First Half
FADE IN:
EXT. RESTAURANT - NIGHT
It rains on a busy street.
A small restaurant with an embossed picture of a Geisha on the window is situated in the corner of the street.
A sign above the door reads - GEISHA ASIAN BBQ RESTAURANT.
INT. RESTAURANT - NIGHT
Seated around tables, the patrons enjoy an evening with families and friends.
ASHA (20s), EAST INDIAN with a SOUTH ASIAN accent, brilliantly expressive almond eyes, thin, olive skinned.
She wears a key on a necklace around her neck.
She is with her husband SURYA (30′s), EAST INDIAN with an AMERICAN accent, muscular, dark brown, with a thick mane of hair. They are seated in a quiet part of the restaurant.
Asha’s identical twin sister, KALI (20s), has a bluntness to her facial expressions.
Kali has a birthmark - a dark mole on her neck, the only difference between her and Asha.
Also, GERALD (20s) tall, thin, redhead, wears glasses, a bit hyper.
The table has a grill in the center.
Gerald unabashedly gazes at Kali in admiration.
GERALD
Surya, when you told me Asha’s sister was just as pretty as her, I didn’t think you meant literally.
Surya kisses Asha.
SURYA
I have good taste.
Everyone chuckles except for Kali, who misses the joke. Asha nudges Surya in the side, looks toward Kali.
SURYA
Gerald, I hear that you love theater. Kali has written some plays.
GERALD
No kidding.
SURYA
And they’re pretty good.
Kali scoffs.
ASHA
What?
KALI
You never come to see any of them.
ASHA
But I do read them... They’re amazing.
Asha winks at Kali.
GERALD
I’m impressed. I’m a huge fan of Mamet. I went to see his play China Doll on opening night. Best play I’ve seen to date.
KALI
You obviously have no taste... Mamet is no writer.
Surya looks to Asha, rolls his eyes.
GERALD
Wow... You care to elaborate on why you feel that way?
KALI
Most definitely. His works have become dangerously obtuse and dated... Ionesco, Beckett... those are writers.
Gerald looks to the others, grins.
GERALD
I see. I suppose your Pulitzer prize gives you the right to such an opinion.
Kali scrunches up her nose, sneers.
KALI
(smirking)
It’s only a matter of time before I receive the Pulitzer.
Asha shuts her eyes, embarrassed.
She opens her eyes, holds up her wine glass.
ASHA
Waiter!
She shakes it.
The waiter nods, and a moment later he comes over with wine.
Kali looks down at her wine glass. Her eyes concentrate, focused on her racing thoughts. Her face remains blunt.
Gerald studies her with a quick glance.
The CHEF, (30s), Asian, clean cut, wears his purple apron. He wears a utility belt of knives, forks and spoons.
CHEF
Would you all like to begin with some beef bulgogi?
Asha and Surya nod in the affirmative.
The Chef lifts the tin platter top and reveals beef.
The Chef whips a large butcher knife from his culinary utility belt.
Kali’s eyes lock on the blade.
It’s razor-sharp, and gleams with deadly utility.
Kali leaps up, her chair falls to the ground. She gives the Chef a deadly look.
KALI
Fuck!
Everyone in the restaurant is startled.
You could hear a pin drop.
KALI
What the fuck are you doing?
The Chef holds up the knife, confused, takes a step back.
Asha grabs Kali’s hand.
ASHA
Kali... it’s okay. Calm down.
Kali yanks her hand away from Asha, points at the Chef.
KALI
They sent him to kill me!
Kali takes a predatory step toward the Chef, then snarls.
KALI
They want me dead, don’t they?
The patrons in the restaurant gawk at the spectacle.
Kali’s eyes dilate.
She looks to Asha helplessly.
KALI
They do...
Kali flees the restaurant.
Asha stands, looks to Surya, then chases after Kali.
GERALD
What. The. Fuck.
EXT. RESTAURANT - NIGHT
As Asha leaves the restaurant, the street lights reveal her sister Kali smoking a cigarette under a bus stop canopy, protected from the rain. Kali shakes like a leaf in the wind.
Asha approaches her.
KALI
It’s not safe for me here.
Asha says nothing, sits, turns Kali toward her, holds her close.
ASHA
We need to get you home.
Asha has a look of infinite patience.
Asha pulls Kali by the hand, and they stand together. Putting her arm around Kali, Asha walks her sister away.
INT. THERAPIST’S OFFICE - DAY
A portrait of Carl Gustav Jung hangs on a wall.
DR. STEIN, (50s) Jewish, well kept beard, wears glasses and a religious cap, dressed in a suit and tie, is seated in a chair facing Asha who sits on a sofa. She fidgets in her seat.
His demeanor is serious.
A small device records them on a table next to him.
DR. STEIN
You say your sister has schizophrenia?
ASHA
Yes... Kali needs help. I don’t know who else to turn to.
DR. STEIN
I’m here for you, and your sister.
Asha fidgets more in her seat.
ASHA
I do have a question, doctor.
DR. STEIN
Yes?
ASHA
Could there be any truth to her delusions?
DR. STEIN
It’s possible. Schizophrenia indeed has both genetic and environmental causes.
Asha adjusts herself.
ASHA
So what you’re saying is?
Dr. Stein leans in.
DR. STEIN
A traumatic event can trigger a psychosis.
INT. ASHA AND KALI’S APARTMENT - LIVING ROOM - DAY
LINDA (20s), snob, Caucasian, short blonde hair, a friend of Asha, sits on a sofa and eats Chinese food.
She studies a photo of Asha and Surya. They are both smiling in the photo, in each other’s arms.
Linda nods approvingly.
LINDA
You did good.
Asha looks at the photo, smiles.
ASHA
Correction... He did good.
Linda chuckles.
ASHA
All jokes aside though, I couldn’t have chosen a better man.
Linda points to Kali’s room.
LINDA
Is she still working on her masterpiece?
ASHA
Yeah, relentlessly.
LINDA
Mmmmmm.
Linda takes another bite from her plate.
Kali opens her door, walks out.
LINDA
Finally,.. the author has graced us with her presence.
Kali doesn’t react to her.
She walks by without a word, goes into the kitchen, a moment later she emerges with a soda and chips.
ASHA
Join us, sis. There’s more Chinese food if you want.
Kali holds up the soda and chips.
KALI
Too much work to do.
Linda scoffs.
LINDA
All work and no play makes Kali a dull girl.
KALI
Genius does not rest.
Linda shakes her head.
LINDA
You’re so grandiose.
Kali tilts her head, smiles.
KALI
Your vocabulary is better than I expected. Interesting.
ASHA
Kali...
LINDA
Did you just call me stupid?
Linda looks a bit shocked.
KALI
It was a compliment.
Linda’s face darkens.
KALI
Aren’t you supposed to be the stupid one among Asha’s friends?
Linda throws her Chinese food in Kali’s face.
Kali doesn’t flinch.
Asha moves to Kali protectively, glares at Linda.
ASHA
What the fuck Linda!
LINDA
Your sister just insulted me. I’m tired of walking on eggshells around her because she’s --
Linda stops herself.
ASHA
Please leave.
Linda glares a hole through Kali.
LINDA
I was done anyway.
She picks up her purse, heads to the front door, then turns back to Asha.
LINDA
You keep pretending like the stuff she does is normal, but it’s not. She’s dragging you down with her.
ASHA
Get out!
Linda leaves, slams the door.
Asha turns back to Kali who’s straight faced demeanor has cracked. She starts crying.
KALI
Why does everyone hate me?
Asha holds her close. She picks up a towel and carefully wipes the food from Kali’s face.
KALI
I really was complimenting her.
Asha sighs in frustration.
ASHA
I know, Kali.
KALI
I’m going to die soon anyway. None of this will matter.
ASHA
What?
KALI
They’re going to kill me, Asha.
Asha takes a deep inhale of air as she rolls her eyes.
KALI
Please, you have to believe me!
Asha stops wiping Kali’s face.
She stands to her feet, looks down at Kali.
ASHA
Damn it, Kali. Have you ever asked yourself whether this might all be a psychosis? Nobody is trying to kill you.
Kali stands to her feet.
KALI
This is not some bullshit psychosis, Asha... How do you explain the chef? His knife? It was pointed at me!
ASHA
He was serving us a meal! Not trying to kill us. Have some insight!
KALI
I do have insight.
A long, ominous beat.
ASHA
Do you?
Kali turns her back to Asha.
KALI
Rameses... from the group, agrees with me.
Asha throws the towel to the wall.
ASHA
Dammit Kali, you and this theater group!
KALI
They care about me.
ASHA
You should get other friends,... good friends.
Kali looks hurt.
KALI
They are good friends.
ASHA
They’re... never mind.
KALI
I think Rameses... loves me. He’s so shy in front of me.
Asha stands, walks to the window, looks out, folds her arms.
ASHA
In any event, you’re not going to die, you hear me? I’ll always keep you safe. I promise.
Asha looks to Kali, who stares at her.
ASHA
Okay?
KALI
I want to believe you.
Kali wipes her tears away, walks over to Asha, hugs her.
ASHA
I love you, Kali. More than you’ll ever know.
KALI
I love you too, Asha.
INT. ASHA AND KALI’S APARTMENT - MASTER BEDROOM - NIGHT
An organized room, with antique furniture.
INT. BATHROOM - NIGHT
Surya, shirtless, washes his face in the mirror.
Asha, in pajamas, enters the bathroom - joining Surya. The reflection of the key around her neck glistens in the mirror.
SURYA
I didn’t hear you come in.
Asha wraps her arms around him, runs them slowly down his body.
Surya’s face lights up, turns to her.
Asha begins unbuttoning his shirt.
SURYA
(smiling)
Now?... You’re insane.
Asha begins kissing his neck.
ASHA
Kali is already in bed.
Her pants drop to the floor.
Her top drops to the floor.
Her undergarments drop to the floor.
SURYA
Lunatics have the best sex.
They passionately kiss.
INT. ASHA AND KALI’S APARTMENT - KALI’S BEDROOM - NIGHT
Kali tries to type at her laptop on her desk, but stops when she hears the passionate sounds of Asha and Surya.
She walks to her door, exits into the hallway...
INT. ASHA AND KALI’S APARTMENT - HALLWAY - NIGHT
Kali follows the sounds.
The bedroom door is cracked slightly. Kali gently nudges the master bedroom door open.
INT. KALI AND ASHA’S APARTMENT - BEDROOM - NIGHT
The bathroom door is open.
Kali watches Surya and Asha.
Kali is in a trance.
Surya looks towards the door.
Kali darts away, scurries back to her room.
Surya, covered in a towel, comes to the door, investigates, then closes the door.
INT. APARTMENT - MORNING
Outside the window, the sun rises.
The sound of shower from the bathroom door fills the room.
Asha exits her bedroom, walks past the bathroom, acknowledges the shower running inside. She walks into the kitchen to fix some coffee.
Surya comes out moments later.
SURYA
I’ll be running around today.
He grabs a briefcase by the door.
Asha notices that Kali’s bag is there.
Surya rushes over to her, kisses her, leaves.
Asha sips her coffee, looks out the window, relaxed, smiles.
Asha goes back to her bedroom.
She exits to the living room, looks at the bathroom door, the shower is still running.
Asha places her coffee on a table, walks over to the bathroom, stops.
She knocks.
ASHA
Hey, I’m getting ready to leave.
The house is silent, but for the sound of the shower.
Asha’s facial expression transitions to concern.
ASHA
Look, I’m sorry about Linda. She won’t be coming over again.
Beat.
ASHA
Kali?
Asha turns the door knob, it’s unlocked.
ASHA
I’m coming in.
INT. BATHROOM
The shower curtain is closed, the shower runs full blast.
Kali’s left leg dangles over the side of the tub.
Asha cautiously makes her way over.
ASHA
Kali... Are you ok?
Asha reaches the tub, stops.
ASHA
Kali, this shit is not funny.
Asha snatches the shower curtain open.
Her eyes widen with fear.
She drops to her knees, screams, cries.
Kali’s limp body lay motionless in the tub. Her eyes possess a blank stare, blood paints the back wall courtesy of a single bullet hole in her head.
INT. ASHA AND KALI’S APARTMENT - LIVING ROOM - DAY
Uniformed police officers and forensics crew fill the apartment.
Asha and Surya sit on the sofa as the officers do their respective jobs.
DETECTIVE THOMAS, (40s), South Asian, dark complexion, receding hairline, unshaven, a bit overweight, walks in.
He sits in a chair across from Surya and Asha.
He presents his badge.
DETECTIVE THOMAS
I’m detective Thomas. You must be Asha? And you are Surya?
Asha and Surya nod their heads.
DETECTIVE THOMAS
I’m very sorry for your loss.
Asha chokes back a tear.
Beat.
DETECTIVE THOMAS
I need to ask this. Correct me if I’m wrong. You didn’t hear a gunshot? Nothing out of the ordinary that night?
ASHA
No, we didn’t hear anything. I just found her twenty minutes ago.
Detective Thomas pulls out a small pad, writes down notes.
DETECTIVE THOMAS
Do you know of anyone that may have wanted to hurt her?
ASHA
No.
DETECTIVE THOMAS
Any weapons in the house.
SURYA
No.
Asha glances to Surya for a moment, then quickly back to the detective.
Detective Thomas tucks the small pad into an outside blazer pocket.
Detective Thomas looks back to the door, stands, walks over, investigates.
Asha and Surya watch in silence.
Detective Thomas walks over to the window, checks it.
DETECTIVE THOMAS
There was no forced entry. Nothing was stolen?
Asha stands.
ASHA
What are you implying?
DETECTIVE THOMAS
I’m just doing my job. I’ll be in touch.
Surya stands as well. Detective Thomas reaches into his blazer pocket, offers his card to both of them.
Surya takes one from his hand, Asha does not.
Detective Thomas nods, then places the card on the coffee table.
DETECTIVE THOMAS
Don’t hesitate to call me if you find out anything.
EXT. ASHA AND KALI’S APARTMENT BUILDING - NIGHT
A single WINDOW illuminates in the building.
INT. ASHA AND KALI’S APARTMENT - KALI’S ROOM - NIGHT
Asha enters the room, she looks around at the familiar surroundings. Shelves line the wall, filled with books.
Asha sighs in despair.
ASHA
How could this happen?
She heads to Kali’s bed.
Asha lies down, grabs a pillow, and holds it close.
She feels something hard underneath the pillow.
Asha sits up, reaches into the pillow case, pulls out a journal with a purple covering.
She runs her fingers along the cover, flips it open, reads it.
KALI (V.O)
Asha never believes anything I ever say.
Asha wipes a tear from her eyes.
KALI (V.O.)
My play ‘The Solitude of the Stars’ is missing something. I refuse to let my masterpiece be incomplete.
Asha turns the page.
KALI (V.O)
My only wish is that when it is complete Asha comes to see it.
A feeling of regret washes over Asha.
She flips through a few more pages. Stops on a page, reads.
KALI (V.O.)
Asha, if you’re reading this, I’m probably dead,--
Asha sits up abruptly in shock.
KALI (V.O)
Asha, the play holds the answer. Find the play.
Asha’s eyes widen.
Asha picks up the journal, studies the page.
She begins to flip through the journal again, a flyer falls out with writing in purple boucherie font.
INSERT: FLYER
THEATER FOR THE INSANELY STABLE -
333 Magic Street, Atlanta, GA.
RECOVERY THROUGH THEATER - NOT MEDICATION.
BACK TO SCENE
INT. SURYA’S OFFICE - DAY
A large mahogany desk sits in the middle of the office. Books and plaques line the wall.
Surya, seated behind the table closes a drawer, locks it.
A door shuts inside the apartment.
Surya hurriedly opens his laptop, begins to type something.
The doorknob turns, Asha enters. She sits on a chair facing Surya’s desk.
ASHA
What do you think about the progress of this case?
SURYA
I think we have to let the detective do his job.
Asha studies her husband.
SURYA
I know this is hard for you.
Asha scoffs.
Surya gathers himself as not to say something he would regret.
There is a brief moment of silence between the two of them.
Surya stands, walks over to Asha, rubs her arm in an effort to comfort her.
ASHA
I feel like I’m the only one who cares about this.
SURYA
That’s not true.
Asha stands to her feet, walks to the window, crosses her arms, gazes out.
ASHA
Isn’t it though? You seem so fucking calm and unbothered.
SURYA
You have to let the police do their job. You can’t solve Kali’s murder, Asha.
Asha turns abruptly, Surya wraps his arms around her.
She fights him for a moment.
ASHA
Let me go!
Surya squeezes her in his arms.
SURYA
Babe you have to let this play out.
Asha submits, crying, breathing heavily.
Asha’s head is buried in Surya’s chest, he strokes her hair to console her as he looks out the window.
Asha pulls back collecting herself, Surya kisses her on the forehead.
Asha gives a half-hearted smile - all that she can muster in the moment at least - and leaves the room.
EXT. HALLWAY - DAY
She pulls the flyer from her pocket, stares at it.
INT. THEATER - NIGHT
An old theater has been repurposed for living quarters, however it still maintains remnants of it past life.
An auditorium with a stage lay still, and empty.
INT. HAKIM’S BEDROOM - NIGHT
There are cobwebs in the corners, old wooden floors, and dated furniture.
HAKIM, (60s) Palestinian, Middle Eastern accent, with a gray beard sits in a vintage Chesterfield Wingback Chair, reading Memories, Dreams, Reflections by Aniela Jaffe and Carl Jung.
A CLOWN, (30s) wears worn polka dot costume. He has purple hair, and dons traditional clown shoes. He taps Hakim on the shoulder.
Hakim turns around, finds himself face to face with the Clown.
He grabs his chest and leaps from the chair, dropping his book.
The Clown has a British accent.
CLOWN
You killed her, didn’t you, you sly bastard?
HAKIM
Go to hell!
The Clown looks around.
CLOWN
Have you seen this shit hole? I’m pretty sure I’m already there.
In the dim aura of the room, the Clown morphs into several human shaped shadows, they lurk in a corner with malevolent stillness.
Hakim freezes in fear, stares at them,.
HAKIM
I’m not afraid of you!
The Clown/Shadows let out a haunting laugh.
CLOWN/SHADOWS
Let’s put that to the test, old bean!
INT. THEATER - MARY’S ROOM - NIGHT
The room is small, dark, with a dim ceiling light.
MARY (30s) Asian, petite, pixie cut, sits on her bed.
She reaches under her pillow, pulls out a large, serrated knife.
Mary walks over to the door, unlocks it, opens it slightly, and peeks out.
Hakim sprints past the door, he looks as though he’s running for his life.
Mary quickly slams the door, locks it. Her hands tremble, the knife shaking.
She breathes heavily while clutching the knife, ready for possible combat.
INT. THEATER - KITCHEN - NIGHT
A cast iron skillet lay atop the counter.
Hakim grabs it.
He swings the pan ineffectually through the air at the shadows.
Hakim flees into another room.
The shadows follow.
INT. THEATER - LOBBY - NIGHT
The room has a marble floor.
Hakim swings the pan in the air repeatedly, at nothing.
He collects himself, attempts calm and dignity.
INT. THEATRE - BATHROOM - CONT’D
Hakim flips on the light.
The bathroom light is bright, reveals a purple colored wall.
He looks into the mirror.
He sees the reflection of the Clown behind him. The Clown loudly blows through a purple vuvuzela.
Hakim runs out of the bathroom, drops the skillet to the floor.
EXT. THEATRE - HALLWAY - DAY
Hakim rushes down the hall in panic.
The Clown follows him, and jeers.
CLOWN
Murderer, murderer!
The Clown howls like a banshee from hell, appears in front of him.
CLOWN
How could you do that to your wife?
The Clown waves his hands, a polaroid photograph appears in his hand. He throws it at Hakim. It falls to the floor.
Hakim drops to the floor, crying.
CLOSE ON PHOTOGRAPH;
The photograph reveals Hakim with his wife, a beautiful woman, her head covered by a scarf.
CLOWN
I’m sure you get lonely sometimes. So just stick a gun in your mouth and blow yourself.
The Clown bursts out a loud faux laugh.
CLOWN
Get it? Because your wife can’t. Because you murdered her.
He laughs hysterically.
CLOWN
(condescending)
Are you afraid?
A chicken suddenly appears in the corner of the room.
CLOWN
A friend of yours?
The Clown bursts out laughing.
He lays next to Hakim on the floor, places a pistol in his hand, squeezes it close.
CLOWN
You can end it now, get rid of me for good.
Hakim hesitates, then takes the pistol from the Clown’s hand, points it to his temple, and pulls the trigger.
INT. THEATER - MARY’S ROOM - DAY
Mary trembles, holds the knife so tight that her hands are pale.
EXT. THEATRE - HALLWAY - DAY
The gun CLICKS, once, twice, three times, the chamber is empty. The Clown laughs so hard he falls over, holds his stomach in delighted agony.
CLOWN
Try this.
The Clown takes out a toy gun, pretends to shoot himself in the head.
CLOWN
Bang!
He falls to the floor, pretends to be dead, tongue hanging out of his mouth. He suddenly convulses for a moment, then stops.
CLOWN
I’m fuckin’ dead!
The Clown lays motionless. Suddenly, he jumps up.
CLOWN
Now that’s how you do that shit!
Hakim, defeated, bawls in anguish. The Clown laughs.
CLOWN
Never forgive yourself, Hakim. She sure as fuck won’t.
The Clown and the chicken disappear.
Hakim weeps, cowers in the corner.
EXT. KALI’S FUNERAL - DAY
A preacher dressed in a black suit pats Surya on the shoulder, walks off.
Rain is at a moderate pace as Asha and Surya sharing an umbrella watch Kali’s body being lowered into the ground.
Hakim, watches from a distance, without an umbrella he is soaked from the rain.
Surya places his free arm around Asha.
The rain stops.
Surya closes the umbrella.
Hakim walks up next to Surya and Asha, stares at them.
They both notice Hakim.
Hakim says nothing.
SURYA
I’m sorry. Can I help you?
HAKIM
I was a friend of Kali’s.
ASHA
Kali didn’t have any friends.
HAKIM
That couldn’t be further from the truth, we were all very fond of her.
PREACHER (O.S.)
Surya!
Surya holds up a finger in the direction of the preacher.
SURYA
I’m not going far. I’ll be right over here.
Asha nods.
Asha and Hakim study each other.
HAKIM
You look just like her.
ASHA
Who are you exactly?
HAKIM
My apologies... I am Hakim, the drama therapist.
ASHA
Oh, from the theater group? Thank you for coming.
HAKIM
The others could not come, but I know that they are mourning in their own ways.
ASHA
We all are... thanks again for coming.
Asha begins to walk away.
Hakim grabs her by the arm.
Shocked, Asha turns to him, rips her arms away.
ASHA
Excuse me?
HAKIM
I’m sorry, but it’s very important that we talk.
Asha takes a deep breath, gathers herself.
ASHA
Look man, today is not the day. I just buried my sister that was murdered in our house. So fuck off please.
Asha begins to walk away.
HAKIM
Kali wanted you to be present at our play.
Asha stops dead in her tracks, turns to Hakim.
ASHA
What did you just say?
HAKIM
Kali’s play... The Solitude of the Stars.
Asha walks over to Hakim.
ASHA
Do you have a copy of it with you?
HAKIM
No, it’s back at the theater.
ASHA
I need to see it,.. today!
Hakim takes a step back.
HAKIM
I’m sorry, the problem is it’s not complete. It’s missing something.
ASHA
I need to read it... today!
HAKIM
The play, incomplete as it is, belongs to the theater now. Unfortunately it has essentially become Kali’s swan song. I would need every member’s permission before letting anyone view it.
ASHA
Then let’s get their permission.
Beat.
HAKIM
That could prove to be difficult. We are a unique collection of individuals.
ASHA
Kali would talk about this group, but never in great detail. Can you tell me more?
Hakim is almost hesitant, but continues.
HAKIM
We all have schizophrenia, just like your sister did.
ASHA
We? You have schizophrenia?
HAKIM
Yes, I never advised the families of my condition. If I did, they, including you, would have never trusted me with their loved ones.
Asha is disturbed, but shows a level of understanding.
ASHA
That’s unethical, but at this point it’s too late to matter. Continue.
Hakim motions to a nearby bench.
They walk over together, sit.
HAKIM
As I was saying we are a unique group.
INT. THEATER - BEDROOM - DAY
Everything in the room is of the highest quality in terms of perfume, sculptures, paintings, etc.
PEACHES, (20), beautiful Mexican American, rolls off a bed with purple comforters.
She wears purple lingerie.
She leaves a large, overweight, mustached Italian man, ANTONELLI, (48), snoring on the bed..
HAKIM (V.O.)
There’s Peaches. She has a room in the theater. We all have a room there... Peaches is on a mission.
Peaches walks to a mirror.
HAKIM (V.O.)
She believes she’s Aphrodite, the goddess of sex and love. That’s why she has sex with everybody... and anybody... she will continue this until the day she finds true love.
ASHA
So... she’s a slut?
Antonelli wakes, sings in a heavy Italian accent.
ANTONELLI
Temptress, oh, Temptress!
Peaches poses in front of a mirror, admiring her rather perfect buttocks and breasts.
She turns to Antonelli, now seated on the bed.
PEACHES
Come here.
Antonelli jumps off the bed, hurries over. Peaches pulls his face within inches of hers.
Antonelli breathes heavily.
PEACHES
You are not my true love, Antonelli. You’re just my bitch. Make linguini for dinner.
Peaches pushes Antonelli away.
Antonelli nods in obedience, scurries from the room.
Peaches continues to admire her remarkable physique in the mirror.
EXT. PARK - DAY
Children play near some swings.
Pigeons feed nearby.
A little girl plays with a puppy as her mother ushers them along a path.
CAIN, (30), Caucasian, very handsome, clutches his bible, steely accent.
SATAN, in a female voice, echoes around him, emanating from the ether.
SATAN (V.O.)
I know what you’re going to do, Cain. You don’t know it yet, but you’re going to sin.
HAKIM (V.O.)
Cain is homeless. He is also tortured by Satan, who constantly warns him of a sin he will commit in the future.
Cain’s eyes flutter rapidly, as if he’s having a seizure.
INT. HELL
Bound by chains, Cain screams in everlasting torment, As flames envelope him, the voices and visages of demons congregate around him.
EXT. PARK - DAY
Cain stands slowly from the bench, steps up onto it, looks to the children in front of him.
HAKIM (V.O.)
So he finds comfort in the Bible.
Cain opens his Bible, reads from it.
CAIN
So when they continued asking him...
SATAN (V.O.)
You will belong to me, Cain.
Cain grits his teeth, focuses on the Bible.
CAIN
He lifted up himself and said unto them.
SATAN (V.O.)
You will burn for your sin!
Cain shakes his head violently, speaks with more conviction.
CAIN
‘He that is without sin among you, let him first cast a stone at her!’
His gaze is one of vicious madness... or divine insight.
CAIN
I rebuke you, Satan!
SATAN (V.O.)
Your sin will be too damning to ever rebuke me, Cain.
Cain wears a look of defeat, and lowers the Bible.
INT. THEATER - BEDROOM - DAY
Mary sharpens a butcher knife with a sharpening rod.
A knock on the door interrupts her.
She hides the knife and rod under a pillow.
LUNO, a tall purple alien, enters the room.
HAKIM (V.O.)
Mary’s a tragic case. She hasn’t been outside the theater in a year. Her hallucination tells her everyone despises her enough that we will all shoot her the moment she steps out of the theater.
Mary looks at Luno.
MARY
Why do they hate me so much that they would shoot me, Luno?
Luno speaks in an alien language.
LUNO
You are safe here.
Luno approaches Mary. They kiss.
In the background, a saxophone, cello and violin play a tune...
EXT. THEATER - COURTYARD - DAY
The courtyard is the largest part of the theater, simple, relaxing, with a fountain in the middle.
ASHA (V.O)
Tell me about Rameses.
RAMESES,(35), African American, wears broken glasses while both arms are spread out in supplication to the sun and sky.
The face of Kali appears in the center of the sun.
THE SUN (V.O.)
Will you complete Kali’s play?
RAMESES
I cannot.
THE SUN (V.O.)
Will she complete Kali’s play.
RAMESES
She has to.
SUN (V.O.)
Play your violin... for the memory of Kali.
HAKIM (V.O.)
They say love is madness and Rameses was very deeply in love with Kali. It was a strange love. We could tell they both loved each other. They just never had the courage to tell each other.
Rameses plays beautifully.
SUN (V.O.)
You loved her, didn’t you?
A single tear runs down Rameses cheek. He looks at the image of Kali within the Sun.
EXT. CEMETERY - DAY
Asha lays her hand atop Hakim’s, squeezes.
ASHA
Hakim, I really need to read that play.
Hakim politely pulls his hand away, stands.
HAKIM
I’m sorry, Asha. But I have no authority to show you, again the play belongs to the theater. You would need the group to vote on that matter.
Asha stands facing Hakim.
HAKIM
Why don’t you come to the theater, explain your predicament? Maybe they’ll agree.
ASHA
If that’s what it takes. When can they vote?
HAKIM
I’ll inform them upon my return. You should come tomorrow night, eight pm. We’ll be ready then.
Hakim walks away, stops, turns to Asha.
HAKIM
I almost forgot to tell you the address.
ASHA
No need, I know where it is.
Hakim nods, turns walks away.
EXT. THEATER - NIGHT
Cain stands at the door, and fumbles for his key.
SATAN (V.O.)
Sinner.
CAIN
I will never become.
SATAN (V.O)
But you will become.
Cain blinks wearily.
QUICK FLASH/ INT. HELL
Cain, in slow motion, runs down the middle of a desolate road, his wrists are shackled, flames are on either side of him. The voice is relentless as it grows louder.
SATAN
Sinner! Sinner! Sinner!
END FLASH
Cain collapses to the ground.
He turns his head to the side, gazes at the door to the theater.
INT. SEDAN CAR - MAGIC AVE - TRAVELING - NIGHT
Peaches and her sister, SENATOR GARCIA, (33), are in the back. The car is driven by a uniformed chauffeur, JEFFREY, (64), who’s white as snow.
Antonelli is in the front passenger seat, dressed sharply in a suit and tie.
Jeffrey briefly looks at Peaches in his rear view mirror.
Peaches simulates a blow-job, winks at Jeffrey.
GARCIA
Eyes on the road, Jeff.
He obeys as the senator looks back to Peaches.
GARCIA
You don’t think this behavior is getting old?
PEACHES
Not as old as you’re getting, sis.
Jeff hides a smile.
GARCIA
I’m a senator, for God’s sakes! I found another one of your ridiculously salacious ads online.
PEACHES
I’m just trying to find true love. That’s my mission in life.
GARCIA
True love? Your mission in life is to fuck.
Peaches turns to Garcia, annoyed, then winks back at Jeffrey.
Garcia grumbles, returns to her tablet.
EXT. THEATER - NIGHT
The sedan pulls in front of the theater. The back door of the sedan opens, Peaches gets out. They head for the entrance.
INT. SEDAN - NIGHT
As the car pulls away, Jeffrey follows Peaches’ ass with his eyes. Garcia leans in.
GARCIA
Keep your eyes on the road, pal. Not the little whore.
JEFFREY
Yes, Ma’am.
EXT. STREET - NIGHT
A car races through the street.
INT. CAR - TRAVELLING - NIGHT
YOLANDA, (50s), African American, Rameses’ mother, drives.
Rameses sits in the back seat, his violin case rests on his knees.
Yolanda looks at him through the rear view mirror.
YOLANDA
You take your meds today?
RAMESES
They imprison me. Hakim doesn’t believe in medicine.
Yolanda, concerned, focuses back on the road.
RAMESES
It’s helping.
YOLANDA
If you took the meds, you might feel better.
Rameses chuckles.
RAMESES
Better...
Rameses looks out the car window to the overcast sky, he can see the stars through the broken clouds. He sighs.
EXT. THEATER - NIGHT
Yolanda’s car pulls into the curb, beside a street lamp, which illuminates them.
Rameses gets out the car, he clutches his violin case and a duffle bag.
YOLANDA
I’ll pick you up again next Friday.
Yolanda gives him a withering look, then drives off. Rameses looks at the sun, visible to him, even though it is night.
SUN (V.O)
Kali wanted a real man.
RAMESES
Am I not a real man?
SUN (V.O)
Asha needs to complete the play. A man would make sure that happens.
RAMESES
How do you know all this?
SUN (V.O)
I know all Rameses, it would be wise to take heed of my words.
RAMESES
Then that settles it, I will give Asha the play.
SUN (V.O.)
NO!
Rameses throws his arms in the air.
RAMESES
You just said she has to finish the play!
SUN (V.0)
Can’t you see, Rameses? She’s not ready.
Rameses relaxes his arms.
RAMESES
But how will I know she is ready?
SUN (V.O.)
No one is ever ready, until they are. You will know when the time comes.
Rameses peeks into his duffel bag.
CLOSE on a REVOLVER atop a typed version of the play.
Rameses looks back to the sun, burning bright in the dark night sky.
Kali’s image superimposes over the face of the sun momentarily, then dissipates as the sun descends over the horizon.
RAMESES
What are you doing to me?
SUN (V.O.)
I’m helping you see the truth.
Rameses takes out a cigarette, lights it, inhales deeply.
Luno watches from a second floor window.
EXT. THEATER - NIGHT
Asha pulls up in an SUV parked along the curb.
INT. SUV - NIGHT
She studies the theater. The exterior is vintage and dilapidated.
Asha reaches for the door handle - stops when she sees Rameses, smoking a cigarette in the distance, arguing with himself.
He paces back and forth, head tilted to the sky.
Asha continues to watch until Rameses flicks his cigarette, walks inside.
Asha rests her head on the steering wheel, closes her eyes.
ASHA
What the fuck am I doing here.
Hakim knocks on the passenger window, stares at her.
Asha jumps.
ASHA
Fuck!
Beat.
Asha rolls down her window.
HAKIM
Asha! I’m glad you came!
ASHA
Dude, you gotta stop this creepy entrance shit.
Hakim confused, opens the door for her, smiles.
ASHA
I have a knife and pepper spray in my purse, just so you know.
HAKIM
I can assure you that you won’t need to use it.
Asha steps out of the SUV.
She walks with Hakim toward the theater.
EXT. THEATER - NIGHT
At the entrance the Clown sits in a rocking chair holding purple balloons - he smiles, revealing yellow, rotten teeth.
He rocks back and forth.
The Clown and Hakim lock eyes.
CLOWN
She’s going to figure out what you’ve done. I’ll solve your problem.
He stands abruptly, pulls a large knife, throws it at Asha.
Hakim reacts at light speed, pushes Asha into the door.
She stumbles, almost falls.
ASHA
Jesus! What the fuck!
The knife impales into a tree a mere feet from where Asha was standing.
Hakim rushes in, closes the door.
INT. THEATER LOBBY - NIGHT
HAKIM
Sorry. There was a huge hornet.
Asha glares at him, but nods.
ASHA
Well, thanks... I think.
HAKIM
Let’s go inside, shall we?
The Clown howls with laughter, then disappears abruptly, with the knife in the tree.
EXT. THEATER COURTYARD - NIGHT
Asha and Hakim stroll out. Old fashioned street lights line the circular space, some flicker, some are broken but the light is sufficient.
Cain, Peaches and Antonelli are already there excluding Rameses and Mary.
Cain and Peaches sit on stone benches and chairs. Antonelli stands behind Peaches.
Mary is seated by an open window looking out to the courtyard.
HAKIM
Everyone, this is Kali’s sister... Asha.
Asha gives an awkward wave.
ASHA
Hello everyone.
Rameses walks out from the lobby into the courtyard, drops a coffee mug he’s carrying upon seeing Asha.
It SHATTERS on the concrete below.
The group is silent as they look to Rameses.
Rameses gathers up the broken pieces of mug.
HAKIM
I believe I can speak for us as a whole when I say Kali was family.
The group members nod.
HAKIM
With that being said I feel Asha is family too and she has a request.
The group members wait patiently, seriously.
Asha studies them.
Rameses begins to stand, moves towards the room he exited from with the shards of the coffee mug.
ASHA
I’d like to read my sister’s play.
RAMESES
No!
Rameses drops the shards, picks them up.
Everyone turns to Rameses again.
HAKIM
Rameses are you alright?
RAMESES
Of course, just clumsy.
Hakim turns back to the group.
HAKIM
Thoughts everyone?
CAIN
I must think about this.
Cain thinks for a minute, looks up to Hakim.
CAIN
It does no harm.
HAKIM
I don’t think so either. Anyone have a problem with Asha reading our play?
Hakim turns to face the direction of Mary.
She gives a thumbs up.
Peaches shakes her head.
Rameses stands to his feet.
RAMESES
She is not ready.
The group looks to Rameses confused.
Asha walks over to him, Rameses takes a few steps back, doesn’t make eye contact.
ASHA
Are you Rameses?
RAMESES
I am.
Asha steps forward, Rameses looks away.
ASHA
I need to read the play. Kali needs me to read it.
RAMESES
But it’s not complete, and --
Rameses stops himself.
He looks towards the sky to the sun burning bright among the stars.
SUN (V.O.)
Be careful with your words Rameses.
Rameses leaves them, walks off.
HAKIM
We’re sorry, Asha. But if Rameses votes against you reading it, then you’ll just have to wait.
ASHA
Wait! Can’t you make an exception? He’s talking to the sky for God’s sake!
HAKIM
Unfortunately, no. We have rules in our group. We vote, like a democracy, and majority rules.
ASHA
But why wouldn’t Rameses want me to read it?
HAKIM
He must have his reasons. I can assure you that once whatever the issue may be is fixed you can read it.
ASHA
This is bullshit!
Asha walks away to gather her thoughts, she makes a one hundred eighty degree turn.
ASHA
How the hell do you fix something if you don’t even know what’s wrong?
HAKIM
I’m sure Rameses will figure it out soon. He cared for your sister dearly. For that reason I believe he will not waste any time.
Hakim studies Asha’s urgency.
HAKIM
You’re welcome to stay until he does.
ASHA
This is stupid. My sister wrote the play, it belongs to her.
HAKIM
But it doesn’t belong to her anymore because she is no longer here. It’s the theater’s now.
Asha storms off.
CAIN
I need a smoke.
Cain, Peaches, and Hakim gather around a fire pit.
Asha joins them moments later, followed by Rameses who has a lit cigarette in hand.
Cain, and Hakim smoke.
Mary continues to watch from the window.
The group sits on folding chairs. Antonelli still stands behind Peaches’ chair.
Asha looks around, notices how Antonelli admires Peaches.
ASHA
Is that your father?
PEACHES
No. He’s just my bitch.
Asha scrunches up her face, looks away.
She watches Mary in the distance who looks lost in her own world.
Rameses looks up, the sun BLAZES. The image of Kali sears through the sun’s form again, but then evaporates quickly.
THE SUN (V.O.)
Good, Rameses. Do not give in.
Rameses opens his arms, closes his eyes.
Everyone except Asha looks at him sympathetically.
Cain takes out a packet of cigarettes from a pocket, takes the last cigarette out, rests it on his lips, does not light it. He looks to Asha.
CAIN
You have a light, lady?
ASHA
I don’t smoke.
Peaches nods emphatically.
PEACHES
Good for you! I’d rather fuck myself silly with a chainsaw than destroy my lungs with one of those death-sticks.
Antonelli chuckles.
Hakim offers Cain a lighter.
Cain lights the cigarette, returns the lighter to Hakim.
Peaches looks to Asha.
PEACHES
I’d do you in a New York minute.
ANTONELLI
She really would.
Asha offers an awkward, demure smile.
PEACHES
Your husband too.
Asha’s eyes widen.
ASHA
Excuse me?
PEACHES
What? Kali said he’s great in bed... Surya, right?
Asha stands to her feet.
ASHA
How’d you--
PEACHES
Kali said he fucks like a street dog! And I like it rough most of the time so I was really happy for her.
Peaches smiles.
Rameses looks uncomfortable.
Hakim looks on concerned.
ASHA
What did you say?
Peaches’ smile fades to a more serious demeanor.
PEACHES
I have a secret, but don’t we all.
She stands to her feet begins to walk away, snaps her fingers Antonelli runs to catch up with her.
ASHA
(to herself)
What the fuck have you gotten me into, Kali?
INT. THEATER - LOBBY - NIGHT
Luno appears behind Mary. Puts his hands on her shoulders.
LUNO
They want you to step out into the courtyard.
Mary smiles.
MARY
Silly you know I would --
Mary pauses for a moment, tries to think.
Luno leans over to Mary.
LUNO
Silly, you know I would never do that.
Mary bucks her eyes, mouths the word “sorry”.
Luno stands back upright.
MARY
You know I would never do that.
They gaze into the courtyard together.
EXT. THEATER - COURTYARD
Asha looks at the window where Mary stands - apparently talking to herself.
INT. THEATER - LOBBY - NIGHT
Luno’s purple hand grasps Mary’s hand from behind.
MARY
They hate me... don’t they?
LUNO
It doesn’t matter, because I love you.
Mary blushes.
LUNO
Would you like to dance?
Luno’s hands move gently to her hips, remain there.
MARY
Luno, thank you for accepting me for who I am.
A saxophone, violin and cello play from someplace in the ether, a jazz piece.
Mary and Luno dance in the courtyard entrance.
EXT. THEATER - COURTYARD - NIGHT
Peaches walks back over, wipes her mouth, watches Mary dance by herself.
Antonelli follows a second later fumbling with his zipper.
PEACHES
There goes Mary again. Dancing with E.T.
The group watches as Mary spins and dances gracefully alone.
INT. THEATER - NIGHT
Luno pulls Mary toward the entrance of the courtyard. Mary freezes, looks through the open door.
MARY POV
She has a fit of vertigo.
BACK TO SCENE.
MARY
No, they’ll shoot me.
LUNO
I doubt Rameses even has bullets.
Mary stops dancing.
MARY
What did you say?
Luno smiles.
EXT. THEATER - COURTYARD - NIGHT
They all stare intrigued as Mary argues with herself.
PEACHES
Look, he must’ve told her he’s going home.
She bursts out in laughter.
INT. COURTYARD ENTRANCE - NIGHT
LUNO
Yes, Rameses has a gun but I don’t think he has bullets. Why don’t you go ask him.
Mary’s eyes well up with tears.
MARY
Why are you doing this?
Beat.
Luno bursts out in laughter.
LUNO
I was just testing you. You passed.
Mary flees back into the theatre.
Luno’s laughter echoes.
EXT. THEATER - COURTYARD - NIGHT
They all turn to the fire pit.
PEACHES
Yep! She’s fucking nuts.
Asha is bewildered.
INT. THEATER - MARY’S ROOM - NIGHT
Mary sits on her bed, she cries.
Luno appears by her bed.
He sits beside Mary, holds her hands, and then kisses her.
INT. THEATER - LOBBY - NIGHT
The group, followed by Asha, return to the theater lobby.
They can all hear an intermittent thudding from Mary’s room.
PEACHES
What the hell is Mary doing?
Mary comes out from her room.
PEACHES
Still waltzing with Luno?
MARY
If I never step outside, you can’t hurt me, can you?
PEACHES
You’re crazy, Mary!
MARY
Why do you hate me so much?
Peaches laughs. She turns to Cain.
PEACHES
You’re a jesus freak, she’s an alien freak... What a party!
HAKIM
Peaches. Be more understanding.
Mary breaks down into tears - lost, inconsolable.
MARY
He... tells me the truth... about all of you.
PEACHES
He’d help you more if he stuck his cock in you. Oh wait... he just did, didn’t he?
HAKIM
Peaches. Jesus.
Hakim hands Mary a tissue.
PEACHES
She’s a crazy bitch, Professor.
HAKIM
Perhaps you could refrain from being so rude and cruel if front of our guest?
Peaches looks to Asha.
PEACHES
Whatever. I’m simply the messenger. The only honest cunt of the lot of you.
Rameses goes to the window, looks out at his imaginary bright sun.
RAMESES
I loved her.
SUN (V.O.)
She loved you.
ASHA
What did you say?
Rameses continues to look out the window.
RAMESES
I loved her.
He turns from the window, looks at Asha.
RAMESES
I... loved her.
Asha approaches him, looks in his eyes.
ASHA
If you really loved her, why did you vote against me?
RAMESES
Because you need to complete Kali’s play.
Asha stares at him in disbelief.
ASHA
How am I supposed to fuckin complete a play I’m not allowed to read! This is crazy!
RAMESES
Isn’t that life’s paradox?
Hakim touches her shoulder, offering to lead her away.
HAKIM
Are you alright?
ASHA
This is really frustrating... He’s not well... and you’re respecting his right to withhold evidence? Do you want me to get the police involved? Because I know the detective on this case.
HAKIM
Even the mentally ill have rights that must be respected.
ASHA
This is the craziest shit I’ve ever seen!
Asha glares at Rameses who continues his conversation with the sun.
Hakim leaves.
Asha sighs.
ASHA
I need to find the bathroom.
INT. THEATER - RESTROOM - NIGHT
Asha washes her hands, looks in the mirror. The reflection of the key on the necklace glistens. She abruptly clutches it.
She closes her eyes... Peaches suddenly opens the door, enters, closes the door behind her.
ASHA
Can I help you?
Peaches quickly approaches Asha.
Asha backs up against the sink.
PEACHES
Asha, I can help you.
Peaches holds a wet purple flower, she runs it from the base of Asha’s neck slowly down to her chest and stomach.
Asha’s shirt is marked with wet tracks from the flower.
PEACHES
You want to know what’s so special about Kali’s manuscript, don’t you?
Peaches leans in playfully.
ASHA
Yes...
Peaches slowly and seductively tries to open Asha’s shirt button.
PEACHES
Just one kiss... and I’ll tell you.
Asha pushes her away, looking uncomfortable.
ASHA
No thanks.
Peaches chomps her teeth at Asha flirtatiously.
Peaches giggles as she makes her way out of the bathroom.
INT. THEATER - HALLWAY - NIGHT
Asha moves quickly, Peaches and Antonelli walk behind her.
Peaches places the flower in a vase with other flowers of various colors.
INT. THEATER - LOBBY - NIGHT
Asha notices Hakim by the window, a tear flows down his face.
He wipes it away. Asha walks over to him.
ASHA
You alright?
HAKIM
No.
ASHA
I’m upset myself. Rameses is not making it easier.
HAKIM
You may think we are strange, Asha. We just see the world differently. Are you Hindu, Asha?
ASHA
My family is Hindu, but I married into a Marthoma Christian family.
HAKIM
Do you believe in reincarnation.
ASHA
Honestly,.. no.
HAKIM
I’m a Muslim, not the religious type myself, but the idea of reincarnation is quite comforting.
ASHA
What’s going on, Professor?
HAKIM
I need to tell someone Asha. The secret burning in my soul, but nobody will understand, so I stay quiet.
ASHA
Tell. Me.
Hakim wipes another tear from his chin.
HAKIM
In due time.
Asha hesitates.
ASHA
Can I stay here for a few nights?
HAKIM
Of course, but why?
ASHA
Kali thinks I never believed her. This is the least I can do for her is get to know her friends.
HAKIM
Let me show you Kali’s room.
INT. THEATER - KALI’S BEDROOM - NIGHT
Hakim turns on the light,
A simple, comfortable bedroom, with an end table, a small TV on a TV desk. The bed has purple comforters. There is a clock that shows 7:00 pm.
HAKIM
This was Kali’s room.
INT. THEATER. KITCHEN - NIGHT
Peaches, Antonelli and Mary are in the kitchen, Mary stands by the window.
Peaches looks at Mary.
PEACHES
You’re not the one.
MARY
What?
PEACHES
You’re not the type that I can fall in love with.
MARY
What’s wrong with me?
PEACHES
You’re crazy, you see aliens and shit.
MARY
I’m really not crazy. I have a Ph.D.
PEACHES
More like PFC.
MARY
What does PFC mean?
PEACHES
Pretty Fucking Crazy.
Peaches becomes sad and serious, she grabs a snack from a bowl on the table.
PEACHES
Quiet... I think she could be outside.
Mary, uncharacteristically confident, stares through the window.
MARY
You’re just paranoid.
INT. THEATER - RAMESES AND CAIN’S BEDROOM - NIGHT
Rameses and Cain sit on either side of their bed. Rameses reads Jung.
CAIN
Why won’t you let Asha read the play? If there is a clue, she needs to know.
RAMESES
She’s not ready... and because the play is incomplete the way Kali wrote it.
CAIN
You are a strange one, Rameses.
RAMESES
Asha knows everything.
CAIN
You’re very strange... Do you know that? Why do you always speak in riddles? It’s devil talk!
RAMESES
It is Asha’s ignorance that is strange to me. Why can’t she just complete the play?
Cain chuckles.
CAIN
You realize that makes no sense?
RAMESES
It makes perfect sense to me.
CAIN
I don’t think anything makes sense to you.
Cain takes out a cigarette, puts it in his mouth.
CAIN
They are darkened in their understanding, alienated from the life of God because of the ignorance that is in them, due to their hardness of heart.
SATAN (V.O.)
You will soon be a sinner. You are damned to hell.
The cigarette falls from Cain’s lips.
CAIN
Ephesians 4:18.
INT. HAKIM’S ROOM - NIGHT
The room is festooned with balloons and other party decorations. The room resembles a child’s space.
Hakim sits near his open window, smokes his cigarette, reads aloud from a book on the theory of Drama.
HAKIM
A true actor is always in character
The Clown dances, including performing the floss and the hike, to the latest hit song, that is heard out of nowhere.
The Clown stops dancing, the music quietens.
CLOWN
Fuckin’ Asha - she’ll never be ready, will she? Why don’t you kill her - like you killed -
HAKIM
Shut up.
The Clown goes quiet, then giggles.
His strange laugh echoes.
INT. THEATER - KALI’S BEDROOM - NIGHT
Asha opens drawers, closes them, in a frantic search.
She looks under the bed.
She peeps behind the TV desk.
ASHA
Where could she have kept it?
Asha lay in bed, under the comforters.
The clock TICKS 9:00 p.m
Her phone rings.
She picks up her phone, sees its Surya.
She puts phone on speaker.
SURYA (O.S)
Hi, babe.
ASHA
Hi.
SURYA (O.S.)
How are things going?
ASHA
Good.
SURYA (O.S.)
Well, you’re not being very talkative.
Asha is silent on the other end, a tear rolls down her cheek.
SURYA (O.S.)
Asha?
ASHA
A girl here, Peaches, told me something strange.
SURYA (O.S.)
Ok?
ASHA
She said Kali said you fucked like a street dog. Why would she say that?
Surya is silent on the other end.
SURYA (O.S.)
I wouldn’t read anything into that.
ASHA
Why would my sister think that, huh?
SURYA (O.S.)
She had schizophrenia, Asha. She probably saw our relationship and grew sad. She probably knew she could never have that.
Asha sighs.
ASHA
It’s late. I’m going to bed.
SURYA (O.S.)
Okay, good--
Asha hangs up the phone.
INT. THEATRE - KALI’S BEDROOM - NIGHT
Asha sleeps. Luno slips into the room, and holds a huge butcher knife. He hovers over Asha, raises the knife high - about to lunge.
Suddenly, Mary runs in, puts her body between Asha and Luno.
Mary shoves Asha away. Asha wakes up.
ASHA
What the hell?
Mary glares at Luno.
LUNO
You’ll pay for this Mary. I’m the only one who protects you. Can’t you see? They have guns!
MARY
They haven’t hurt me yet.
LUNO
But they will... Hell, I could have Peaches if I wanted. Why am I stuck with you.
He stalks off. Mary turns to Asha.
MARY
I wouldn’t let him do it.
ASHA
Mary, what the fuck?
MARY
Keep your door locked. Good night.
Mary runs out the room, slams the door behind her.
INT. THEATER - LIVING ROOM - DAY
Asha walks in the room the next morning and Rameses glares at her. He huffs and walks away.
Hakim enters.
HAKIM
I hope you had a good night?
ASHA
It had its moments.
EXT. THEATRE - BACKYARD - DAY
Hakim walks out with a bottle of scotch and a glass. He sits on a lounge chair - looks at a flower pot that has some flowers growing in it.
The Clown suddenly materializes in a chair nearby, he also stares at the flower pot.
CLOWN
Those flowers are doing well. Must be that special fertilizer you’re using.
The Clown cackles.
Hakim downs his scotch.
INT. THEATER - MAIN ROOM - DAY
Asha enters the room to find Rameses, seated on the sofa, staring into space.
She sits besides him.
ASHA
Why is it you never told my sister? She could tell you were in love with her.
Rameses stands, walks out the room.
Asha shouts to him.
ASHA
Rameses! I could use the help!
Peaches enters, followed by Antonelli.
PEACHES
If you’re interested in viewing any of the paintings I bought for the theater, Antonelli can show you.
Antonelli gives a slight bow.
ANTONELLI
This way, please.
Hakim and the others enter the front door.
PEACHES
Everyone to the gallery!
INT. THEATER - GALLERY - DAY
Antonelli leads the group to the exhibit.
Rameses arrives as well.
Several famous works hang on contiguous walls in the space.
PEACHES
Excuse me, folks. Cain, please come with me.
She turns, Cain follows.
INT. THEATER - PEACHES BEDROOM - DAY
Cain follows Peaches into the room, Peaches closes and locks the door...
She kisses him abruptly.
CAIN
What do you want from me?
PEACHES
I would think that’s obvious, Cain.
CAIN
Why me?
PEACHES
On the bed, silly boy.
She thrusts him on her bed, straddles him, removes her panties, dangles them in front of his face.
CAIN
The spirit is willing.
He turns her over, almost violently, now on top.
CAIN
But the flesh is weak.
PEACHES
Where’s that from, handsome?
She grabs his hard cock.
CAIN
Matthew, 26. This is it, isn’t it? The moment of my great sin.
He tears off her clothes, undoes his pants, DRIVES himself into her, she lets out an ecstatic moan.
Cain screams in agonized ecstasy, so does Peaches, then she devolves into laughter.
PEACHES
Lunatics have the best sex!
He glares at her, in fear.
INT. THEATER - GALLERY - DAY
Asha studies a painting - JUPITER AND SEMELE by MOREAU.
ASHA
Is there any meaning to this work?
ANTONELLI
Quite simply the most sumptuous expression imaginable of an orgasm.
ASHA
That’s a mouthful.
ANTONELLI
Does it scream at you?
ASHA
Not exactly.
INT. PEACHES BEDROOM - DAY
Cain, still deep inside of Peaches, looks into her eyes, his focus is intense.
CAIN
What are you, really?
Peaches closes her eyes, continues moaning with passion and suppressed orgasm.
INT. HELL - NIGHT
Peaches is nude, seated on Satan’s throne, horns sprout from her head.
PEACHES
You’ve just sinned.
INT. THEATER - PEACHES BEDROOM - DAY
Peaches squirms, moans.
PEACHES
Oh, God. I’m coming!
Cain thrusts uncontrollably, as his own ejaculation commences.
INT. THEATER - GALLERY - DAY
The group can hear a THUMPING from upstairs. They look up.
INT. THEATER - PEACHES BEDROOM - DAY
Cain climaxes, collapses on top of Peaches.
PEACHES
Cain!
INT. THEATER - DINING ROOM - DAY
The dining table dominates the room, antique and wooden.
Cain enters, looks exhausted, followed by Peaches, who looks like a well-fed cat.
They seat themselves.
Asha enters, sits beside Rameses, smiles at him.
The entire group is now dining.
Cain draws a cross on one of the nearby purple napkins.
CAIN
Forgive me, Lord! I have sinned.
MARY
Why are we like this if there truly is a God? If I die today, nobody on earth would come to my funeral.
CAIN
You need to trust God’s mystery, Mary.
PEACHES
I make them all trust in God’s mystery.
MARY
What kind of painting did you show Cain?
PEACHES
Let’s just say... it was fine art.
MARY
I’d would love to see that one day, Peaches.
PEACHES
Oh, why not.
She leans in and LICKS Mary’s face like a friendly lap dog.
Mary cringes. Hakim sighs, annoyed.
HAKIM
Peaches, for fuck’s sake. Why do you do this?
PEACHES
I told you, I’m Aphrodite! I will continue to fuck until I find love.
Peaches looks at Mary, who visibly shakes.
Mary scowls at Peaches.
PEACHES
Mary, what the fuck is your problem?
MARY
Luno said he could have you instead of me. Are you sleeping with Luno?
PEACHES
You’re fucking schizophrenic, Mary.
MARY
I care about everyone,.. even you. But don’t touch my man!
Peaches throws her plate of food at Mary.
The backdrop of Indian Tabla music plays in a cacophony of madness as Peaches tackles Mary to the floor.
Mary, in tears, attempts to defend herself.
The cat fight is both horrific and comical. No real damage is inflicted. Hakim steps in, tries to stop the fight.
The Clown appears, distracts Hakim, cheers on Peaches and Mary as they claw at one another.
CLOWN
I have my money on Mary. That bitch is crazy.
Cain tries to pull Peaches off Mary as spit, hair and expletives fly around.
MARY
Please, Peaches! I didn’t even leave the theater yet!
PEACHES
Fucking psycho douche!
MARY
But I didn’t leave!
Cain rushes to help Mary.
Peaches backhands Cain across the face. He falls back.
Peaches tries to choke Mary.
Rameses looks at the Sun outside the window.
THE SUN (V.O.)
These people... are your friends? They’re crazy!
Peaches and Mary, both weary of the fray, calm down. They get up and sit back down at the table.
Asha stares on in wonder.
PEACHES
Crazy bitch.
MARY
Stay away from Luno!
HAKIM
Stop it Peaches, please apologize to Mary.
PEACHES
For the record, Luno’s not real, Mary.
MARY
He tells me the truth!
PEACHES
And he wants this pussy!
She spreads her legs.
HAKIM
Enough, Peaches. We’re here to understand one another.
Peaches smiles.
HAKIM
Why can’t you just fall in love, Peaches? It’s not that difficult.
PEACHES
I have.
The group stunned, wait in silence.
HAKIM
You found true love? Who?
She looks to Cain.
PEACHES
I’ve fallen in love.
CAIN
Ugh, noooooooo. You’re the reason I sinned.
PEACHES
You didn’t sin. It was just sex.
CAIN
But I had sex with the devil! That’s the sin the devil promised me!
PEACHES
What?
CAIN
You’re Satan. I can never love you. I am still a child of God.
Cain leaves the room.
PEACHES
What the hell! Why is life so unfair for me? My mission will never be complete!
Peaches bursts into tears, then runs out.
MARY
Peaches needs me.
Mary walks out of the room as well.
Hakim looks on benevolently.
Asha stares wide eyed and freaked out.
HAKIM
Anyone care for a smoke?
The group follows him out to the backyard.
EXT. THEATRE - BACKYARD - DAY
Cain stands near a tree, smoking. Asha approaches Cain.
ASHA
May I talk to you?
CAIN
Sure
Asha studies him.
ASHA
You can find your redemption with God.
CAIN
How?
ASHA
By showing me your copy of the play.
Cain chuckles, walks away.
CAIN
You still don’t get it.
Asha sighs.
Cain looks back.
Rameses looks at the sun. He spins round and round.
CAIN
Why are you doing that?
Rameses continues to spin around while he stares at the sky.
HAKIM
Rameses!
RAMESES
She has to know! She has to!
ASHA
Know what, Rameses?
Rameses falls to the ground, he lays there motionless.
HAKIM
Let’s get him inside.
Hakim lifts Rameses from the ground.
INT. THEATER - DINING ROOM - DAY
Rameses is unconscious, Hakim lays him on the floor, The group surround him.
RAMESES’ DREAM
EXT. GARDEN - DAY
Rameses plays his violin, Kali watches him, with approval.
The sun shines brilliantly.
RAMESES
I was never really in love with you.
Tears swell in Rameses eyes.
RAMESES
I was in love with the idea of you and as long as we never had to talk, I will continue to love you.
Kali smiles and walks towards Rameses.
Rameses puts down the violin. They hold hands, and look into each other’s eyes.
Rameses theme song plays in the background.
KALI
Say it.
RAMESES
I love you.
Kali seems saddened.
KALI
It’s time to give the key to my sister.
RAMESES
Well, do you love me? Say something, anything.
KALI
I’m dead, Rameses. It’s too late now, but our hearts are one.
RAMESES
My heart?
KALI
Come to me Rameses, join me in death.
ASHA (V.O.)
What did you say?
RAMESES
My heart... Where is my heart?
ASHA (V.O.)
Right there, Rameses. That’s your heart.
END DREAM
INT. THEATER - DINING ROOM - DAY
Rameses opens his eyes.
RAMESES
Where is my heart!
Asha points at his chest, where his heart should be.
ASHA
Here, Rameses.
RAMESES
Thank you, Asha.
Rameses looks at Hakim.
RAMESES
Is it true, Professor? We’re all on borrowed time... I realize that now.
Rameses turns to Asha.
RAMESES
I am going to give you a secret.
ASHA
Really, you’ll do it?
Rameses sobs.
Asha hesitates, then embraces Rameses.
Rameses gets up from the floor, leaves the room.
INT. PEACHES’ BEDROOM - DAY
Peaches is on the bed, she stares miserably into space, eyes brimming with tears. She clutches a razor in one hand.
Antonelli stands beside the bed dutifully, saddened.
Mary opens the door, looks at Antonelli, then approaches Peaches.
Mary gets into the bed with Peaches. Mary gently, slowly, takes the razor away from Peaches.
PEACHES
I will never find true love, will I?
MARY
You need to trust that things will go right for you.
PEACHES
Mary?
MARY
You know how much I admire you? I always did, Peaches. It’s as though everyone finds you fascinating... You’ll find true love one day, without having to do everything you do. You just need to trust everyone to love you back.
PEACHES
You should too.
MARY
What?
PEACHES
You’re very loving, but you need to trust us. We don’t want to shoot you.
MARY
But Luno...
PEACHES
Why do you trust Luno, and not us?
Mary appears confused.
MARY
I never thought of that.
PEACHES
Do you have courage, Mary?
MARY
I think I do.
PEACHES
You do.
Peaches holds Mary’s hands. Peaches stands up, guides Mary up.
PEACHES
You can do this, Mary.
Mary is guided by Peaches outside the theater.
Antonelli follows.
INT. THEATER - LOBBY - DAY
Peaches stands with Mary at the door to the courtyard.
PEACHES
We won’t shoot you.
MARY
Yes, you will. Luno told me..
PEACHES
We won’t. Trust me.
MARY
You want me to trust you?
PEACHES
I could push you out there now, if I wanted to, but I won’t.
MARY
That’s true. If you really wanted me shot, you had many opportunities to push me out there.
PEACHES
See? You’re thinking straight now.
Mary hesitates.
PEACHES
I’ll walk with you.
EXT. THEATER - COURTYARD - DAY
Together, Peaches and Mary walk outside, slowly, gently, into the courtyard.
Antonelli opens his umbrella, follows them.
The group watches Mary walk out the courtyard, they encourage her, they shout her name.
Upon hearing the shouts of encouragement, Mary rushes back inside. She looks at everyone.
They clap for her.
Mary takes a step by herself outside, then another step.
She stands there, closes her eyes.
MARY
I can’t live like this anymore. Shoot me if you must.
Peaches cries, the group rushes to Mary.
Mary braces herself, tense.
The group hug Mary.
HAKIM
That took courage, Mary.
PEACHES
That took guts.
Mary smiles, weeps with joy.
The Clown sits nearby, Hakim moves closer to Asha.
HAKIM
I’m ready, Asha. Can I tell you something.
ASHA
Of course, Professor.
HAKIM
I’ve been fighting these terrible hallucinations for a long time.
The Clown wears reading glasses, writes in a notepad, looks up, grins at Hakim.
HAKIM
It’s a clown. A kind of demon. He wants me to tell everyone what happened.
ASHA
What happened?
HAKIM
Oh God! It’s been such a burden all these years. I killed my wife.
Asha is horrified.
ASHA
What?
Asha studies Hakim as he moves away, sobbing.
CLOSE ON CLOWN’S NOTEPAD ‘PATIENT HAS SUICIDAL TENDENCIES’
INT. PROFESSOR HAKIM’S HOUSE - MASTER BEDROOM - NIGHT
Asha is on the phone with the detective.
ASHA
Detective Thomas,.. This is Asha. I need your help.
DETECTIVE THOMAS (O.S)
Oh Asha, what do you need?
ASHA
Have you started investigating Kali’s friends in the theater?
DETECTIVE THOMAS (O.S)
Yes, I’ve done background checks on them all
ASHA
Professor Hakim claims he killed his wife.
Beat.
Detective Thomas chuckles.
DETECTIVE THOMAS (O.S.)
It’s hard to know what to believe. But no... His wife isn’t dead. She left him and lives in Palestine.
ASHA
Dear God... poor guy.
INT. THEATER - UPSTAIRS BATHROOM - DAY
Mary enters, finds Luno waiting there.
MARY
What are you doing here, Luno?
LUNO
I heard you left the theater!
MARY
You lied. They’re not here to hurt me!
LUNO
You have no idea how dangerous that was, fool.
She goes to a drawer, takes out a straight razor. She flips out the blade, swipes at Luno.
LUNO
You’re insane!
Luno runs toward the open window above the bathtub.
Mary chases Luno, catches him by the leg. He kicks her, she falls backwards on her head. She bleeds. Mary wipes the blood off her head, grins menacingly.
EXT. THEATER - BACK PORCH - NIGHT
Asha walks out, confronts Hakim, who smokes calmly.
ASHA
I need to ask you something.
HAKIM
I’m starting to feel at peace now. The burden has been lifted. Have you called the police yet?
ASHA
What did you mean when you said you killed your wife?
HAKIM
I killed her and I buried her under the flower bed. I’m a murderer.
ASHA
Are you certain?
HAKIM
Asha, my peace... will be complete when I am punished. I killed her, right there in the house.
Asha yells into the house.
ASHA
Everyone, please come out here. Professor Hakim has something to say to all of you.
Peaches and Antonelli exit with Mary, they join Asha. Cain and Rameses follow.
Asha turns to Hakim.
ASHA
Tell them, Professor.
HAKIM
I killed her, then buried her.
ASHA
Killed who? Buried who?
HAKIM
My wife. I murdered her and I can prove it.
ASHA
Okay, prove it.
HAKIM
Gotta get some shovels.
Hakim heads for the garage.
CAIN
So, Hakim is a murderer?
Hakim runs back, holding several spades and shovels.
HAKIM
You want a body? I’ll show you a body! Let’s dig, boys!
He hands out the shovels.
They dig deep into the ground, they have ruined the flower bed. Antonelli holds the umbrella over Peaches as she watches the others dig.
They don’t find anything.
ASHA
There! See?
They look down into the hole they’ve created.
PEACHES
Professor...
ASHA
Professor, your wife left you. She’s still alive, You’ve been hallucinating. You haven’t killed anyone.
PEACHES
What?
HAKIM
No, she’s down there. Rotting in the ground.
ASHA
You have a daughter. Jana and according to her, your wife is in Palestine.
Hakim is bewildered, he bursts into tears.
HAKIM
But how did you know of Jana?
ASHA
I asked around.
HAKIM
You mean... I’m not a murderer?
Hakim bursts into excited claps. He hugs Asha. She smiles.
HAKIM
Thank you!
Hakim lets go of Asha.
She looks to the group.
ASHA
I know a detective. He’s done background checks on Hakim.
MARY
Background checks?
ASHA
He knows a lot about everyone here.
PEACHES
What? But why?
ASHA
Kali was shot dead. And you all... Of course, he’ll do background checks on you.
PEACHES
Wait! Are they suspecting us of Kali’s murder? Why would we be suspects?
The men climb out of the ditch they dug, except for Cain, who shoves his shovel into the ground hard and angry.
He gets on his knees, claws at the ground, like a deranged ferret.
ASHA
You people were the only ones that Kali hung out with... and you are schizophrenics.
PEACHES
of course! Blame the schizophrenics... typical!
MARY
I can’t believe this. Everyone thinks we’re monsters!
Cain uncovers something from the ground - it’s the wooden top of an office desk.
CAIN
You buried her in this? You must have cut her into pieces!
ASHA
What? No!.. Professor?
HAKIM
I have no idea. I’ve never seen that before.
The guys dig out the desk, then pull it out of the hole.
Exhausted, Cain tries to open a drawer, but it’s locked.
Rameses wipes sweat from his brow, the glow of the sun reflects off his face.
He looks to the sky, the light from the sun begins to increase.
Rameses catches something in his peripheral vision, looks to Asha.
The key around her neck is illuminated by the glow from the sun.
Rameses points to Asha.
RAMESES
That is the key that will help complete the play.
Asha touches her key, looks down at it. She takes it from around her neck, then slowly inserts it into the lock on the drawer, it CLICKS as it unlocks.
Asha slowly opens the drawer to reveal a pistol, and a picture of Kali and Asha.
ASHA
Oh, God!
INT. THEATER - LIVING ROOM - DAY
Hakim pulls Asha into the room, swings around to face her.
HAKIM
Why do you have a key to that drawer, Asha.
ASHA
What the... I don’t know.
HAKIM
What the hell do you mean, you don’t know? That makes no sense!
Asha backs away from the Hakim.
ASHA
I swear,.. I don’t understand what’s happening. Wait - I think - Kali must’ve given me this key. I just don’t remember.
Hakim notices Rameses, he puts his hands on the tall bookcase adjacent to the terrace door.
RAMESES
The meaninglessness of life is to not read every book before you die.
Asha notices a book titled THE COLOR PURPLE - by ALICE WALKER.
HAKIM
You realize this makes you the number one suspect?
Peaches enters with Antonelli, she points at Asha.
PEACHES
They dare accuse schizophrenics of murder when you possess the key to the drawer?
Cain enters, eyeballs Asha.
CAIN
Murderer!
Hakim cautions Cain with a raise of his hands.
HAKIM
Wait! Let’s hear her out. Let’s not jump to conclusions.
Rameses opens the book, The Color Purple.
RAMESES
Purple is the color of nobility, of those who fight against all odds.
He suddenly clutches his chest, drops to the floor.
Asha rushes to Rameses.
ASHA
Are you alright?
The group surround Rameses.
RAMESES
No.
He sits up, then rocks back and forth. The group all sit with him.
ASHA
Are you thinking of Kali, Rameses?
RAMESES
No, I’m thinking of you now.
Rameses suddenly stands, he leaves the room.
The group look at one another, quizzically.
INT. RAMESES’ ROOM - NIGHT
Rameses takes out a revolver and some bullets from his bag.
He slowly chambers the gun, then loads it. He looks out the window at the Sun.
SUN (V.O.)
She’s ready now.
RAMESES
I will do this for Kali.
As he loads the last bullet, Hakim knocks on the door.
Rameses pockets the gun just as Hakim enters.
HAKIM
Are you alright, Rameses?
RAMESES
It’s never been this clear.
HAKIM
Everyone’s waiting on you.
RAMESES
I’ll be out in a minute.
Hakim nods, walks off.
Rameses walks back over to his bag, grabs the manuscript from inside, leaves the room.
INT. THEATER - LIVING ROOM - NIGHT
Rameses joins the group, sits in a chair.
PEACHES
Why did your key unlock the drawer?
Asha studies the key, noticeably upset.
ASHA
I don’t know.
Rameses walks into the living room.
RAMESES
This may help clear some things up.
He gives the play to Asha.
She opens it begins to read.
The entire group watches in anticipation.
Asha’s eyes widen as she flips through one page after another.
She lowers the play to her lap.
ASHA
Is this some kind of joke?
Hakim looks at Asha confused.
The Clown’s eyes glow purple in the corner behind him.
ASHA
This is everything that has happened up to a second ago.
Asha turns the play to face the group.
ASHA
It literally says “Rameses brings the play out to Asha”.
Rameses walks over to the window, stares out, the glow of the sun shines on his face.
RAMESES
Turn the page.
Asha turns the page.
ASHA
(reads)
Rameses pulls out a revolver, shoots himself in the heart.
Asha, shocked, looks toward Rameses.
FLASHBACK:
INT. THEATER - DAY
Rameses stands at the bottom of the staircase as Kali walks down towards him. She looks at him.
RAMESES (V.O.)
I loved her from a distance, I never told her. I worshiped the ground she walked on.
He closes his eyes.
END OF FLASHBACK
INT. THEATRE - LIVING ROOM - NIGHT
Rameses seems caught up in thought.
ASHA
Rameses, tell me how you knew about my key. Please.
She takes a deep breath.
ASHA
Now I deserve to know the answer, please.
RAMESES
You know the answer. It’s somewhere inside you.
Rameses suddenly screams, he pulls out the revolver. He looks up to the sun.
RAMESES
Goodbye, my friend!
SUN (V.O.)
Nooooooooooooo!
Rameses points the gun at his heart, pulls the trigger.
Blood gushes from his chest, the sun disintegrates into golden shards and particles that fly into the ether, then dematerializes.
The group converge over Rameses, his eyes are still open in the apotheosis of death.
Asha screams.
CAIN
Holy Father in heaven!
PEACHES
Oh, fuck me blind, someone!
Hakim take out his cell phone, speaks into it, away from the crowd.
PRESENT;
INT. THERAPIST’S OFFICE - DAY
There is a knock at the door. Dr. Stein stands, goes to the door, opens it, speaks to someone outside the door.
Asha remains seated, but she can hear the conversation.
DR. STEIN (O.S.)
It’s too soon. She’s not ready.
Dr Stein closes the door, then takes his seat again.
He picks up Asha’s key.
DR. STEIN
This key... does it mean anything to you?
ASHA
What the hell is going on?
DR. STEIN
Good question. How did I get it, Asha?
FLASHBACK;
EXT. CEMETERY - DAY
A small crowd is gathered, including Asha, Surya, Yolanda, and the theater group.
A CATHOLIC PRIEST gives the final blessing over Rameses body.
The coffin lower into the ground.
Asha looks toward Hakim.
ASHA
How did Rameses know? Unless...
HAKIM
Unless what, Asha?
ASHA
But... that’s impossible.
HAKIM
What’s impossible... Asha?
The group stare at Asha.
ASHA
I am a human being just like everyone else. It’s very possible I could be going through a psychosis, isn’t it?
Hakim smiles.
HAKIM
You completed the play, Asha
ASHA
What do you mean?
HAKIM
Your insight... that is what completed the play.
INT. THEATER - AUDITORIUM - NIGHT
Asha blinks, looks around, the sudden change in venue confuses her.
She finds herself seated in front of a high stage with purple curtains. A dim spotlight shines on her seat, the rest of the theater is pitch black.
The curtains open, reveals Hakim, Mary, Peaches, Cain, Antonelli, Yolanda, Senator Garcia, the Catholic Priest, and every other character she’s encountered so far, with the exception of Surya and Rameses lined across the stage.
Detective Thomas, clean shaven, waves his hand at her, smiles.
They all stare at Asha.
A horn band plays a tune.
ASHA
What the fuck.
Asha’s eyes begin to well up with tears.
HAKIM
And now the final act of ‘Solitude of the Stars’.
Thunderous applause breaks out as the theater is illuminated revealing a full audience of medical professionals dressed in white coats with the exception of the seats on both sides of Asha that are empty, reserved signs sit atop the chairs.
Asha looks back trembling as a tear rolls down her cheek.
Asha turns back to the stage.
Kali and Surya appear in the seats next to Asha.
KALI
I’m so excited you finally got to come!
Kali and Surya both place their hand on top of Asha’s.
HAKIM
We are here tonight with one common goal. The truth. Because of that we all sold out to our characters as a tribute to Kali.
Kail blows a kiss to Hakim.
Hakim smiles.
ASHA
What do you mean, characters?
Luno waves from the stage, speaks in English.
LUNO
Asha, do you remember me?
Asha gasps.
LUNO
Of course you do. You knew me all along. You just decided not to be conscious of me, right?
HAKIM
Even in your absence, we were consistent in our acting, because that was the only way.
ASHA
The only way for what?
RAMESES
For you to see the truth!
Asha turns back to see Rameses walking down the aisle between the seats.
The audience gasps in unison, they begin to applaud, some stand.
Rameses, energized by the crowd, beams a smile. He waves his two hands, encourages them to applaud.
He jumps, dances, encouraged by the applause.
Rameses rushes up to the stage to take his place among the other actors.
He waves to the audience.
The audience ceases.
HAKIM
Your insight was the key Asha.
Mary is at the end of the line, has a copy of the play in her hands, she reads her lines quietly to herself.
HAKIM
Mary, pick up your cue, please.
Mary, uncharacteristically confident, gives her copy of the play to Luno.
She walks to the middle of the stage, Hakim steps back.
Asha looks to Surya who is captivated by the performance.
ASHA
(whispers)
Surya.
Surya looks to Asha, his face is neutral.
ASHA
(whispers)
I don’t know what’s going on, but we need to get out of here.
A violin begins to play a soft tune.
A small smile forms on Surya’s lips.
SURYA
We can’t do that babe. If we do you’ll miss the best part.
MARY
Carl Gustav Jung believed that the unconscious mind communicates in symbols. Tell me Asha, do Peaches and I represent anyone familiar?
Peaches steps forward.
PEACHES
It’s almost as if we were sisters, like you and Kali.
Peaches and Mary stand side by side, hold hands.
Rameses walks up separates the two ladies by standing between them, holding hands with both.
Surya squeezes Asha’s hand.
Asha looks to Surya, tears running down her cheeks.
He nods in the direction of the stage.
Asha directs her attention back.
HAKIM
We’re symbolic of humanity’s collective unconscious. We are elements, part of every story, myth, or legend that humanity has ever created, but we are also personal... to you, Asha, to a single moment in your life.
Asha looks to Kali.
ASHA
Kali, what’s this all about?
Kali mouths the words “The most traumatic moment in your life” as Hakim speaks.
HAKIM
The most traumatic moment in your life.
Hakim looks at Peaches.
Peaches approaches Cain, hugs him.
PEACHES
Surya, no one loves me.
Cain approaches Peaches, strokes her hair, suddenly pulls it with force.
Peaches is excited, they begin to kiss.
Surya covers his face in shame next to Asha.
They stop kissing.
CAIN
And me? What am I, Asha?
ASHA
What? How the fuck am I supposed to know?
CAIN
I needed to be moral... but I allowed lust to rule my heart.
Cain and Peaches fall back into line as Hakim paces the stage.
HAKIM
Lust is temporary, romance can be be nice, but love is the most important thing of all. Because without it lust and romance will always be short lived.
Rameses walks out to the middle of the stage with his bag draped over his shoulder.
He places the bag on the stage floor, pulls out the pistol.
The audience speaks in collective whispers.
HAKIM
You see, Asha... Sex can be a very beautiful human experience, but sometimes, sex can be the source of great shame.
Rameses walks to the side of the stage and makes his way to where Kali, Asha and Surya are seated.
HAKIM
The shame that began at the moment of your sin. I’m Dr. Stein, attempting to bring you back to reality.
Rameses reaches Kali, gives her the pistol.
KALI
Thank you.
Asha looks to Kali,
KALI
You are the reason.
She turns back to face the stage, placing the gun to her temple, suddenly pulls the trigger, blood and brain fragments splatter on Asha’s face.
Asha wails in pain.
HAKIM
We’re all very excited for you.
The lights shut off in the theater.
INT. DR. STEIN’S OFFICE - DAY
When the lights come up again Asha sits across from Dr. Stein in his office.
Dr. Stein leans towards Asha.
DR. STEIN
You’re ready to face this, Asha.
INT. ASHA AND KALI’S APARTMENT - BATHROOM - DAY
FLASHBACK
Behind the shower door is the silhouette of Surya, he drives himself into Asha.
DR. STEIN (V.O.)
You see, Asha. Shame can be very traumatic, perhaps among the most traumatic of experiences.
Asha lets out a deep guttural moan. Surya stares into her eyes, both breathe heavily.
Kali watches from the bedroom. Her jaw drops. Her PURSE falls to the floor. Surya makes eye contact with Kali.
SURYA
Kali, wait!
Kali runs out of the room.
Surya tries to break away from Asha. She pushes him against the bathroom wall, slams the door, locks it.
SURYA
What the fuck are you doing!
Asha drops to the floor, her back pressed against it.
ASHA
Shit, shit, shit, shit!
She covers her face.
INT. SURYA’S OFFICE - DAY.
Kali takes the key on her necklace, opens the desk drawer, takes out a pistol.
INT. APARTMENT - MASTER BEDROOM - DAY
Kali marches to the bathroom door, tries the knob, it’s locked. She slams her fists against the door.
KALI
Open the fucking door!
INT. BATHROOM - DAY
Asha looks through a small crack in the side of the door, sees Kali holding the gun.
ASHA
She has a fucking gun.
SURYA
She what?
Surya looks through the crack as well.
SURYA
This is getting out of hand Kali, put the gun away!
KALI (O.S.)
Fuck you!
ASHA
I’m sorry, he came onto me!
Surya looks to Asha in disbelief.
SURYA
What! You came onto me!
INT. BEDROOM - DAY
Kali takes a deep breath, collects herself. Takes a step back, points the gun at the door.
KALI
Come out! NOW!
ASHA (O.S.)
Kali please calm down.
Kali scoffs.
KALI
You’re fucking my husband Asha!
INT. BATHROOM - DAY
SURYA
Fuck this. I’m going.
Surya gets dressed.
ASHA
Are you crazy, she’s gonna kill us.
INT. BEDROOM - DAY
Surya opens the door, walks out, hands in the air.
Surya and Kali look at each other.
SURYA
I know this looks bad, but let’s talk about it please.
Kali takes the safety off the gun.
SURYA
You don’t have to do this, I’m so sorry. If you want I’ll pack my bags and leave forever.
KALI
I loved you.
Kali puts the pistol to her head, pulls the trigger.
INT. BATHROOM - DAY
The shot sounds from inside the bathroom as Kali’s body thuds to the floor.
Surya grabs Kali’s lifeless body into his arms, wails in pain, the bathroom door opens, Asha looks, watches a blood soaked Surya as he strokes Kali’s hair.
He mumbles to her.
Asha drops to her knees, stares in silence with a blank look in her eyes.
INT. DR. STEIN’S OFFICE - DAY
ASHA
This can’t be real... I loved my husband --
Dr. Stein interrupts.
DR. STEIN
Asha. Surya was Kali’s husband.
Asha stands to her feet, paces the room trying to make sense of things.
Dr. Stein sits back in his chair.
DR. STEIN
She committed suicide. Sadly Surya’s infidelity was too much for Kali to bear.
Asha stops pacing.
ASHA
Where’s Professor Hakim?
DR. STEIN
He never existed. You projected that particular archetype onto me. Hakim and the others were archetypes that you created in your psyche. They were birthed from your trauma, your shame.
Asha tries to collect herself.
ASHA
So I was in psychosis.
DR. STEIN
Exactly. We are making real progress today Asha.
ASHA
So Kali is...
Dr. Stein frowns.
DR. STEIN
She’s dead, Asha.
Asha looks at the doctor in disbelief, then flees the room.
DR. STEIN
Asha!
INT. THERAPIST’S BUILDING - HALLWAYS - DAY
Asha runs through the hallway which is painted in PURPLE, she runs into a JANITOR.
She looks at his face, it’s Cain.
CAIN
Are you okay, miss?
She screams, stumbles, turns, runs into a NURSE. It is Mary.
MARY
Miss, you need to return to the doctor’s office. Let me help you.
Mary reaches out to Asha, but Asha pulls away.
ASHA
What the fuck is happening!
She continues her trek through halls that seem to be closing in on her.
The world becomes a kaleidoscope of distorted colors and shapes.
She runs into a medicine cart pushed by an orderly, it’s Rameses.
RAMESES
Miss, you have to calm yourself.
Asha screams in his face.
She runs off, stops when she sees a door.
Asha opens it.
Inside, a Clown is passing balloons to a group of children.
ASHA
No!
Asha forcefully shuts the door.
She looks back, notices Peaches who is being gently led by Antonelli who is also an orderly.
Peaches grabs Asha.
PEACHES
I need my husband. Can you help me, find him?
Antonelli pulls Peaches away from Asha.
Asha sinks to the floor, she cries. Dr. Stein catches up with her.
Dr. Stein kneels, touches Asha on the shoulder. Tears stream down her cheeks.
She looks up to see Kali’s neutral face.
ASHA
I’m sorry Kali... forgive me.
Kali materializes in Dr. Stein.
DR. STEIN
Are you seeing Kali now.?
Dr. Stein is still Kali in Asha’s eyes.
ASHA
Forgive me!
Dr. Stein considers his next statement.
DR. STEIN
You are forgiven, Asha.
ASHA
Am I?
DR. STEIN
Yes, but only if you will forgive yourself too.
ASHA
Then yes, I forgive myself.
Dr. Stein helps Asha to her feet.
ASHA
I will... I must. Thank you!
Asha looks to Dr. Stein but still sees Kali.
Asha smiles, somewhat insane.
The camera pans from Asha down the hall, it passes through a set of double doors, and into the theater.
INT. THEATER - NIGHT
The audience gives a standing ovation.
All the members of the play take a bow.
CLOSE UP on the Archetypes
HAKIM (V.O.)
All the world’s a stage... and all the men and women in it merely players.
The audience of medical professionals clap as the Archetypes give a last bow.
FADE TO BLACK.
