</b>          Old Person #2 (actor) hands Caden a small black button.
          Caden examines it. Old Person #2 (actor) points to his own
          ear, in which he wears one. Caden sticks it in his ear.

<b>          MILLICENT'S VOICE
</b>          ... touched by the sadness of
          Adele's neighbor. So close to
          death. Reminds me of granny. I
          should really call her. Remember
          how Granny Bascomb bounced me on
          her knee pretending to be a horsie.
          I loved that so much. Say thank
          you to Adele's neighbor.

<b>          CADEN
</b>          Thank you.

<b>          OLD PERSON #2 (ACTOR)
</b>          (pause, listens, then:)
          You're very welcome, young lady.

<b>          MILLICENT'S VOICE
</b>          Now say, have a very good day.

<b>          CADEN
</b>          Have a very good day.

<b>          OLD PERSON #2 (ACTOR)
</b>          (pause, listens, then:)
          I will indeed.

<b>          183INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2050 - NIGHT 183
</b>
           It's dark. Caden lies in bed, attached to his pumps.

<b>           MILLICENT'S VOICE
</b>          ... miss him. Why did he have to
          get bored with me? Everyone gets
          bored with me. I'm not very
          bright. And since I put on that
          weight, I don't get the looks I
          used to. It's not that bad. Lots
          of people have it worse. I've got
          a job and place to stay. Adele is
          nice to me. And so smart and
          talented. I don't understand her
          artwork, but that's just me. I
          wish I'd gone to college. I feel
          stupid around educated people like
          Adele. Eric was too smart for me,
          too. We didn't talk at all near
          the end.

<b>          (MORE)
</b>
<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 121.
</b>
<b>          183CONTINUED:183
</b>
<b>          MILLICENT'S VOICE (CONT'D)
</b>          I'd try to tell him about my day
          and he'd get this far away look in
          his eyes. I kind of felt sorry for
          him; he seemed so miserable with
          me. I guess --
          Caden drifts off to sleep.

<b>          184INT. ELLEN'S KITCHEN - (2050) - MORNING 184
</b>
          A tenement apartment. Ellen, in a terrycloth robe, is at the
          stove making scrambled eggs. Toast pops from the toaster and
          Ellen crosses to get it. She passes a mirror, glances at
          herself, seems momentarily surprised, pushes a wisp of hair
          behind her ear and continues to the toaster. Eric enters.
          He's an unhealthily thin middle-aged man. He doesn't
          acknowledge her, nor she him. He pours himself coffee.

<b>          ELLEN
</b>          I'm making eggs.

<b>          (BEAT)
</b>          Is everything okay, Eric?

<b>          ERIC
</b>          Everything's everything.

<b>          185INT. ELLEN'S BEDROOM - (2050) - MORNING 185
</b>
          Ellen sits on the bed with a cup of coffee and stares out the
          window. There's a city park across the street and she
          watches kids play basketball. She begins to weep.

<b>          186EXT. FIELD - (2050) - DAY 186
</b>
          It's spring and a ten year old girl watches her mother as she
          lays out a picnic on a blanket on the ground.

<b>          MOTHER
</b>          Ellen, why do you look so serious?

<b>          ELLEN
</b>          I'm going to remember this moment
          for the rest of my life, mama. And
          in exactly twenty years, come here
          with my daughter and have exactly
          the same picnic.

<b>          MOTHER
</b>          Baby, that's the loveliest thing
          I've ever heard.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 122.
</b>
<b>          187INT. ELLEN'S BEDROOM - (2050) - NIGHT 187
</b>
          Ellen lies in bed watching Eric sleep next to her.

<b>          ELLEN
</b>          There was supposed to be something
          else. I was to have something. A
          calm. A love. Children. A child,
          at least. Children. Meaning. I
          am always on the verge, never more
          than a tiny shove from tears. I
          can feel them in my chest now.
          That squeezing pressure. And it
          is so tempting to let go, but I am
          afraid, the next time maybe, I will
          never stop crying. I miss my
          husband even though he is lying
          here. He hates me. Oh God. I
          have disappointed him and he hates
          me. The one person who should be
          able to see me and he won't look.
          He will never look again.

<b>          188INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2050 - 188
</b>

<b>          MORNING
</b>          Caden lies on his back, and opens his eyes. His pumps drone.

<b>          CADEN
</b>          (quietly, mournfully)
          Eric.
          Caden looks over. No note from Adele. He gets out of bed,
          glances in the mirror, seems surprised by his reflection.

<b>          189INT. 31Y BATHROOM (INT. WAREHOUSE SET) - 2050 - MORNING 189
</b>
          Caden sits on the toilet and pees. He wipes himself.

<b>          190INT. APARTMENT 31Y (INT. WAREHOUSE SET) - 2051 - MORNING190
</b>
          Caden vacuums the hall.

<b>          MILLICENT'S VOICE
</b>          My period is late this month. I
          wonder what's going on. I'm
          bloated. I wish it would come.

<b>          191INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2051 - NIGHT 191
</b>
           Caden lies in bed reading a Judith Krantz novel.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 122A.
</b>
<b>          191 CONTINUED:191
</b>
<b>          MILLICENT'S VOICE
</b>          I can't believe she said that to
          him! She's a slut, anyway.
          He sticks a bookmark in the book, puts it on the night table,
          turns off the light, and lies on his back with his eyes open.

<b>          MILLICENT'S VOICE (CONT'D)
</b>          Maybe I can ask Adele for a raise.
          It's been three years. I do a good
          job. God, I'm so tired tonight.
          I'm getting old. I'm lonely here.

<b>          A192OMITTED A192
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 123.
</b>
<b>          192 OMITTED 192
</b>
<b>          A193OMITTED A193
</b>
<b>          B193OMITTED B193
</b>
<b>          193 INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2051 - 193
</b>

<b>          MORNING
</b>          Caden awakens. He switches off his pumps.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 124.
</b>
<b>          193 CONTINUED:193
</b>
<b>          MILLICENT'S VOICE
</b>          Get up. Look at the night table
          for a note from Adele.
          Caden gets up and glances at the night table. A type-written

<b>          NOTE:
</b>
<b>          MALE VOICE
</b>          Adele died of lung cancer last
          night. You may stay on if you
          like.

<b>          MILLICENT'S VOICE
</b>          Look shocked. Weep.
          Caden looks shocked, then weeps.

<b>          MILLICENT'S VOICE (CONT'D)
</b>          Go into the kitchen and --
          The voice stops. Caden stops. He waits. Nothing. He takes
          out the earpiece and looks at it, shakes it, then slips it
          back in his ear. Nothing. He waits. In the distance he
          hears wailing and gun shots.

<b>          194 INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2053 - NIGHT 194
</b>
          The lights are out. Caden sits on the bed, still waiting.

<b>          195 INT. 31Y WALK-IN CLOSET (INT. WAREHOUSE SET) - 2055 - DAY 195
</b>
          Caden sits on the bed, his head slumped against the
          headboard, sleeping. Distant explosions wake him. He opens
          his eyes and sits up straight, and waits. He taps his ear.

<b>          196 INT. 31Y HALLWAY (INT. WAREHOUSE SET) - 2055 - NIGHT196
</b>
          The hall is very dark. Caden exits apartment 31Y. Old
          person #2 (actor) stands in the hallway and faces away,
          unmoving. Caden walks past and nods. Old person #2 does not
          respond. Caden presses the elevator button.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 125.
</b>
<b>          196CONTINUED:196
</b>
<b>          OLD PERSON #2 (ACTOR)
</b>          There's nobody running it anymore.
          Caden looks at Old Person #2 and nods.

<b>          197INT. WAREHOUSE - 31Y BUILDING STAIRWELL - 2055 - CONTINUOUS 197
</b>
          Dark. The unfinished, back-of-a-facade of the set is
          apparent. Caden walks down endless plywood stairs. The
          bowels of the building: fake water pipes, electrical cords.

<b>          198EXT. CITY STREET (INT. WAREHOUSE SET) - 2055 - MORNING198
</b>
          No lights. Vague daylight drifts in from high warehouse
          windows, from which cardboard has fallen. Deadly quiet,
          abandoned. Caden passes the occasional body on the street.
          Fires smolder in buildings. The streets are flooded with
          sewer water. Buildings are draped with massive tarps. Behind
          a fence are piles of bodies.

<b>          A199 EXT. BURNING HOUSE (INT. WAREHOUSE SET) - 2055 - MORNINGA199
</b>
           He passes the Hazel's House set, burnt to the ground.

<b>          B199 EXT. WAREHOUSE STREET (INT. WAREHOUSE SET) - 2055 - MORNINGB199
</b>
           He arrives at the warehouse set and enters.

<b>          199EXT. CITY STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE SET) -199
</b>

<b>          2055 - MORNING
</b>           Deserted here too. The same occasional fires, flooding, dead
          bodies.

<b>          A200 EXT. WAREHOUSE STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE SET)A200
</b>

<b>          - 2055 - MORNING
</b>          Caden walks, soon arriving at the warehouse set within the
          warehouse set. He enters.

<b>          200EXT. CITY STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE-WITHIN- 200
</b>

<b>          WAREHOUSE SET) - 2055 - MORNING
</b>          Another dark, deserted street, more bodies, fires, floods.
          Caden panics. He pulls out his earpiece, shakes it, and puts
          it back. He walks.

<b>          A201 EXT. WAREHOUSE STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE- A201
</b>

<b>          WITHIN-WAREHOUSE SET) - 2055
</b>          He arrives at the warehouse within the warehouse within the
          warehouse. He enters.

<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 126.
</b>
<b>          201EXT. CITY STREET (INT. WAREHOUSE-WITHIN-WAREHOUSE-WITHIN- 201
</b>

<b>          WAREHOUSE-WITHIN-WAREHOUSE SET) - 2055 - DAY
</b>          Deserted. Caden walks. He gets in a golf cart and drives
          through the deserted street sets.

<b>          202EXT. BEACH (INT. WAREHOUSE-WITHIN-WAREHOUSE-WITHIN- 202
</b>

<b>          WAREHOUSE-WITHIN-WAREHOUSE SET) - 2055 - CONTINUOUS
</b>          Caden reaches the beach set, and drives the cart on the sand.
          He sees footprints. He gets out and follows them, spots a
          woman ahead walking with a suitcase. He hurries as much as
          he can with his limp, his weakness, his ancient body, to
          catch up with her.

<b>          CADEN
</b>          Hello.
          The woman turns. She's middle-aged, face radiating kindness.

<b>          CADEN (CONT'D)
</b>          Where is everybody?

<b>          WOMAN
</b>          Mostly dead. Some have left.

<b>          CADEN
</b>          Would you sit with me for a moment?
          I'm very tired. And lonely.
          The woman smiles at Caden. They sit on a log.

<b>          CADEN (CONT'D)
</b>          I feel like I know you.

<b>          WOMAN
</b>          I was the mother in Ellen's dream.
          Perhaps from there.

<b>          CADEN
</b>          Yes! That's it. Yes. You seem a
          bit older than I remember.

<b>          WOMAN
</b>
<b>          (CHUCKLING)
</b>          That dream was quite a while ago.
          He's silent. The woman touches his hand.

<b>          CADEN
</b>          I didn't mean to say you look old.

<b>          (CONTINUED)
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>          
</b>
<b>           SYN, NY - GOLDENROD REVISIONS - JULY 30, 2007 127.
</b>
<b>          202CONTINUED:202
</b>
<b>           WOMAN
</b>           I know.

<b>           CADEN
</b>          Everyone's dreams in all those
          apartments. All those secrets
          we'll never know. That's the truth
          of it -- all the thoughts nobody
          will ever know.

<b>          WOMAN
</b>          It's true.

<b>          CADEN
</b>          I'm sorry the experiment didn't
          work. I wanted it to with all my
          heart. I wanted to do that picnic
          with my daughter. I feel I've
          disappointed you terribly.

<b>          WOMAN
</b>          No. No. I am so proud of you.
          Caden starts to tear up.

<b>          CADEN
</b>          All I want is someone to see me,
          someone to look at me with
          kindness. For me to be the most
          special person in the world to just
          one person.

<b>          WOMAN
</b>          I know, baby. I know.
          He looks at her tentatively. She's looking into his eyes
          directly, clearly, kindly. She smiles.

<b>          WOMAN (CONT'D)
</b>          You're going to be fine.
          Caden starts to weep so hard he chokes. Strings of snot pour
          from his nose. The woman holds him, gently takes off his
          wig, and strokes his sparse hair. He looks out over her
          shoulder at the dark empty city at the far end of the
          warehouse. His rheumy eyes light up.

<b>          CADEN
</b>          I know what to do with this play
          now. I have an idea. I think --
          The screen goes black fast.



<b>          THE END
</b></pre><br>
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	<td><h1>Synecdoche, New York</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Charlie Kaufman" title="Scripts by Charlie Kaufman">Charlie Kaufman</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Comedy" title="Comedy Scripts">Comedy</a>&nbsp;&nbsp;<a href="/genre/Drama" title="Drama Scripts">Drama</a><br><br><br>
		
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What is their daughter's name?
What is their daughter s name ?
Olive
Olive
Olive
Olive