Hope you enjoy this script. I'm pretty sure it reads like a bullet. So don't let it's length scare you. Any questions, comments or criticism are more than welcome. That's the entire reason I asked MarkT to post it here in the first place. Email me at [email protected]
THE PORCELAIN WOMEN
INT. CAR (MOVING) - DAY
OPEN ON:
A WOMAN'S FACE as she leans against a passenger car window,
the desert land passing by behind her. She is beautiful, only
experience has taken it's toll. She has bags under her sad
eyes and her skin seems too pale. Her mousy brown hair hangs
in clumps over her shoulders, tied back in a loose pony tail.
As she day dreams, we WIDEN to reveal her husband, STEVE
DOLLIS, middle-aged, balding man of slight stature who looks
like the type of guy you'd see standing apart from all the
other dads at their kids soccer practice.
Steve drives the car at a safe speed of 50mph while trying to
ignore the two KIDS in the backseat of the car. ALICIA (15)
argues with her younger sister HOLLY (7). Both of the kids
resemble their mother only they have their father's blonde
hair.
HOLLY
When are we gonna stop?
ALICIA
Stop whining. Do you see a truck
stop anywhere in sight?
HOLLY
But I gotta go!
STEVE
Just a little longer, honey. I saw
a sign a few miles back for a rest
stop.
HOLLY
That's what you said a few miles
back.
ALICIA
Just hold it in, brat.
STEVE
Alicia, don't call your sister
that. I can remember when you were
the brat.
Steve cracks a smile, turning to his wife HARRIET, but gets
no response. She is too busy resting her head and looking
depressed.
INT. CAR (MOVING) - LATER
The kids are quiet for once, both of them listening to their
Discmans in the backseat. The sounds of Britney Spears and N'
Sync can softly be heard coming from their ears.
Up front, Steve and Harriet are quiet too. Steve seems to be
deep in thought. Finally, he speaks up:
STEVE
So... you excited?
HARRIET
(British accent)
What for?
STEVE
Ohh, c'mon already. It's a little
late to be turning back.
HARRIET
I'm not the moving type.
STEVE
Yes, you are. You're family moved
several times while you were
growing up.
HARRIET
That's different. I was young back
then.
STEVE
You still are young. Hell, this can
be a new start. You ever think that
maybe you could find inspiration
from a new town?
HARRIET
Steve, we've talked about this a
dozen times.
STEVE
This isn't Manchester, okay. You
can't write about the Queen and
Hyde Park anymore.
HARRIET
And so what sort of inspiration, do
you suppose, is moving to Silicon
Valley going to provide me?
Steve turns his head to the left quickly, about to retort.
But then he looks over his shoulder at the oblivious kids in
the back and continues, more softly.
STEVE
Stop calling it that. You know what
this job will do for us. You
didn't see this place, I did.
HARRIET
Exactly. Which is why you're so
happy and I'm not.
STEVE
You could've come any time you
wanted to but you were too busy...
(looks at the road)
being depressed over this writer's
block thing.
Beat.
Steve keeps his eyes on the road, before turning to his wife:
She is staring at him coldly.
STEVE (CONT'D)
I'm sorry. I just think... we needed
to escape what life was like back
there. This is a change for the
better. You'll see.
Harriet doesn't say anything. She goes back to leaning her
head on the glass window, rubbing her wrists over and over.
DISSOLVE TO:
EXT. SIDE OF ROAD - DAY
The Taurus zooms by a sign reading, "WELCOME TO CALIFORNIA."
INT. CAR (MOVING)
STEVE
Kids! Take those damn things off.
The kids stir, annoyed as they remove the headphones.
HOLLY
What?
STEVE
We're here. We just crossed the
border. Say bye, bye to desert
land.
ALICIA
So. We're still not in Cherish.
STEVE
Yeah, but it's not too far from the
border. I'd say, we'll be there by
at least 4pm.
ALICIA
(putting away headphones)
Good. I'm starving.
Alicia leans down to her leather bag, tucking away the silver
discman. A second later, she comes out with a small, silver
lap-top computer, only a little bigger than the Discman.
She opens up the fold-out monitor and plugs it into a jack in
the side of the car door. We hear a booting up noise as the
lap-top comes to life.
Steve hears this.
STEVE
Hey, tell me if the Astros won. I
can't get any stations up here.
ALICIA
I wanna check my email first.
STEVE
You can do that afterwards. The
game probably ended already and
they'll be announcing the scores
soon.
EXT. ROAD - CONTINOUS
The Taurus drives out of the SHOT with their conversation
trailing away.
EXT. CHERISH VALLEY - DAY
The sun shines over the desert as a TOWN looms up in the
distance.
INT. TAURUS (MOVING)
Steve points out the town through the windshield before them.
Harriet leans forward in her seat.
STEVE
There it is, kids.
HOLLY
(hanging on her dad's
seat)
Where? I don't see it.
ALICIA
(pointing)
Right there, stupid.
STEVE
Don't call your sister stupid.
HOLLY
All I see is a mira... mira-
ALICIA
Mirage, stupid.
HARRIET
Don't call your sister, stupid.
Alicia ignores her parents and goes back to her email.
ALICIA
Just tell me when we're there.
Harriet is studying the town from a distance. Steve watches
her from the corner of his eye.
HARRIET
Strange. It's sitting out there all
alone, like...
STEVE
Las Vegas?
HARRIET
Yeah...
STEVE
That's what I said the first time I
drove in.
HARRIET
I don't get it.
STEVE
What's not to get? It's a towning
project. They began building these
back in the eighties all over
southern California.
HARRIET
What, like Palo Alto?
STEVE
Not really. They focused on
blending a neighborhood atmosphere
with a corporate one.
HARRIET
You mean neighborhood shopping
malls?
STEVE
Yeah, but we had those back in
Dallas. Cherish is different
because...well, you'll see for
yourself.
Harriet makes a face: "Whatever you say, boss."
INT. CHERISH VALLEY - DAY
The Taurus drives slowly down a black-top street, passing
store after store. The sidewalks are semi-crowded with rich
looking CIVILIANS walking here and there. It is a sunny day
and the buildings gleam as the car passes them.
INT. CAR (MOVING)
The kids are ecstatic as they stare out the windows, taking
in Cherish. Steve has a big smile on his face as Harriet
stares too, wide-eyed at the passing scenery.
HARRIET
Tell me how we afforded this place
again?
Steve laughs.
STEVE
I told you, it was part of the
employment deal. They had to give
me some perks for making such a big
move.
Pause.
HARRIET
Is Cherish the perk?
STEVE
Yeah, you could say that.
Harriet shakes her head, unable to express what she is
feeling.
STEVE (CONT'D)
If you say, "It's not Manchester"
I'm gonna�
HARRIET
Steve, please. When are you gonna
realize I hated Manchester?
Steve laughs. Harriet observes his mood, smiling.
EXT. CHERISH VALLEY - DAY
The Taurus stops before a red light at a small intersection.
A MALL COMPLEX stands on the other side of the road. Through
the open window of the back seat, Holly stares in wonder.
HOLLY
Look! They have one of those new
malls!
ALICIA
Duh, like I don't see it.
The light turns green and the car continues through the town.
INT. CAR (MOVING) - CONTINUOUS
HARRIET'S POV
as she stares at a couple of big-breasted, middle-aged WOMEN,
dressed in short skirts and blouses. They walk together,
purse in hand down the sidewalk and stop in front of one of
the many COFFEE SHOPS to admire the huge menu of different
flavors.
HARRIET
Welcome to the valley of the dolls.
STEVE
Hey, it's California. Get used to
it.
HOLLY
And what, pray tell, does that
mean?
STEVE
Kids, ignore your feminist mother.
She's just jealous.
HARRIET
(pointing)
Jealous of that?
The Taurus passes the two Women as they continue down the
sidewalk.
HARRIET (CONT'D)
Can anyone say "surgery?"
HOLLY
Surgery!
ALICIA
Shut up.
STEVE
I told you to stop that.
ALICIA
She's being an idiot, Dad.
EXT. CHERISH STREETS - DAY
The Taurus heads away, passing out of the main town area and
down another street.
EXT. HOUSE - LATE DAY
A Blue Saab pulls into the large driveway of the new house.
The Taurus parks next to him.
In an instance, the kids hop out, Holly leading the way.
They dash across the front lawn.
Steve has a million dollar smile on his face as he, in mock
fashion, opens the door for Harriet to get out.
HARRIET
Save it.
STEVE
Ohh, c'mon. You can't tell me
you're not just a little excited?
Look at this place!
The house is medium-sized, paneled in white with a low,
slanted roof and a far back. A garden decorates the front,
brick walkway leading to a large, green lawn, bordered by a
picket fence.
Harriet looks up just as HERMAN, their Real State Agent
climbs out of his Saab.
HARRIET
I think the picket fence is a bit
much.
HERMAN
(appearing at her side)
Nonsense. You're in Cherish.
STEVE
Yeah, honey. Haven't you realized?
This whole town is a concept.
HARRIET
Or the Twilight Zone.
Harriet walks away from the two men, heading to the front
door. Out of instinct, she tries the knob: To her surprise,
it opens. She looks back at Herman.
HERMAN
(beaming)
Folks don't lock their doors around
here.
INT. HOUSE - CONTINUOUS
Harriet walks into the house, her tennis shoes make squishy
sounds on the wooden floor. She glides her hand along the
banister of the staircase as she walks down the hallway.
Passing a small corridor which leads into the kitchen, she
makes her way into the back dining room which has a back wall
covered in glass with a sliding door leading to the backyard.
INT. HOUSE (DINING ROOM) - CONTINUOUS
Harriet glances out at the backyard to where Holly is playing
on a brand new JUNGLE-GYM which sits in the far right corner
of the yard. In the left corner is a white, GARDEN GAZEBO.
But most importantly is a large, in-ground SWIMMING POOL in
the center of the yard.
HARRIET
You gotta be kidding me.
STEVE
The whole package, eh?
Harriet stirs at his sudden appearance behind her.
STEVE (CONT'D)
C'mon. Let me show you the kitchen
and the den.
Steve hurries into the kitchen with Harriet trailing behind.
INT. HOUSE (KITCHEN)
The kitchen is humongous. Jammed to capacity with apparatus's
Harriet has never even seen before: A chrome white toaster
leads to a small, white microwave leads to a large, rounded
refrigerator leads to a crisp, cream colored blender leads to
a long, rectangular knife rack leads to a wooden center
island.
Harriet stands, dumbfounded.
HARRIET
Steve... I don't even cook.
STEVE
Well, maybe you could learn. Hell,
I could learn. It doesn't matter.
Look at all this!
Harriet glances towards the Agent who is smiling at her,
proud as always. Harriet squints her eyes at him and follows
Steve who is already standing in the den.
INT. HOUSE (DEN) - CONTINUOUS
STEVE
(arms out)
Behold! Your home entertainment
system.
Behind Steve is a black shelving rack which stretches from
wall to wall. It is littered with AIWA, PIONEER and SONY
stereo equipment, a large TV screen, a DVD player, four
speakers, and an empty rack to place CDs, DVDs and videos on.
Harriet stands in the doorway of the room, taking it all in.
The black leather furniture (curved couch, Ezy-chair,
ottoman, love sofa) to the wood paneled walls to the marble
fireplace to the pink tiled floor.
HARRIET
You're a nut job.
Steve laughs.
STEVE
Ha, I knew you'd like it! And, I
got a technician coming tomorrow to
install cable. I hear they got
their own personal broadcasts in
this town.
HERMAN
(standing beside Harriet,
gloating)
That we do.
Steve falls on to the couch.
Harriet, seeing how happy he is, can't help but smile. She
heads over to him and sits Indian-style on the floor before
him. He begins rubbing her hair, messing it up on her head.
She laughs it off.
HARRIET
You're--
STEVE
I know, I'm a nut-job. But this new
job has made me a rich nut-job.
Which means you're now the wife of
a rich nut-job.
EXT. DOLLIS HOUSE - MORNING
A large MOVING VAN is parked in front of the grass lawn.
WORKERS can be seen all around the house, carrying furniture
and boxes in.
INT. DOLLIS HOUSE - MORNING
Steve directs a YOUNG MOVER who is carrying a large computer
box.
STEVE
We're going up-stairs with that
one.
INT. DOLLIS HOUSE (STEVE'S OFFICE) - MORNING
Steve's office is the base of all his work. He is a COMPUTER
GRAPHICS DESIGNER and so a bulk of his work is planned and
researched at home. This shows by the size of his COMPUTER
ARRANGEMENT.
A 25-inch monitor sits before a long, curved, silver
keyboard. The modem is bolted under the desk and his chair
is on a track which moves around the side of the long
counter. The wall is covered in program books, disks, and CD
ROM's. One corner is arranged as an art workstation, housing
all his drawing material and blue-prints.
Steve seats himself before the computer as the Young Worker
removes a bunch of printing equipment from the box.
STEVE
(pointing)
That's gonna go over there.
INT. DOLLIS HOUSE (DIFFERENT UPSTAIRS ROOM) - MORNING
Harriet is directing an OLD MOVER with a box in one hand and
a stack of folders in the other one.
HARRIET
You can just place those over
there.
As the Old Mover heads into the room, he drops the pile of
folders, spreading their contents across the rug.
HARRIET (CONT'D)
Shit!
Harriet dashes to her knees, collecting all the papers. The
Mover goes to awkwardly help her but she eases him away with
an open palm.
HARRIET (CONT'D)
Please! I can do this.
The Mover makes an "Excuse, me" face. Harriet catches it just
as he exits the room.
HARRIET (CONT'D)
(mumbled)
Wanker.
INT. DOLLIS HOUSE (ALICIA'S BEDROOM) - DAY
Alicia is alone inside, hanging up posters of various "boy
bands" and pictorials of actors she loves.
Harriet appears at the doorway and watches her, smiling.
INT. DOLLIS HOUSE (HALLWAY) - CONTINUOUS
Harriet heads next store to Holly's room.
INT. DOLLIS HOUSE (HOLLY'S ROOM) - CONTINUOUS
Holly sits, quietly on the bed. The sun shining through the
large window in the front of the room. No posters have been
hung up yet.
Harriet enters.
HARRIET
Hey, you.
Holly ignores her, playing with her small hands.
HARRIET (CONT'D)
Hey, tugger. What's wrong?
Harriet sits next to her daughter.
HOLLY
(softly)
Do you like it here, Mommy?
HARRIET
Why? Are you unhappy?
HOLLY
No, not as long as you're not.
Harriet smiles, leaning in and caressing her daughter's face.
HARRIET
Hey, I'm happy when you're happy
okay. So let's trade the favor.
Holly smiles and they hug.
CU - HARRIET
from over Holly's shoulder as her eyes change to
indifference.
INT. DOLLIS HOUSE (HARRIET'S SHOWER) - NIGHT
Harriet stands, letting the hot water run down her back.
STEVE'S VOICE
(from outside bathroom)
You okay in there?
Harriet rings her wrists, head down.
STEVE'S VOICE (CONT'D)
(concerned now)
Honey?
HARRIET
Yeah, what?
STEVE'S VOICE
Well, I'm going to get some food.
Any suggestions? The kids want KFC.
HARRIET
Whatever.
Pause.
STEVE'S VOICE
Uhhh, okay. We'll be back in about
twenty minutes then.
CU - HARRIET
as she looks down at her wrists: Two deep VERTICAL SCARS
color her pale skin. The water runs off them...
FADE TO BLACK
EXT. DOLLIS HOUSE - NIGHT
The moon sits over the house.
INT. DOLLIS HOUSE (BEDROOM) - NIGHT
Steve and Harriet lay in bed next to each other under a thick
comforter. Harriet lays on her side, facing us while Steve
lays with his arms behind him, staring up at the ceiling.
STEVE
I think they're mad about the
timing with the pool. Missing the
summer and all...
Harriet remains quiet, eyes open, staring out the window.
Steve turns towards her and puts an arm around her pillow,
leaning over her shoulder.
STEVE (CONT'D)
(softly)
Hey, you alright?
She nods her head, eyes vacant.
STEVE (CONT'D)
I hope they can get used to no KFC.
They didn't even have McDonalds.
Guess we're gonna have to adapt to
a diet of ToFu and Mexican Pizzas.
Steve laughs, hoping it will catch on. Harriet doesn't even
seem to have heard him. He leans over her again, watching her
face. She looks into his eyes and forces a small smile.
STEVE (CONT'D)
That bad, huh?
HARRIET
It's not the house, Steve. A house
is just a house.
STEVE
Then what it is? You can't tell me
you hate Cherish already. We
haven't even been here for a full
two days yet.
HARRIET
It's not that either.
STEVE
Is it the writer's block?
HARRIET
No, that will go away.
STEVE
Then what? I thought you were
getting better. It's been almost
two years. Tell me what to do and
I'll do it.
Beat.
HARRIET
It's not the town and it's not the
writer's block. Just give me some
time. I just... need some time.
Steve stares at her for a few seconds, trying to read the
sullen look on her face. He then resumes his position to make
an attempt to fall asleep.
INT. DOLLIS HOUSE (KITCHEN) - MORNING
The family moves around the messy kitchen each with their own
agenda. All around are brown MOVING BOXES filled with
kitchen supplies from the old house. The box that is full of
cereal lays resting on the main counter.
HARRIET
(to Steve)
Want a bowl of cereal before you
go?
STEVE
(gulping down coffee)
Ahhh, hot! Hot.
HARRIET
Take it easy.
STEVE
No, I'm in a rush. They got this
stupid orientation I have to
attend.
Harriet nods her head, moving past him towards the kids.
HARRIET
Okay. What time can I expect you?
STEVE
Not till around seven.
HARRIET
Why so late?
STEVE
I thought I told you.
Harriet stares at him, confused.
STEVE (CONT'D)
That thing that Peter planned...
remember? We're all going to his
place for some sort of meeting.
HARRIET
Remind me who Peter is again?
STEVE
Only the guy that got me this job.
Harriet huffs, throwing the dish towel over her shoulder.
HARRIET
Girls not allowed?
STEVE
Hey, it's not like we're gonna sit
around talking about strippers and
football.
HARRIET
Ohh, so what is it then? A bridge
club?
Pause.
STEVE
Look, Reeves is an important man
around here. I'll see if I can get
him to move in a KFC.
Steve looks at the kids. Holly laughs at his joke. Alicia
ignores him, too busy reading a teen magazine as she covers
her waffle in a sea of syrup.
Just then a CAR HORN beeps outside.
STEVE (CONT'D)
(throwing on jacket)
Okay, I'm off.
Steve kisses Harriet on the cheek and then heads out the
front door.
EXT. DOLLIS HOUSE - MORNING
Steve gets inside a blue MINI-VAN, sliding the door shut.
It drives away. Harriet watches from the front window as it
stops a few houses over to pick up another husband.
CU - HARRIET
as she watches a MAN exit his front door with a briefcase.
He appears dressed as Steve was. His WIFE, wearing a frilly,
purple, lace bathrobe appears in the doorway behind him. The
two of them kiss, long and hard. He then slaps her on the
ass, heading down the walkway towards the waiting mini-van.
The Wife stands in the open doorway with a huge smile on her
face, waving at her husband as the van pulls away. Finally,
she closes the door, softly behind her.
Harriet looks confused as she steps away from the window.
INT. PRINCIPAL ANDREWS OFFICE - MORNING
Harriet sits across from the Principal's large desk, her legs
crossed. PRINCIPAL ANDREWS sits, going over Holly and
Alicia's prior school records.
Looking up, he kindly gives Harriet the once-over: Corduroy
jeans, untucked, white button-down shirt, long brown hair
pulled back, resting over her right shoulder.
Harriet grows uneasy with the silence. She plays with her
hands.
PRINCIPAL ANDREWS
Well, let us get to it then.
HARRIET
Principal Andrews, I have to ask�
PRINICIPAL ANDREWS
Please, call me Robert.
HARRIET
--Robert. What sort of after-school
programs do you have for the girls?
ROBERT
You mean home-ec classes?
HARRIET
(smiles)
I was thinking more athletic.
ROBERT
Ohh, well we have a great football
program. We finished third in our
league last year.
HARRIET
Football?
ROBERT
Yes, I think Alicia would more than
qualify for the cheerleading squad.
HARRIET
No, that's not what I meant. Well,
Holly for instance, she loves
softball. I used to play with her
all time when she was growing up.
ROBERT
Hmm, I'm afraid we don't have a
softball team. We have a baseball
team, but it's only for boys.
Harriet frowns, not ready to give up just yet.
HARRIET
What about arts and crafts?
Robert's face brightens again.
ROBERT
Why we have many programs for our
girls in that field.
HARRIET
Really? Such as?
ROBERT
Well, there's sewing, cooking, they
even added a new after-school class
on style that the girls just love.
It's a little advanced but it's
catching on like wild-fire.
HARRIET
A class on style?
ROBERT
Yes, they go over all the trends
and fads. They even create some
of their own threads. You should
see some of the dresses they've
come up with.
Harriet nods her head. She has run out of questions.
EXT. CHERISH HIGH PARKING LOT - MORNING
Harriet walks to her car, clicking the alarm off.
VOICE
(calling out)
Hey, hi! Hello there!
Harriet turns towards the voice: A petite WOMAN minces over
to her from her car. The Woman is wearing a yellow sunflower
dress with matching heels. Her legs are bare from the heels
to the too-high hemline of her dress. Her microscopic
waistline climbs up towards her billowing breasts which make
an attempt to spill out of her white, satin Wonderbra. The
sleeves of the dress are puffed out, ending on her upper
arms. Her small hands are sheathed in frilly, cotton gloves
with yellow tracing.
The Woman's hair is a candy orange, puffed up with bangs in
front and a bounce on her shoulders. A small yellow bow sits
cropped on top of the bangs.
Her skin is pale white, almost creamy with bright pink
lipstick in front of a toothy smile. On her neck is a
yellow, lace choker.
By the time Harriet takes this all in, the Woman is in her
face, talking a mile a minute.
WOMAN
Hi! I'm Pam!
HARRIET
(overwhelmed)
Hi. Harriet.
Pam pumps her hand.
PAM
You must be new here!
HARRIET
Yeah, we got here a few days�
PAM
Ohh, I love your accent! Are you
from New York?
HARRIET
No, I was born in Manchester.
Pam stares at Harriet, smiling yet lost.
HARRIET (CONT'D)
It's in England.
PAM
(amazed)
I've never been there. Is it nice?
HARRIET
It's different from here. I can say
that.
PAM
(touching)
You're hair is so long.
Harriet gently eases Pam's groping hand off her long tresses.
HARRIET
Yes, I haven't cut it in a while.
Pam is too busy staring at Harriet's hair to have heard her.
HARRIET (CONT'D)
Yours is quite lovely too.
PAM
(beaming)
Oh, I know! Isn't it?
Pam fluffs up her hair, bouncing the ends over her shoulders
with both hands.
HARRIET
Yes, it's very... 1950's.
PAM
It was Carl's idea.
(gushing)
He's so great. He's got such
wonderful taste. Don't ya think?
HARRIET
Ye�yeah. Yes. I like that color
red.
PAM
Me too. He calls me his little
Pumpkin.
HARRIET
Pumpkin?
PAM
(giggling)
Get it?
HARRIET
Yes. Well, I have to go now.
PAM
Because it's oran... oran�
HARRIET
Yes, orange. I see. Listen I really
should be going.
PAM
Me too. I have to get to the
grocery store.
HARRIET
I bet.
PAM
Ta ta, as you say in your state.
Harriet just nods at her, shocked. Pam minces away, butt
swaying left and right. Harriet looks down towards the
clicking of her heels on the cement and notices that they're
seven-inches high. Pam is almost on tippy toes as she climbs
in her car (a yellow Volkswagen Beetle) in an overly feminine
manner.
EXT. DOLLIS HOUSE - DAY
A CABLE TRUCK backs out of the Dollis driveway.
INT. DOLLIS HOUSE (DEN) - DAY
HARRIET'S POV
as she stares at the TV, sitting amongst all of Steve's
equipment in the "home entertainment system."
HARRIET
Don't even think it, Harriet. Work
beckons.
INT. DOLLIS HOUSE (HARRIET'S OFFICE) - DAY
CU - NOTEPAD
as Harriet opens it, flipping to an empty page.
CU - PENCIL
as Harriet lays it beside the blank page.
CU - ASHTRAY
as Harriet ashes her cigarette.
She is sitting at the desk, glasses resting on her nose.
CU - BLANK PAGE
as Harriet writes "Change for the Worse" at the top.
CU - DIGITAL CLOCK:
it reads 12:42.
DISSOLVE TO:
INT. DOLLIS HOUSE (HARRIET'S OFFICE) - DAY
CU - DIGITAL CLOCK
it reads 1:12.
Harriet is resting her head on her hand, staring at a page
only a third full of sentences. Most of them have been
crossed out.
CU - PAGE
as Harriet writes "Fuck."
INT. DOLLIS HOUSE - DAY
Harriet walks through various rooms, down the hallway, up the
stairs, down the stairs, to the living room. Boxes still
litter most of the rooms and the house has an "unsettled"
appearance to it still.
INT. DOLLIS HOUSE (DEN) - DAY
Harriet plops down on the long leather couch and flicks on
the new television.
As she scans the channels we catch quick glimpses of daytime
shows ranging from GOSSIP HOURS, TALKSHOWS, COOKING SHOWS, an
OLD NUN sitting on a chair, about five SOAP OPERAS and
finally a�
Harriet hops up and jogs towards the kitchen to find an
ashtray. We stick with the channel that she has rested on.
It is a HOUSE CLEANING program in which a blonde bombshell of
a WOMAN in a tight, revealing dress prances from room to room
in high heels. Her "tour" is intercut with footage of her
vacuuming, tucking things away in cabinets, dusting, cleaning
the windows, making the beds and doing the laundry.
On the bottom of the screen is a RED, PULSING "C" which glows
on and off, from DIM to BRIGHT in steady unison, almost like
a station logo.
The Blonde talks in a breathy, ditzy voice, giggling from
time to time.
TV BLONDE
You'll soon see that your man will
feel better about himself.
(giggles)
And then you'll feel a whole lot
better too.
The Blonde WINKS at the audience. lAUGHTER from the imaginary
crowd.
Harriet returns to the couch, lighting up a cigarette. She
puts her feet up on the coffee table snatching the remote
again as she does.
CU - HARRIET
as she is about to flick to a new channel.
CU - RED "C" LOGO
as it pulses dim and bright, dim and bright, dim and bright...
TV BLONDE (CONT'D)
Your man deserves a nice home. He
works so hard all day.
Harriet stares, dumbfounded at the TV screen. Her eyes look
glazed. Her hand with the remote slowly lowers to her side.
TV BLONDE (CONT'D)
Everything must be spick and span
when he walks through that door.
CU - RED "C" LOGO
as it pulses dim and bright, dim and bright, dim and bright...
Harriet stares (dim and bright) at the (dim) screen (bright)
unable to (dim and) even turn (bright) the TV (dim) off now
(and bright).
INT. TAURUS (PARKED)- DAY
Harriet sits behind the wheel, Alicia in the front seat,
Holly hanging over the back.
HARRIET
(low)
Home.
Alicia hops out of the car, Holly on her tails.
EXT. DOLLIS HOUSE - CONTINUOUS
Harriet steps up to the front door, searching for the keys.
HARRIET
Sorry, I was late. I think I fell
asleep.
HOLLY
That's okay, Mom. I met this cool�
ALICIA
You told her already. Mom, we have
to go shopping. And all the girls
at school had such nice hair
styles. I felt so stupid.
Harriet has the keys. She unlocks the door and they step in.
INT. DOLLIS HOUSE (LANDING) - CONTINUOUS
HARRIET
Honey, your hair is fine.
Holly dashes for the kitchen as Alicia and Harriet remove
their coats at the stair landing.
ALICIA
I know. But couldn't we just buy
some clothes? For when I go out?
HARRIET
When are you going out? --And
what's wrong with the clothes you
wear now?
ALICIA
I don't know. They're not girly
enou--
HOLLY (OS)
Ohh, my God! Mommy cleaned up!
ALICIA
You did?
HARRIET
I did?
Harriet follows Alicia into the:
INT. DOLLIS HOUSE (KITCHEN) - CONTINUOUS
ALICIA
Wow, mom! Nice job!
The CAMERA PANS across the kitchen: It is spotless. All of
the boxes have been emptied as the cabinets are now full and
the empty boxes sit crushed next to the garbage pale.
The floor has been mopped and the windows sprayed. The white,
Formica kitchen table now has a table cloth laid across it
and all necessary table top condiments, napkin holders and
mats strewn across.
Harriet stands in shock. Alicia and Holly dart through the
house, expecting more to be cleaned. And it is.
HOLLY (OS)
(yelling)
Wow! She did the whole house!
Harriet is walking through the kitchen, a look of shock on
her face.
INT. DOLLIS HOUSE (DEN) - CONTINUOUS
Harriet steps into the den and crosses over towards the
coffee table.
The ashtray is spotless.
INT. DOLLIS HOUSE (LANDING) - NIGHT
Steve enters through the front door. He has two bags of take
out food in his hand and his briefcase in the other.
STEVE
I'm home!
Holly comes parading down the steps. Steve sets his things at
his feet just as Holly jumps into his arms.
STEVE (CONT'D)
Whoa, take it easy. You're not as
small as you used to be.
HOLLY
Hi, Dad! How was work?
Steve walks, Holly in his arms, into the...
INT. DOLLIS HOUSE (KITCHEN) - CONTINUOUS
STEVE
Work, was great. Daddy has this
great big office that looks out
upon the town. Daddy also has this
nice young secretary that is sooo
pretty, like your mother.
Steve eyes Harriet as he says this, hoping for a response.
Harriet, who sits at the kitchen table, her hands crossed,
just stares at him. Steve sets Holly down.
HOLLY
Nobody's as pretty as Mommy.
STEVE
Yeah.
HARRIET
Holly, give you father and I a
minute, please.
HOLLY
(whining)
But Dad got take-out.
Steve, catching Harriet's vibe pats Holly on the head.
STEVE
Listen to your mom, sport. We'll
eat in a couple of minutes.
HOLLY
Ohhh kay.
Holly, looking displeased, trudges out of the room.
Steve heads over to the sink to wash his hands.
STEVE
What's up, dear?
HARRIET
What's up? Have you seen the house?
Steve stops at the sink, turns around and for the first time,
takes in the room.
STEVE
Hey, way to go, honey.
HARRIET
Yeah, that's what the kids said.
STEVE
So what's the problem?
HARRIET
The problem is that I have no
recollection of doing any of this.
STEVE
What are you talking about?
HARRIET
You tell me.
Steve loosens his tie.
STEVE
(lowering his voice)
Okay, I think it means you went
out, bought a bottle of wine and
had another case of the moodies. I
think it means you were depressed
again and needed some way to vent
your frustration so you�
Harriet gets up and heads over to Steve.
HARRIET
No, don't say that. This is not
what that means�
STEVE
--cleaned the house, sat down,
finished the bottle, passed out and
have absolutely no recollection of
any of it.
HARRIET
Now just hold it right there!
STEVE
Lower you voice, dear.
HARRIET
That's not what happened. I
remember sitting down, trying to
write and then leaving to pick the
kids up. And that's it.
Steve looks at her, studying her face.
STEVE
Did you call anyone?
HARRIET
No.
STEVE
Did anyone come over?
HARRIET
No. Just the cable guy.
STEVE
How long was he here for?
HARRIET
Uhh, I don't know. Like fifteen
minutes. Why? What does that have
to do with anything?
STEVE
Were there any problems?
Beat.
HARRIET
Steve, what are you saying?
STEVE
I mean, did he install the cable
alright?
Harriet stares at Steve.
HARRIET
...Yeah. Yes. Why?
STEVE
(holding his hands up)
Just asking. Look, honey, I can
think of worse things happening
than this.
HARRIET
Really? Worse things happening than
your wife blanking out, cleaning
the house and then waking up and
not remembering a damn thing?
Steve stares at Harriet, stone-faced. Suddenly a smile slips
out. Then he begins to burst into LAUGHTER.
HARRIET (CONT'D)
This isn't funny.
STEVE
I know. I know... ahh, God.
(rubs tears from his eyes)
I just wish it would happen more
often is all.
Steve begins cracking up again.
HARRIET
You are unreal.
Steve begins washing his hands.
STEVE
Honey, it'll come back to you.
Hey, how'd the kids like their
first day of school?
Harriet snaps out of it.
HARRIET
Ohh, they said it was great.
STEVE
Great? Really? A kid liking her
first day at school? I've never
heard of such a thing.
HARRIET
(looking down, deep in
thought)
Neither have I.
STEVE
Did you meet the principal?
HARRIET
You mean Herman Munster?
Steve laughs.
HARRIET (CONT'D)
Yeah. Ohh, and I met June Cleaver
too.
STEVE
What?
HARRIET
Steve, have you noticed the way
some of the women dress in this
town?
STEVE
That's California for ya.
HARRIET
No, I think it's Cherish for ya.
STEVE
So, what's wrong with a woman
wanting to look pretty?
HARRIET
Nothing. If she's doing it for
herself.
STEVE
And you don't think they are?
HARRIET
No. I think they're doing it for
"their man."
Steve laughs again.
STEVE
That's ridiculous, dear.
HARRIET
Well, you should've heard this
woman. Total airhead. She couldn't
stop talking about her husband.
Carl or something. It's like she
was on speed.
STEVE
Maybe they just got married.
HARRIET
Yeah, but this woman looked like a
Barbie Doll.
STEVE
Uh, oh. More surgery? Thought you
said she was June Cleaver?
HARRIET
Well, she did. But it was both.
She had on these humongous high
heels. Not platforms. I mean
spiked, stiletto heels. At least
six inches high. I don't know how
she even walked in them.
STEVE
Yeah, so. A lot of the young girls
are starting to wear those again.
HARRIET
But she's a married woman.
STEVE
Maybe she's a dancer.
Steve dries his hands off and turns towards his wife, leaning
against the counter.
STEVE (CONT'D)
Either that or a kinky June
Cleaver, right?
Harriet stares at him for a moment and then they both burst
into laughter.
INT. DOLLIS HOUSE (BEDROOM) - NIGHT
Steve and Harriet lay next to each other in bed. Steve is
kissing Harriet on her neck.
HARRIET
Steve.
Steve goes on kissing her. He works his way up to her mouth,
trying to mute out her words.
HARRIET (CONT'D)
Steee---Steve!
Harriet eases his head away.
HARRIET (CONT'D)
Please.
STEVE
God, what? I'm not allowed to kiss
my wife?
HARRIET
I'm just not...
STEVE
Not what? When's the last time we
did it?
HARRIET
Don't...
STEVE
I can tell you the exact date. It
was four and half months ago. One
hundred and thirty three days to be
exact.
Harriet looks away, gazing out the window.
Steve stares hard at her.
STEVE (CONT'D)
(angry)
Fine.
Steve shoves his pillow back in place and lays down on his
side, back to Harriet.
CU - HARRIET
as she lays on her side, facing the window. Her eyes softly
well up with tears. She wipes at them.
INT. DOLLIS HOUSE (KITCHEN) - MORNING
The kids are in the BACKGROUND watching a "Saved by the Bell"
type morning show on TV while Harriet fixes herself a bowl of
cereal. Just then Steve comes walking in, dressed casually.
It is a Saturday morning so it isn't too early.
HARRIET
Do you want a bowl of cereal?
STEVE
(pouring some orange
juice)
No, Peter said there'd be brunch
there.
Harriet looks back down, returning to her cereal.
STEVE (CONT'D)
You guys getting ready to leave
too?
HARRIET
Yeah, few minutes.
Steve leans down and whispers:
STEVE
I know it's early still but we
should start thinking about
Christmas shopping. Maybe do some
scoping today while you're there.
(Beat)
And hey, about last night--
HARRIET
Forget it.
Steve nods, and then kisses her on the cheek.
STEVE
(to kids)
Go easy on your mom's checkbook,
you two.
INT. CHERISH MALL - NOON
Harriet stands with the kids, taking it all in. Before them,
a long, wide tiled aisle surrounded on each side by three
levels of stores.
Everywhere SHOPPERS rush here and there, chatting on cell
phones, looking at watches, carrying shopping bags... shopping.
Harriet follows after the kids, who stop at almost any store
that looks familiar. She passes lady after lady all dressed
like Pam was. Bright, colorful, tight, revealing, skimpy,
frilly, feminine dresses attire surgically-enhanced, bright
eyed, toothed, made-up, thin, high-heeled "Barbie Dolls"
posing as ordinary women... shopping.
MONTAGE BEGINS:
Harriet tries to keep up with the kids, speechless as they
pass store after store. Frederick's of Hollywood, Victoria's
Secret, The Lady's Room, Feminine Discoveries, Lingerie to
Treat Your Man, Baking for that Special Him, Vacuums Galore,
Candy's Hair Salon, The Powder Room, Soft and Feminine:
Clothes for the Lady in You... etc.
Stores filled with pretty WIVES who shop for FLORAL FROCKS,
PINK MINI-SKIRTS w/ MATCHING BLOUSES, HIGH HEELS w/ ANKLE
STRAPS, SATIN, SPANDEX, SILK, PINAFORE, CHIFFON, even LATEX
DRESSES. Every store is adorned with MANNEQUINS posing and
looking too similar to the WOMEN who shop in them.
We see a ton of various CLOSE-UPS of 20-inch waistlines, 5-7
inch high-heels, 34D to 36EE breastlines, skirts riding too
high on long shapely legs, tightly packaged behinds waddling
in tightly sealed skirts, shiny, white smiles, sunflower
hats, lace gloves, frilly collars, small purses, neckline
chokers...it's all too much for Harriet to take.
Harriet rests on the bench, trying to block out the amount of
"perfect women" that pass her, we catch snippets of their
dialogue:
WOMAN #1
...I'm going to buy this cute lace
teddy for Norm so when he comes
home tonight, I can cook him dinner
in it...
WOMAN #2
...I burned the casserole, so Gary
spanked me last night...
WOMAN #3
...Do you think my make-up is okay,
Dave seemed kind of distant at
breakfast...
ON HARRIET:
HARRIET
(to herself)
Holy shit.
INT. COUNTRY CLUB - NOON
Steve is being led into a large room with tables, a few
couches, a home entertainment system and a bar in the far
corner. Three MEN are sitting around the TV watching the
football game. When Steve enters, they all stand up.
PETER REEVES, the oldest man with the graying hair and stern
but kind look does the talking.
PETER
Steve, right on time.
Steve heads over towards the couch.
PETER (CONT'D)
You remember Mike and Victor from
the other night?
STEVE
(shaking their hands)
Yes, yes, of course.
MIKE
Steve, great to have you here. I
feel like we didn't get to know
each other that much at that whole
introductory thing.
VICTOR
Probably because Pete over here
doesn't know when to shut up.
The men all laugh.
PETER
So, Steve, you know that we just
don't let anybody move into
Cherish. The person and his family
have to meet all the strict
criteria. You checked out because
you're excellent at what you do.
You'll make a difference here. As
for your family... two wonderful
girls, and a wife with so much
potential...
CU - STEVE
INT. DOLLIS HOUSE (BEDROOM) - EVENING
Harriet sits on the side of the bed, staring at her lap. She
seems to be waiting for something.
Just then, Steve comes in, laying two bags at his side.
Before he can even get a word out, Harriet stands up and
approaches him with a mixture of strict emotion.
HARRIET
I want out of this place.
STEVE
Excuse me?
HARRIET
They're all kinky June Cleavers.
STEVE
What're you talking about?
HARRIET
Don't bullshit me. You drive to
work everyday. You must've seen
them.
STEVE
Seen who?
HARRIET
The women of Cherish.
STEVE
Ohh, jeez. Honey, will you just
relax for a minute�
HARRIET
Why did we move here? Huh, why
here? Tell me the truth!
STEVE
(leading her into room)
What truth? You know exactly why we
moved here. I'm looking out for our
futures�
HARRIET
(raising voice)
Don't bullshit me!
STEVE
Hey, calm down! You know just as
well as I do that there was nothing
left for me in Dallas. We were
withering there.
HARRIET
But why here? Why not somewhere
else in California?
STEVE
The company doesn't have branches
everywhere. I didn't have a list to
choose from. You wanna know what my
choices were? Trenton, New Jersey,
Milwaukee, or Ft. Lauderdale. And
trust me, you would've hated
Florida.
HARRIET
Why? How would I know unless I'd
seen it?
STEVE
Don't start in with that again. I
told you, you had every opportunity
to come on those trips but you
wanted to stay home and�
HARRIET
You think I stayed home and drank
all those nights?
STEVE
Yes, some of them.
HARRIET
Well, I was trying. I didn't give
up as easily as you think. So stop
trying to play hero. Cause I'm
bloody well sick of it, okay!
Steve goes to speak but stops last minute. He shakes his
head, lost for words.
STEVE
(low)
You're right.
Steve collapses on the bed, head bowed.
Harriet watches him, her face changing from anger to regret.
After a moment, she sits next to him.
HARRIET
I know you mean well. We all know
that. But could ya just tune it
down a notch?
Steve looks at Harriet.
HARRIET (CONT'D)
Don't forget, you're married to the
daughter of a stuffy Englishman
who�
STEVE
--takes his tea at 11:00 and
expects crumpets at 11:15.
Steve and Harriet both share a laugh.
Harriet then hugs him.
STEVE (CONT'D)
(in embrace)
Listen, just give it some more
time. Please. I'll... we'll make this
work out. Hey, I got you something.
Steve breaks the hug and stands up, walking over to one of
the bags he came in with.
HARRIET
(smiling)
Ohh, no.
STEVE
No, I think you'll like it.
Steve approaches her with an ITEM behind his back, when he
gets to her he brings it around to display: It is a LEATHER
WRITING KIT.
HARRIET
(staring at kit)
Oh...
Harriet opens it, inside is an assortment of classy pens and
pencils as well as a book on Calligraphy and a nice sketch
pad. Her initials are stenciled on the front in a gold
emblem.
HARRIET (CONT'D)
Steve, it's wonderful.
STEVE
(blushing)
Yeah, I figured it might help.
HARRIET
How did you know I always wanted to
learn Calligraphy?
STEVE
You mentioned it a couple years
back and I kept it in mind.
Harriet stands up and kisses Steve on the cheek.
HARRIET
Thank you.
They pause, looking at each other. Harriet then kisses Steve
on the lips, fully. Steve kisses back and they are soon
locked in a passionate embrace, smothering each other with
long, soft kisses.
Steve suddenly holds her away, smiling.
HARRIET (CONT'D)
What?
STEVE
One more thing I got you.
HARRIET
You're crazy.
Steve darts back over to the second bag. As he rummages
through it, his back to Harriet, he says:
STEVE
Close your eyes for this one.
HARRIET
(biting her lip)
Steve�
STEVE
Just indulge me, dear. It's a
little kinky but I figured what the
heck.
Harriet reluctantly closes her eyes.
STEVE'S VOICE (OS)
Ohhh, kay. Open them.
HARRIET'S POV
as she opens her eyes. Steve stands in front of her holding a
PINK, RUBBER FRENCH MAID'S OUTFIT. It still has the price tag
on it and hangs from a frilly hanger.
Harriet stares at it and then up to Steve's smiling face.
She is aghast.
HARRIET
(low)
Are you kiddin' me?
STEVE
I know what you're gonna say but�
HARRIET
Are you an idiot?
STEVE
Honey�
HARRIET
This isn't me. When have you ever
known me to dress like this?
STEVE
(flustered)
I don't know. What difference does
it make? Maybe you should start.
Harriet stares at Steve like he is a monster.
HARRIET
I'm speechless. I'm fucking
speechless. In our fifteen years of
marriage you've finally made me
speechless.
STEVE
God, what is your problem?
HARRIET
What is my problem? Has the whole
word gone insane?
STEVE
Yeah, honey it has. And you're
still living in Wonderland. When
the hell are you gonna wake up?
HARRIET
What the hell has happened to you
here?
STEVE
What do you mean? Don't try to lay
this on me like I'm the one who's
being impractical.
HARRIET
(pointing at the dress)
Is this what you want? One of
those surgically, enhanced
Wondersluts out there?
(Harriet backs away, past
the bed)
What's next, stiletto heels?
STEVE
Ok, now calm down. You're
overreacting.
HARRIET
Ohh, first I'm being impractical
and now I'm overreacting?
STEVE
Yes, that's exactly what you're
doing. You're blowing this into
more than it is. Women do wear
things like this you know? God, you
shut yourself out from life every
day and then finally take a walk
outside and see things have changed-
HARRIET
Nothing's changed. You've changed!
It's this place. It's having some
sort of effect on you.
STEVE
Cherish has nothing to do with your
living conditions. It's unhealthy.
Have you even looked at yourself in
the mirror? You look like a fucking
Hippie!
Harriet stares at Steve, so angry that she is starting to
shake. Her eyes well up.
HARRIET
Don't say that! Don't tell me this!
I just need�
STEVE
--I know. You just need more time.
It's always about you. Well, what
about me? What do you think I did
all those nights you were in the
hospital? Cried? Stayed inside and
felt sorry for you? For myself? No.
I worked on getting you out of
there. I worked on getting us out
of there. And I came through. It
took two fucking years but I came
through. And what is the thanks I
get: A wife who thinks her
husband's crazy for buying her a
dress!
With the last word, Steve throws the outfit at Harriet and
storms from the room.
Harriet, crying openly now, chucks the dress in the corner
and darts into the bathroom, crying hysterically.
INT. PETER REEVES' MANSION (MAIN ROOM) - NIGHT
Steve is let in by one of the FEMALE SERVANTS wearing a dress
all too similar to the one he bought Harriet.
PETER
Steve, take a seat.
Steve pauses before the table and then reluctantly pulls out
a chair, seating himself.
PETER (CONT'D)
I take it she didn't like the gift?
STEVE
You could say that.
PETER
(patting Steve's folded
hands)
Be patient. Come next week, you'll
have her in that outfit. She'll be
begging you for more. She'll even
clean the house in it. Cook dinner
for you in it.
(low)
Fuck you in it.
Steve glances at Peter, surprised by the old man's bluntness.
STEVE
Sooner the better. She's in bad
shape. I'm worried she might do
something stupid.
PETER
You think she might attempt suicide
again?
Steve looks down.
STEVE
God...I don't know. I shouldn't have
come. I should be home looking out
for her right now.
PETER
She's a grown woman. You shouldn't
have to look out for her. When
we're through, you'll never have to
worry about her again.
Beat.
STEVE
So when is it gonna happen?
PETER
(sipping wine)
She's scheduled for the treatment
this coming Friday night.
Steve nods.
STEVE
So where's your wife?
PETER
(grinning)
Which one?
DISSOLVE TO:
MONTAGE OF WEEK BEGINS:
INT. DOLLIS HOUSE (BEDROOM) - MORNING (MONDAY)
Harriet lays in bed, a mess, as Steve dresses for work. Once
done he grabs his briefcase and exits the room, shutting the
door behind him.
INT. CHERISH HIGH SCHOOL - NOON
The GIRLS and BOYS of Cherish High crowd the narrow hallways,
heading to the Cafeteria for lunch.
INT. CHERISH HIGH SCHOOL (CAFETERIA) - NOON
Alicia sits nervously next to a group of perky GIRLS. Like
the girls beside she is dressed in the mandatory uniform of
Cherish High: White button-down shirts, tucked into small,
plaid mini-skirts with white stockings and patent leather
penny loafers.
The Boys wear an assortment of Khakis and slacks with button
down shirts and sport jackets.
Concentrating on her Sloppy Joe, Alicia hears some girls next
to her giggling. Looking up, she sees a YOUNG BOY checking
her out.
The GIGGLING BUNCH crowd around her.
GIGGLING GIRL #1 (BRITNEY)
(whispers)
He's the Captain of the football
team.
GIGGLING GIRL #2 (TANYA)
And, he's currently single.
ALICIA
(smiling at girls while
keeping her eyes on Boy)
Really?
GIGGLING GIRL #3 (VICKI)
Not to mention he's totally
gorgeous.
This causes the three girls to GUSH and GIGGLE some more.
Alicia tries to join them but cannot take her eyes off the
Boy who stares at her confidently.
Just then he turns to two of his JOCK FRIENDS and makes the
universal blow job symbol by pumping his fist in front of an
open mouth and pushing his left cheek out with his tongue.
The Jocks all crack up laughing.
Alicia looks confused by this. Britney pats her on the back.
BRITNEY
(giggling)
Don't worry. That's a good thing.
The girls all crack up.
INT. CHERISH MIDDLE SCHOOL (CLASSROOM) - NOON
Holly sits on the floor, Indian style, looking bored and sad
as a buxom TEACHER in a yellow dress and heels minces in
front of her and all the other GIRL STUDENTS who have been
collected on to one side of the room. All the girls have
sewing kits in front of them. And while some look bored as
Holly does, others just stare at the vibrant teacher,
mesmerized.
On the other side of the room, the BOYS sit, their eyes glued
to a TV SCREEN showing a Disney film.
INT. CYBERCOMP BUILDING (STEVE'S OFFICE) - DAY
Steve sits behind his desk, furrowing his eyes as he scans
over a computer screen before him displaying a new program.
Just then, DANA, his secretary scoots in and lays some
documents on his desk. Steve glances up at Dana who is
wearing a super-short, powder blue, mini-dress which begins
just above her cream-colored garters and ends at the rims of
her exposed breasts. Her red hair falls long and curly over
her shoulders.
DANA
Those papers you requested, Mr.
Dollis.
Steve cups his head in his hands and smiles directly at Dana.
She blushes and turns away, tottering on her heels.
STEVE
Dana, you are just too good to me.
INT. DOLLIS HOUSE (OFFICE) - DAY
Harriet sits at her desk, arms folded, a pack of half-smoked
cigarettes in front of her. She glances over to the side of
the desk where Steve's gift, the writing kit, sits. She then
turns back to her own pad and pen, determined not to use his.
INT. GROCERY STORE - DAY (TUESDAY)
Steve pushes a full grocery cart down the shiny, clean aisles
of the Mart.
As he walks, he passes WIFE after WIFE who all smile, blush
and "Hello" him. Steve smiles back, giving some, more
attention than others.
INT. DOLLIS HOUSE (DEN) - NIGHT
Harriet and the kids watch night-time television while Steve
puts away all the groceries in the kitchen.
We watch as Harriet flips through shows like Ally Macbeal,
The Man Show, The Cindy Margolis Show, The Howard Stern Show,
Sex Wars, Baywatch, and of course WWF Wrestling.
DISSOLVE TO:
INT. DOLLIS HOUSE (BEDROOM) - MORNING (WEDNESDAY)
Steve goes through his morning routine as Harriet pretends to
sleep.
As he exits the room, he says:
STEVE
Goodbye, dear.
INT. CHERISH HIGH - DAY
Alicia stands at her locker, dressed the same as when we last
saw her at school. As she tucks her books away, we see the
Boy from the cafeteria approaching in the BACKGROUND. Alicia
notices him and suddenly gets nervous. Yet a small, quick
smile appears on her face.
EXT. SUBURBAN BACKYARD - DAY (THURSDAY)
A pretty WIFE in her early twenties stares at something while
she gardens in her backyard. Holding a gloved hand to her
eyes, she squints over at the adjacent backyard where Harriet
sits in front of the pool, looking ghostly.
FADE TO BLACK
INT. DOLLIS HOUSE (BEDROOM) - MORNING (FRIDAY)
Harriet rises from bed and sits at its side, stretching her
arms. In the BACKGROUND, we can hear the sound of the faucet
as Steve gets ready in the bathroom.
Harriet gets up and heads towards the bathroom.
INT. DOLLIS HOUSE (BATHROOM) - CONTINUOUS
Harriet slides the door open to reveal Steve sitting on the
toilet bowl MASTURBATING. Seeing her, he quickly covers his
penis with a newspaper.
STEVE
Jesus, don't you knock!
HARRIET
What the hell are you doing?
STEVE
What the fuck does it look like I'm
doing?
HARRIET
You're jerking off for God's sake!
Tell me, what's wrong with this
picture!
STEVE
What? Not only can I not screw my
wife anymore, now I can't even
screw myself?
HARRIET
You're a pig.
STEVE
Yeah, honey. That's exactly what I
am. A pig. God, get real just for
one second.
Harriet goes to speak but then glances over towards the
adjacent wall wear we see the pink, rubber French Maid's
outfit hanging from a hook on the wall.
HARRIET
Are you serious? You're telling me
to get real when you're the one
jerking off to an article of
women's clothing.
STEVE
I was not jerking off to that.
HARRIET
Want me to exchange it? I'm sure I
can find one in your size. Hell,
at least one of us should get
pleasure from it, right?
Steve, looking very pissed off, zips up his fly and stands
up, shutting off the faucet.
STEVE
I have nothing to say to you.
Steve grabs a towel to dry himself and heads past Harriet and
back into the:
INT. DOLLIS HOUSE (BEDROOM) - CONTINUOUS
Harriet follows him out, hair wet from the steam in the
bathroom.
STEVE
Actually, I do have something to
say to you.
Harriet stares at him defiantly, waiting.
STEVE (CONT'D)
Tell me, what do you do all day?
In fact, better yet, what do you do
for a living? Yeah, I like that
better. What's your job, your
profession? Tell me, are you a
writer? Because if you're not, then
what are you?
HARRIET
(low)
I'm a writer.
STEVE
Ohh, really. Are you? You're a
writer?
HARRIET
(fuming)
A published writer.
STEVE
Ohh, please! That was twelve years
ago!
HARRIET
Steve, what is this? Why are you
doing this?
Steve pulls up his pants.
STEVE
Doing what? Telling the truth?
Stating the obvious? What makes you
so much better than those women who
you mock at the mall?
HARRIET
You're not attracted to me anymore?
Is that it?
STEVE
Tell me, honey?
HARRIET
Do you want a divorce?
STEVE
Ohh, no. No way. It's not that
easy, dear. We've invested time
into this. Kids, money, our
futures. It doesn't end like that.
No.
Steve is buttoning up his shirt.
STEVE (CONT'D)
So why don't we just continue with
this system we got going now. I'll
go to work, bust my ass all day,
earn money for us, keep us in this
house, keep the kids in school with
an education, and you... you support
us with your "writing career."
HARRIET
You've changed.
STEVE
Yeah. You should try it some time.
Steve grabs his tie, throws it over his shoulder and quickly
leaves the room.
INT. TAURUS (MOVING) - MORNING
Steve still angry drives to work, admiring Cherish as he
passes through the town square.
STEVE'S POV
as he scans the buildings around him that he passes. Every
BILLBOARD or UPPER DISPLAY/SIGN that promotes something seems
to TWINKLE as the eye passes it. Steve notices this. But
instead of ignoring it like he usually does, he goes on
watching the signs. They seem to FLASH from one sign to
another, back and forth, back and forth before Steve is even
aware of what he has just seen.
Unable to make anything out of it, he goes back to
concentrating on the road.
INT. CYBERCOMP (STEVE'S OFFICE) - MORNING
Steve collapses behind his desk. He swings his chair around
to take in the view of Cherish below him.
He fixates his eyes on an ominous looking BUILDING that
stands above the hills.
INT. DOLLIS HOUSE (BATHROOM) - MORNING
CU - HARRIET
as she stares at her face in the bathroom mirror. We HOLD on
the CLOSE-UP as Harriet studies herself. Her brown eyes look
sunken in their sockets with large bags underneath. Her lips
look chapped and her skin has a pale, milky look to it. Her
hair has long since been combed and so it has gotten tangled
and knotted.
Harriet looks down, throwing water from the sink in her face.
INT. CHERISH CAF� - NOON
Steve sits with ALBERT, a colleague and friend who is also
new to Cherish.
Steve fidgets as he sips his wine cooler and plays with his
food.
ALBERT
Nervous about tomorrow?
STEVE
Why? Does it show?
ALBERT
You shouldn't be. It will be the
first day of�
STEVE
--the rest of my life. Yeah, I
know. They got you saying that now
too?
ALBERT
It's true when you think about it.
Steve puts down his wine cooler and looks at Albert, dead in
the eyes.
STEVE
Al, why are you really doing it?
ALBERT
What kind of question is that?
STEVE
No, I don't mean the maternal
bullshit, the kids, the cleaning
and cooking and all that. I mean,
as far as I know, you can still
hire maids, right?
ALBERT
It's not the same. When it's your
wife, it means more.
STEVE
But that's not it. If it was just
that, I wouldn't be so nervous
right now.
ALBERT
You telling me that's all you want
it to be? Because that's bullshit
and you know it.
STEVE
So then why are you doing it to
Louise?
ALBERT
You really want to know?
STEVE
Yes, I really wanna know.
ALBERT
Well, Louise is a great woman.
She's already a good mother so that
cancels that out. She cooks like a
pro. She's funny, heart-warming,
sweet, caring... all the things you
want in a wife.
STEVE
So then... what?
ALBERT
To put it bluntly: She doesn't like
giving blow jobs.
Beat.
STEVE
That's it?
ALBERT
What do you mean, that's it? You
know as well as I do that getting a
blow job is usually better than
sex. You don't have to perform, she
does.
STEVE
Sounds nice.
ALBERT
Well, it is. Before we got married,
I thrived on them.
STEVE
Has she ever given you one?
ALBERT
She's tried before. But she gets
all paranoid. Thinks she's gonna
gag or something.
STEVE
So that's it? That's the only
reason?
ALBERT
Look, sit by me tonight. They're
are gonna be some other new guys
there and so they might try and
dumb it down for us.
But I've talked to some of the
husbands about this and the simple
fact is, it changes your life.
Pause.
STEVE
And hers.
ALBERT
Is that what this is about? Guilt?
STEVE
No. It's...
ALBERT
Steve, stop being a pussy alright.
You're not killing Harriet. You're
simply changing her for the better.
And if what you tell me about your
marriage is true, then it's about
time.
CU - STEVE
as he nods slowly, picking up the wine cooler and downing the
remains.
INT. DOLLIS HOUSE (KITCHEN) - DAY
Harriet sits at the bare kitchen table with nothing in front
of her. She has her arms folded and is crying openly, in
choked gasps.
INT. CYBERCOMP (STEVE'S OFFICE) - DAY
The SCENE IS MUTED so anything Steve says or does goes
unheard. Instead, we hear the OFF-SCREEN SOBS of Harriet
from the prior scene, playing over this one.
Steve sits behind his desk, ignoring the computer screen.
His eyes look distant yet thoughtful as he bites his finger
nail. As he does, we catch quick glimpses of Dana in her
pink, spandex pants laying some documents on the desk.
Steve slowly looks up at her. We see her mouth moving as she
tells him things. He just stares at her until she looks
confused. Her mouth seems to say, "What?" Steve just goes on
looking at her, Harriet's sobs grow louder. Dana breaks into
a smile, covering her mouth and blushing.
Steve just looks at her until she leaves the room.
INT. DOLLIS HOUSE (BEDROOM) - DAY
Harriet rummages around in Steve's armoire until she comes
out with a small KEY.
INT. DOLLIS HOUSE (DINING ROOM) - DAY
Harriet approaches the locked LIQUOR CABINET that Steve keeps
for party occasions and inserts the key into the small lock.
It opens to reveal around twelve bottles of various LIQUORS
and the appropriate glasses to go with them.
INT. DOLLIS HOUSE (HARRIET'S OFFICE)
Harriet sits down behind her desk, places a shot glass on the
top and fills it to the brim with Vodka. She sips it down,
clenching her eyes shut as she does. A moment later the glass
is empty.
Tears spring to her eyes and her face has turned red as she
finally regains her composure from the stiff drink.
HARRIET
(sobbing)
Ahh...what are you doing, Harriet?
What are you doing?
Harriet pours another shot and holds it in front of her. She
downs this one quicker than the last.
EXT. CHERISH SCHOOL - DAY
The parking lot of the school is stewing with activity as
Neons, Audis, Mazdas, Geos, and Mini-Vans all honk their
horns, pull in and pull out... the mother's of Cherish picking
up their children.
Holly walks slowly, looking for her bus. Alicia is no where
to be found.
Holly finally arrives at the sidewalk, looking very scared
when all of a sudden, Steve pulls up in the Taurus, Alicia
sitting next to him.
STEVE
There you are.
Holly runs up to the car.
HOLLY
Where were you?
STEVE
Tracking down your pretty sister.
Alicia chews her gum in the passenger seat, embarrassed by
her dad and sister.
INT. TAURUS (MOVING) - DAY
Steve fumbles with the radio, seeming anxious about
something. Holly sits in the back, staring at the strange
signs of Cherish while Alicia tunes them both out with her
Discman.
STEVE
Hey, Hol, Mom called me on my break
and said she's not feeling so well,
so when we get home just let her
rest, okay?
HOLLY
(leaning up in seat)
Is she sick?
STEVE
She didn't sound too good. So we'll
just leave her alone, okay. She
said on the phone that she wouldn't
want you to catch what she's got.
Pause.
HOLLY
Ok, Dad.
INT. DOLLIS HOUSE (LANDING) - DAY
Steve and the kids walk in. Alicia heads upstairs tossing her
jacket on the steps. Holly follows her while Steve pauses at
the door. He looks up the stairs and then towards the
kitchen.
INT. DOLLIS HOUSE (KITCHEN) - CONTINUOUS
Steve walks in, scanning the room. He sees the fruit basket
on the floor, apples under the butcher's block. A chair is
pulled really far out and is resting, titled against the
refrigerator.
CU - STEVE
as he takes this all in. The KEY for the liquor cabinet comes
into view, resting next to the sink
Suddenly a SCREAM comes from upstairs.
Steve bolts for the stairs.
INT. DOLLIS HOUSE (UPSTAIRS HALLWAY) - CONTINUOUS
Just as Steve reaches the floor landing, Holly and Alicia run
over to him, frightened looks on their faces.
ALICIA
Dad!
HOLLY
Something's wrong with Mommy�
STEVE
(fumbling)
Ahh, no, she's just sick. She said
she would be this way on the phone.
Please, just go downstairs for
awhile and let me handle this�
ALICIA
Dad, what if�
STEVE
(raising tone)
Just go!
Alicia cowers back. Holly begins to cry. But after a second,
they both dash down the steps.
Steve turns to the bedroom where the sounds of things being
KNOCKED OVER can clearly be heard. He pauses at the door,
about to enter, but instead, reaches into his jacket pocket
for his cell phone.
INT. PETER'S HOUSE (DINING ROOM) - DAY
Peter sits, eating at his table, REBECCA one of his wives,
sits across from him with her hands at her side and a look of
warmth on her face.
Just then the phone rings.
INT. PETER'S HOUSE (KITCHEN) - CONTINUOUS
A manicured hand reaches gently for it and a FRENCH MAID
comes into FRAME, lifting the phone off it's receiver.
MAID
Reeves Residence.
(pause)
Oh, please hold, sir.
INT. DOLLIS HOUSE (UPSTAIRS HALLWAY) - CONTINUOUS
We now stay with Steve, Peter's VOICE heard clearly on the
other end of the line.
PETER
Steven, what seems to be the
problem?
STEVE
(lowering voice)
It's Harriet. I think she's drunk.
PETER
How bad?
STEVE
Uhh, don't know... She's been into my
liquor cabinet.
PETER
Do the kids know?
STEVE
No, I told them she was sick. But
she's in the bedroom right now
throwing a tantrum.
PETER
Is this normal?
STEVE
A few years ago... yeah. She gets
very aggressive when she drinks.
PETER
Okay, listen to me now. I need you
to go in their and calm her down.
Get her in bed. Give her coffee,
sleeping pills, anything you have
to do to calm her down. Just keep
her quiet. I was going to wait but
I'll send a unit over to scoop her
up at about seven. Can you handle
the kids?
STEVE
Yeah, I'll send Holly to bed early
and Alicia has a date with some
boy. But what should I tell them
after? God, I didn't fully think
about this.
PETER
Just tell them their mother had to
go to the hospital again.
INT. DOLLIS HOUSE (BEDROOM) - NIGHT
Harriet stumbles into the closet door just as Steve enters
quietly from behind. All around, clothes have been flung
about the room, the mirror is CRACKED, all the drawers are
PULLED OUT and the bed is a mess.
STEVE
Harriet.
Harriet turns towards Steve, dry tears in her eyes. Her hand
is cut.
STEVE (CONT'D)
Harriet, listen to me.
HARRIET
Ohh, hi, honey. I've been drinking.
I've been drinking, Steve. I've
seem to have, I seem to have...
Harriet falls back against the closet door, and sinks to the
floor.
Steve immediately runs over to her.
HARRIET (CONT'D)
(pushing him away)
Get the fuck away from me! I don't
even know you anymore. You don't
exist.
STEVE
And what about the kids? Huh? They
don't exist either? Their
downstairs crying because they came
home to find their mother drunk and
screaming.
Harriet ponders this, a look of sadness in her eyes. She
begins to cry again. Cradling her head in her hands.
Steve examines her hand while she cries.
STEVE (CONT'D)
Jesus. Why? Why after all this time
do such a thing?
Harriet just cries harder.
Steve stares at her for a moment and then looks around the
room. He looks at his watch: 4:22pm.
STEVE (CONT'D)
Okay, stay here, I'm getting you
some coffee.
INT. DOLLIS HOUSE (KITCHEN) - CONTINUOUS
Steve finds Alicia and Holly standing in the middle of the
kitchen, having just cleaned up.
HOLLY
I think Mommy fell off this chair.
Steve makes eye-contact with Alicia who probably knows why
Mommy fell.
STEVE
Yes, she did. Mommy's pretty sick.
I've called an ambulance to pick
her up.
HOLLY
(crying again)
Is she gonna be okay?
STEVE
Yes, she's just...she has a bad fever
and she needs to be in a hospital.
Mom, used to get this way when you
were younger. It's quite common.
Holly stares at her Dad, not knowing what to say.
STEVE (CONT'D)
(to Alicia)
Maybe you should go get ready for
your date.
Alicia nods and dashes off.
Steve heads towards the stove.
Holly follows her dad as he boils the water. She stands
behind him, head down.
HOLLY
Dad?
STEVE
What's up, champ?
HOLLY
How bad is Mommy?
Steve, keeping his back to Holly says:
STEVE
She's just got a bad fever. She'll
be okay. Just don't go in the room.
HOLLY
But you went in the room.
Steve pauses.
STEVE
I don't get sick so easily. So I
took that chance. Now why don't you
go watch some television for a
while.
Holly reluctantly walks into the den.
INT. DOLLIS HOUSE (ALICIA'S ROOM) - NIGHT
Alicia touches up her new make-up, buffing out her hair as
she does. From the room next store, we can hear the
occasional sobbing of Harriet. This distracts Alicia who
keeps turning in that direction.
INT. DOLLIS HOUSE (UPSTAIRS HALLWAY) - NIGHT
CU - COFFEE
as Steve walks with it, watching as two SLEEPING PILLS
dissolve into the hot, brown liquid.
INT. DOLLIS HOUSE (BEDROOM) CONTINUOUS
Steve enters, approaching Harriet who is still weeping,
softer now on the floor. Laying the coffee down on the
dresser, he lifts Harriet up.
STEVE
Up you go.
HARRIET
(mumbling)
Steve... we should fuck.
STEVE
Shhh.
Steve lays her on the bed. Harriet has ceased her tossing
around and now seems to have found a state of drunken bliss.
Steve goes to grab the cup of coffee but Harriet reaches for
the back of his neck and begins to kiss him in a sloppy
fashion all over the face.
Steve gently eases her off. Harriet's head falls back on to
the pillow.
HARRIET
(laughing)
Who's the prude now? Huh, honey?
Steve sits next to her, waiting for her laughing fit to stop.
But Harriet will look at Steve, make a mock face and then
burst out laughing again.
Steve, just waits.
STEVE
If you don't take this I'm gonna
drink it myself.
HARRIET
Ohhh, pushy.
Harriet snatches the coffee and goes to gulp it down.
STEVE
Take it easy. It's hot.
Harriet ignores him, sarcastically sipping at the coffee like
a little girl.
HARRIET
(mocking)
Mmmm.
Steve gets up, heading for the door.
HARRIET (CONT'D)
Where you going? Aren't we gonna
fuck? Isn't that what you want?
STEVE
Get some rest, dear.
Harriet downs more of the coffee.
EXT. DOLLIS HOUSE - EVENING
Steve watches from the front door as Alicia's date picks her
up. He glances at his watch: 6:33.
INT. DOLLIS HOUSE (DEN) - NIGHT
Holly sits on the couch watching old re-runs of sitcom shows.
Steve appears at the threshold of the room.
STEVE
Do me a favor, kid.
HOLLY
What is it, Dad?
STEVE
I want you in your room with the
door shut when the ambulance comes.
HOLLY
They're coming here?
STEVE
Yes. And your mother requested it.
She doesn't want you getting
scared. When I told her that you
were crying, she felt really bad.
So she made me promise her that I
would have you in your room just
until she was gone. And then she
said that we could all visit her
together at the hospital.
Holly clicks off the TV and gets up.
HOLLY
(softly)
Okay, Dad. If that's what Mommy
wants.
Steve kisses Holly on the forehead.
STEVE
We don't deserve you.
Holly runs off leaving Steve alone in the den. He begins to
pace back and forth, deep in thought.
INT. DOLLIS HOUSE (BEDROOM) - 7:58PM
Harriet lies asleep, the empty coffee mug next to her.
INT. DOLLIS HOUSE (FRONT DOOR) - 6:00PM
DOORBELL RINGS.
Steve runs to answer it. THREE MEN in white cover-all type
suits stand in the doorway. They are all wearing white hats
too that say "Cherish Med" on them.
MED #1
Mr. Dollis?
Steve takes a second to look them over, surprised by how
official they appear. Two of them hold medical bags while the
first one simply holds a clipboard.
STEVE
(snapping out of it)
Yes. Please, call me Steve.
MED #1
Will you show us to your wife
please, Steve?
Steve pauses, staring at the Man.
MED #1 (CONT'D)
Sir? Your wife, sir.
STEVE
Yeah... follow me.
Steve lets them in and goes to lead them up the stairs when
Med #1 says:
MED #1
No need, Steve. Just tell us what
room she's in and we'll take it
from here.
STEVE
Yeah. She's in the bedroom. Last
door on the left.
The Meds rush upstairs, keeping surprisingly quiet as they
do. Steve watches them go, hesitating at the landing.
We stay with Steve as he waits, nervously. Upstairs, Harriet
suddenly SCREAMS... But is then cut off.
It grows eerily silent as Steve stands motionless.
And then the Medical Officers reappear. One leads while the
other two carry Harriet in a canvas style body bag directly
past Steve.
EXT. DOLLIS HOUSE - NIGHT
Steve follows them outside, looking worried as they lay
Harriet in the back of a white medical VAN. Unzipping the
body bag, we see Harriet has been straight-jacketed and
gagged.
Now docile and sleepy, she lays on a stretcher where they
apply some more restraining straps so that she is firmly
buckled in.
Steve catches a quick glimpse of her gagged, face...they make
eye-contact, and then the doors are slammed.
Med #3 has stayed in the back of the van with Harriet while
Med #2 heads for the driver's door.
STEVE
(sick to his stomach)
Is... is all the restraint really
necessary?
MED #1
Mr. Task will be in contact with
you about the Orientation.
STEVE
Where are you taking her?
MED #1
You'll soon find out. Just wait by
the phone. Your wife is in safe
hands.
With that, the Medical Officer hops into the passenger side
of the van and they speed off leaving a very worried Steve in
the street.
Steve watches the van drive off and is about to head inside
when he realizes he is BEING WATCHED.
STEVE'S POV
as he glances in all directions of the neighborhood street:
Every doorway is lit as HUSBAND and WIFE stare at the van
driving off and then back to Steve. Peace and understanding
show on their faces, yet they say nothing.
DISSOLVE TO:
INT. DOLLIS HOUSE (LANDING) - NIGHT
Alicia creeps inside the house, tip-toeing down the hallway.
As she passes a digital clock on the wall, we see that it is
10:43pm.
Thinking the coast is clear, she heads towards the kitchen
but then suddenly pauses just in reach of the doorway.
INT. DOLLIS HOUSE (KITCHEN) - CONTINUOUS
ALICIA'S POV
as she spies Steve sitting alone at the kitchen table with
the room lights off. Sitting in the darkness, Steve has
Harriet's bottle before him with a shot poured and ready. He
has one hand cradling the side of his face and the other,
laying limp on the table.
CU - ALICIA
as she watches her father, confused.
Suddenly the phone rings, startling her. Steve springs up and
dashes for the phone as Alicia creeps away towards the
stairs. As she heads up, we hear Steve's murmurs coming from
the kitchen:
STEVE (OS)
She is... okay. No... I'm fine. Yes,
8am. Okay...
FADE TO BLACK
FADE UP:
EXT. CHERISH NEIGHBORHOOD - MORNING
The sun is still low in the sky but it casts a refreshing
Saturday morning glow on the houses as WIVES exit their front
doors to start tending their gardens.
INT. DOLLIS HOUSE (BEDROOM) - MORNING
CU - ALARM CLOCK
as it turns to 8am. Just as the BEEPING of the alarm SOUNDS,
the PHONE RINGS.
Steve, leaning up in bed, GRASPS for the phone, oblivious of
the alarm.
FROM PHONE
Mr. Dollis?
STEVE
Yes?
FROM PHONE
This is Edward Task. We have your
wife and she is fine.
Steve rubs his eyes.
TASK
Would you like to see your wife?
STEVE
Yes...But is that it?
TASK
Far from it. Today is her
orientation. We'll be sending a car
for you in thirty minutes.
STEVE
Okay.
TASK
Ohh, and, Steve?
STEVE
Yes.
TASK
You can shut off your alarm now.
Steve hangs up the phone and then switches off the alarm.
INT. DOLLIS HOUSE (KITCHEN TABLE) - MORNING
Steve has laid out two cereal bowls and empty glasses for the
girls.
CU - NAPKIN HOLDER
where a NOTE is propped. Written in marker it says: "Try and
get some more unpacking done. Had to go to hospital to see
Mom. Be back by three. Love, Dad."
INT. STEPFORD MEDICAL BUILDING - MORNING
Steve stands in the wide, circular lobby of the ominous
building he watched from his office.
He stares in wonder at the architecture of the interior as
his DRIVER heads over to a pretty SECRETARY, dressed in white
who sits behind the desk.
DRIVER (OS)
Bringing in, Dollis, Steve.
The Secretary, having an all too similar frame, smiles and
points the men on.
INT. HALLWAY - MORNING
Steve follows the Driver down a long, white hallway where
countless pictures adorn the walls. Each picture seems to be
of either a beautiful, smiling FEMALE with her HUSBAND or of
an entire FAMILY. And on the bottom of each frame is a gold
plaque reading the names of the family: The Knowel's Family,
Jack and Bambi Wallace, Gregg and Natasha Riggs, The
DeLancey's, Walter and Daisy Roberts.
Just then the Driver stops before a door and leads Steve into
a WAITING ROOM.
DRIVER
Last stop, Mr. Dollis.
STEVE
Thanks.
The Driver heads off without another word.
INT. WAITING ROOM - MORNING
Steve enters the room to find Albert sitting among two other
MEN.
ALBERT
(standing)
Steve! I had begun to think you
wimped out. Guess they just picked
you up last.
Steve shakes Al's hand.
STEVE
I wonder why they didn't just pick
us all up at once. That driver gave
me the creeps.
MAN #1
Really? My guy was pretty cool. We
talked the whole way here.
ALBERT
Ohh, Steve. Allow me to introduce
Kevin and Stewart.
The three men all shake hands and then Steve takes a seat
across from them.
Albert leans over to Kevin and Stewart, eyeing Steve in mock
fashion.
ALBERT (CONT'D)
Steverino over here is a little
guilt-ridden. So don't mind him if
he stays quiet.
STEWART
No, Steve. Cheer up. This is the
best part.
STEVE
What do you mean?
KEVIN
Didn't Peter tell you anything?
This is the orientation.
Steve still looks confused.
STEVE
I thought we had that already.
STEW
No, man. This is their
orientation. Our wives'.
Steve looks even more confused now.
ALBERT
Forget it. Don't spoil it.
Just then, a short, balding MAN enters the room wearing a
medical jacket.
KEVIN
Looks like I won't have to.
DR. GRUBER
Okay, gentlemen. I have in my hands
some forms and questionnaires
you'll need to fill out. As you
scan them over you'll realize their
importance on your wive's future
and your happiness. So please, take
as much time as you need.
Albert grins at Steve who watches on, confused.
DR. GRUBER (CONT'D)
Just remember, we're professionals.
So everything you see on these
forms, we are perfectly capable of.
(handing out clipboards)
So take your time, take your time.
Your wives are safely tucked deep
in our dungeons, awaiting their
doom.
At this, Dr. Gruber makes a funny, Vincent Price type face
that gets most of the Men to crack up. Steve joins them and
finds that the light-heartness of the situation has
alleviated some of his worries.
As Gruber closes the door quietly behind him, Steve glances
down at the list.
This is some of what he sees on Page One:
CHERISH MED - PRELIMINARY QUESTIONAIRE
TITLE IDENTITY
1)Your wife's new first name?
2)Is this a nick-name or will it appear on her new license?
3)Do you want her to answer to anything else specifically?
4)What would you prefer she calls you?
5)Should she answer you with a certain title before or after
each sentence?
Steve puts the clipboard down, a look of shock on his face.
He looks up to notice Albert and Stewart staring at him,
smiles on their faces as they try and hold in their laughter.
Kevin, meanwhile is too absorbed in the questionnaire.
STEVE
Can they really do all this stuff?
ALBERT
Just keep reading. It gets better.
DISSOLVE TO:
INT. WAITING ROOM - MORNING
ON CLIPBOARD:
1)What would you like her new hair color to be?
2)What would you like her new eye color to be?
Steve rubs his eyes.
DISSOLVE TO:
INT. WAITING ROOM - NOON
Albert and Stewart appear to be done, as does Steve. Yet
Kevin repeatedly erases certain selections and makes new
ones. Empty coffee mugs and plates are littered across the
glass table between the men and the window has been opened to
let some air in.
Dr. Gruber suddenly appears in the doorway.
DR. GRUBER
We couldn't help but notice that
some of you have finished. Steve,
we'll take you first.
Steve gets up and follows Gruber out. As he passes, Albert
whispers:
ALBERT
Good luck, man.
INT. DR. GRUBER'S OFFICE - DAY
Gruber leads him into his office, motioning for him to sit as
he rounds his desk and sits himself down in a reclining
chair.
DR. GRUBER
Well, you made it. I'd hate to
sound clich� but today is
definitely the first day of your
new life. For your wife, it's the
first day of happiness. She'll be
celebrating your happiness and
you'll be celebrating hers.
Steve goes to speak, but the Doctor raises a gentle hand to
ease him.
DR. GRUBER (CONT'D)
Please, let me continue. I know
what's on your mind. You forget,
I've handled about twenty five
percent of the town's participants.
I've seen hundreds of couples come
here and leave here thirty days
later, hand in hand. Happy. You
ask: Are our treatments inhumane?
Are we robbing these women of their
free will? Of their wisdom? And I
say no. We're providing them with
hope, a new life, happiness and
ever-lasting beauty. Isn't that
what most women want anyway? I
mean, let's be honest, Steve. We
live in a world where about seventy
five percent of the female
population feels the need to wear
make-up. Have you ever wondered why
this is? Who are they trying to
impress? Themselves? I don't think
so.
(pause)
It's us. It's all for us. Do we ask
this of them? No. Do they know
it's their responsibility? Yes. You
see... some things in life are
unspoken. And that's where we fit
in. We attack that silence and make
it what it could be. We cut through
all the boundaries, taboos and
misconceptions and lay it bare on
the table.
STEVE
But it's against their will. I hear
what you're saying Doctor and I
wouldn't be sitting here with you
now if I didn't feel somewhat the
same way, but I'll never be free of
the guilt.
Dr. Gruber studies Steve.
DR. GRUBER
I want to show you something. I'm
going to write a number down.
Gruber jots down the number 68% on a post-it and holds it up
to Steve.
DR. GRUBER (CONT'D)
That's how many women under-go our
treatment... voluntarily.
STEVE
But what difference does that make
when it would never be their
decision regardless?
DR. GRUBER
Let me be frank. You're wife is a
special case. You know her past
better than anyone. Not all
husbands have had to deal with
something like that.
Most of the couples that come here
do so for a chance at something
better. The wounds they're trying
to cure are only skin-deep.
Harriet's on the other hand, are
not. So your case is indeed, a
special one. Not only are you
curing your wife of her depression,
her hatred of herself, her
alcoholism, her suicidal tendencies
and her lack of maternity. But
you're giving her a fresh start. Do
you want to deny her that now,
after you've come this far?
CU - STEVE
he is on the verge of tears.
STEVE
No.
DR. GRUBER
Then let's get to it.
INT. PADDED CELL - DAY
Harriet still lies strapped into the gurney which also serves
as a make-shift bed. She is in a white, padded cell with
THREE NURSES.
CAMERA CREEPS up the gurney from head to toe where we see
that it has been propped up so that Harriet is in a sitting
position. Nurse #1 stands by the doorway of the room while
Nurse #2 studies Harriet, taking notes on a clipboard. Nurse
#3 is busy feeding Harriet some sort of white baby food.
Harriet, while still in the straightjacket and strapped down
on the gurney, wrestles her head back and forth each time the
Nurse tries to tuck the spoon into her mouth. All ready, much
of the white muck has spilled across the large napkin that is
spread out under her chin.
NURSE #3
Now, now. We have to eat. Just a
few more spoonfuls and we'll put
you out again. You have a big day
today and you have to be fed.
Harriet, being forced to swallow so she can speak goes to
open her mouth. But the Nurse seizes it as an opportunity to
force another, rather large spoonful of the white muck into
her mouth.
NURSE #2
Here, let me help.
Before Harriet can dislodge the food with her tongue, Nurse
#2 pinches her nose so Harriet's mouth opens and her head
tilts back. Then Nurse #1 closes her mouth again for her as
the food goes down all in one swallow.
Harriet begins to cough as Nurse #1 quickly cleans up her
face with the bib.
HARRIET
I won't abide�
NURSE #1
That's enough. No more of that
back-talk.
With that, Nurse #1 re-inserts the ballgag back into
Harriet's reluctant mouth. Strapping it extra tight around
the back of her head. Once it is in, they clean her off a
little better and remove some of the tossed hair from her
face. Nurse #2 then pulls the covers of the white blanket up
to her chin as Nurse #1 injects a syringe into her arm.
Harriet winces under the gag as the Nurses finish up and exit
the room, locking the door behind them. The lights dim and
Harriet is soon out cold again.
INT. DR. GRUBER'S OFFICE - DAY
The Doctor and Steve are in mid-conversation.
DR. GRUBER
Okay... I see you haven't completely
filled out the questionnaire. Don't
worry, this is quite normal. That's
the main reason of our meeting here
now. So let me help you through it
a little.
Steve relaxes in his chair.
DR. GRUBER (CONT'D)
Okay, you have to realize that we
can control every aspect of your
wife's body in here, both physical
and mental. We can form her,
literally into anything you want.
You must look at your wife as a
statue that needs some chipping
away. Sure, we add on a little,
here and there. But most of these
selections and ideas are ingrained
in everyone's heads. Even yours.
They're locked in her subconscious
and we, quite simply, provide the
key to opening them.
STEVE
But how? Is she brainwashed? Given
a pill? What, do you operate on her
head or something?
Dr. Gruber chuckles to himself.
DR. GRUBER
Not quite. It's much more simple
than that. We use a system of
hypnosis here. It's been around for
decades. The CIA has been doing it
on patients since the seventies.
They're practices don't differ much
from ours. In fact, one of the men
who helped start our project here
once worked for them.
STEVE
What about the physical aspects of
the form?
DR. GRUBER
What else: Surgery.
STEVE
Are you one who does that?
DR. GRUBER
Myself and many others. We have
some of the best plastic surgeons
in the country working for us. Men
who only dreamed of full body
redesign are now getting the chance
to prove their talent. It's quite
extraordinary what we're now
capable of. We have men who
specialize in eyes, noses, chins,
breasts, legs... even ears.
Gruber glances down at some of Steve's answers.
DR. GRUBER (CONT'D)
I see you held off on breast size.
I take it Harriet's a 34C, right?
STEVE
Good guess.
Gruber pauses, scanning over Steve's forms.
DR. GRUBER
You left that selection blank.
(eyeing Steve)
Are you happy with her breasts as
they are now?
STEVE
(shifting in chair)
Yeah, I guess.
Gruber looks doubtful. He goes back to the paperwork,
mumbling:
DR. GRUBER
Well, you know what you like.
STEVE
I wanted to go bigger of course...
but Harriet's not built for that.
Why? What do most guys go with?
DR. GRUBER
The 36DD is the most popular.
STEVE
(laughing)
36DD? Her frame could never handle
that.
DR. GRUBER
Steve, that's average.
STEVE
What about her back?
DR. GRUBER
We'll cover all that.
Steve leans back in his chair, mouth open as if he is going
to say something. Instead, he just shakes his head in mock
amusement.
Gruber fills in some more selections.
STEVE
Ohh, that reminds me. I hate the
name Harriet.
DR. GRUBER
Yes, but you left that one blank
too.
Steve seems uncomfortable.
STEVE
You see, I have this thing with
nicknames in bed. She hates it.
Thinks it's pointless.
Gruber adjusts his glasses, listening to Steve.
STEVE (CONT'D)
I just think it heightens the
fantasy of it.
DR. GRUBER
It does. That's why most couples do
it. Hell, seventy one percent of
the husbands don't keep their
wife's original name. Men like to
think of their new wives as toys.
So most choose playful names.
Steve looks away, deep in thought.
STEVE'S POV
as he spots a half-drank Nestle's Quick sitting on Gruber's
desk.
STEVE
I like Bunny.
Gruber studies Steve, awaiting his explanation.
STEVE (CONT'D)
Harriet has a way of spoiling the
mood by speaking of her parents.
She hates them. Once, by accident,
I called her Bunny while we were
making out. I don't know why. I
just thought it sounded cute...you
know...sexy. Well, she went off on
me. Got out of bed. Made a whole
tantrum out of one simple name.
GRUBER
Why?
STEVE
Harriet was born on an Easter
Sunday and her mom and dad had this
inside joke while she was growing
up. They called her Bunny whenever
she acted bad. It was their
punishment for her because they
knew she hated it. Anything to do
with being a spoiled "good little
girl" she'd have none of.
GRUBER
Sort of a Tom Boy, eh?
STEVE
You could say that. She hated her
parents so much, I think she
married me just to get out of
England.
(beat)
But what right does she have to
take out some bullshit childhood
trauma on me? Like I'm supposed to
know about some name they called
her?
And why should such a simple thing
trigger so many emotions? I hated
my parents too? But you don't see
me cursing at tools just because my
dad was a mechanic.
Gruber, resting his chin in his hands, smiles at Steve
understandingly.
DR. GRUBER
So Bunny Dollis it is. I like it.
Sounds almost like a Christmas
present.
STEVE
(content)
It is.
INT. CHERISH MED HALLWAY - DAY
Dr. Gruber and Steve walk side by side down the long hallway
of the ground floor towards the exit.
DR. GRUBER
The next thirty days are going to
be the longest of your life.
Gruber pats him on the back.
FADE TO BLACK:
INT. CONFERENCE ROOM - MORNING
Dr. Gruber and a team of around TWELVE DOCTORS, all male,
take their seats at a long round table.
DR. EDWARD TASK, a tall, balding man with large bags under
his eyes, takes the lead.
DR. TASK
Good morning, gentlemen. Today is
day one for four new patients. You
all have your paperwork but let me
go over some things anyway. The
patients are Lydia Talbert, Louise
Mayor, Gretchen Branson, and
Harriet Dollis.
As Dr. Task talks, we see that said Wives being awoken for
the day, each in their adjacent rooms. To each Wife, three
NURSES tend, raising their beds and bringing in breakfast.
Lights are turned on and doors are opened. DOCTORS and
SURGEONS busy themselves as the Cherish Med Department comes
to life for a day of surgery and development.
Dr. Task continues over the MONTAGE of scenes:
DR. TASK V.O.
Today is breast day. We've got some
tall orders for these girls so I
want this taken care of right away.
We'll get to lipo and collagen
later in the week. Let's just get
these women implanted nice and
quickly. Lance, you saw to them
yesterday in the check-ups so I
want you over-seeing the pre-ops.
The four Wives, now unconscious, are being led on their
gurneys down a long, white hallway.
DR. TASK V.O. (CONT'D)
Gruber, you're handling Dollis,
right?
DR. GRUBER V.O.
Correct.
DR. TASK V.O.
So then I want...Drew on Talbert.
Gregg, you and Tom take the Branson
woman, that's a custom. And Victor,
you can take Mayor. Everyone else,
I want over-seeing the surgeries.
Be in and out and assist where
you're needed. Take this time to
get a good look at the figures
these guys have given us. See what
their shapes require. I know we
have stats to follow, but we all
know how much improvisation fits in
so don't be idle.
CUT BACK TO office as Dr. Task closes his folder.
DR. TASK
Okay, let's get em'.
With that, the Doctors all rise and retire to their tasks for
the day.
INT. SURGERY ROOM - DAY
Harriet lays sedated on a medical table. Her breasts
partially exposed as Gruber and a team of three other
SURGEONS draw up lines around her chest.
DISSOLVE TO:
INT. CYBERCOMP (STEVE'S OFFICE) - MORNING
Steve sits in front of his computer screen, smiling as he
reads an email.
CU - EMAIL TEXT
as he reads over the same line again, "Harriet's feeling very
well-endowed today. The operation was a success and she's
recovering perfectly. We're bringing her in for lipo-suction
today. Hope you won't miss that gut of hers."
Steve laughs to himself, nodding his head in amazement.
DISSOLVE TO:
INT. RECOVERY ROOM - NIGHT
Harriet lies, half awake on a recovery room. Her eyes open
slowly and close. She is heavily bandaged and her lower face
is covered by a soft, white cast which wraps around the back
of her neck.
DISSOLVE TO:
INT. MEDICAL ROOM - DAY
Dr. Gruber stands behind a large, glass window, peering in at
Harriet as she rests. She wears a shower cap over her head.
DR. GRUBER V.O.
Steve, Harriet is coming along very
nicely. Already, her new breasts
are healing and her lips are good
to go. The lipo takes the longest.
She'll be unable to stand for a
couple of days. We did a lot of
work around her waist. We had to
take out two of her ribs to get it
down to a nineteen. But she won't
even know the difference.
DISSOLVE TO:
INT. CHERISH MED - SAUNA ROOM - DAY
Harriet is in a sauna-type room, enclosed in a white box with
just the back of her head in view. The rest of her body,
below the neck is encased in the box. Another shower cap is
tightly-affixed to her head again as a motor sound begins to
hum from inside the box.
DR. GRUBER V.O.
We remove all the hair from below
her neck, permanently.
STEVE V.O.
What about her face?
DR. GRUBER V.O.
We burn that off too. The eye brows
will be thinned and anything in
between will be removed.
INT. CYBERCOMP (STEVE'S OFFICE) - MORNING
Steve is reading a new email.
INT. MEDICAL SALON - DAY
CU - HARRIET'S FINGER NAILS
as the entire nail is removed and re-fitted with a much
longer, acrylic nail, coated a soft pink.
INT. MEDICAL ROOM - DAY
Harriet lies under a cooling pad with strong blue lights
buzzing around her. She is alone in the room and the same
helmet adorns the upper-part of her head, covering her eyes
to her nose. A line of drool has formed on her chin as she
nods back and forth, slowly under-going more HYPNOSIS.
INT. CHERISH MED HALLWAY - DAY
TWO NURSES lead a PATIENT down a long hallway. She teeters on
six-inch heels and is wearing a pink, medical smock.
DR. GRUBER V.O.
Harriet under-went an operation
last Thursday night which shortened
her calf muscles. So it hurts her
tremendously to wear anything with
a heel less than four inches. But
most of the women are ballerinas at
heart. They just don't know it at
first. Give them a few days of
practice and they can run a
marathon in six-inch stilettos.
INT. HYPNOSIS ROOM - MORNING
Harriet sits, back to us, strapped into a high-propped chair.
She has a new HELMET on her head which glows in steady
unison.
HARRIET'S POV
as she is forced to stare at image upon image of silent
PICTURES.
FLASH OF IMAGES RACE PAST THE SCREEN:
-A BUSTY BLONDE WOMAN, DRESSED IN LINGERIE SKIPS OVER TO THE
DOOR AS AN OBSCURED MAN GREETS HER AT THE DOOR, HUGGING HER
OFF HER FEET.
-THE OBSCURE MAN CARRIES THE BUSTY BLONDE WOMAN UP THE STEPS
IN HIS ARMS.
-THE BUSTY BLONDE WOMAN CRAWLS ACROSS A BED TOWARDS THE
OBSCURE MAN'S CROTCH AND UNZIPS HIS FLY.
-THE BUSTY BLONDE WOMAN AND THE OBSCURE MAN ARE ENGAGED IN A
FURIOUS BOUT OF SEX.
-THE BUSTY BLONDE WOMAN LIES HAPPY IN BED, RESTING IN THE
MAN'S ARMS.
CU - HARRIET'S EYES
as they stare at the images before her, under the visor.
VOICES SOUND IN HER HELMET:
You're so lucky and beautiful and sexy and soft Bunny Dollis
to be married to your man. Your man takes such good care of
you. Don't you want to take care of him to? Don't you, Bunny?
Don't you want to take care of your man, Bunny Dollis. Steve
Dollis is your man, Bunny. Don't you want to take care of
Steve Dollis, Bunny? Who is your man, Bunny Dollis?
CU - HARRIET'S MOUTH
as she says:
HARRIET
Steve...Dollis...
INT. DOLLIS HOUSE (KITCHEN) - MORNING
Steve sips from his coffee, reading the morning paper as
Alicia and Holly scurry around the kitchen, rushing before
they have to leave for school.
CU - STEVE
as he watches the kids.
STEVE
Hey, you two.
Alicia and Holly turn towards their Dad.
ALICIA
Yeah, Dad? What?
Steve smiles at them.
STEVE
You know this week's the last one,
right?
ALICIA
Yeah.
HOLLY
Yeah, Dad.
STEVE
Come here. Come, sit down for a
second.
Holly pulls a seat next to Steve and flops down. Alicia bends
down on her knees before him, expecting a conversation like
this.
STEVE (CONT'D)
Well, this is the last week. And
that's a good thing. I know it's
been tough this past month without
mommy around. But...if she was
around, she wouldn't be getting any
better.
ALICIA
Has she gotten better, Dad?
Steve smiles big.
STEVE
You wouldn't believe it. I mean,
Mommy has kicked butt. I even here
she's been exercising, eating
better�
HOLLY
--What about drinking? Does she
still...
Beat.
Steve stares at Holly.
STEVE
No. Not anymore. I heard Mommy
threw a full bottle of beer in the
garbage can. She's been taking
great care of herself.
ALICIA
So then how come we haven't been
able to see her?
STEVE
It kills mommy, not being able to
see us just yet. But she wants it
to be a surprise. She's so proud.
Proud of herself, proud of you
guys...she's even become proud of
where we live. Proud of Cherish.
She told me, that when she gets
home, one of the first things she's
gonna do is take you guys shopping
at the mall.
Alicia's eyes light up.
ALICIA
Really?
Holly's eyes don't.
HOLLY
Will Mommy look like the ladies at
the mall?
Steve pauses...
STEVE
Would that bother you, dear?
HOLLY
Will it be Mommy?
STEVE
Well, Mommy's had some therapy.
Holly looks confused.
STEVE (CONT'D)
Lessons to make her feel better
about herself. Feel younger, look
prettier, even act happier. Kids,
She's even changed her hair, she
dresses differently, walks
differently.
HOLLY
But will it still be Mommy?
Steve studies Holly's worried face.
STEVE
You bet, champ. It will be Mommy
times ten. Mommy happier than
you've ever seen her.
Holly smiles and reaches in to hug her dad.
HOLLY
That's good enough for me!
Holly hugs Steve.
EXT. DOLLIS HOUSE - NIGHT
A white, Cherish Med Van pulls into the driveway of the
house. As the CAMERA WIDENS, we some of the neighbor's front
doors open.
INT. GRUBER'S OFFICE - NIGHT
Gruber is going over some finishing paperwork with Steve.
GRUBER
(looking over contract)
I think we're all done here.
Gruber stands up, Steve does the same.
STEVE
I'll get to see her up close
tonight, right?
GRUBER
Nope.
Steve stops Gruber from exiting the office.
STEVE
What do you mean "nope?" For the
past month I've been losing my
mind. I don't even know what
Harriet looks like anymore!
GRUBER
Steve... calm do�
STEVE
No. Now I know tomorrow's the day
but I didn't come all the way down
here just to sign some paperwork.
Gruber smiles wide.
GRUBER
Actually, that's exactly what you
came down here for.
Beat.
STEVE
(shocked)
What?
INT. DOLLIS HOUSE (LANDING) - NIGHT
The door rattles and then opens as Steve steps into the
house, sweating.
Steve closes the door gently behind him and heads down the
hallway towards the kitchen, sniffing the air as he does.
STEVE
He... Hello!
From the kitchen, we hear a sweet VOICE answer:
VOICE
In the kitchen, dear.
INT. DOLLIS HOUSE (KITCHEN) - CONTINUOUS
STEVE'S POV
as he steps through the threshold of the kitchen staring at
the woman before the stove.
She is dressed in floral patterned summer dress with a big,
pink, frilly apron on top, tied in back in a huge bow. Her
feet are encased in pink, 6-inch heels that end in a stiletto
tip and climb up to cream, white stockings which reach to her
mid-thighs where the lacey bands of a white garter belt
begin.
Her hands, even though she stirs a big wooden spoon with
them, are enmeshed in pink, lace gloves. A choker of the same
make dons her neck.
Her chest heaves under the weight of 36DD breasts which
almost seem ready to pop out from the top of her low-cut
dress, supported by a satin Wonderbra.
When Steve gets up to the women's face, we see a smiling,
porcelain-skinned lady with soft shades of make-up on
including pink lip gloss on her thick, collagen-enhanced
lips, black eye-liner around her doey, blue eyes and blush on
the cheeks surrounding her pert, mousy nose. Her face is
crowned with a lovely mane of vanilla blonde hair which falls
down to her mid-back, bouncing at the ends. A pink bow sits
cropped on top, just above the women's bangs.
The lady is the most beautiful woman Steve has ever seen.
The lady is Harriet. And Harriet has become Bunny.
BUNNY
Stevey! Welcome home!
Steve drops his jacket.
STEVE
(stunned)
Harriet?
Bunny looks confused but then quickly LUNGES towards him,
dropping the spoon in a big pot of Italian sauce.
BUNNY
Awww, you.
Bunny immediately begins smothering Steve with soft, wet
puppy kisses all over the face. Steve's eyes go wide.
BUNNY (CONT'D)
It's Bunny, silly.
Steve can only stare at Bunny as she steps back for a second,
still holding her hands on his shoulders. Open-mouthed, Steve
studies the new Harriet, her pink lip marks decorate his
face.
STEVE
(still stunned)
Harriet?
BUNNY
Such a silly-poo, you are.
CU - STEVE'S CROTCH
as Bunny's hand sneaks down and SQUEEZES it.
Steve reacts.
STEVE
Ohh.
Bunny turns and minces back over towards the stove.
BUNNY
Silly, silly, boy you are.
She begins stirring the sauce again.
BUNNY (CONT'D)
I put the kids to bed around an
hour ago. Alicia wanted to stay up
and watch TV but it's a school
night. So we'll have none of that.
Holly wanted to talk and such and
so I sat with her till she fell
asleep.
(furrows eye brows)
Oh, but I think Alicia might still
be awake. I better check on that.
Bunny goes to leave the kitchen to check on Alicia when Steve
puts out his hand and stops her.
Bunny giggles, looking down at his hand on her breasts.
STEVE
How long have you been home for?
BUNNY
Since around seven. Is there a
problem, dear?
Steve looks at his watch: 9:18pm.
STEVE
No... no problem at all.
Bunny smirks at him and heads back over towards the stove,
forgetting about Alicia.
Steve slowly makes his way further into the kitchen, eyeing
his wife up and down as she stirs the sauce. Bunny notices
this and eyes him from over her shoulder. She sways her butt
back and forth at him, ever so slowly. Almost a natural
reaction.
A smile slowly creeps on to Steve's face as he collapses into
the kitchen seat where we see a plate of pasta in front of
him, a glass of beer and a napkin and utensils laid out.
Before Steve can say anything, Bunny appears in the FRAME
with the Italian sauce and begins to drip it on to the pasta.
BUNNY
Say "when."
Steve is staring at Bunny's large breasts which hang in front
of his face.
STEVE
When.
Bunny sits down before him, cupping her chin in-between her
hands. She stares at him with a bright smile on her face.
Steve stares back, completely enamoured, until:
BUNNY
Well, eat, silly.
Steve stares down at the meal and then back up to Bunny.
BUNNY (CONT'D)
Unless you wanna do something else,
big boy...
INT. DOLLIS HOUSE (BEDROOM) - NIGHT
Steve and Bunny are in the throes of the most passionate SEX
of their lives. The bed ROCKS back and forth and there are
pillows and sheets scattered all over the place.
INT. DOLLIS HOUSE (KITCHEN) - MINUTES LATER
Steve munches on the meal before him, his hair still messed
up from the sex they just had.
Bunny fixes her dress and straightens her stockings as she
takes a seat before him again.
Steve stops eating just to stare at her.
STEVE
God, you're so beautiful.
BUNNY
(gushing)
Awww, you're sweet.
Bunny leans over and fixes Steve's hair, giving her another
dose of her breasts again.
STEVE
How...how do you feel?
BUNNY
Huh?
STEVE
Right now...I mean, how do you feel
now?
Bunny gives a knowing smile.
BUNNY
Mmmm, great. You're the best,
Stevey.
Steve shakes his head.
STEVE
No, I mean: How do you feel? In
general?
BUNNY
I feel better than I've ever felt
in my life. I have a wonderful man
to take care of and protect me.
Two beautiful kids to look after
and adore. And this splendid house
to keep clean. A girl couldn't be
happier.
STEVE
What did the kids say when they saw
you?
Bunny gets up and heads to the sink.
BUNNY
They said, "Hi, Mommy." And I said,
"Hi, kids." And we kissed and
hugged. And I spent the whole night
with them. And it was so great. I
like...couldn't be happier.
Bunny giggles and then starts washing the dishes, swaying her
butt side to side again as she does.
CU - STEVE
watching her as he lowers his fork.
STEVE
(low)
Neither could I.
EXT. DOLLIS HOUSE - MORNING
The sun has risen to a beautiful morning as the neighborhood
around comes to life.
INT. DOLLIS HOUSE (BEDROOM) - MORNING
Steve slowly awakens just as the door is flung open and Holly
flies into the room, leaping on him.
HOLLY
Wake up, wake up! Mommy's made
breakfast!
Steve leans up against the bedpost, smiling as he messes up
Holly's hair. She sits on his legs in her pajamas pointing
towards the door where we see Bunny entering the room with a
tray of breakfast. She wears a pink teddy under a matching,
lace bathrobe with the a new pair of ankle-strap heels on.
BUNNY
(to Steve)
Look who decides to finally get up.
HOLLY
(giggling)
Look at Mommy's shoes!
Steve smiles at Holly and then turns to Bunny, moving back
the covers just as she lays the tray of breakfast over his
legs.
STEVE
What's this?
BUNNY
Breakfast in bed for my special
man.
Bunny leans over and plants a wet kiss on his lips.
Steve seems reluctant to let her go, but Holly stares at the
two of them, beaming and squirming on the bed.
HOLLY
Mommy kissed you. Ha, ha!
Bunny suddenly reaches over and tickles Holly who goes wild
on the bed some more, almost knocking the tray of food over.
Steve just watches them, smiling a mile wide.
Alicia appears at the door, rubbing her eyes.
ALICIA
Good morning.
Bunny turns to her daughter.
BUNNY
Good morning, beautiful.
ALICIA
Can we go shopping today, mom?
BUNNY
If your father says it's okay.
ALICIA
(approaching the bed)
Dad, can we?
HOLLY
Yeah, can we, Dad?
STEVE
Of course. But not without me.
Alicia, Holly and Bunny all cheer.
MONTAGE BEGINS:
INT. CHERISH MALL - DAY
The Dollis' walk down the huge aisles of the Cherish Mall,
fitting right in with the town's shoppers. Holly and Alicia
dash off towards a nearby clothing store as Bunny walks arm
in arm with Steve.
Guys wink and pat Steve on the back as he passes them.
EXT. DOLLIS HOUSE - MORNING
Bunny steps out into the backyard with a sun dress on and
matching heels. She wears a wide brimmed, hat to protect her
skin from the bright rays.
In her left hand is a green basket of gardening tools.
INT. DOLLIS HOUSE - MORNING
STEVE'S POV
as he watches her from the back door. She is bent over at the
waist, exposing her yellow, thong panties in his direction as
she trims and clips at the flower bed next to their backyard
fence.
INT. GROCERY STORE - DAY
Bunny pushes a loaded shopping cart down the produce aisle
when she accidentally RAMS it into Pam's cart.
Looking up, Pam shrieks in joy.
PAM
Hi! Remember me? From the parking
lot at school?
Before Bunny can say "yes," Pam begins fawning over her new
look. Primping her hair, picking at her micro-mini-skirt
combination.
PAM (CONT'D)
Where did you get those shoes?
Pam points a manicured finger at Bunny's SEVEN INCH HEEL
MULES.
INT. GROCERY STORE - DAY
Pam and Bunny chat some more as they pass their loaded
grocery carts under horizontal FOOD SCANNERS which rest about
eight feet off the floor. Pushing the carts under the roof
the scanner, we see an LED spew out quick prices ending on a
total. Bunny then swipes her MasterCard in a slit along the
side of the scanner and a receipt prints out.
EXT. GROCERY STORE - DAY
A GROCERY BOY pushes Bunny's cart towards her car. When they
get there, she stands, eyeballing the Boy as he lifts all the
bags into the back of the car.
Bouncing on her heels and clapping her approval, she turns to
get in the car when he sneaks a grab at her ass.
INT. DOLLIS HOUSE (BEDROOM) - MORNING
CAMERA SLOWLY PANS through the room where we see the changes
have become more clear: A new VANITY TABLE has replaced the
old one, and is littered with a ton of make-up and cosmetics.
A pink, ruffled chair sits before it. The bed has been
replaced by a new one with a LACE CANOPY above it.
But the closet takes the cake. Over fifty OUTFITS, COSTUMES,
SETS, UNIFORMS and other apparel decorate its insides. Bunny
has them separated by season, design, color and mood. Below
them, on the carpet is a long line of different HIGH HEELS
ranging from stiletto pumps, to ankle strap platforms to lace
up, thigh-highs, to open-toed mules, to ballet boots.
We into the:
INT. DOLLIS HOUSE (BATHROOM) - CONTINUOUS
where Steve helps Bunny dress for the day.
Steve stands naked behind Bunny who wears a pink, lycra,
micro-mini skirt with an attached top which proudly displays
her new boobs. Steve works intently on CINCHING Bunny's waist
tighter into the BUILT-IN CORSET of the outfit.
From the mirror, we see Bunny gasping as Steve makes the
corset MEET. He then grabs for the pink, velvet belt on the
sink and places it around her microscopic waist which now
appears to be almost seventeen inches.
CU - BUNNY'S WAIST
as Steve's hand places the belt around it and STRAPS IT as
tight as he can get it before FASTENING THE BUCKLE in front.
He then smooths his hand over Bunny's flat stomach, patting
it like that of a kitten's.
Bunny looks into his eyes from over her shoulders with
nothing but love and devotion. Steve violently turns her and
SHOVES HER against the wall, FURIOUSLY KISSING her all over
her face.
INT. DOLLIS HOUSE (KITCHEN) - DAY
Steve sits, eating lunch as Bunny mops up the floor, wearing
the pink, rubber maid's uniform he bought her so many weeks
ago. Noticing her reflection in the stove, she quickly
checks her make-up and adjusts her breasts.
Steve notices this and says:
STEVE
Honey, you look delicious in that
outfit.
Bunny bursts into giggles, dropping the mop.
STEVE (CONT'D)
Why don't you come here?
Bunny, teetering like a date on prom night, ambles towards
Steve, trying to stifle her giggles and blushes.
TIME CUT:
INT. DOLLIS HOUSE (KITCHEN) - DAY
Steve tries to concentrate on his food, but cannot seem to
get the fork in his mouth. A SLURPING sound can be heard.
Below, him, from under the glass table, we can see Bunny's
mane of BLONDE HAIR at his crotch MOVING BACK AND FORTH. Her
hands gripping on to his thighs. Placing the fork down and
pushing the plate of food away from him, he rests his hands
on her head, giving in.
INT. DOLLIS HOUSE (BEDROOM) - NIGHT
Steve sits on the covers of the bed in his underwear, reading
a book on computers while Bunny sits at the edge of the bed,
still fully clothed.
Steve tries to concentrate on the book, but his attention
keeps get diverted towards Bunny and her dilemma.
STEVE'S POV
as he watches Bunny try and remove her high heeled shoes in
order to take her stockings off and get dressed for bed.
CU - BUNNY'S HEELS
as her FINGERS try and undo the strap of the heel around her
ankle. Only her long, pink nails prevent her from doing this
due to the thickness of the strap.
Bunny continues trying however, a look of warmth on her face.
STEVE
You okay over there?
Bunny turns to Steve and smiles pleasantly.
BUNNY
Yes, dear, I'm fine.
Bunny turns back towards her heels and continues to try and
get the strap free, to no avail.
Steve sees this and nods his head.
STEVE
You sure, dear?
Bunny turns to Steve and smiles pleasantly.
BUNNY
Yes, dear, I'm fine.
Steve makes a face: If you say so. He flicks off his night
light and gets under the covers to go to sleep.
Bunny continues in the BACKGROUND, fidgeting with the strap.
INT. DOLLIS HOUSE (BEDROOM) - MORNING
Steve and Bunny both slowly come too at the same time. While
Steve twists back and forth slowly, having a hard time waking
up as the bright sun pours in through the shades, as soon as
Bunny's eyes open, she rises from bed, wearing a lime green,
teddy... her hair draping down her back and make-up on her face
still.
STEVE'S POV
as he rolls over to watch Bunny get out of bed: She is still
wearing her heels as she minces towards the bathroom.
INT. DOLLIS HOUSE (BEDROOM) - THAT NIGHT
Steve sits on the bed, watching Bunny go through the same
ordeal with the ankle straps again. It is the following night
and she has been wearing the same heels for two days now.
STEVE
You okay, honey?
Bunny turns to Steve and smiles.
BUNNY
Oh, I'm just fine, dear.
Bunny continues with the ankle strap.
Pause.
STEVE
Do you want me to help you, dear?
Bunny turns to Steve with a total look of admiration.
BUNNY
Ohh, Stevey. Would, ya? Would, ya
really?
STEVE
(getting up from bed)
Anything for my little bunny
rabbit.
Steve smiles and then leans in and plants a long, wet kiss on
Bunny's lips.
INT. DOLLIS HOUSE (DINING ROOM) - NIGHT
The family sits at the round dining room table enjoying a
dinner Bunny has prepared for them. Steve and her sit across
from each other.
Alicia plays with her food, waiting to be excused, while
Holly rambles on about this book she's reading for class and
how funny it is. Bunny listens to her intently, smiling.
HOLLY
...and it's not that long. Not like
I mind... but Carrie was saying
that last year they got this other
one...
ANGLE ON STEVE
as Holly's chatter FADES OUT.
Steve is so fixated on Bunny that he has managed to tune
Holly out. Her dialogue sounds like it is coming from a tube
now.
STEVE'S POV
as he stares hard at his wife.
CU - BUNNY'S BLUE EYES
as they stare, vacant and doey. She smiles again and her long
eye lashes bat her upper cheekbones.
CU - BUNNY'S TIGHT, HIGH CHEEK BONES
as they glow under a sheen of perfect make-up.
CU - BUNNY'S LIPS
glossy, pink... wet. She spoons a fork loaded with orange
squash batter into her mouth. A bit drips a little at the
corner of her lips as a NAPKIN ENTERS THE FRAME TO WIPE IT
OFF-SCREEN.
CU - STEVE EYES
caught lingering.
CU - BUNNY'S EYES
glancing at Steve... a flattered confusion.
Steve holds her gaze... His face changes to assertiveness as
he now openly gives her the once-over. Both of the kids
oblivious.
CU - NAPE OF BUNNY'S NECK
quivering oh so gently as she swallows... her veins showing
for a second.
CU - BUNNY'S BREASTS
which peek out of the top of her satin bra... Heaving up and
down under the pressure of the corset.
CAMERA SLOWLY ZOOMS IN
on Steve as he continues staring at Bunny. There is a look
in his face now we have never seen: Confidence.
INT. SPORTS BAR - NIGHT
Steve and Bunny follow a group of couples into the bar. The
place is jam-packed with mostly MEN. But several of the
WIVES can be seen waiting on them. Whether at the pool
table, behind a table, or standing next to them at the
jukebox where ROCK MUSIC BLASTS.
While some of the COUPLES attempt to dance to the music, most
are there to just eat and drink.
Steve and company find a large round table to sit at.
Among the Dollis' are Albert and Tulip Talbert. Albert seems
happier than ever. And judging by the amount of collagen in
Tulip's new lips, it seems his wishes for her came true. To
match her name, she wears all yellow in the form of a tight
fitting mini-dress which shows off her new cleavage and long,
shapely legs which are encased in matching, 7-inch stilettos.
Along with the Talbert's are Kevin and Bubble's Branson.
Kevin's arm seems locked around Bubble's microscopic waist.
To match Bubble's waist, she wears a microscopic, neon green,
latex mini-skirt which just barely covers her ass. And, if
her E-sized breasts didn't cover her view, she would see the
knee-length stripper boots she wears down below.
In any other social setting, the wives of the bar would
appear as high-class hookers. But they seem to fit in
perfectly among the other females of the place. Especially
the WAITRESSES who all wear tacky, "bimbo colors."
Bunny wears her traditional pink with a baby-tee, shiny,
vinyl skirt and 6-inchers on her feet. Her hair is up in pig
tails and she seems happier than ever to be in the company of
her man tonight.
Sliding into the leather booth, the couples all make
themselves comfortable. It seems like this has become a
regular thing, as not many of them seem too curious about
their surroundings.
ALBERT
Everyone eating?
STEVE
Yeah, I think so.
Bunny nods while smiling.
KEVIN
(to Bubbles)
Honey?
BUBBLES
(giggling)
Didn't we like eat already?
KEVIN
That was lunch, baby doll. It's
now dinner time.
Bubbles giggles again.
BUBBLES
Then I'll have what you're having.
Kevin smiles apologetically at his friends.
KEVIN
She always says that.
(to Bubbles)
But I'm having the T-bone special.
And since we're keeping you on a
diet, I think maybe--
STEVE
Just get her the vegetarian meal,
man. Jesus.
Albert and Kevin exchange looks.
ALBERT
Somebody's feeling a little tense.
They both snicker.
KEVIN
What's the matter? Bunny here not
performing?
Kevin and Albert both crack up. The wives join them.
Bunny seems lost at first but then turns to Steve.
BUNNY
(hushed)
Did I do something wrong, baby? Or
did I not do something?
CU - STEVE'S CROTCH
as Bunny's manicured HAND suddenly smooths over it.
Steve sits up straight, avoiding eye contact with his two
friends as they grin at him.
KEVIN
So did you guys hear about that
Stray they picked up?
STEVE
(getting interested)
Young girl, right? Found her
wandering through town?
KEVIN
Yeah, they think she came from up
north. There's a town about thirty
miles up the road. She must've been
hitchhiking down the highway.
ALBERT
How often does this happen?
KEVIN
Probably all the time. I spoke to
Dave about it and he says that they
welcome it.
STEVE
Cherish? Welcoming outsiders?
KEVIN
Not all outsiders, just Strays.
Where do you think they get the
girls for their Escort Service? Or
all the unmarried women working
jobs like this one?
Kevin gestures around the bar.
ALBERT
What about the sublimity? How soon
does it affect them?
KEVIN
Well, that's the thing. It takes a
little longer with outsiders. I
mean, some dumb teen runaway
wandering through town will feel
the effects. She'll have a harder
time leaving the city from the
other side, but she'll have it in
her. The flip-side, though, is our
wives.
ALBERT
(trying to be funny)
Don't listen to this part girls.
The wives all burst into giggles.
KEVIN
You see, one of the wives happened
to wander across the border to help
this girl out. It seems she had
sprained an ankle or something.
And one of ours saw her from a
store balcony.
Stepped out and left the town to go
help her. Only by about twenty
yards, but it was enough.
STEVE
So what happened?
KEVIN
Well, nothing really. Cherish
Police scooped up the girl before
she knew what was up. And they sent
the wife back to the Med Labs to be
re-programmed.
STEVE
Re-programmed? Does the influence
really wear off that quickly?
KEVIN
Of course not. But crossing that
border is like a jolt to their
systems. It sort of "bares" them.
Opens up something that was
forgotten in their brains.
ALBERT
Is she okay now?
KEVIN
Yeah, they've just tightened the
watch on the border.
ALBERT
Can't they just seal it up?
KEVIN
Are you kidding? And give the
appearance of a prison? No way.
You know that's not the way Cherish
runs. They run off the illusion.
STEVE
What about the girl?
KEVIN
She probably works here now.
The men all crack up. The wives seem completely lost.
BUNNY
Who wants beers?
Bunny and Steve hop up.
STEVE
She's good but she can't carry six
at once.
The table laughs. Bunny trots off towards the bar.
ALBERT
Pitchers on me.
STEVE
Rolling Rock?
ALBERT
You bet.
As Steve collects money from Albert we CUT OVER TO Bunny at
the:
INT. SPORT'S BAR (BAR COUNTER) - CONTINUOUS
Bunny gives the BARTENDER an eyeful while leaning over to
examine all the bar taps. As she does this, a single, MALE
PATRON who looks drunk beyond belief checks out her ass.
CU - BUNNY'S ASS
sealed under the tight, pink vinyl of her skirt.
Not being able to take it anymore, the Man reaches out and
pinches Bunny's butt.
Bunny recoils, spinning around.
BUNNY
Owww!
MAN
Sorry, sugar. I just couldn't
resist.
The Bartender looks like he might have to step in but then
Bunny giggles and makes a "Naughty, Naughty" gesture towards
the man.
MAN (CONT'D)
Ohh, come on. I'm not that bad.
Why don't you come sit on my lap
and let Daddy tell you a bedtime
story?
Suddenly Steve appears:
STEVE
Is there a problem, buddy?
The Man grins sarcastically at Steve as Bunny steps next to
her husband, looking suddenly worried.
MAN
No problem at all. Just admiring
what a fine piece of ass you have
there. Reminds me of my wife.
STEVE
And where is she tonight?
MAN
Who knows? Probably sucking off my
neighbor.
STEVE
(pretending indifference)
Why's that?
The Man smiles.
MAN
Because I told her too.
Steve huffs and goes to walk away, grabbing Bunny by the arm.
MAN (CONT'D)
You should keep an eye on that one.
Wouldn't want her disappearing on
ya.
Steve turns back to the man.
MAN (CONT'D)
Especially with a guy like me.
Without a seconds hesitation, Steve throws a RIGHT HOOK into
the Man's jaw, sending him off his bar stool and CRASHING to
the ground.
Everyone turns to see what the commotion is as Steve rubs his
fist.
CU - BUNNY
looking very turned on.
INT. SPORT'S BAR (BATHROOM STALL) - MOMENTS LATER
Steve sits on the toilet bowl getting the BLOWJOB of the
century from Bunny.
Not being able anymore to take the ecstacy Bunny is giving
him, he CLUTCHES the side of her head and begins to help her
by RAMMING her head back and forth in motion.
Bunny makes a PANICKED GAGGING sound. Her HANDS GRASP at the
stall walls, spinning the toilet paper. But Steve holds her
firm, doing the job for her.
She continues to make GAGGING sounds but Steve doesn't
release her.
STEVE
Shhhhh.
FADE TO BLACK
FADE UP:
INT. DOLLIS HOUSE (LIVING ROOM) - EVENING
Steve stands before his massive TV, frantically fast
forwarding through a VHS tape showing nothing but static.
Bunny appears at the doorway looking nervous.
STEVE
Well, then where the fuck is it?
BUNNY
I taped it. It should be there.
STEVE
Well, it isn't, honey. Fuck. I
mean... did you have the VCR on the
correct channel?
BUNNY
Umm, like yeah. Channel eight. Four
o'clock.
Steve pauses, noticing something.
STEVE
And what channel did you have the
TV on?
CU - BUNNY
BUNNY
I... I'm not sure.
STEVE'S POV
of the CABLE BOX: CHANNEL EIGHT.
STEVE
God dammit! The VCR goes on eight,
the TV goes on three! How many
fucking times did I tell you this?
Bunny backs up, tears forming in her eyes.
STEVE (CONT'D)
I told you about this special even
before we moved here. They're only
broadcasting it once!
BUNNY
I'm sorry... I guess I forgot.
STEVE
No, honey. You didn't forget.
You're just a little stupid I
guess.
Bunny nods, not knowing what else to do.
STEVE (CONT'D)
You were probably too busy thinking
about your dumb Soap Operas, right?
Steve begins closing in on Bunny.
BUNNY
Well, no... I mean, yes... I mean--
STEVE
Just shut up.
(to self)
You think Gruber would've
programmed them to operate a VCR.
CU - BUNNY'S TEAR STAINED FACE
Steve stands before her, not knowing how to handle this any
further.
STEVE (CONT'D)
Go put your face back on.
BUNNY
Yes, sir.
Bunny runs off, mincing through the kitchen right past Holly:
She saw the whole thing.
Steve and Holly make eye-contact. Holly looks shocked.
STEVE
Get up to your room! Now!
Holly dashes off.
Steve turns and tosses the remote control on the couch. He
still seems pissed off.
INT. DOLLIS HOUSE (BEDROOM) - NIGHT
Steve tries to sleep but Bunny leans over him, nibbling on
his ear.
STEVE
God, I said quit it!
Bunny stops, but then smiles, thinking she knows better.
Slowly, she creeps under the blanket, near Steve's crotch.
Steve suddenly sits up, turns on the light and SHOVES her
violently off him.
Bunny FALLS OFF THE BED, beside Steve.
STEVE (CONT'D)
(pointing)
You fucked up today. And this time
a friggin' blow job won't fix it.
Bunny looks confused. She goes to rise but Steve plants an
open palm on her forehead and SHOVES her back down on the
carpet.
STEVE (CONT'D)
God, don't you understand why I'm
so pissed? I waited months for that
special. We even spoke about it
back in Dallas and how great it was
gonna be seeing me on TV. If I
could've left work today early to
tape it myself, I would've.
Bunny looks confused. She moves in to KISS him, but Steve
threatens to push her back down again and so she pauses.
STEVE (CONT'D)
Forget it. It's like talking to a
wind-up doll.
(Beat)
You wanna act like a dog I'll treat
you like one. Sleep on the floor
tonight.
Steve flicks off the light. Through the darkness, we see
Bunny slowly crouch into a ball on the floor, softly
WHIMPERING.
STEVE (CONT'D)
Shut - up.
This just makes Bunny CRY EVEN LOUDER.
STEVE (CONT'D)
Son of a bitch!
The light comes back on and Steve rises from bed. Stepping
over her, he bends down and grabs a HANDFUL of her HAIR.
Pulling her to her feet, he winds up to slap her.
EXT. DOLLIS HOUSE (BEDROOM WINDOW) - NIGHT
The sounds of SLAPPING can be heard inside.
FADE TO BLACK
INT. DOLLIS HOUSE (BEDROOM) - MORNING
CAMERA PANS across the immaculate bedroom. The bed has been
made and the sun shines through the open shades.
We rest on Bunny who sits at her vanity table in a pair of
high heels, stockings, panties and a corset. She has a
matching transparent, pink robe on.
She concentrates on doing her make-up as the CAMERA PUSHES IN
on her REFLECTION.
CU - BUNNY'S FACE
as she applies a foundation to her cheeks. She has the
makings of a soft BLACK EYE on the left side of her face.
Bunny seems oblivious to this as she concentrates on covering
up the bruise, humming through the whole procedure.
Once she feels her face looks presentable, she lifts a large,
silver fall brush to her tresses and begins to comb her hair
out. s she does this, we focus on her WRIST: Under a
foundation of skin colored make-up we can make out a long
vertical scar... Harriet's suicide marks.
INT. CYBERCOMP BUILDING (KITCHEN AREA) - DAY
Steve fixes himself a coffee in the office kitchen. He seems
to be having a tough time with the coffee, spilling it's
contents on the counter as he stirs it too fast.
Just then Dana approaches him wearing a purple mini-dress
combination. Her long red hair has been curled drastically
and hangs down her head like that of a Raggedy Annes.
DANA
Morning, Stevey.
Steve ignores her. He is too intent on spilling sugar now.
DANA (CONT'D)
Having some trouble, Stevey?
Dana giggles.
CU - STEVE
as he futzes with the coffee.
STEVE
Not now, Dana.
Dana gets closer.
DANA
What's the matter, baby?
Steve suddenly turns to her catching Dana off-guard.
STEVE
Don't call me baby. God, are you my
wife or some office slut?
Dana backs up, terribly confused and frightened.
DANA
I'm not your wife... I, I work
here, Stevey.
STEVE
Then get to work already!
Dana backs into the kitchen wall.
DANA
I was gonna ask if you liked my
hair--
Steve turns back towards his coffee.
STEVE
I don't.
Dana scampers off.
Steve finishes the coffee, but is only able to stare at it.
His mind is elsewhere.
INT. CHINESE RESTUARANT - NOON
Steve and Albert have just finished ordering lunch from a
beautiful BLONDE dressed in a Kimono.
Albert checks out her ass as she steps away with their menus.
Steve catches this.
STEVE
God, I feel like I'm living in a
porno movie.
Albert takes a sip from his water.
ALBERT
What's wrong with that?
STEVE
I never enjoyed pornos enough. My
imagination always did the trick.
ALBERT
Yeah, well not me.
STEVE
You still watch them?
ALBERT
You kidding? I've got a walking wet
dream as a wife now. Why would I
ever need a porno again?
STEVE
Then why all the looks? Why all the
remarks? Everybody cops a feel in
this town.
ALBERT
You still stewing about that
asshole from last week?
STEVE
No.
ALBERT
Then what is it? You've been acting
like a creep all morning.
Beat.
STEVE
Are you happy with Louise the way
she is now?
ALBERT
(leaning back in his seat)
Oh, my fucking God.
STEVE
No, just answer me--
ALBERT
Are you still wrestling with this
shit?
STEVE
Just tell me.
ALBERT
Tell you? Sure, I'll tell you.
Because I know what you're getting
at. Sure, Louise is gone. The woman
I married is a sad memory. And now
I have Tulip. But am I happier now
than I've ever been in my life?
Fuck yes. Do I wish that some of
the old Louise had survived? Of
course. But would I ever trade it
back to the way it was? Never.
STEVE
But don't you think there's gotta
be a way to reverse the process
just a little? I mean, if I went to
Task and asked him if he could
bring some of the old Harriet back.
Just some.
ALBERT
They can't do it, Steve. They
can't. Just live with it.
SLOW ZOOM ON STEVE
STEVE
You know, in all our time together
I never once laid a hand on
Harriet. Never once. All those
nights that she drove me nuts. All
those nights I'd come home to find
her drunk. All those nights she
scared the shit out of the kids.
And never once did I ever lay a
hand on her.
ALBERT
Good for you.
STEVE
Last night I did.
ALBERT
So, lots of the guys have taken to
smacking their ladies around. Don't
you understand, it's okay now.
STEVE
No, it's not. The way she is now, I
should never want to hit her. Not
now. She's so Goddam submissive,
she'd take orders from an infant.
Yet, I wanted to kill her last
night. Over something so stupid.
And I've been asking myself why.
Why it was so easy. And why, today,
I don't feel bad about it. And I
think I know.
(thinks)
Because it wasn't Harriet I hit
last night.
ALBERT
So what's so bad about that.
Wouldn't it be worse if you felt
like it was Harriet and not Bunny
that you hit?
STEVE
But if it was Harriet. If it was my
wife... it never would've came to
that.
Albert concentrates on his glass of water again.
ALBERT
You can't worry about things like
that. It wasn't Harriet, just a new
and improved version of her. A
version that deserves to get hit
every now and then.
But a version that's worth all the
trouble in the world.
Steve leans in.
STEVE
How can you say that? How can you
rationalize ever hitting your wife?
ALBERT
I don't have to rationalize it
because I don't hit my wife. I used
to a couple of years back... But
now, I could never. To be honest,
I'm sort of perplexed as to why you
felt the need to.
Steve shakes his head, lost.
ALBERT (CONT'D)
Still can't figure you out, Steve.
You got the whole world now, and
you're still not happy.
INT. CHERISH GROCERY STORE - DAY
Bunny pushes a half full shopping cart down the crowded
aisles of the Supermarket.
VOICE (OS)
Hey, there's that fine piece of ass
I remember so well.
Bunny is goosed from behind and she drops the piece of cheese
she was holding. Spinning around, she is greeted by the Man
from the bar who Steve punched out last week.
Bunny looks shocked and a little frightened by him.
MAN
I knew you'd remember me.
Bunny nods, frowning.
MAN (CONT'D)
I see you got a black eye too.
(gestures to Bunny's face)
Oh, come on, baby. It wasn't that
bad. I'm the one that got punched
in public?
Bunny nods again, softening a little.
BUNNY
Yeah.
MAN
(moving closer)
Oh, you think that was funny?
BUNNY
No. No, like, of course not.
Bunny starts towards the front of the store, pushing her cart
a little quicker now.
The Man follows in the BACKGROUND.
EXT. CHERISH GROCERY STORE - MINUTES LATER
Bunny steps out into the bright sunny parking lot and pushes
her cart towards her car. No Bag Boy is with her.
EXT. CHERISH GROCERY STORE (PARKING LOT) - CONTINUOUS
When she gets to the car, she pops the back open and begins
lifting bags into the back seat.
MAN'S VOICE
Need help?
BUNNY
(startled)
Ooooh!
The Man has pulled his car up and has it idling behind
Bunny's.
Before Bunny can properly answer him, he ADVANCES towards her
with a wet paper towel in his hand: Chloroform.
SMOTHERING HER SCREAM, he pins her against his chest and
drags her into the back seat of his car. Bunny STRUGGLES,
kicking her legs till one of her heels falls off, but the Man
holds on to her tight until she loses strength and PASSES OUT
in his back seat.
Lifting her feet into the car, he tosses the fallen heel in
and slams the door. He then quickly looks around to see if
anyone saw him, slams the back door to Bunny's car and gets
into his own, driving away at a comfortable speed.
FADE TO BLACK:
INT. CAR (PARKED) - UNKNOWN
BLACKNESS....
An occasional FLICKER OF SUNLIGHT.
A BODY over her... BREATHING... MASHING.
We catch GLIMPSES OF THE MAN, naked, leaning over her.
FADE TO BLACK:
EXT. UNKNOWN - UNKNOWN
HANDS positioning her...a VOICE saying something:
VOICE (O.S.)
...probably think you've been
kidnapped.
The Voice is that of the Man again. He is practically
giggling to himself.
LIFTED... LARGE VEHICLE... BRAKES... DOOR OPENING...
MAN'S VOICE
...passed out from the sun.
VOICE #2
She okay, though?
MAN'S VOICE
...keep an eye on her. Wake her up
when ....end of the line.
VOICE #2
...has money, right?
VOICE #1
...so I'll pay now.
Shuffling.... Murmurs... Seated...
MAN'S VOICE (O.S.)
(low, to Bunny)
Wish I could come with you, but
this is just too good as is.
Besides, I got my own piece of ass
at home. Enjoy, the jungle, honey.
INT. BUS (PARKED) - LATE DAY
Sunlight streams in through a bus window as Bunny comes to.
A fat, female BUS DRIVER is shaking Bunny awake.
BUS DRIVER
C'mon, lady. I ain't got time for
this. You're at the end of the
line.
Bunny blinks, wiping hair from her face. She glances up at
the large Bus Driver who stands above her looking very
impatient.
Then she takes in her surroundings and panic sets it.
BUNNY
Where... Where am I?
The Bus Driver rolls her eyes.
BUS DRIVER
(mumbles)
I hate this shit. C'mon, Miss
Pretty. Up you go.
The Bus Driver heaves Bunny off the seat and literally
carries her out of the bus.
EXT. BUS (STATION) - DAY
Letting Bunny down, the Bus Driver closes the door and points
ahead, towards the BUS STATION.
BUS DRIVER
I wasn't supposed to take you this
far but you were out cold. So I
figured an extra ten minutes might
wake you. To get out just head
through the main depot and exit
through the front.
The Bus Driver starts to head in the opposite direction.
Bunny goes to call after her but holds it in last minute.
EXT. FRONT OF BUS STATION - DAY
Bunny exits through the sliding doors and teeters on to the
sidewalk where TAXIS await.
TITLE CARD:
SOUTH CENTRAL, LOS ANGELES
A MEXICAN MAN quickly approaches her, grabbing her right
hand.
MEXICAN MAN
Hello, Miss. You need Taxi
somewhere? I know where all the
clubs are.
Bunny wrenches her hand free and minces way as fast as she
can in the opposite direction.
EXT. SOUTH CENTRAL CORNER - DAY
Bunny reaches the corner and stops to rest on a curb. She is
breathing frantically and has to grab her chest to stifle her
GASPS.
The then TEARS BEGINS and she collapses her face into her
palms.
LONG SHOT -
from across the street as Bunny sits, crying. Among the
crowd, she appears as a little girl who's lost her way in an
amusement park.
Sketchy looking CIVILIANS wander past her on the sidewalk,
eyeing the strangely dressed woman with a mixture of
emotions.
EXT. SOUTH CENTRAL STREETS (SIDEWALK) - DAY
Bunny makes her way down a crowded sidewalk stopping the
occasional, friendly face.
BUNNY
Excuse, me, like can you tell me
where Cherish Valley is?
A BEMUSED BLACK COUPLE, trying to be polite stares down
Bunny. The BOYFRIEND scratches his head.
BOYFRIEND
(to GIRLFRIEND)
You ever hear of that?
The Girlfriend shrugs.
GIRLFRIEND
(to Bunny)
Is it in the Valley?
EXT. SOUTH CENTRAL STREETS (SIDEWALK) - DAY
Bunny questions a white BUSINESS MAN.
This time, Bunny mainly does the talking as the Business Man
discreetly ogles her breasts.
BUNNY
... And like I woke up on this bus
and I'm supposed to be home right
now fixing dinner but...
EXT. SOUTH CENTRAL STREETS (SIDEWALK) - DAY
Bunny, looking very tired yet even more frightened now,
wanders on... completely lost and out of her element.
Somehow, even without a mirror, she has managed to fix her
makeup and hair. And her dress and heels remain intact. She
even adjusts her boobs as she walks, giving TWO YOUNG SKATER
PUNKS a dose of nipple as they skate by.
SKATER #1
What up, slut?
SKATER #2
Somebody call The Kitten Club! The
strippers have escaped.
This gets LAUGHS from whatever PATRONS are near Bunny,
walking either past her or beside her.
EXT. SOUTH CENTRAL (SIDEWALK) - LATE DAY
Bunny rests on a park bench shedding more tears. She
repeatedly rubs her hair back out of her face as if she has a
terrible headache.
As she sits, a 25 YEAR OLD MAN pesters her, pacing in front
of her, pointing towards the beach and making inaudible
gestures. Despite her despondence, Bunny occasionally lifts
her head to politely smile at him, nodding every now and
then.
EXT. SOUTH CENTRAL (SIDEWALK) - NIGHT
Bunny is being awoken again by unseen hands.
BUNNY'S POV
as two UNSEEN FACES kneel before her, stinking of liquor.
VOICE #1
Hey, honey. Wake up. The parties
inside, not out here.
VOICE #2
Just fucking lift her up.
VOICE #1
You fucking lift her. I don't want
this bitch screaming.
VOICE #2
Bullshit, she's gotta be coked out
of her head to be laying out here.
She won't scream.
Bunny blinks, her eyes opening wide now: We see two MIDDLE
AGED MEN clad in leather. They look like a mix of Hell's
Angels meets Johnny Depp.
MAN #2
She awakens.
Man #1 helps Bunny into a sitting position. And the two of
them sit beside her on the bench, sandwiching her in.
Bunny reacts, frightened.
MAN #1
Ohh, come now, Missy. We don't want
to hurt ya. We're just wondering
what a fine young thing like you is
doing all alone out here in the
dead of night when there's a
perfectly fun party just inside
those doors.
The Man points across the street where we see a CLUB in full
effect. A Crowd of ONLOOKERS stands in front, watching the
two men hit on Bunny. They seemed amused by the ordeal.
BUNNY
I'm lost. I'm trying to get home.
MAN #1
Well, home is inside, pretty thing.
BUNNY
No, home is not inside. Home is in
Dallas.
Bunny goes to stand up, but Man #1 FORCES HER BACK DOWN,
pushing on her stocking-clad thigh.
MAN #1
Hey, Missy... What's the rush?
Man #2 cannot take his eyes of Bunny's breasts.
Man #1 sees this.
MAN #1 (CONT'D)
(to Man #2)
What are you waiting for? Grab em'
already.
MAN #2
Will you shut up?
MAN #1
(to Bunny)
My friend here would like to know
if that amazing rack of yours is
real or not?
This time Bunny doesn't smile. She doesn't giggle and she
doesn't politely nod.
BUNNY
If you don't let me go right now
I'm going to scream.
MAN #1
Scream? In that little girl voice
of yours?
(to Man #2)
Steve, you ever hear a grown women
talk like this one here? I haven't.
CU - BUNNY
as she hears the name "Steve."
MAN #1 (CONT'D)
You talk like a little girl, lady.
Is that how you want me to treat
you? Like a little girl?
BUNNY
Steve. I have to get back to Steve.
MAN #2
Huh?
MAN #1
Here that, Steve. She wants to come
back to ya.
Steve is confused. Man #1 laughs.
MAN #1 (CONT'D)
Well, little girl. If you'd like, I
can hold that pretty little hand of
yours.
CU - MAN #1'S GIANT HAND
as he cups Bunny's within. Lifting her to her feet, he points
at the club again.
MAN #1 (CONT'D)
I'll just walk you right inside
this fun place over there.
Bunny looks paranoid now. Yet she doesn't scream. Instead,
she grabs her head again, and looks as if she is about to
pass out.
Falling back, Steve catches her.
STEVE
What's this bitch's problem?
MAN #1
Just help me get her inside.
Just then, a VOICE sounds from OFF-SCREEN:
FEMALE VOICE (O.S.)
Tabitha! There you are!
ANGLE ON
a WOMAN in her mid-forties approaching the two men. She walks
briskly towards Bunny, and before the two men know how to
respond, she places her arm around Bunny's neck and cradles
her away from them.
WOMAN
Thank you so much. She's been so
sick. She wandered off from us
hours ago and we've been looking
ever since.
MAN #1
Lady, I don't think you--
WOMAN
We've even got the police driving
around looking for her. Thank God
you found her when you did. You
see, she has this rare condition
and if we don't get her medication
soon, she'll go into fits.
Man #1 goes to speak up again when Steve interjects.
STEVE
(to Man #1)
Fuck this, I'm going in.
Man #1, looking defeated, tips his hat at the Woman.
MAN #1
Well, glad she's okay.
He then takes off after his friend.
CU - WOMAN
as she sighs. Looking down at Bunny, she shakes her head.
INT. WOMAN'S CAR (DRIVING) - NIGHT
Bunny is half awake, resting in the passenger seat. The
pounding in her head is the only thing that stops her from
just passing out.
Beside her, the Woman, SHARON, drives, keeping one eye on
Bunny, the other on the road. She has a cell phone to her ear
and is speaking softly.
SHARON
(into phone)
I need, Eileen.
(pause)
No, I'm fine... It's just...I can't
be sure yet.
(pause)
Eileen? It's Sharon. I think I've
got one.
CU - BUNNY
Eyes opening and closing, softly.
FADE TO BLACK
INT. HOUSE (BEDROOM)- MORNING
Bunny awakens in bed. Her clothing has been removed and she
wears a night gown which vanishes under the thick covers that
have been pulled up to her chin.
A HAND enters the FRAME with a cup of coffee just as Bunny
awakens.
VOICE (O.S.)
Please, drink it. It will help with
that headache of yours.
Bunny was about to grab her head. She glances up at the face
of the voice.
BUNNY'S POV
as a beautiful WOMAN in her mid-fifties stares at her with a
warm smile.
EILEEN
I'm Eileen. You're at my house.
You'll be safe here.
Bunny accepts the coffee with a weak smile in return.
BUNNY
Thank you, ma'am. I'm Bunny.
EILEEN
And I'm Eileen. Not "ma'am."
(Beat)
You're not in Cherish anymore,
Bunny.
Bunny stares at Eileen for a second.
EILEEN (CONT'D)
You're wondering how I know your
origin? Well, I've been doing this
for about eleven years so I oughta
know.
(pause)
The hidden surgery scars on your
body. Hairless from below the neck.
Even your calf muscles. But it was
hearing your name just now that
sealed it for me.
(smiles)
You're lost, little darling. And
it's our job to get you found.
BUNNY
(brightening up)
You're gonna bring me back to
Cherish?
A shadow crosses Eileen's face.
EILEEN
Of course, dear. Of course. But
first we're going to make you all
better.
Eileen brushes some of Bunny's hair from her face and then
rises.
BUNNY
Now, get some more rest. We'll have
breakfast for you in a few minutes.
Bunny relaxes as Eileen exits the room, walking barefooted,
yet on tip-toes.
INT. EILEEN'S HOUSE (KITCHEN) - MORNING
Eileen leans against a sink. Sharon stands before her in
anticipation.
SHARON
Well? Is she from Cherish?
Eileen nods, heading over to pour more coffee for herself.
Sharon looks away, remembering some old demons.
SHARON (CONT'D)
And how is she?
EILEEN
Good. Very good. She didn't even
stir when I mentioned breakfast.
SHARON
So?
EILEEN
So? You hopped up and followed me
down to the kitchen, raving about
how Greg was gonna spank your
bottom if you didn't have breakfast
ready for him by seven. We had to
drag you back to bed.
Sharon looks embarrassed.
SHARON
God, I'm glad I don't remember
that.
Pause.
EILEEN
She's either a tough girl or she
wasn't under for long. I'm guessing
it's a little of both.
SHARON
How dim is she though?
EILEEN
Don't know yet. I'm sure she's no
rocket scientist but she doesn't
seem as far gone as some of the
others were. Again, that could just
be because of the length of time
she lived in Cherish.
(pause)
We'll find out in due time.
SHARON
So what's next?
EILEEN
Well, I won't give her a lot of
answers right away. I'll let her do
all the talking.
It will be good for her to learn
that we're here to listen not
command. I'll let her adapt at her
own level and we'll pick up hints
on the way. Once we get her real
name you can run a search. Maybe
collect some facts on her old life.
Anything that can produce real
memories. That helped greatly with
the others.
SHARON
It also takes months, years
sometimes. Do we really have that
much time to dedicate to this one?
EILEEN
She deserves as much time as you
did.
SHARON
But what about the move we have
planned? We can't stay here much
longer. Pretty soon Peter's gonna
realize that the bus out of Cherish
ends in this town. And then it's
just a matter of time before he
finds us.
EILEEN
The move will go as planned. I just
won't be able to play as large a
part in it now. Bunny's gonna need
as much time as I can give her.
SHARON
Bunny?
CU - EILEEN
as she smiles. Her eyes don't though.
EILEEN
That's her name.
INT. EILEEN'S HOUSE (LIVING ROOM) - NIGHT
Eileen sits in front of Bunny. Bunny looks uncomfortable.
BUNNY
What is this place, Eileen?
Eileen smiles at hearing her name said.
EILEEN
It's a haven. A halfway house.
(chooses her words)
It's safety.
BUNNY
But when will I be allowed to
return to Cherish?
Eileen places her drink on the table next to her and leans
in.
EILEEN
Bunny, how did you get out of? Was
it an accident?
Bunny looks confused.
BUNNY
I don't remember.
Eileen looks troubled.
EILEEN
How well do you remember Cherish?
BUNNY
What do you mean?
EILEEN
What do you remember about the town
in which you're from?
BUNNY
Well, it's far, far away. Across
the sea really. I remember the
trees.
Eileen looks confused.
EILEEN
Tell me more about this town. Is
this the town of your home? Where
you originally come from?
BUNNY
Yes, Cherish is where I come from.
Eileen nods her head.
EILEEN
Across the sea?
BUNNY
Yes, where I met Stevey. He's my
husband you see.
Beat.
EILEEN
Well, in the next few weeks, we're
going to help you get back home.
Bunny smiles.
BUNNY
Home is where the heart is.
Bunny giggles.
INT. EILEEN'S HOUSE (BATHROOM) - NIGHT
Bunny finishes on the toilet, flushing it and then smoothing
down her long, Victorian style nightgown that was given to
her by Eileen. Bunny seems displeased by the length of the
gown, and constantly fidgets with it as she ambles towards
the sink on her same pair of heels she wore the day she was
taken from Cherish.
ANGLE ON SINK
where a large, round mirror rests on the wall.
Bunny combs her blonde hair, trying desperately to get the
knots out from it's ends.
CU - BUNNY'S EYES
studying herself in the mirror.
CU - LOCK OF HAIR
as she brings it close to her face, looking it over.
BUNNY'S POV
as the BLONDE STRANDS SLOWLY CHANGE TO BROWN.
Bunny suddenly doubles over, clutching at the sides of her
skull, gripping bunches of her hair in both hands. It is
clearly still blonde, but Bunny has seen something all
together different.
Just then, she is rocked with a series of strong headaches.
She SCREAMS, FALLING to the ground.
In an instance, three of the other WOMEN of the house are at
the door. Sharon is among them and she dashes to Bunny's side
just as Eileen appears in the bathroom threshold.
SHARON
(speaking to nobody in
particular)
Either remove this mirror or keep
her on the pills.
Sharon makes eye contact with Eileen who looks on the verge
of tears.
EILEEN
I forgot...I forgot.
Sharon nods solemnly.
SHARON
You stay with her from now on.
I'll handle the move.
Eileen smiles, touched.
DISSOLVE TO:
INT/EXT. EILEEN'S HOUSE
MONTAGE BEGINS
- Eileen and Bunny walks together in the backyard, sharing a
long conversation.
- Eileen sits on the front patio reading the morning paper to
Bunny. Bunny seems confused, but she pays attention.
- Eileen walks with Bunny in a GROCERY STORE. Although Eileen
does all the shopping. Bunny is only allowed to push the
cart.
A MAN passes Bunny, checking her out as Eileen has her back
turned. Bunny blushes.
- The Women all cook together in the kitchen. They have The
Beatles playing from a small radio and their is an atmosphere
of fun as Bunny chips in, helping to stir the sauce. For the
first time, we see her hair is up in a bun and she has let
splotches of tomato sauce get on her shirt.
- Eileen and Bunny sit watching a movie together in the
living room. MEGHAN, another Woman of the house appears
behind them and leans over the couch.
MEGHAN
(to Eileen)
If this is Thelma and Louise I'm
gonna kill you.
Eileen smiles sheepishly.
ANGLE ON TV SCREEN
as a half nude Brad Pitt plays with his cowboy hat.
Bunny giggles, kicking her legs out and spilling the popcorn
all over the rug. But before she can react, Meghan leans over
and dumps the entire bowl over her head.
Laughter ensues.
INT. EILEEN'S MEETING ROOM - NIGHT
The Woman are all gathered, sitting in a circle as Eileen
conducts some sort of GROUP SESSION.
A beautiful redheaded woman (DEBRA) has the floor.
DEBRA
Everyday I had to awake him like
that. It got so that he'd depend on
me to awake him at exactly the
right time.
And so I'd have to awake before him
each and every morning and make
sure that he would never be late
for work. And God help me if it
didn't wake him up on time.
(pause)
In essence, my oral skills became
an alarm clock.
INT. EILEEN'S MEETING ROOM - LATER
SHEILA continues the group session.
SHEILA
If I failed, I wouldn't be allowed
to eat all day until he returned
home from work at 7:30. I'd sit and
stare at the food all around me, as
I cleaned the kitchen... But I
wouldn't touch a morsel. My
stomach screamed for it, but my
mind wouldn't allow it. The way I
was then, if he told me never to
sit down again, I don't think I
would.
(Beat)
I was a fucking zombie.
INT. EILEEN'S MEETING ROOM - LATER
LUCY has the floor.
LUCY
I was once an athlete. I ran track,
I played volleyball, but my passion
was boxing. And I was good.
The women smile.
LUCY (CONT'D)
But Frank always hated my athletic
skills. Said it made me unwomanly.
It drove him nuts when I started
teaching our daughter how to box.
Yet, after I was transformed, he
kept my gloves around the house. I
always remember that. And it wasn't
until I was free that I figured out
why: It was a reminder for him, a
reminder of his victory.
INT. BEDROOM - NIGHT
Bunny sits quietly, chatting with Eileen. They are in mid
conversation when:
BUNNY
Eileen, I think I have to make a
phone call.
Eileen goes to ask something, but then holds off.
BUNNY (CONT'D)
I think something is wrong. And...
I think I did something wrong and I
need to call someone.
Eileen nods.
EILEEN
Certainly.
INT. KITCHEN - NIGHT
Eileen leads Bunny to the house phone.
EILEEN
They're it is. Just push "1" before
the area code.
Bunny glances at Eileen. Eileen smiles.
EILEEN (CONT'D)
I'll leave you alone.
Eileen departs but stands just outside of view, spying on
Bunny.
CU - PHONE
as Bunny's hand lifts it from its receiver. She punches in a
number with a quivering finger, and then slowly puts the
phone to her ear.
The RINGING can be heard as a soft purr coming from the side
of her head.
STEVE'S VOICE
Hello?
Bunny immediately HANGS UP.
After a moment, Eileen reappears.
Bunny turns towards her, tears in her eyes.
BUNNY
I just hung up on Steve?
EILEEN
Why did you do that?
Pause.
BUNNY
I think... I think I did something
wrong. I think this is wrong. I
don't think I'm supposed to be
here.
Bunny is getting a little worked up.
Eileen stands calmly before her though.
EILEEN
Do you think you're supposed to be
back in Cherish, Bunny?
BUNNY
I don't know. It's all I remember.
It's all I know.
Bunny BREAKS DOWN, collapsing into Eileen's arms. Eileen
embraces her, patting her back.
EILEEN
Do you remember your real name?
What you did for a living?
Pause.
BUNNY'S POV
as she spots an ADDRESS BOOK on the counter. She immediately,
pushes herself away from Eileen's chest.
BUNNY
I think I wrote.
EILEEN
(raising tone)
You were a writer?
BUNNY
No, I was... I forget.
Bunny suddenly grabs her head again in pain and leans against
the counter.
BUNNY (CONT'D)
It's so hard to remember! Why do I
feel so stupid?
EILEEN
You're not stupid. You've just been
made to forget.
BUNNY
What are you talking about? This
isn't right. I need to go home! I
need to see my kids.
EILEEN
You will. You will. You're getting
better.
Eileen accepts Bunny's embrace again.
EILEEN (CONT'D)
Pretty soon the truth won't hurt
anymore.
FADE TO BLACK
FADE UP ON:
TITLE CARD:
ONE MONTH LATER
EXT. EILEEN'S BACKYARD - DAY
Harriet, dressed in jeans and a sweatshirt sits on a small
bench facing the parkway which rests about one hundred yards
down a long fenced embankment. Her blonde hair, now brown at
the roots, looks curled and disheveled. She wears no make-up
yet has a fresh, vibrant look in her eyes.
EXT. EILEEN'S BACKYARD (PATIO)
Eileen consorts with EMILY, another woman of the house. They
stand on the back patio, staring out at Bunny.
Eileen looks back down at the BOOK Emily just gave her.
EMILY
(referring to the book)
That's the only one that was
published. We had to order it
overseas... it took days.
EILEEN
(low, remembering)
Across the sea.
Eileen opens the book jacket: A BLACK AND WHITE PHOTO of
Harriet Dollis adorns the top of the jacket with a blurb
about her life underneath:
"Harriet Dollis now resides as a U.S. Citizen in Dallas,
Texas with her husband Steve. The couple have a baby girl
named Alicia."
Eileen flips back to the cover: "Hearts Adrift" Poems By
Harriet Dollis.
EXT. EILEEN'S BACKYARD (BENCH) - DAY
Bunny has her head down, lost in reemerging thoughts and
memories when Eileen appears behind her.
EILEEN (OS)
And so we begin this life in
togetherness....
A togetherness which we believe to
be real... To be home.
But it is only home to those who
know not what great fortunes this
world has for them...
I took that journey and found a new
home...
And so my heart is no longer
adrift.
CU - BUNNY
as she rises her head.
EILEEN (CONT'D)
You're not home yet, Harriet. But
you're getting there.
Eileen sits beside Harriet, placing the book of poems on her
lap with the back cover open to her PICTURE. Harriet stares
long and hard at the old picture of herself, her hands
starting to shake. TEARS form in her eyes.
LONG SHOT -
as the two women hug.
DISSOLVE TO:
EXT. EILEEN'S HOUSE (FRONT PORCH) - SUNDOWN
Eileen and Harriet sit together on the front porch, watching
the sun slowly set.
There is a moment of quiet ambiance between the two women,
until:
HARRIET
Will I ever be able to write again?
EILEEN
(turning towards Harriet)
Of course.
HARRIET
But I think like a third grader.
It's all so fuzzy. I mean, I
remember things now, but simple
things don't occur to me anymore.
EILEEN
They will. They will. If I was able
to do it on my own, you'll be just
fine.
Harriet turns to Eileen:
HARRIET
Eileen, who are you?
Eileen laughs:
EILEEN
I've been waiting for you to ask.
(Beat)
I'm Mrs. Eileen Task. Peter's wife.
Pause.
HARRIET
How long ago did you escape?
EILEEN
Oh, about thirteen years ago. I was
the first one in, and the first one
out.
(laughs)
It was easier back then. Even some
men fled the program. It was all so
alien to everybody. And there were
a lot of snags. Many things went
wrong... lives were lost. Peter was
like a mad scientist. Anything new
and interesting, they went with.
They brought the future to them.
They literally built that town from
the ground up. It started with a
bunch of condos in the late 1980s.
And by the year 2000...
(Eileen remembers)
I've since heard that he's settled
down. And runs things from the
background now.
HARRIET
Do you miss him?
EILEEN
I miss who he was. But he was
married to the government long
before he was married to me. And so
I married into that relationship.
I tried to be the best wife I could
to him. But Peter saw things... And
he took them home with him every
night. He never let me into these
things. And my yearning to get
closer to him, just led to verbal
abuse in return. This soon turned
to physical abuse. Peter would
vanish more and more each night.
I thought he was having an affair.
But I now know that he was having
secret meetings at the lab. And
then the move to California. It
all, happened so fast.
(Beat)
It was then that I planned to leave
him.
My parents lived here at the time
and I knew I could stay with them.
But Peter found out... And hence, I
was the first one under the knife.
HARRIET
But how did it all start?
EILEEN
You can't put a date on social
ideals, my dear girl. It's been
going on for decades now. In every
society... The death of feminism.
Peter knew that he wasn't alone.
That there would be plenty of other
men out there that shared his
beliefs, his attitudes and views on
women. And so they figured they
could create a town for men like
themselves. A town with a computer
economy. A subliminal town.
HARRIET
(very interested)
How did they think of it all?
EILEEN
The idea wasn't that original.
Peter borrowed it from many other
"concept towns." They're all over
the place nowadays. People always
thought it was in the water, little
did they know that it was all
around them. Telling you what to
buy in the malls by the music they
played. Telling you what to eat in
the restaurants by the menus they
gave. Telling you how to dress by
the catalogues they sent. And I'm
sure you've seen the billboards,
watched the commercials, read the
brochures. It isn't just Cherish.
It's everywhere. Cherish is just
the extreme. The doctors and
surgeons could do whatever they
wanted to your conscious mind... It
was up to Cherish itself, to
complete the transformation by
targeting your sub-conscious mind.
Which is why you get the headaches
now that you're out. You're brain
is battling itself. Every time you
notice something is wrong with the
way you think, the way you look,
the way you walk... your mind
punishes you. It doesn't like the
idea that you're fighting all the
conditioning they put in you. It's
like a battery inside your head...
We're just waiting for it to die
out.
HARRIET
But shouldn't the subliminal
messages effect the men too?
EILEEN
Yes. And they do. True, the men
aren't put under the brain
conditioning like we were, so they
aren't left as bare... Yet they too
are being controlled.
HARRIET
But how?
EILEEN
Well, in many ways. Cherish lowers
their morals, their ethics. It
weakens their will power. Sort of
like pumping oxygen into a casino
so people won't get tired. Cherish
just makes sure that they're always
okay with what's going on around
them. So nobody gets cold feet.
But to be honest, I think they'd
have no problem with it either way.
Peter just doesn't like slip-ups.
CU - HARRIET
taking it all in. Surprisingly, she doesn't look shocked.
HARRIET
Hasn't anyone ever thought about
exposing them?
EILEEN
Oh, we've tried. But how do you
expose a town with it's own police
force? With it's own town board?
(Eileen laughs)
Yeah, we've tried alright.
HARRIET
So what's it really all about?
Pause.
EILEEN
Why, sex of course. All the
clothing, attitude, commands,
roleplaying... It all ends in some
sort of sex. That's what makes our
mission so much harder.
HARRIET
Your mission?
EILEEN
Yes. We're fighting both sides.
Many of the women who cross the
line don't ever want to come back.
Many of them are content spending
the rest of their lives as big
breasted bimbos. No worries, no
regrets, no stress. I mean besides
getting dinner made on time,
keeping the house clean and making
sure you look your prettiest...it's
a life of pleasure. Right? No woman
will admit it, but it's tempting...
Losing all free will. Not having to
think for yourself, but instead,
just doing what you're told.
Because in the end, there's always
that pleasure. There's always the
sex. And that's our biggest enemy.
Don't get me wrong, I love sex.
But I like consensual sex. Old
fashioned sex. But we live in a
disease-ridden world where that's
not enough anymore. Where foreplay
becomes the sex. Where a man would
rather jerk off to the image of a
girl then have intercourse with
her. And TV and the media have made
that image many different things.
Why do you think so many of the men
dress their wives as fifties's
housemaids? Because the 1950's were
a better time for men. The women's
place was in the kitchen, at home
with the kids. The man was the
bread-winner. But that changed
greatly in the eighties and
nineties. Women embraced their
sexual attributes, and the result
was a stronger more independent
role-model. An intimidating one for
men. Hence the weakening... the
emasculation that occurred. Men had
to use that image against women.
So it wasn't us who gained the
pleasure from it anymore, but the
men. And strangely, at some point
down the line, we became okay with
this.
Eileen composes herself.
EILEEN (CONT'D)
Cherish is at the forefront of this
movement. And our own is slowly
dying away. This battle of the
sexes is really a battle about sex.
And it's killing us.
Beat.
HARRIET
But that's so stupid. Women enjoy
sex just as much as men do. In
fact, I'm sure they're are many
women in that town who wouldn't
mind staying the way they are.
Even if they knew what had been
done to them.
Eileen studies Harriet, seeing how passionate she has finally
become.
HARRIET (CONT'D)
Why is it that it had to be so
extreme? That we had to be robbed
of our lives? If Steven had just
asked me to wear a dress every once
in a--
Harriet pauses, remembering.
Eileen knows exactly what it is she's remembering.
EILEEN
Harriet, do not for one second
think this is your fault. There's a
difference between wearing a dress
around the house for your husband
and having him treat you like a
blow-up doll.
Harriet slowly nods.
HARRIET
(low)
Yeah.
Beat.
HARRIET (CONT'D)
Eileen, will I ever be me again?
EILEEN
(softening)
Dear, you are you.
HARRIET
(looks down at her body,
indifferently)
You know what I mean.
EILEEN
That's up to you. Many of the girls
find it hard to go back to their
old bodies. They don't like
admitting it, but they want to keep
some of their new features.
Hypocritical I know. But with such
dwindling funds, we couldn't afford
the surgeries anyway. So if you
want your old body back, that may
take a while.
Harriet still looks herself over. Eileen studies her, trying
to see some emotion in her face.
EILEEN (CONT'D)
I know now that you're no longer a
sex zombie, it's a little harder to
take it in. But you'll have to get
used to it for the time being.
Harriet looks at her breasts.
EILEEN (CONT'D)
I know, I know. Just look past
them. Play them down however you
can... Because the men, won't look
past them. Remember, Harriet; your
body is not who you are. They can
never rob your soul. Only you can
do that.
Harriet looks at her wrists where the scars once were.
HARRIET
I have two kids you know. Alicia
and Holly are their names. That I
remember.
Eileen smiles, waiting for Harriet to go on.
HARRIET (CONT'D)
I wasn't ever a good mother to
them. Hell, I was a horrible wife
all around. I remember that too.
EILEEN
(firm)
Don't say that. You were your own
woman. You were a writer. An
artist. You expressed yourself
through poetry. There's nothing
wrong with that.
HARRIET
Yeah.
EILEEN
You're thinking that you miss it
already don't you?
Pause.
HARRIET
I miss the ease of it. No longer
any bullshit.
(thinks)
The easiest thing in life is
calling yourself something you're
not.
EILEEN
But life isn't easy. Life is work,
sacrifice... But it means never
compromising who you are. After
all, sex doesn't make the world go
round.
Harriet looks away.
INT. HARRIET'S BEDROOM - NIGHT
Harriet sits alone on her bed, staring at the book jacket
with her old photo on it.
Carrying the book with her, she gets up and approaches a new
mirror that's been put in her room.
THROUGH A SERIES OF GRADUAL CUTS, HARRIET POSES FOR THE
MIRROR:
- Harriet sucks in her stomach and pushes her breasts
forward, admiring the curve it makes on her upper chest.
- Harriet studies her heart-shaped behind by looking over her
shoulder at her back side.
- Harriet smooths a palm over her flat stomach.
- Harriet teases out her fading, blonde hair.
- Harriet leans in close and smiles with her thick lips. Her
teeth almost seem to sparkle.
All of this seems new to her, and the book becomes forgotten
on the bed behind her.
Standing up straight, she strips off all her clothing until
she stands completely naked before the mirror. This is the
first time we have ever seen her completely nude.
Her bare body is immaculate.
Harriet smiles, for real. Almost looking proud.
FADE TO BLACK:
INT. EILEEN'S BEDROOM - MORNING
A SCREAM.
Eileen BOLTS up in bed, looking very concerned until Sharon
appears at the doorway, looking shocked.
EILEEN
What is it!?
SHARON
Somebody got into the house money.
All our petty cash, it's gone.
CU - EILEEN
INT/EXT. HARRIET'S BEDROOM - MINUTES LATER
The door is thrown open and Eileen steps in, freezing in her
tracks as the rest of the Women collect behind her.
EILEEN'S POV
of Harriet's bed which has been completely made. The BOOK OF
POETRY, open to the back sleeve photo rests on the pillows.
Eileen turns, slowly exiting the room.
DEBRA (OS)
What is it? Is something wrong?
Pause.
SHARON (OS)
We lost another one.
EXT. CHERISH VALLEY BORDER - DAY
Harriet steps off the BUS, as it exits down a fork in the
highway.
She looks both ways as the wind picks up and begins walking
in the direction of Cherish's main entrance.
DISSOLVE TO:
INT. CHERISH VALLEY STREETS - DAY
Harriet crosses into the town, slowing her pace as she come
sunder the control of the subliminal waves. From behind, we
see her passively walk forward a few paces until a WHITE
MEDICAL VAN appears at her side, idling quietly.
LONG SHOT -
as TWO MEN in white lab coats hop out of the van and scoop
Harriet inside.
DISSOLVE TO:
INT. DOLLIS HOUSE - MORNING
Steve heads towards the front door, looking tired and
miserable.
The door rings again.
STEVE
I'm coming, Goddammit
Steve opens the door in frustration and then freezes:
Bunny stands before him, a vision in pink. She looks as if
she never left.
Steve slowly steps towards her.
BUNNY
I'm home, Stevey.
Steve breaks down into tears as the two EMBRACE.
FADE TO BLACK
THE END