Escape the Beast (2006)
fade in:An idyllic suburban street at night. The sound of crickets chirping echo through the trees.
JAKE, a smallish attractive man in his early twenties, frantically runs down the street.
jake (v.o.)
I should've jumped.
An inhuman voice howls in the distance. At the corner, Jake sharply turns right.
ext. street - same
Jake runs haphazardly, constantly looking back.
jake (v.o.)
But someone could've warned me. Someone must've known about it. Someone.
The voice howls again, only it's much closer. An immense shadow partially crosses over Jake. Jake speeds ahead of it.
jake (v.o.) (cont'd)
Something so monstrous couldn't go unnoticed.
Jake runs into a intersection. A car rushes toward him. Jake stops cold, his eyes widening.
The car brakes at the last moment, but its momentum carries it into Jake. Jake screams in agony as he is trust onto the windshield. He frantically climbs over the top of the car, and jumps onto the street.
ext. street - later
Jake, noticeably limping, runs up an incline.
jake (v.o.)
Just hours earlier, my graduation cap flew capriciously into the bluishness of the sky, and now I was facing mortality. Or worse.
Jake looks up and sees dimly-lit houses.
jake (cont'd)
Help! Someone, help!
jake (v.o.) (cont'd)
But no one did. Perhaps they couldn't hear me over their TV sets. Or perhaps they didn't want to hear.
He stops and doubles over, out of breath. He hears the howl again and reluctantly takes off.
ext. house - later
Jake stops in front. He tries to open the door, but it's locked. He pounds his fist against it.
jake
Mom! Dad! Let me in!
Jake hears a rustling sound in the bushes off-screen. He turns his head. The silhouette of a MAN exits the bushes and resolutely approaches.
jake (cont'd)
Who's there?
The man doesn't answer, but continues forward.
The inhuman voice howls in the near distance.
Jake turns and pounds on the door. The howl gets louder and louder.
Jake picks up an old lawn chair and throws it through a window. He prepares to jump inside.
int. house - same
Jake leaps inside. He painfully removes a piece of glass from his bleeding left arm.
The voice howls, this time nearby, causing the entire house to shake.
Jake quickly pushes a near-empty bookcase in front of the window. Its one book falls to the floor.
Something pounds at the front door. Jake frantically pushes an end table in front of it. The pounding gets louder and louder. The hinges of the door loosen.
Jake runs up the staircase. As he reaches the first landing, the front door explodes onto the floor, followed by the bookcase. Jake rushes up the stairs.
int. house, second floor - moments later
Jake pulls open the attic door from the ceiling. He tries to pull down the wooden ladder, but it's stuck.
He hears heavy footsteps on the staircase, getting closer and closer.
Jake rips the ladder down and clumsily rushes up it.
int. attic - same
The room is dimly lit. Jake tries to pull the ladder up, but can't. He hears footsteps crushing wood.
He runs deep inside the room toward a window. He tries to open it, but it's stuck. He looks around, picks up an old, heavy ledger, and throws it through the window. He prepares to jump outside.
ext. roof - same
Jake leaps outside. He painfully removes a piece of glass from his bleeding right arm. He runs to the edge, where he almost falls over. He gains his balance.
man (o.s.)
Jacob!
Startled, Jake almost falls over again. He regains his balance, just barely, and looks down to see a bespectacled, middle-aged man. The man has a long bushy mustache and is wearing a nineteenth-century suit. He speaks with a thick German accent.
man (cont'd)
Jacob, you must listen to me.
jake
Who . . . who are you? And how do you know my name?
man
It does not matter. You are in terrible danger.
Something pounds against the wall of the attic. Small pieces of wood splinter into the air, followed by a desperate howl.
Jake
(sardonically)
Really? You think?
man
Really. If you do not do exactly what I say, you will be devoured.
jake
By what?
man
By the Beast.
The howl gets more frantic as the Beast pounds harder and harder against the wall.
The lawn in front of the house collapses into black nothingness, right up to where the man is standing.
man (cont'd)
You are on the precipice. You can choose either freedom or slavery.
(points to the hole)
You do not see it perhaps, but before you is a Brücke -- a bridge.
jake
There's no bridge!
man
There is! All you have to do is jump.
jake
I'll die!
man
You will live forever!
The attic wall bursts open, with pieces of wood flying in all directions.
man (cont'd)
You have not much time.
Jake closes his eyes and prepares to jump. His body shakes.
man (cont'd)
What are you waiting for -- jump!
jake
I'm . . . I'm afraid.
man
Supermen do not fear -- they are feared!
Large, pounding footsteps approach Jake. He raises himself and turns his head.
man (o.s.) (cont'd)
Do not look at it!
jake (v.o.)
But as with Lot's wife, the temptation was too great.
Jake looks mesmerized as the Beast comes closer and closer.
Jake (v.o.) (cont'd)
And when I did look, I wondered why I'd been so afraid. It wasn't ugly, but instead glittered like gold, and had the sweetest aroma.
Jake's eyes sparkle. He takes a deep breath, closing his eyes, and smiles. A stiff breeze raises his hair.
man (o.s.)
Jump, damn it -- jump!
jake (v.o.)
And then it happened.
CUT TO BLACK:
INT. HOSPITAL room - DAY
The room is distinctively expressionistic. The walls are different sizes and set at strange angles. The door is short and crooked, and is set above the floor. Jake is asleep on a small bed, bandages on his arms. Beside the bed is a night-table.
Jake opens his eyes. He screams.
male voice (o.s.)
Welcome aboard.
Startled, Jake turns and sees a tall and thin middle-aged MINISTER standing next to him.
JAKE
The walls!
The minister sits on the bed and puts his arms on Jake's shoulders.
minister
Calm down, Jacob.
jake
Jake.
minister
What a lovely name. I'm sure you must be a little unnerved at the moment. You'll get accustomed to the distortion in time.
jake
Where am I?
minister
Inside the Beast.
jake
The Beast? . . . That's what he called it.
minister
Who?
jake
How do I get out of here?
minister
You can't. But don't worry -- you'll come to like it here.
. . . Once you go with the flow.
jake
(agitatedly)
Who are you?
minister
Oh, how rude of me.
The minister takes out a business card. Jake's eyes wander around the strange room. He's only half-listening.
minister (cont'd)
I'm the Reverend Nathaniel Knickerbocker. I run a church not far from here.
(puts the card on the table)
Can I presume from your last name that you're of the Jewish faith?
jake
What?
knickerbocker
If you'd like, I'll contact the local rabbi.
jake
I'm a freethinker.
knickerbocker
Oh, I see.
(takes a deep breath)
But I'm afraid that won't do. The Beast doesn't care for atheists, and I suppose he'd look upon freethinkers as much the same.
Jake looks at the bandages on his arms. Knickerbocker stands up.
knickerbocker (cont'd)
You'll have to choose a religion.
jake
(not paying attention)
What was that?
knickerbocker
Of course, this isn't a dystopia
-- you're free to think what you'd like. It's just a matter of belonging.
Jake rolls over onto his side in a fetal position, bringing the bed covers up to his chin. His wide eyes stare out blankly.
knickerbocker (cont'd)
I'd be honored if you considered joining my church. I run the most popular congregation here.
(turns away)
I'd, I'd like to think it's because of my moving sermons, but -- just between you and me -- I think it's more to do with the laxity I take with my flock's -- how should I say it, indiscretions.
Knickerbocker joyfully claps his hands.
knickerbocker (cont'd)
Yes, I like seeing them have fun! And it gives them good cause to come to church -- to extirpate their sins.
(turns back to Jake)
As Rasputin said, you can't have redemption without sin.
jake
You're not real. None of this is.
knickerbocker
You're tired.
(walks to the door)
I'll let you rest. After all, tomorrow's your first day of work.
jake
Work?
knickerbocker
Yes, the Beast brought you here to work for Him.
jake
Doing what?
Knickerbocker smiles.
knickerbocker
I wouldn't spoil the surprise.
int. hospital room - later
Jake is sleeping.
female voice (o.s.)
Wake up.
Jake awakes in fright and looks at a NURSE.
jake
I'm still here.
nurse
That's right. And you have to go. Home.
jake
Home?
She points to a piece of paper, which is laying on the night-table next to Knickerbocker's card.
nurse
It's written on the paper. As well as directions to your office.
Jake looks at it and then looks back at her blankly. She puts her hands on her hips.
nurse (cont'd)
Well, what are you waiting for?
jake
. . . Godot?
The nurse smiles.
nurse
I'm afraid you won't find him here.
She grabs his hand and yanks him out of bed. Once on the floor, which is slightly tilted, Jake slides into the wall. The nurse laughs.
nurse (cont'd)
You haven't got your sea legs yet.
ext. hospital - later
Jake is waiting by the curb. A city lies in the background, which consists of an assortment of twisted, swaying buildings surrounded by a blood-red sky.
Jake closes his eyes and rubs his temples.
jake
I can't even see an horizon.
An odd-shaped bus pulls over.
int. bus - same
Jake gingerly steps inside. The BUS DRIVER stops him.
bus driver
You have to pay.
jake
Pay?
The driver grabs Jake's right arm and puts his hand into a scanner. The screen reads: "JAKE STEIN . . . JR. BUTTONPUSHER . . . 1 CREDIT."
INT. BUS - SAME
Jake sits down next to a large, heavy-set MAN in his thirties who eyes Jake curiously.
Jake stares at a surgical mark on his right hand.
jake
(whispering)
Buttonpusher?
man
(threateningly)
What'd you just say?
Jake fearfully turns to the man.
jake
What?
man
You said "buttonpusher."
jake
That's what it said on the screen.
man
But you're a newbie, right? . . . Freshly swallowed, and they made you a buttonpusher?
jake
Is . . . is that bad?
The man smiles.
man
Bad? That's the best job here.
(points to himself)
Me -- Potocki's the name, B-T-W
-- I'm a paperpusher. It's the worst. . . . However did you get to be a buttonpusher?
jake
What's a buttonpusher?
potocki
I'd do anything to be a buttonpusher -- anything!
Jake cautiously looks around, before leaning toward Potocki.
jake
Tell me something.
Potocki leans his head toward Jake unsurely.
jake (cont'd)
(whispering)
Is there a way out of here?
potocki
(loudly)
Out of here?
Jake
Sshhh!
potocki
Sshhh?
Potocki shakes his head.
A smile of understanding bursts across Potocki's face.
potocki (cont'd)
Oh, I get it. You think this is a dystopia -- that Big Brother's listening or something.
Potocki chuckles and slaps his knee.
potocki (cont'd)
L-O-L! . . . You've got this place all wrong. Trust old Potocki -- in a month, you'll be loving it here.
(leans up close to Jake)
All you gotta do is . . . go with the flow.
ext. jake's apartment building - later
The bus stops in front of a tall heap of twisted white concrete, which is surrounded by many similar structures.
INT. BUS - SAME
The bus driver turns around.
bus driver
Your stop, newb.
Jake walks toward the front of the bus.
potocki (o.s.)
Going to the sports bar tonight?
Jake stops and turns around.
jake
Sports bar?
potocki
Heaven -- absolute heaven. Thousands and thousands of TVs.
Potocki rubs his hands and smiles. Jake looks at him as if he were insane.
potocki (cont'd)
Big auto race tonight -- all night long they'll be going in circles
. . .
(making a circular motion with his head)
Over and over and . . .
int. jake's apartment - later
The front door is both crooked and short, and is set above the floor. The walls lean toward each other. A huge TV in the back of the tiny room extends from one wall to the other.
Jake opens the door, bends down, and steps over the threshold.
int. jake's bedroom - later
A huge TV at the end of the tiny room extends from one wall to the other.
Jake looks through a closet, which is filled with clothes. He finds a note that reads "Compliments of the Beast." He crumples it and tosses it onto the floor.
He lies on the bed. Using a remote, he turns on the television. On the screen, cars drive around in circles.
jake
Over and over and . . .
ext. Building B - day
The bus stops at the curb. Jake, who is wearing a pinstriped suit, exits and looks up at the towering gothic structure, which leans forward, toward him. There's a big "B" on top of it, alongside the number "999."
Many people exit the bus, all of whom are dressed casually. Potocki exits last and slaps Jake on the shoulder, which startles Jake.
potocki
Let's do lunch.
int. office - later
The room has a very short ceiling at its entrance and a very tall ceiling at its rear. On all four walls a large banner reads: "THERE'S NO 'I' IN TEAM!" The short door is crooked and set above the floor.
A short, heavy-set middle-aged MAN wearing a buttoned sweater is sitting in an easy-chair, behind a desk in the rear of the room. He is watching golf on a large-screen television, his legs resting on the only spot on the desk not covered with stacks of paper.
Someone knocks on the door.
man
Come in.
Jake enters, stepping over the threshold. The man's attention is focused on the television.
jake
I was told to see you.
The man abruptly stands up, turns off the TV, and rushes toward Jake.
man
Give me your hand, my boy. Give me your hand.
Jake offers his hand. The man grabs Jake's wrist and drags him to a scanner, where he places Jake's hand. The man reads the screen and smiles. He turns to Jake.
man (cont'd)
Welcome aboard!
int. office - later
The man and Jake are seated across from each other.
man
Tweed's my name. But everyone just calls me . . . Boss Tweed.
(giggles)
Boss Tweed -- get it?
jake
Got it.
tweed
But why, why are you wearing a suit? Is today a dress-up day? I didn't receive any memo about a dress-up day!
Tweed frantically shuffles through his papers, knocking many of them off the desk.
jake
Dress-up day?
Tweed stops shuffling.
tweed
Yes, the Beast usually lets us dress down for work.
jake
How nice of Him. I'm sorry -- I didn't know about the rule.
tweed
Rule? It isn't a rule. It's more of a custom -- for our own benefit. And, of course, you'll want to fit in with us.
jake
. . . I guess so.
tweed
You must be so excited on your first day. And to be a buttonpusher right off -- it's not a typical entry-level job.
jake
What, what will I be doing?
tweed
Pushing buttons, of course.
jake
I mean, what exactly?
tweed
I'm a manager -- I don't get involved with operational detail. I'll call in Timmy.
Tweed pushes a few buttons on his telephone.
tweed (cont'd)
The new buttonpusher's here.
timmy (o.s.)
I'll be there in a minute. I've got some buttons to push.
Tweed turns to Jake and smiles.
tweed
I guess you're wondering about your salary.
jake
Well, not really.
tweed
Ah, care more about the work than the money. I like your attitude. And you'll like the pay: twenty-five thousand credits a month.
jake
Is that good?
tweed
I should say so. With that kind of money, you can afford a nice apartment, a car, and lots of toys.
Tweed leans back in his chair and clasps his hands over his girth.
tweed (cont'd)
What's more -- you'll be able to get loans so that you can buy even more things.
(stretches his arms)
The Beast offers very advantageous interest rates. And He doesn't mind at all if you go into debt.
jake
How nice of Him.
TIMMY, a young black man, enters and knocks on the open door.
int. office - later
Jake and Timmy shake hands.
timmy
Welcome aboard. But, why are you wearing a suit?
tweed
He didn't know about the rule.
. . . Did I say rule?
tweed and timmy
What rule?
int. office - later
Tweed has his hand on Jake's back as he leads him and Timmy out the door.
tweed
Jake, if you ever need anything, come see me -- my door is always open.
Jake and Timmy leave. Tweed closes his door.
int. office hallway - later
Timmy leads Jake through a maze-like system of cubicles. The cubicles walls are puke-green and are more than twice the height of an average person. The pattern on the walls subtly evokes prison cell bars.
There's so little space between the walls that two people wouldn't be able to walk through the hallway side-by-side.
int. jake's cubicle - later
On one wall there is a huge clock, and on another wall there is a sort of window: a large metal plate, eye-high, that can slide open. On top of a cheap laminated desk sits an odd-shaped monitor and a keyboard.
Jake and Timmy enter. There's barely enough room for both of them to stand, so they are in close to each other, face-to-face.
Timmy
Here's your office.
jake
Office?
timmy
It's a bit small.
jake
A bit?
timmy
I started in this very same office.
jake
It's not an office.
timmy
It is if you believe it is.
jake
And what am I to do?
Timmy
On the monitor you'll see a list of buttons. Push the corresponding buttons on the keyboard.
jake
That's it?
timmy
That's not enough for you?
jake
This is busy work.
timmy
Funny, I find it challenging. But what do I know -- I only have an MBA from Harvard.
jake
Challenging? Really?
timmy
Perhaps it's not a thrill-a-minute. But there's plenty of meetings to break the monotony.
jake
What kind of meetings?
timmy
Departmental meetings, interdepartmental meetings, subdepartmental meetings . . .
Jake
Meetings about what?
timmy
Pushing buttons, of course!
Jake
Can you answer me one question?
. . . Why are we pushing buttons?
timmy
The Beast works in wonderful ways. We are too small and insignificant to understand His needs.
(looks at his watch)
Any more questions? I've got lots of buttons to push.
jake
Yeah. You really like this?
timmy
I really do. Do you know only a few years ago the Beast didn't even swallow black people?
Timmy peeks his head outside the cubicle; and after briefly looking in both directions, he turns back to Jake.
Timmy (cont'd)
And now look -- I'm part of the most honored profession in all Beastdom. I'm a buttonpusher, on a management arc.
int. cafeteria - later
Amidst a mass of people and large-screen televisions, Jake sits down at a table with a tray of food.
Jake looks around and becomes startled when he sees Potocki scanning the cafeteria with his eyes. Jake collapses under the table, pretending to tie his shoes. After a few moments, he cautiously looks up.
Standing in his view is a beautiful young WOMAN with blonde hair and deep blue eyes. She looks at him warily as she takes a sip of her drink through a straw. He's instantly smitten.
woman
This seat taken?
jake
No. Please.
She sits down.
woman
First day?
jake
How can you tell?
woman
The suit.
jake
I'm Jake.
He offers her his hand and she daintily shakes it.
woman
Sarah. What have they got you doing?
jake
Buttonpusher.
Sarah is shocked.
sarah
How'd you get to be a buttonpusher?
jake
. . . Lucky?
sarah
I'd say. I'd do anything to be a buttonpusher.
jake
What do you do?
sarah
I'm a beancounter.
jake
What does a beancounter do?
sarah
We each have this huge abacus. We make calculations.
jake
What kind of calculations?
sarah
I don't know. The Beast tells us to calculate numbers and we do.
jake
Why?
sarah
Why what?
jake
For what purpose are these calculations?
sarah
The Beast works in wonderful ways.
jake
So I've heard. But why are you using abacuses? There's computers everywhere.
sarah
The computers can't calculate numbers.
jake
In essence, that's all computers do -- calculate numbers.
sarah
Not here they don't. . . . A buttonpusher, right off. I'm trying so hard to become a buttonpusher.
jake
Then I'm sure you'll become one.
sarah
Don't patronize me.
jake
I wasn't.
sarah
You were.
jake
I didn't mean to.
sarah
Then don't.
jake
I won't.
sarah
You're cute.
jake
So are you.
sarah
So?
jake
So?
sarah
So, aren't you gonna ask me out?
jake
Why don't you ask me out?
sarah
You ask me out.
jake
Will you go out with me tonight?
sarah
No.
jake
. . . Excuse me?
sarah
Tonight's the big golf match at the sports bar. You're going, of course.
Jake
Well, . . . no.
sarah
Don't you wanna see them hit those little white balls into the holes, over and over and . . .
jake
No.
sarah
Don't you wanna fit in?
Jake
. . . Not really.
sarah
You are strange, Jake.
She takes a deep and provocative sip through the straw, noisily reaching the end of her drink.
sarah (cont'd)
Strange, but cute.
int. office hallway - later
Jake walks through the maze of cubicles. He's clearly lost. He stops, turns, and walks in a different direction. He comes to a dead end; and looking a little nervous, he backtracks and takes a right turn at the first opening.
He again reaches a dead end. He turns around, and sees that he is boxed in.
The cubicle wall in front of him steadily closes in. He raises his hands in fright as the wall gets closer and closer. Just as he is about to get crushed, the wall stops.
Jake looks around and sees that he is in his cubicle.
int. jake's cubicle - later
Jake, reading off his monitor, finds a symbol on the keyboard and pushes it.
The metal window quickly and noisily slides open, exposing Timmy's head.
timmy
It's five o'clock.
Jake looks at the clock.
jake
(flippantly)
Yes, it is.
timmy
That means it's time to go.
jake
But I still have some buttons to press.
timmy
We don't press buttons, Jake -- we push them. And they can wait. The big golf match is starting soon.
jake
So I've heard.
timmy
Well, you don't want to miss it, do you?
jake
I do.
timmy
You don't like golf?
jake
I don't.
timmy
Well, we do. And the receptionist can't lock up until everyone's gone.
ext. building b - later
A MALE RECEPTIONIST locks the front doors while Jake walks toward the bus stop.
receptionist
Do you want a lift to the sports bar?
jake
No thank you.
receptionist
But the bus isn't running.
Jake stops and turns back to the man.
jake
What?
receptionist
There's no service during the golf match.
jake
Fine -- I'll walk.
Jake turns around and starts walking.
receptionist
But you'll miss the first round!
Jake raises his hand dismissively in acknowledgment.
ext. highway - later
Jake walks along the shoulder. The sound of a car approaches. Jake stops and angrily turns around.
jake
I told you I didn't want . . .
Something resembling a red Porsche pulls up and stops next to Jake. The passenger door automatically opens. The German man with the antique suit and bushy mustache is driving.
man
Get inside.
Jake warily looks in both directions.
man (cont'd)
Get inside now.
ext. highway - later
The Porsche speeds down a road that twists and bends in many directions.
int. car - same
Jake looks at the German man as if he's trying to recognize him.
jake
Who . . . who are you?
The man smiles, but doesn't look at Jake.
man
Godot.
jake
You, you almost look like Nietzsche.
Nietzsche takes his hand off the gearbox and offers it to Jake.
Nietzsche
Friedrich Wilhelm, at your service.
Jake uneasily shakes his hand.
jake
You're dressing up as Nietzsche?
Nietzsche
Who dresses up as Nietzsche?
jake
You're Nietzsche? The German philosopher Nietzsche? . . . The dead German philosopher Nietzsche?
Nietzsche
Who says I am dead?
jake
The history books.
Nietzsche
The history books lie. Supermen never die.
He downshifts the car and it speeds up considerably.
ext. highway - same
The car jumps a steep hill. Sparks fly when it hits the ground.
int. car - same
Jake fearfully holds onto the seat.
jake
Are you crazy?
Nietzsche
Why did you not jump, Jacob?
jake
The name's Jake.
Nietzsche
Diminutives are for dogs. "Come here, Jake," "Fetch the bone, Jake," "Good boy, Jake." It is time to become a man.
jake
I was scared.
Nietzsche
Of what?
jake
Of getting hurt.
Nietzsche
Whatever does not kill you, . . .
jake
You realize that expression of yours has become rather cliché.
Nietzsche
Will you jump now?
jake
Can I?
Nietzsche
That is the question -- Can you? I think you like it here. I think you like pushing those buttons, over and over and . . .
Jake
I don't.
Nietzsche
It is comfortable here. You are taken care of. Food, shelter -- your future is secure.
jake
I wanna jump. Now!
Nietzsche
When you really believe that, I will help you.
Loud sirens blare. Jake turns around.
ext. highway - same
Two strangely-shaped police cars quickly approach.
int. car - same
Jake turns back to Nietzsche.
jake
You're driving too fast.
Nietzsche
No -- they are after us because we are not watching the golf.
The car speeds up drastically.
Nietzsche (cont'd)
God from the machine!
jake
What are you doing? Pull over!
Nietzsche
"Pull over," "Behave," "Do as you are told." This is slavespeak, Jacob.
jake
Jake! Call me a dog -- but don't call me by that stupid name!
Nietzsche smiles.
ext. highway - same
The police cars gradually gain on the Porsche. They split off and pull up on both sides of it. They make contact with it.
int. car - same
Nietzsche is still smiling.
jake
You're . . . you're playing with them.
Nietzsche
(sardonically)
Really? You think?
Nietzsche sharply pounds on the brake.
ext. highway - same
Sparks shoot out of the Porsche as it stops and turns one hundred and eighty degrees. The two police cars slam into one another. The Porsche speeds off in the opposite direction.
More sirens blare. A half-dozen police cars approach.
int. car - same
Nietzsche's smile disappears.
jake
Now what, Herr Schumacher?
Nietzsche
Please remember that even the impossible is possible.
ext. highway - same
The Porsche weaves through the cars. Two police cars crash into each other, and a third rear-ends the two. The Porsche knocks another police car off the road, down a steep hill, where it crashes. The remaining police cars abruptly apply their brakes.
The Porsche speeds off.
ext. jake's apartment building - later
The Porsche sharply stops in front.
int. car - same
Nietzsche turns to a visibly shaken Jake and smiles.
Nietzsche
Home, sweet home.
ext. car - later
Jake, who is holding the passenger door, looks at Nietzsche.
Nietzsche
When you are ready to jump, . . .
(feigning a Schwarzenegger accent)
I'll be back.
jake
I'm ready now.
The door automatically closes, and the Porsche races off.
int. jake's cubicle - day
Jake, wearing another suit, hesitantly pushes a button with one finger.
The metal window quickly and noisily slides open, exposing Timmy's head.
timmy
What's with the suit?
jake
No "hello" or "good morning"?
timmy
You know very well today's not a dress-up day.
jake
Tweed said it wasn't a rule.
timmy
Don't you want to fit in here?
jake
What I want is to stop hearing the same tired slogans over and over and . . .
timmy
This won't do.
int. jake's cubicle - later
Tweed is standing at the window, shaking his head and tsking.
tweed
Such a disappointment. And I had such great expectations. . . . I have every mind to send you home to change.
jake
But you said it wasn't a rule.
tweed
Very well -- have it your way. But it'll go on your written record.
Tweed turns to leave, but immediately turns back.
tweed (cont'd)
By the way, what do you know about the incident?
jake
Incident?
tweed
It was on all the TV channels.
jake
I must've missed it.
tweed
It seems we have ourselves a brigand.
jake
You don't say.
tweed
I say. I say. He damaged a half-dozen police cars last night. What do you know about it?
jake
Why would I know anything?
tweed
I don't know. But I was told you should expect a little visit later. An unpleasant little visit.
int. cafeteria - later
Jake and Sarah sit down together with trays of food. She fingers his tie and shakes her head.
sarah
You . . . you think you're better than us, don't you?
jake
No. Just different.
sarah
Why would you want to be different?
jake
I don't know.
sarah
I don't know if I want to go out with you.
jake
(confidently)
You know.
sarah
I do?
Jake nods his head and smiles knowingly.
int. jake's cubicle - later
Standing at the entrance are two colorless men wearing dark sunglasses and black turtleneck sweaters. One is TALL AND FAT and the other is SHORT AND SKINNY.
Jake enters.
jake
Is it bright in here?
short and skinny
Jake Stein?
jake
Yeah.
tall and fat
Come with us.
The men display their badges and grab Jake's shoulders.
int. hallway - later
The two detectives quickly and roughly lead Jake to a door labeled "INTERROGATION ROOM."
They open the door. The floor of the room is on a gradient. The back of the room is far lower than the entrance, the difference being more than twice the height of an average person.
They toss Jake down inside.
int. interrogation room - same
Jake hits the wall at the bottom, where a tiny chair is located.
He sits down and looks up at the men.
short and skinny
Where were you last night?
jake
Home.
tall and fat
Between here and home what did you do?
jake
Nothing.
tall and fat
Why weren't you at the sports bar?
jake
I don't like golf.
The two men look at each other in bewilderment.
short and skinny and tall and fat
Who doesn't like golf?
jake
Me. But that doesn't mean I'm the brigand. I don't even have a car.
short and skinny
Can anyone corroborate your whereabouts last night?
jake
No.
tall and fat
You're our prime suspect. Our only suspect.
short and skinny
Everyone else was at the sports bar.
jake
That's not true. What about the police? Maybe one of them is your brigand.
short and skinny
You're funny.
tall and fat
The Beast doesn't like humor.
short and skinny
And He doesn't like brigands.
The two men turn to leave.
jake
Hey -- how about helping me out of here!
Tall and Fat turns back to Jake.
tall and fat
Get rid of that suit.
ext. highway - sunset
A blue sports car glides toward the city skyline, a mass of corrupted metal, angling in assorted directions.
int. car - same
Sarah is driving. Jake is in the front passenger seat, which is set much lower than Sarah's seat.
sarah
I don't know why you're so down on this place. It's not like it's a dystopia.
jake
Do you know what it means when everyone has to insist that a place isn't a dystopia?
sarah
What?
jake
That it's a dystopia.
sarah
You just need a little picker-upper. And I know just the thing.
She turns the wheel.
ext. car dealership - same
The blue sports car turns onto the lot. The building is cylindrical and looks like a upright coin.
int. car dealership - later
Jake and Sarah enter. Two TWINS in gray suits approach from the distance.
jake
How come they've got suits?
sarah
Car dealers are allowed.
int. car dealership - later
The twins smile pretentiously at Jake and Sarah.
twin 1
What a handsome couple.
twin 2
What you need is a stationwagon.
twin 1
For your family.
jake
I don't have a family.
twin 2
But you will. And then you'll need a stationwagon.
jake
Just a regular car.
int. car dealership - later
Through the use of something akin to a Ferris wheel, the twins drive Jake and Sarah past various car models, which are located along the edge of the building's coin-like structure.
They stop. Jake looks at the price.
jake
I guess this one'll do.
sarah
You can't pick that one.
jake
Why not?
sarah
It's the cheapest.
jake
So?
sarah
So, you're a buttonpusher.
twin 1 and twin 2
You're a buttonpusher?
twin 1
Why didn't you tell us?
The Ferris wheel cart shoots up.
int. car dealership - moments later
They stop in front of an attractive convertible.
twin 2
Now, this is a car for a buttonpusher.
Jake looks at the price.
jake
It's so expensive.
sarah
You simply must get this car, Jake. You must.
int. car dealership - later
Jake, Sarah, and the twins are sitting around a desk.
jake
All I want is a stick shift.
twin 1
Sorry -- no can do.
twin 2
No stick shifts allowed. The Beast doesn't like them.
twin 1
Feels they breed individuality.
sarah
An automatic is much better anyway. How else can you talk on the phone while you drive?
jake
I know I've seen a stick around here.
Sarah and twins
Where?
Jake pauses uneasily.
jake
Perhaps . . . perhaps I'm mistaken.
twin 1
That's it.
twin 2
So, just sign the contract and it's all yours.
Twin 2 pushes the contract and a pen toward Jake. Jake picks up the contract.
twin 1
No one reads it.
jake
I'm reading it.
(reading)
"The party of the first part agrees to be irreparably bound to the party of the second part, forthwith, hereafter and henceforth, ad infinitum, in perpetuity for the duration of this contractual obligation, which has no terminability nor tenor
. . ."
Jake puts the contract down.
jake (cont'd)
What exactly does this mean?
twin 1
It's simple.
twin 2
It says you pay us five hundred credits per month.
jake
For how long?
twin 2
Forever.
jake
Forever? But the car won't last forever.
twin 1
When you need a new one, you trade this one in.
twin 2
But you always pay us five hundred credits per month.
twin 1
Or more.
twin 2
Or more.
jake
I'm not signing this.
twin 1 and twin 2
What do you mean?
The eyes of the Twins follow Jake and Sarah as they speak, as if they were watching a tennis match.
sarah
Yes, Jake, what do you mean?
jake
I'm not locking myself into these jokers for life.
sarah
Why not? We all do.
jake
Not me.
Sarah huffily rises and walks off.
int. car dealership - moments later
Sarah reaches for the front door. Jake grabs her arm.
jake
Where are you going?
sarah
I'm not going out with some crazed Che Guevara.
jake
Che Guevara? Because I won't take out a car loan?
sarah
We're all servants of the Beast, Jake. We must play by His rules.
She lovingly grabs Jake's lapels.
sarah (cont'd)
You can't fight it. You have to accept it. You'll like it here if you just . . . go with the flow.
ext. highway - later
The blue sports car exits onto a curved ramp that looks much like a roller-coaster track.
int. car - same
Sarah turns to Jake, who looks a bit depressed.
sarah
I hope you won't give me this much trouble when we buy our first home.
jake
We're getting a little ahead of ourselves, aren't we?
She smiles knowingly.
ext. sports bar - later
The blue sports car pulls into a packed parking lot. The bar is a huge monolith, the size of a football stadium.
int. car - moments later
Sarah pulls the key from the ignition.
jake
Ah, the ubiquitous sports bar.
sarah
Your first time. You must be so excited.
jake
I may need diapers.
sarah
How about trying a little less sarcasm. You're much cuter without it.
int. sports bar - later
In addition to the thousands of large-screen televisions throughout the place, there is an immense circular television that goes around the perimeter of the building, displaying an auto race in its entirety.
Jake and Sarah slowly make their way through a packed crowd.
int. sports bar - later
Jake and Sarah are sitting at a table. He is looking at her. Her focus, though, is squarely on the televisions.
A waitress comes by and leaves two giant mugs of beer.
He takes a sip, and grimaces. He puts the beer down and looks at Sarah.
jake
Can't you look at me?
sarah
How can I look at you and the TVs at the same time?
jake
You can't.
sarah
That's what I just told you.
jake
How about looking at me instead of the TVs?
sarah
Jake, I can look at you later.
He stands up and walks away. She doesn't seem to notice.
int. bathroom - later
Jake washes his face in a tiny white sink.
Nietzsche (o.s.)
Who is the number?
Jake looks up at the mirror and sees Nietzsche using a urinal.
jake
Number?
Nietzsche zips his fly and turns to Jake.
Nietzsche
The Fraulein.
jake
She's a friend.
Nietzsche
She is awfully pretty to be a friend.
jake
They come in all shapes and sizes.
Nietzsche washes his hands, looking directly into the mirror.
Nietzsche
Hmm. It seems as if you are enjoying yourself, Jacob.
jake
I'm not. And stop calling me "Jacob."
Nietzsche dries his hands, still looking into the mirror.
Nietzsche
Yes, I think you will be staying here forever -- watching the idiot screens every night, drinking the bad beer -- getting fat and old.
(looks at Jake)
And stupid.
jake
Shut up!
Nietzsche
You are one of them -- a slave.
jake
I'm not, I tell you -- I'm not!
Nietzsche turns and quickly leaves. Jake follows him.
int. outside bathroom - same
Jake bursts through the bathroom door and runs directly into a drunken Potocki, who grabs and hugs him.
potocki
Jake!
He releases Jake.
potocki (cont'd)
Basketball.
jake
What?
potocki
Basketball. I challenged myself tonight to only watch basketball. To see what I'm made of. And by golly, I've only watched basketball.
Potocki takes a deep breath and leans toward Jake.
potocki (cont'd)
Men's basketball, women's basketball -- college, high school -- international. I've even seen midgets playing basketball.
jake
That's great. But I better be getting back to my date.
int. sarah's table - later
Jake hesitantly leads Potocki, who has his arm draped over Jake's shoulder, to Sarah. Her eyes remain focused on the TVs during the entire scene.
jake
Sarah, this is --
Potocki enthusiastically offers Sarah his hand.
potocki
Potocki's the name, F-W-I-W.
She ignores him. She takes a sip of beer.
Embarrassed, Potocki looks around awkwardly.
potocki (cont'd)
Well . . . I guess I better leave you love birds alone. See you on the bus tomorrow, Jake?
jake
You bet.
Jake pats him on the back, and Potocki dejectedly walks away. Jake waits a few moments before turning to Sarah.
jake (cont'd)
That was pretty rude. I know he's kind of a schmuck, but . . .
sarah
He's a paperpusher.
jake
So?
sarah
So, you shouldn't be hanging out with him.
jake
I'm not hanging out with him. But why shouldn't I?
sarah
You're a buttonpusher, and he's nothing.
jake
He's a human being.
sarah
Oh, brother -- here we go again with the Che Guevara. Get with it, Jake.
jake
Get with what?
sarah
You're at the top of the caste -- a Brahmin. And he's an Untouchable.
jake
That's sickening. You're sickening.
Jake knocks his nearly-full glass of beer onto the floor.
jake (cont'd)
This whole place is sickening!
sarah
Shoot the ball -- shoot the ball!
Jake storms away.
int. bar - moments later
Jake frantically tries to push his way through the crowd.
ext. bar - moments later
Jake bursts through the front door. He doubles over, gasping for breath.
Nietzsche's red Porsche pulls up beside him. Jake lifts his head and breathes easier. He walks toward it. The passenger door opens.
Nietzsche
Need a ride?
int. jake's bedroom - day
Jake is lying in bed watching television, looking bored. He turns the TV off. He looks at his night-stand and sees a business card.
He picks it up and looks at it. He looks at his watch and sighs.
ext. parking lot - later
Jake, driving his new convertible, follows directions on the GPS to find the one free spot in the crowded lot.
He pulls into the space and turns off the ignition.
He looks up and sees a church -- a rather ordinary-looking church, which juxtaposed against the crazy-looking buildings behind it, looks quite unusual.
int. church - later
Chorale music is playing on an organ in the background.
Jake walks toward the entrance of the nave. The music abruptly stops.
knickerbocker (o.s.)
My children: Matthew, Twenty-Two, Seventeen.
Jake stops at the edge of the nave and looks at Knickerbocker, who is holding a Bible. Knickerbocker returns the glance and adds a smile.
knickerbocker (cont'd)
(reading)
"The Pharisees came upon our Lord and said, 'Tell us therefore, What thinkest thou? Is it lawful to give tribute unto Caesar, or not?'"
Jake enters the nave and sits down in the last pew, in the only empty seat. He picks up a Bible and casually leafs through it.
knickerbocker (o.s.) (cont'd)
"But Jesus perceived their wickedness, and said, 'Why tempt me, ye hypocrites?'"
Jake curiously stops at a page in Revelations.
knickerbocker (o.s.) (cont'd)
"'Shew me the tribute money.' And they brought unto Him a penny."
Jake reads: "And they worshipped the beast, saying, Who is like unto the beast?"knickerbocker (o.s.) (cont'd)
"And He saith unto them, 'Whose is the image and the superscription?'"
Jake looks up and is surprised when he sees Sarah sitting a few pews ahead of him. He puts the Bible down.
knickerbocker (o.s.) (cont'd)
"They say unto Him, 'Caesar's.'" "Then saith He unto them, 'Render therefore unto Caesar the things which are Caesar's; and unto God the thing's which are God's.'"
Sarah turns and looks at Jake. She blushes and quickly turns back to Knickerbocker.
knickerbocker (cont'd)
You may ask, how does this passage relate to you?
Knickerbocker closes his Bible and smiles.
knickerbocker (cont'd)
It's simple. Jesus wants you to surrender your body, your corporeal existence to the Beast.
Knickerbocker steps around the pulpit and approaches the congregation.
knickerbocker (cont'd)
Your soul belongs to Christ. But everything else is the Beast's. You must submit. Obey. Abandon all will.
(raising his hand high)
It is your only path to salvation.
int. church threshold - later
Knickerbocker is greeting people as they exit.
Jake, who is the last person in line, comes up, and Knickerbocker warmly shakes his hand.
knickerbocker
I was so happy to see you. Does this mean you're joining our flock?
jake
I wouldn't say that.
knickerbocker
Why don't we go into the rectory for a little chat.
int. rectory - later
Jake is sitting by himself in an easy-chair, reading from a Bible. He looks at the surgical mark on his right hand.
jake
(whispering)
And the beast causeth all to receive a mark in their right hand.
knickerbocker (o.s.)
So, what did you think about the sermon?
jake
It was interesting.
Knickerbocker enters carrying a tea service.
knickerbocker
Interesting?
jake
I'm no expert on the Gospels, but I doubt that's what Christ meant.
Jake puts the Bible down on a coffee table. Knickerbocker lays the service next to it and sits across from Jake.
knickerbocker
Who's to say what Christ meant?
Knickerbocker pours Jake a cup of tea.
jake
The words seem pretty clear to me.
knickerbocker
Do they? I'm afraid you have much to learn. The truly spectacular thing about Christ is that His words can mean all things to all people.
Knickerbocker pours himself a cup of tea.
jake
Really?
knickerbocker
Take Saint Francis, for example.
Knickerbocker picks up his cup and takes a sip.
knickerbocker (cont'd)
To Francis, Christ was a lamb, who came to change the world through the power of love.
Knickerbocker puts down his cup.
knickerbocker (cont'd)
To Saint Dominic, though, Francis's very contemporary -- and no less saintly -- Christ was an avenging crusader ready to consign all sinners to the flames.
(spreading his hands)
Who's to say who was right?
jake
I'd say Francis.
knickerbocker
But others would say Dominic. And I hazard to guess you'd be outnumbered.
Knickerbocker leans back in his chair.
knickerbocker (cont'd)
Yes, we are free to interpret Christ as we wish. And take from Him only what we want.
Knickerbocker abruptly jumps forward, full of enthusiasm.
knickerbocker (cont'd)
Don't like the part about wealth being a mortal sin? Ignore it. Don't want to turn the other cheek? Don't. Want to judge others? . . . Go right ahead.
jake
Your relativism is very convenient.
Knickerbocker smiles.
knickerbocker
Indeed it is.
ext. church grounds - later
Knickerbocker leads Jake arm-in-arm. Jake curiously looks at the congregation, who are almost universally under fifty.
knickerbocker
I do hope you consider joining us. Even if you remain a freethinker at heart, you have much to gain in our community.
jake
Strange.
knickerbocker
What?
jake
There . . . there's no old people here. There's no old people anywhere.
knickerbocker
Of course not. When you reach a certain age, the Beast retires you.
jake
Retires?
knickerbocker
Yes. Some are sent to Florida, others to Arizona. But don't worry -- the Beast will always take care of you.
They stop in front of a small group of talking people, which includes Sarah.
knickerbocker (cont'd)
Well, I must speak with some others now, but I do hope to see you here next Sunday.
(smiles)
At the beginning of services this time.
Knickerbocker walks away. Jake looks at Sarah awkwardly. She returns the expression.
Jake starts to walk away. Sarah grabs his arm.
Sarah
Can . . . can I talk to you?
They take a few steps away from the group.
jake
Funny, you don't seem the church-going type.
sarah
You'd be surprised. All the best people come here.
jake
I should've figured there'd be a motive. You'll excuse me.
Jake turns and starts to walk away.
sarah
I'm trying to apologize. It's not easy.
Jake stops, but doesn't turn around.
sarah (cont'd)
I'm not perfect. Or even close.
(lowers her head)
Sometimes . . . sometimes that place gets me a little crazy. It's all the adrenaline from watching sports.
(raises her head)
I want you to know that I apologized to him, too.
Jake turns back to her.
jake
Who?
Sarah slowly approaches him.
sarah
Potocki. I found out where he works and I apologized. In person.
jake
You did?
sarah
You can ask him.
jake
I . . . I believe you.
She lays her hand gently on his chest.
sarah
But do you forgive me?
jake
I do.
She grabs and hugs him. He is hesitant, but almost against his will he puts his hands on her shoulders.
She abruptly breaks their embrace.
sarah
Are you going to the yacht party?
jake
Yacht party? They've got water here?
sarah
Of course, silly. Where else would they put the boat?
ext. parking lot - later
Jake and Sarah -- accompanied by two WOMEN -- pass nearby Knickerbocker, who's talking with a couple in their forties.
woman 1
Hey, Reverend -- coming to the yacht party?
Knickerbocker smiles knowingly.
knickerbocker
I don't think so.
woman 2
(enticingly)
There'll be lots of debauchery.
knickerbocker
I'm counting on it. I'm also counting on all of you knowing the value of contrition.
women
We do!
ext. marina - later
Jake and the women walk toward a large lopsided yacht named "THE BEAST'S BURDEN."
A young MAN on the boat leans over the edge.
man
Where were you guys? We almost left with out you.
woman 2
I bet.
She quickly undoes her Sunday dress, revealing the scantiest of bikinis -- to the surprise of Jake -- and to the whistles and applause of many people off-screen.
Sarah turns to Jake and does the same with her dress. Jake is motionless.
sarah
I guess you didn't bring a suit.
jake
You guess right.
sarah
So I guess you'll have to go au natural.
jake
You guess wrong.
She smiles knowingly.
ext. yacht - later
The deck is awash with large-screen televisions, which are displaying music videos. Dozens of young men and women are frolicking with one another amidst loud dance music.
Sarah and Jake are standing by the bar. She reaches for a large champagne glass full of pills. She pops a few and hands the glass to Jake.
jake
What is it?
sarah
X-X-ecstasy.
jake
No thanks.
sarah
Come on -- a few Es will do you good -- loosen you up a bit.
Jake takes one.
sarah (cont'd)
Only one?
He smiles wryly. It turns into a look of surprise when he sees the bartender approach.
jake
Tommy?
tommy
Jake -- how's it going, man?
jake
(to Sarah)
This is Tommy -- my bartender from college.
(to Tommy)
What are you doing here?
tommy
I got swallowed.
jake
The Beast swallows bartenders?
tommy
It's called diversification. What can I get you?
ext. yacht - later
Jake and Sarah dance, sweat pouring down their faces.
sarah
Time for a swim!
jake
I've got no suit.
sarah
You've got the best suit of all.
jake
I'm not that drunk.
sarah
Then drink some more!
Tommy hands Jake a swimsuit. Jake smiles.
ext. yacht - later
Jake, wearing trunks, enters from the cabin. He looks around.
sarah (o.s.)
Over here!
Jake turns around and sees Sarah on a diving board, which hovers over the sea. She reaches her arm out for him.
He slowly walks toward her, climbs up the stairs of the diving board, and stops.
She reaches behind to undo her top.
sarah (cont'd)
Live now . . .
She tosses her top into the sea.
sarah (cont'd)
For tomorrow we're old!
She does a dramatic back flip into the sea. Jake jumps in after her, far less dramatically.
ext. UNDERWATER - later
Jake, who is by himself, looks around the bottom of the sea.
He pushes away some seaweed and finds a large drain surrounded by concrete.
Sarah comes from behind and rips down his trunks. He chases after her.
ext. sea - same
Jake and Sarah come up, gasping for air.
Jake grabs her, and passionately kisses her.
She abruptly breaks their embrace and swims toward the boat.
At the boat, she grabs onto a thick rope and raises herself up a little.
Jake joins her and they embrace again.
Their hands become violently intertwined with the rope. Traces of blood form and drip down her arm.
ext. yacht - later
Pornographic videos play on the large-screen televisions while people openly copulate on the deck en masse.
Jake and Sarah, both naked, climb onto the boat together, holding hands and smiling.
The two of them bump into Tommy, who has a naked woman on one arm and a naked man on the other. All three are smiling broadly.
tommy
The Beast works in wonderful ways.
jake
He sure does.
Jake looks surprised, as if he can't believe what he just said.
ext. yacht - sunset
Jake and Sarah are lying together on a lounge chair watching the sun sink into the sea, her head on his chest. They both have bandages on their hands.
jake
So, tell me.
sarah
(raising her head)
What?
jake
Are you contrite?
She smiles.
sarah
Very.
ext. building b - day
Jake and Sarah walk arm-in-arm toward the entrance, amongst a mass of workers. Jake is not wearing a suit -- he is dressed like everyone else.
A woman with a baby carriage rushes past them. Sarah smiles at the carriage -- a genuinely warm smile.
jake
Children?
sarah
Sure.
jake
Why, why would someone bring a child into this?
sarah
I don't know. I guess . . . I guess when it's right, it just makes sense.
jake
You're not making any sense.
She kisses him on the cheek.
int. office hallway - day
Seen from a vantage point high above, dozens of people in tiny cubicles mechanically and lifelessly push buttons, almost in unison.
jake (v.o.)
The minutes slowly merged into hours, the hours into days, and the days into weeks.
int. jake's cubicle - same
Jake unhappily pushes a button with one finger.
jake (v.o.)
It was a blur -- impossible to differentiate one instant from another. Mindlessly pushing buttons one moment . . .
int. meeting room - day
The room is a huge, dark, cave-like sepulcher.
Jake looks bored as he sits among a group of about a dozen people, who seem to be discussing something quite important.
jake (v.o.)
Attending meaningless, pedantic meetings the next . . .
int. sports bar - night
Jake and Sarah are watching television with a few other people. Jake turns away from the screens, looking bored.
jake (v.o.)
And spending night after night in the ridiculous sports bar.
int. bedroom - night
Jake and Sarah are making love, but it's hardly passionate.
jake (v.o.)
Even loving Sarah was becoming tedious.
He rolls over away from her, into a fetal position. She wraps her arm around his body.
jake (v.o.) (cont'd)
I was attracted to her physically; and she, she was attracted to me by what I represented -- or what she thought I represented.
(beat)
But there was little else.
He gently grabs her wrist.
jake (v.o.) (cont'd)
So why couldn't I break her embrace?
int. cafeteria - day
Jake is by himself, a near-empty tray in front of him. He takes a sip of drink through a straw.
woman (o.s.)
It's about time.
Jake turns his head. At the next table is a couple. The MAN, who is in his early forties, has a remarkable resemblance to Jake. And the WOMAN, also in her forties, resembles Sarah.
man
These things take time.
woman
Twenty-three years?
man
The important thing is that I'm out of that tiny cube.
woman
Maybe you'll even get an office one day.
man
These things take time.
Jake takes a deep and fatalistic sip through the straw, noisily reaching the end of his drink.
ext. sports bar - night
The blue sports car pulls into a parking space.
int. car - same
Sarah turns off the ignition and looks at Jake, who is clearly depressed.
sarah
What's wrong?
jake
Nothing.
sarah
Is it me?
jake
No.
sarah
You don't like me anymore?
jake
I . . . I love you.
sarah
You don't show it.
jake
It's not you.
sarah
Then what?
jake
I'm bored.
sarah
With what?
jake
Everything. Work, this bar,
. . .
sarah
Me?
jake
No.
sarah
You are.
She turns away, obviously upset.
jake
I'm not.
He gently caresses her arm.
sarah
What's to be bored about? We have everything: great jobs, money, cars . . . endless sex.
(looks upward)
What else do you want?
jake
More.
sarah
What more?
jake
More, more life. This . . . this is all vapid.
sarah
I'm vapid?
jake
Why do you insist on turning everything around toward you. You're not everything.
She turns back to him. Tears form in her eyes.
sarah
You're everything to me.
jake
I'm not. You've got a job you love. You've got friends and drugs, . . . and you've got this lousy sports bar.
sarah
I hate you!
She storms out of the car, slamming the door. Jake lowers his head.
int. sport's bar, pool room - later
Jake, who is by himself, leans over a pool table with a cue stick and takes a shot. It misses horribly.
Potocki enters. He stops abruptly.
potocki
Oh, I'm sorry -- I didn't know anyone was here.
He turns to leave.
jake
Hey -- wait a minute!
Potocki stops and turns around.
jake (cont'd)
You wanna shoot some pool?
potocki
You sure you want to be seen with a paperpusher?
Jake tosses him his cue stick.
int. sport's bar, pool room - later
Potocki violently breaks. He sinks the 1, the 3, and the 7 ball.
potocki
Haven't seen you on the bus.
jake
I bought a car.
Potocki shoots and sinks the 5 ball.
potocki
I see. I thought it was because of your girlfriend.
jake
What do you mean?
Potocki shoots and sinks both the 2 and 4 ball.
potocki
She doesn't particularly like me, if you hadn't noticed.
Potocki shoots and sinks the 6 ball.
jake
What do you mean? She apologized to you, didn't she?
potocki
What are you talking about?
Potocki shoots and sinks the 8 ball.
potocki (cont'd)
Another game?
Potocki pushes a button, and the balls rack themselves.
jake
She . . . she didn't apologize?
potocki
Why would she apologize to me? I'm nothing but a lousy paperpusher.
Potocki again violently breaks, and sinks the 11 and 13 ball.
jake
She lied.
potocki
So? Everyone here lies, Jake.
Potocki shoots and sinks the 15 ball.
potocki (cont'd)
We lie to our bosses, we lie to our coworkers -- we lie to our friends and spouses. We lie to ourselves.
Potocki shoots and sinks the 10 ball.
potocki (cont'd)
We especially lie to ourselves.
Potocki shoots and sinks the 14 ball.
potocki (cont'd)
"I'm gonna lose weight," I tell myself. "I'm gonna drink less, spend more time with my family -- gonna buy a car." "I'm gonna be a buttonpusher."
Potocki shoots and sinks both the 9 and the 12 ball.
potocki (cont'd)
Lies. All lies.
jake
I don't lie.
potocki
Learn.
Potocki shoots and sinks the 8 ball.
potocki (cont'd)
For your own survival.
int. bar - later
Jake approaches Sarah, who is flirtatiously speaking with a big GUY with brown, curly hair. An almost full glass of beer is next to her.
guy
So, you here with someone?
She quickly glances at Jake.
sarah
No one special.
jake
Sarah, we need to talk.
sarah
Not now.
jake
Now.
guy
Is this little man bothering you?
sarah
Well . . .
jake
I'm not bothering her.
Jake takes the beer and pours it over Sarah.
jake (cont'd)
Now, I'm bothering her.
ext. sports bar - later
Jake bursts through the front door.
The red Porsche pulls up. Jake reaches for the door, but the car pulls ahead a little.
Jake walks up to it and tries to open the passenger door, but it's locked.
jake
Playing games tonight?
The passenger window opens. Nietzsche is looking straight ahead at the road.
Nietzsche
I thought you liked playing games.
jake
I don't. Open the door.
Nietzsche turns to Jake.
Nietzsche
I do not ride with slaves.
jake
I'm no slave!
Nietzsche
I am starting to think I am wasting my time with you.
jake
Take me to that bridge, and I'll show you. Take me now!
Nietzsche shakes his head.
Nietzsche
I cannot take you anywhere.
The car speeds away. Jake chases after it.
jake
Nietzsche -- come back!
When Jake reaches the corner, he collides with Knickerbocker, who was walking in a perpendicular direction. He looks at Jake ferociously.
jake
Reverend. What are you doing here?
knickerbocker
Who were you calling after?
jake
. . . Calling after? No one.
Jake takes a few steps backward, and Knickerbocker takes a few steps forward.
knickerbocker
Don't lie to me, Jake. Lie to everyone else -- but never lie to your pastor.
jake
You're not my pastor!
Jake turns and starts to rush away.
knickerbocker
It was Nietzsche!
Jake stops cold, but doesn't turn around. Knickerbocker approaches him.
jake
What are you talking about? Nietzsche's dead.
knickerbocker
No, he's not -- and you know it.
jake
You're crazy.
Jake starts to rush away again, but Knickerbocker grabs his shoulder and forces him around.
knickerbocker
He's a dangerous man, Jake.
jake
Let go of me!
Jake violently pushes him away and starts running.
knickerbocker
I'm speaking from experience.
Jake stops, but doesn't turn around.
knickerbocker (cont'd)
You think you're the first person he's approached?
Knickerbocker walks up directly behind Jake and gently puts his hand on Jake's shoulder.
knickerbocker (cont'd)
He befriended me years ago when I was freshly swallowed like you. When I shared your idealism.
(leans toward Jake)
He pretended to offer salvation. But it was only nihilism. Nihilism and damnation.
ext. jake's apartment building - later
A stationwagon, with its lights on, is parked outside.
It starts raining.
int. car - same
Knickerbocker and Jake are solemnly sitting inside, looking away from each other.
knickerbocker
I was angry.
jake
What?
knickerbocker
I was angrier than you when I was swallowed.
jake
Really?
knickerbocker
I was so young. I grew up in the sixties, and lived everything we believed in. Everything.
(lowers his head)
And then the decade ended. And almost immediately, it started. One after another, the Beast came after my friends. Finally, He came for me.
Knickerbocker opens the car window a little and looks outside.
knickerbocker (cont'd)
I didn't want to accept this
. . . this incarceration. And then he appeared.
jake
Nietzsche?
Knickerbocker nods.
knickerbocker
He offered me a way out. Die Brücke -- the bridge. And I almost took it.
jake
This bridge -- does it really exist? All I saw was darkness.
knickerbocker
It exists. But you can't see it. You must take a leap of faith. Literally.
jake
I'm taking it.
Knickerbocker turns to Jake.
knickerbocker
You don't know what you're saying.
jake
Why didn't you jump?
knickerbocker
My reason won out. I saw from the top of the abyss that it was a long drop with no end.
jake
You were scared.
knickerbocker
(raising his arm forcefully)
Rightfully! It led to nothingness!
jake
So you chose prison instead.
knickerbocker
I chose security. I chose reality.
jake
But you don't know what's on the other side.
knickerbocker
You can't. You can't until you jump. That's what so frightening -- to not know for sure.
Jake grabs Knickerbocker by the collar.
jake
Where is it?
Knickerbocker shakes his head.
knickerbocker
I won't tell you. I shan't be party to your fall.
ext. car - same
It's pouring rain.
Jake rushes out of the car. Knickerbocker follows and grabs Jake.
knickerbocker
I can't let you!
jake
You can't stop me -- I have free will!
knickerbocker
You'll be ruined -- destitute, morally and physically.
jake
I don't care. I want to be free!
knickerbocker
What is freedom? The freedom to do whatever you want? Or is it the freedom of knowing what tomorrow brings, the freedom of peace and security -- the freedom from want?
jake
I don't know!
Knickerbocker hugs Jake.
knickerbocker
You must shun Nietzsche.
jake
But I like him.
Knickerbocker abruptly and angrily pulls back.
knickerbocker
He is Mephistopheles! Only instead of a Gretchen, he offers your own destruction!
int. jake's apartment - later
Jake, his hair wet from rain, enters and finds Nietzsche sitting on the living room floor surrounded by mechanical devices, one of which he is analyzing with the aid of a switchblade.
jake
What are you doing?
Nietzsche
Fixing your car.
jake
It was broken?
Nietzsche
It is now.
jake
Thank you.
Nietzsche
You are welcome.
jake
I'm going.
Nietzsche
Where?
jake
To the bridge.
Nietzsche
You do not know where it is.
jake
I'll find it.
Nietzsche stares at Jake, as if he were gauging his sincerity. He smiles.
Nietzsche
Now, I can help you.
Nietzsche drops the device, folds up the switchblade, and stands up.
Nietzsche (cont'd)
Let us go.
jake
Let me pack a few things.
Nietzsche
You need nothing.
The telephone rings.
Nietzsche (cont'd)
Do not answer it.
Jake hesitates. He walks toward the phone.
jake
I'm no slave.
Nietzsche
Why are you choosing now to become a man?
Jake smiles. He picks up the phone.
sarah (o.s.)
Jake, we need to talk.
jake
I'm sorry about the beer, but --
sarah (o.s.)
There's something else -- something bigger.
jake
We're through.
sarah (o.s.)
What do you mean?
jake
You lied to me.
sarah (o.s.)
What are you talking about?
jake
You never apologized to Potocki.
sarah (o.s.)
Who?
jake
The paperpusher.
sarah (o.s.)
You're breaking up with me because of a paperpusher?
jake
I'm breaking up with you because I'm leaving.
sarah (o.s.)
Leaving? Leaving where?
jake
You wouldn't understand.
sarah (o.s.)
You're taking the bridge.
jake
You know about it?
sarah (o.s.)
Everyone does. Jake . . . take me with you!
jake
(agitatedly)
What are you talking about?
sarah (o.s.)
Take me with you! I love you! You said you loved me, too. Was that a lie?
Nietzsche
She cannot come.
jake
(strongly)
You can't come.
Sarah starts crying.
sarah (o.s.)
So, it was all a lie. You never loved me. You just used me.
Nietzsche
She cannot come!
ext. apartment building - later
Jake's convertible pulls into the parking lot. The rain is easing up.
int. car - same
Nietzsche slows the car and stops. It now has a manual transmission and a large hole in the dashboard where the GPS was, to which Jake smilingly points.
jake
I wonder what they'll say when I trade it in.
Nietzsche
But you will not be trading it in. You are taking the bridge. Right?
jake
Yeah.
Nietzsche
So why are we here?
jake
I can't explain it -- she's got a hold on me.
Nietzsche
She will only hold you back.
jake
You don't even know her.
Nietzsche
I know women.
jake
You know women. You had one girlfriend. One. I read about her once. What was her name?
Nietzsche
I do not know whom you mean.
jake
Sure you do. What was her name
. . .
Jake closes his eyes in thought.
His eyes abruptly open.
jake (cont'd)
Lou. Lou Salomé.
Nietzsche
Do not speak that name! That trollop -- she slept with my best friend. She slept with everyone. Everyone but me. I hate her!
jake
Methinks the gentleman doth protest too much.
Nietzsche
She is the devil!
jake
Funny, Knickerbocker seems to think you're the devil.
Nietzsche
Knickerbocker? That sheepherder? Perhaps we should pick him up as well.
jake
I'll go get her.
Jake reaches for the door, but Nietzsche grabs his arm.
Nietzsche
Five minutes. You have five minutes, and then I drive off. And I will not come back.
jake
But . . . but it's my car.
int. sarah's apartment - later
The tiny room looks similar to Jake's apartment, with a large TV, angled walls, and a small crooked door above the floor.
Sarah, who is wearing high heels, tries to close an overstuffed suitcase. She is surrounded by luggage.
Jake bursts inside, tripping over the threshold.
jake
Come on -- let's go!
sarah
I have to finish packing.
jake
Didn't I tell you to bring nothing?
sarah
Jake, this is nothing.
Jake grabs her by the hand and lifts her up.
jake
Let's go -- Nietzsche's waiting.
sarah
Who's Nietzsche?
jake
I'll explain later.
int. corridor - same
Jake and Sarah burst through Sarah's door and head right.
The elevator door opens. The two detectives -- Short and Skinny and Tall and Fat -- try to exit the tiny cabin together, but get momentarily stuck.
jake
The Man!
(to Sarah)
Is there a staircase?
She points left. They rush off in the opposite direction.
sarah
Jake, I can't run in high heels.
jake
No, you can't.
sarah
That's what I just said.
jake
Take them off!
sarah
And be without shoes? I don't even know what the weather's gonna be like where we're going.
short and skinny (o.s.)
Stop -- in the name of the Beast!
Sarah trips and falls right in front of the staircase. She grabs her ankle.
sarah
I think I broke it.
Jake anxiously turns and sees the detectives slowly, but steadily approaching. He turns back to her.
jake
I've gotta go.
The two detectives close in. Jake runs down the staircase.
sarah
First you throw beer at me and now you're gonna leave me in pain
. . . in my condition?
The two detectives rush past her and down the staircase.
sarah (cont'd)
Jake, come back!
int. staircase - same
Jake runs down spiral stairs, which get wider and wider -- to the extent that he is almost running in a circle.
tall and fat (o.s.)
You have nowhere to go, Jake!
short and fat (o.s.)
Nowhere but to us!
Jake hits the ground floor. He prepares to kick open an emergency exit.
ext. sarah's building - same
A door swings open, followed by a loud alarm. Jake bursts outside. He runs to the parking lot and abruptly stops.
jake
Where is he? Nietzsche? . . . Damn!
He runs off.
ext. street - same
Jake exits the parking lot, running onto the street.
A speeding police car rushes toward him. Jake stops, his eyes widening. The car brakes at the last second, but its momentum carries it into Jake, who sprawls onto the hood, screaming in agony.
He quickly spins off the hood and frantically jumps onto the street. He runs across it.
A POLICEWOMAN exits the car with a bullhorn.
policewoman
Give yourself up!
jake
No!
policewoman
We're trying to help you!
jake
No!
policewoman
All we want is for you to become a useful, productive member of society!
jake
No!
ext. road - later
Jake, gasping for breath, runs uncontrollably. The sirens get louder.
He stops and doubles over.
He looks up and sees Sarah's building nearby.
jake
It can't be!
He turns in the opposite direction and starts running.
ext. road - later
Jake runs hard, with a determined expression. The sirens get louder.
He stops cold, in utter fear. Again, he's approaching Sarah's building.
jake
No!
He turns in yet a different direction and runs.
ext. road - later
Jake runs with his eyes closed. The sirens get louder, much louder than before.
He stops. He opens his eyes.
He's directly in front of Sarah's building. Waiting are a half-dozen smiling policeman -- including the two detectives -- along with plenty of gawking bystanders. The detectives approach Jake.
tall and fat
Have a nice run?
Jake falls to his knees.
Short and skinny places handcuffs on Jake's wrists.
jake
How?
short and skinny
You have no free will, Jake. None.
Sarah rushes out of the building toward them.
tall and fat
Don't you see . . .
(points to Sarah)
All roads lead to her. You had no choice.
A speeding ambulance enters the parking lot.
sarah
This is so cool.
jake
(angrily)
How's your broken ankle?
sarah
This is just like my favorite movie -- A Beautiful Mind -- when they capture that nutjob and make him see that he's crazy.
jake
How do you know he was crazy?
sarah
Who?
jake
The nutjob. What if -- what if he wasn't crazy? What if he was the only sane one -- and they made him crazy?
sarah
That's crazy.
Two AMBULANCE WORKERS in white approach, pushing a stretcher.
short and skinny
Don't worry, Jake -- we'll make you all better.
tall and fat
Yes. Soon, you'll be just like us.
jake
Never!
short and skinny
That's just your disease talking. We'll heal you. So that you belong.
Tall and Fat leans in close to Jake.
tall and fat
So that you'll enjoy pushing all those lovely buttons.
Short and Skinny leans in close to Jake.
short and skinny
So that you'll revel in the monotony of your middling existence.
tall and fat
Why, you'll even like golf.
ambulance worker 1
He doesn't like golf?
ambulance worker 2
Is . . . is he dangerous?
Jake jumps up and tries to run, but dozens of arms grab him and pull him to the ground.
jake
I wanna be free!
A handkerchief covers his mouth. His vision becomes blurry.
CUT TO BLACK:
int. rubber room - night
Jake awakes to a sea of white. The room, with its misshapen, twisted walls is white -- his straight-jacket, gown, and slippers are white -- even the large-screen televisions plastered on each wall are white.
Like everywhere else, the door is short and crooked, and set above the floor.
Jake screams.
The television directly in front of him turns on. A GOLFER approaches, accompanied by Muzak.
golfer
Hello, Jake. For the next days and weeks, I'll be teaching you the art of golf.
jake
No!
golfer
First, we'll start on the long game.
jake
No!
The other televisions turn on, showing auto racing, a soap opera, and a sitcom.
jake (cont'd)
No!
He starts screaming and writhing incoherently. Saliva flows down his chin.
int. rubber room - day
Jake, with a few days of stubble on his face, awakes.
male voice (o.s.)
Good morning, Jake. Have a nice sleep?
Jake turns and sees a middle-aged MAN dressed in white, smiling at him.
jake
Who are you?
man
Dr. Howard.
jake
Where am I?
dr. howard
In a hospital.
jake
You mean an asylum.
dr. howard
If you prefer. We're going to make you better.
jake
There's nothing wrong with me.
dr. howard
I'm afraid there is. You're quite -- quite dysfunctional.
jake
You mean insane.
dr. howard
If you prefer.
jake
I'd prefer to leave.
dr. howard
And you will. Once you're better. Once . . . you're happy.
Dr. Howard walks to the door and stops.
dr. howard (cont'd)
We'll start our sessions tomorrow. For now, I'll leave you with your friends.
He takes out a remote from his jacket and turns on all four televisions.
jake
No! Turn them off! I hate them!
dr. howard
That's the wrong attitude. Televisions are your friend.
(puts the remote in his pocket)
They give you comfort, companionship -- they have wonderful sedative powers.
(points at Jake)
You must enjoy them. You must love them.
pa announcer (O.S.)
Calling Dr. Howard -- Dr. Fine -- Dr. Howard.
dr. howard
Oh, dear -- I must be going.
jake
Don't leave me here!
He leaves. The volume of the televisions get louder and louder.
jake (cont'd)
No! No!
Int. rubber room - day
Knickerbocker enters, a bit warily. Jake looks at him contemptuously.
knickerbocker
How are you, Jake?
jake
Go away!
knickerbocker
What's wrong?
jake
You put me here!
knickerbocker
I did nothing of the kind. What's said between a parishioner and his pastor is sacrosanct.
jake
You're not my pastor!
Jake turns away, moving into a fetal position. Knickerbocker sits down beside Jake. He gently puts his hand on Jake's shoulder.
knickerbocker
I know you are upset. Angry. I know because I spent some time here myself.
Knickerbocker turns away stoically.
knickerbocker (cont'd)
It was the best thing that ever happened to me. Really. And soon you'll feel the same way. The same exact way.
int. rubber room - day
Dr. Howard and Jake are sitting on the floor together. Dr. Howard is holding a pen and a pad.
dr. howard
Let's talk about debt.
jake
Debt?
dr. howard
You have a problem with debt.
jake
Problem -- I hardly have any debt.
dr. howard
That's your problem. You can't be a fully-functional member of our society without lots of debt.
jake
I don't get you.
dr. howard
Debt is glorious.
(puts the pen and pad down)
It's what gets you up in the morning and off to work. It inspires responsibility. It gives you a goal -- something to fight, something to worry about.
jake
I have a car.
dr. howard
That leads us to another issue: where did you get that manual transmission? It's so wrong.
Jake turns away. Dr. Howard picks up his things, stands up, walks to the door, and stops.
dr. howard (cont'd)
We're gonna start your golf lessons today.
jake
I don't want lessons.
dr. howard
Haven't you been watching the instructional videos?
jake
No.
dr. howard
Perhaps we need to turn the volume up.
Dr. Howard takes out the remote and turns on the television that is in front of Jake.
golfer
Today, Jake, I'm gonna teach you everything you ever wanted to know about putting.
jake
No!
Dr. Howard turns up the volume.
jake (cont'd)
Turn it off! Turn it off!
dr. howard
I can't hear you!
jake
Turn it down!
dr. howard
Do you promise to watch?
jake
No!
Dr. Howard turns it up even louder. Jake starts writhing.
dr. howard
Do you promise?
jake
I promise! I promise! Just turn it down!
Dr. Howard turns down the volume and smiles.
dr. howard
Much better. Much better.
int. cafeteria - later
Two obese and ugly ORDERLIES dressed in white, both with large sets of keys hanging by their side, lead Jake inside. Among the many patients are a beautiful woman in her late twenties who has a foreign accent, and a frail OLDER MAN.
orderly 1
Sit here and we'll get you some food.
The orderlies leave. Jake sits down between the older man and the woman.
older man
A new inmate!
woman
He's not new -- he's been here over a week.
older man
Welcome to the House of Crazies.
The older man takes a large bite of food, displaying the contents of his meal as he talks.
older man (cont'd)
What you in for?
jake
Nothing.
woman
Yeah -- you must be the only sane one here.
They all giggle, but Jake.
jake
I am sane.
older man
Me, I won't work. I hate it! I can't wait -- in a month, I'll be retired. And then, it's golf every single day.
Orderly 1 plops down a tray of food in front of Jake, and turns to the older man. He nods to Jake.
orderly 1
He doesn't like golf.
Everyone momentarily freezes. Orderly 1 snickers and steps away.
older man
Not like golf? . . . Not like golf? What do you mean you don't like golf? Why . . .
The older man jumps onto the table on his knees, and stares coldly at Jake.
older man (cont'd)
What -- you don't like watching them hit the little white balls into the holes over and over and
. . .
He grabs Jake by the collar of his gown, seething with anger.
older man (cont'd)
you crazy motherf --
The two orderlies grab the older man and throw him onto the floor. Even though he's half the size of one orderly, the older man puts up a good struggle.
The orderlies drag the older man through the doors.
older man (cont'd)
Not like golf!
woman
I don't like golf, either.
She smiles warmly at Jake. He blushes.
jake
What's your name?
She whispers in his ear.
woman
L.
The orderlies return.
jake
Elle?
orderly 1
You've got a visitor, Jake.
Orderly 2 winks at L. He taps his set of keys, which swing slowly over his groin. She smiles at him seductively.
int. visiting room - later
Orderly 1 leads Jake into a small, dimly-lit closet, where Sarah is waiting. Orderly 1 leaves.
She leaps toward Jake and gives him a big hug. Her affection is not reciprocated.
sarah
I miss you so much, honey!
jake
(coldly)
What are you doing here?
She pulls back.
sarah
Is that any way to speak to your fiancee?
jake
You're not my fiancee!
sarah
Not if you continue like that.
jake
Go away!
sarah
Why are you so mad at me?
jake
You betrayed me!
sarah
It wasn't me. It was Nietzsche.
jake
Lies!
sarah
Why would I call you that night, after you poured a beer on me?
She walks behind Jake and leans her head to his ear.
sarah (cont'd)
Nietzsche called me and begged me to set you up. He said it was for your own good. And considering
. . .
Jake turns around and looks at her.
jake
Considering what?
sarah
Ask him yourself if you don't believe me.
jake
Like I asked Potocki?
sarah
Potocki, Potocki, Potocki -- you've got Potocki on the brain. Has Potocki come and visit you?
Jake turns away.
sarah (cont'd)
I didn't think so. Some friend he is. I'm your friend, Jake.
Orderly 1 enters.
orderly 1
Tee time, Jake.
sarah
Oh, isn't that sweet -- my little boy's learning golf. . . . Well, gotta run -- lots of calculations to do.
She walks to the door, stops, and turns back to Jake.
sarah (cont'd)
Hopefully you'll get better soon.
(puts her hands on her hips)
You know, we've really got to pick out our china and silver patterns.
(sighs)
I could do it myself -- but it's really something a couple should do together, don't you think?
ext. golf course - later
Jake is surrounded by Orderly 1 and the golfer from the TV. Orderly 1 is holding a golf club.
golfer
We'll start with some driving.
Orderly 1 hands Jake the club, but Jake doesn't take it.
orderly 1
Take the club, Jake.
Jake stares blankly.
int. hospital - later
Seen from a vantage point below, Orderly 1 is holding the golf club.
orderly 1
(emphatically)
Take the club, Jake.
Jake is tied to a table. Only his right arm is free. Electric devices are strapped to his head and to his bare chest.
Jake shakes his head. A bolt of current runs through his body. He screams. He looks up at the ceiling and sees scores of televisions displaying men and women playing golf.
Dr. Howard's voice comes through the PA system.
dr. howard (o.s.)
Aren't they having fun, Jake?
Jake shakes his head. Another bolt of current, stronger than the last, runs through Jake's body. He screams.
orderly 1
(angrily)
Take the club, Jake!
dr. howard (o.s.)
(enticingly)
Take the club, Jake.
Jake shakes his head over and over. Another bolt of current blasts through him -- so strong that it lifts him off the table.
Orderly 1 gets right in Jake's face.
orderly 1
(shaking with rage)
Take the fucking club!
Jake violently grabs the club.
ext. golf course - later
Jake savagely drives a ball. He yells.
The ball flies down the fairway.
Jake collapses onto the ground and rolls into a fetal position, his right hand ferociously clenching the club.
int. rubber room - night
Jake is sleeping in a fetal position, without a straight-jacket, his right hand clenched tight.
He hears the sound of jiggling metal. He wakes up and sees L smiling, holding a large set of keys over him. She walks toward the door, dangling the keys like a carrot.
l
Coming?
jake
Where?
l
Does it matter -- as long as it's not here?
jake
I've got an early tee time tomorrow.
He turns his head away from her.
l
Such a lovely night for a stroll
. . . on the bridge.
He turns back to her.
int. hospital hallway - later
L exits a room. She looks back.
l
Well?
Jake warily exits.
orderly 2 (o.s.)
Okay . . .
Jake and L turn to the man.
orderly 2 (cont'd)
You've had your fun -- now give me back my keys.
l
Sure thing.
She tosses the keys over the orderly's shoulder. He tries to catch them, but misses. He turns around and leans over to pick them up. L grabs Jake's hand and they rush away. The orderly turns around.
orderly 2
Hey -- where you going?
int. hospital basement - later
L and Jake are standing in front of an emergency door, both out of breath.
L kicks the door open. An alarm sounds.
int. sewer entrance - later
Jake rushes down the ladder of a manhole. Sirens ring out in the background.
l (o.s.)
Close the lid!
Jake reaches for the manhole lid.
int. sewer - moments later
L and Jake hurriedly climb down a long and twisting spiral stairway.
int. sewer - later
L quickly leads Jake -- almost dragging him -- through water that is nearly knee-high. The tunnel ceiling is far above them.
Voices of men echo through the tunnel, along with flashing lights. Jake trips and falls into the water. L lifts him to his feet and they continue on.
A metal gate, of the same height and the same puke-green color as the office cubicles, abruptly rises in front of them.
L turns around and sees another tunnel, a little ways back to their left. She drags him toward it. But right before they reach the entrance, another gate rises in front of them. The voices get louder and louder.
L looks around and sees a large wheel labeled "SEAWATER RELEASE VALVE." She rushes toward it and tries to turn it, but it's stuck.
l
Come on, Jake -- help me!
voice 1 (o.s.)
Stop -- in the name of the Beast!
voice 2 (o.s.)
Do as your told!
Jake stares out blankly toward the voices.
Jake suddenly rushes to L and helps her pull the wheel. The sound of men get closer and closer. After a few seconds of desperate tugging, the wheel starts to turn.
voice 1 (o.s.)
We better get outta here!
The water rises precipitously, carrying L and Jake over the gate.
ext. rear of a building - later
From an open manhole, wet footprints lead to the edge of the building.
L and Jake, soaking wet, climb the fire escape alongside the building. Jake stops and curiously looks at the facade.
jake
This building . . . it looks so familiar.
She grabs his wrist and yanks him forward.
l
Come on!
ext. building roof - later
The roof is small and on a slight incline. Sirens ring out in the far distance.
L leads Jake up the final steps to the top. Jake looks up and sees Nietzsche smiling, standing by the far edge.
Nietzsche
Nice work, Lou.
Jake turns to L.
jake
Lou? As in Lou Salomé?
Lou smiles and caresses Jake's cheek.
lou
I'd kiss you, . . .
(nods to Nietzsche)
But my little Kraut would get very jealous.
Nietzsche
Lou!
ext. building roof - later
Jake resolutely approaches Nietzsche. The sirens get louder and louder. The two men are face-to-face.
Nietzsche
Welcome aboard.
Jake
You set me up.
Nietzsche
Of course.
jake
So Sarah was right.
Jake turns to leave. Nietzsche grabs Jake's shoulder.
jake (cont'd)
Don't touch me!
Jake pushes Nietzsche's arm away.
Nietzsche
The only way to make you a new man was to completely destroy the old one.
jake
Screw you!
Jake starts to leave.
Nietzsche
So, you are going to quit? Right when you are on the precipice -- the precipice of freedom?
Jake stops. He slowly turns around. Nietzsche holds out his hand.
Nietzsche (cont'd)
Give me your hand, my boy. Give me your hand.
Jake approaches, looking over the edge of the roof, and hesitantly gives Nietzsche his right hand. With Nietzsche's free hand, he takes out his switchblade from his pocket.
Nietzsche opens the blade and digs into Jake's hand. Jake winces. Nietzsche pulls out a computer chip from Jake's bloody hand and tosses it and the knife onto the ground. He releases Jake's hand.
Nietzsche (cont'd)
Now, you are almost ready.
Nietzsche motions his arm below. The ground in front of the building turns into a black emptiness.
jake
The bridge is here?
The sirens ring immediately below them, followed by the sounds of car doors, voices, and footsteps.
Nietzsche
You have not much time.
jake
It's . . . it's so empty.
Nietzsche
It is not. Look. Look and you will see die Ãœbermenschen -- the supermen -- the men who jumped before you, the men who abandoned mediocrity for the sake of immortality. Look!
In the blackness below, the blurred images of men appear.
Nietzsche (cont'd)
Look -- you can see Zoroaster, Christ -- Mohammed. You can see Archimedes, Copernicus, and Einstein. You can see Socrates and Spinoza.
(puts hand on Jake's shoulder)
You can see me.
jake
. . . I can see them.
Nietzsche
And you will join them.
They hear the sounds of shotguns cocking, and turn to see Short and Skinny and Tall and Fat, surrounded by a small SWAT team, who have their weapons pointed at Jake.
Nietzsche
Do not worry -- they will not shoot. They are afraid of you. They are afraid of you doing what they are too scared to do.
(leans toward Jake)
There are far greater dangers than them.
Jake turns and lowers himself in preparation to leap. He closes his eyes.
Nietzsche (cont'd)
That is it, my boy -- get ready.
sarah (o.s.)
Stop!
Jake stands up and turns to Sarah.
jake
What are you doing here?
sarah
This is my building.
(points to Nietzsche)
He even called me.
jake
(to Nietzsche)
Why?
Nietzsche
You cannot have one foot in the future and one in the past. You must choose. . . . Well?
jake
I'm jumping, Sarah.
sarah
You can't.
jake
I can!
sarah
It's no longer about you and what you want. It's not even about me.
(points to her belly)
It's about her.
jake
Her?
Sarah resolutely walks toward Jake.
Nietzsche
Jump! Jump now!
She is face-to-face with Jake.
sarah
I'm pregnant.
Nietzsche
Lies! All lies!
Sarah raises her shirt, exposing her slightly protruded belly. She grabs Jake's uninjured left hand and puts it on her stomach.
Sarah
Can you feel it? Is it a lie?
(smiles)
It's not like I haven't been dropping hints.
Nietzsche
It does not matter. Jump -- she will have an abortion.
Sarah
I won't.
Jake looks deeply into her eyes.
jake
. . . She won't.
sarah
We're naming her Deborah.
jake
Her?
sarah
I know it'll be a girl.
She holds out her hand to him.
sarah (cont'd)
Come. Let's go home.
Jake hesitates.
Nietzsche
Do and you will be lost!
Jake reaches his bloody right hand halfway toward her, almost as if it were against his will. She grabs the back of his hand, her hand becoming immersed with his blood.
They turn and walk away together, her hand tightly gripped over his.
Nietzsche (cont'd)
You slave! You stinking slave! You will never be anything but a slave!
Jake and Sarah cautiously walk down the steps of the fire escape in unison.
jake (v.o.)
Thus began my slow descent.
int. church - day
Sarah kisses Jake in front of Knickerbocker.
jake (v.o.)
We were married.
int. conference room - day
Sarah gives a presentation on a whiteboard, in front of a group that includes Jake and Timmy. The three of them are now in their thirties.
Jake, whose hairline is receding, is staring blankly into space, tapping a pen against the table. Timmy smiles warmly at Sarah. She returns the gesture.
jake (v.o.)
And it wasn't long before Sarah realized her dream of becoming a buttonpusher.
ext. golf course - day
Jake, now in his forties, heavy-set and balding, is playing golf.
jake (v.o.)
Me, I played golf. Lots of it. And when I wasn't playing it, I was thinking about playing it.
Jake takes a swing and grimaces.
jake (v.o.) (cont'd)
At work, at home -- when eating, when sleeping. When making love.
ext. house - day
Jake is standing in front of a partially closed door, suitcases by his side. A look of utter disbelief is on his face.
jake (v.o.)
Which led to this . . .
The door closes shut.
int. church - day
Sarah smiles.
jake (v.o.)
And this . . .
Sarah kisses Timmy in front of a YOUNG MINISTER. A teenage girl, the maid of honor, stands by Sarah.
int. apartment - day
Jake, now in his fifties, is stoically sitting in a tiny room. With a beer can in his hand, he watches golf on a television that fills the room completely.
jake (v.o.)
I went with the flow, of course; and quickly established a routine -- a foolish consistency equal to my little mind.
He crushes the beer can.
int. office hallway - day
Jake, now in his sixties, walks through the maze of cubicles.
jake (v.o.)
And I kept on pushing those lovely buttons; that is, until . . .
Jake comes to his cubicle and sees MEN clearing out his area.
jake (cont'd)
What's going on?
man 1
Haven't you heard?
jake
Heard what?
sarah (o.s.)
You've been retired.
Jake turns and sees Sarah and Timmy, both of whom are smiling. They have aged far better than Jake.
jake
But I'm not sixty-five yet.
timmy
The Beast no longer retires people at sixty-five. That would be ageism, and the Beast is now against all isms.
Sarah
Now he retires people when their capacity to serve has diminished.
jake
I can still serve.
sarah
You've missed your button quota six months straight.
jake
I can do better.
sarah
Of course, we're gonna give you a real nice retirement party. We even have a cake.
timmy
And don't forget the gold watch.
sarah
Yes, it's solid gold.
jake
I won't go! I won't!
ext. road - day
A white van passes a sign stating "WELCOME TO THE EVERGLADES." The setting has changed from expressionistic to naturalistic.
int. van - same
Jake, holding a box of things, is surrounded by two MEN IN WHITE. The van stops.
man 1
We're here.
jake
I'm not going.
man 2
What do you mean?
jake
I'm not ready.
The door opens.
man 1
You are.
ext. van - same
The men effortlessly lift Jake and his box onto the swampy grass.
man 2
Someone will be here for you shortly.
man 1
Enjoy the rest of your life. They say this is your best years.
jake
They lie.
The men chuckle and enter the van.
jake (cont'd)
Wait -- don't go!
The door closes and the van starts to leave. Jake drops the box, gets up, and awkwardly runs after the van.
jake (cont'd)
Don't go! What will become of me?
He slips and falls face first into mud. He raises his head.
jake (cont'd)
What will become of me?
ext. swamp - later
Jake is sleeping in the mud under the bright midday sun.
He opens his eyes; and squinting, sees the silhouette of a man.
jake
Who is it?
His eyes become focused. He sees Nietzsche.
jake (cont'd)
Nietzsche?
(shading his eyes)
You haven't aged.
Nietzsche
Only mediocrity ages.
jake
You . . . you've come to help me.
Nietzsche
I have come to have one final look -- at my biggest mistake.
jake
You've got to help me -- it's not too late!
Nietzsche
It is. You are old, weak -- useless.
jake
No!
Nietzsche
I offered you everything -- and you chose this!
Nietzsche turns and starts to walk away. Jake jumps up and goes after him.
Nietzsche (cont'd)
Do not follow me! You are unable!
Jake grabs Nietzsche from behind. Nietzsche turns around.
Nietzsche (cont'd)
Do not touch me, slave!
Nietzsche pushes Jake into the mud and kicks him hard in the stomach. Blood trickles down Jake's chin. Jake crawls to Nietzsche and grabs Nietzsche's legs. He cries.
jake
Help me.
Nietzsche
A fitting posture for you.
jake
Please.
Nietzsche
What do you want from me?
jake
Lead me -- tell me where to go.
Nietzsche effortlessly lifts Jake to his feet.
Nietzsche
All right -- I will tell you.
Nietzsche points to an area of tall, thick vegetation.
Nietzsche (cont'd)
That is the place for you. Beyond there.
Jake anxiously runs off in the direction of the vegetation. Nietzsche loudly laughs.
Nietzsche (cont'd)
Goodbye, Jake!
ext. vegetation - later
Jake desperately hacks through the vines, which are of the same height and the same puke-green color as the office cubicles.
He reaches a clearing. He doubles over, out of breath. He sees that his feet are partially under water.
He looks up and sees a charging alligator, its jaw open wide. He screams. Two large arms in white grab and drag him back through the vegetation.
ext. swamp - same
TWO ORDERLIES with Southern accents look at Jake.
jake
What happened?
orderly 1
You were almost lunch.
orderly 2
Didn't you see the sign?
The man points to a sign that reads: "CAUTION: BEWARE OF ALLIGATORS! STAY OUT!"
Jake
That wasn't there.
The orderlies laugh.
orderly 1
You have to be more careful, Mr. Stein.
jake
How do you know my name?
The two men effortlessly lift Jake into a nearby wheelchair.
orderly 2
We were expecting you.
orderly 1
Only not this soon.
jake
Where am I?
orderly 1
The Sunshine Rest Home.
Orderly 2 tries to wipe the mud and blood from Jake's face, but Jake pushes his hand away.
orderly 1 (cont'd)
All comfy?
jake
Shut up!
orderly 2
That's the attitude. We'll have you there just in time for dessert.
They start to leave. Orderly 1 lowers his head to Jake's ear.
orderly 1
Prunes. Mmmmm.
int. nursing home - later
The orderlies wheel Jake inside. Immediately, Jake grimaces and covers his nose.
orderly 1
Don't worry -- you'll get used to it.
orderly 2
Especially when it's your own.
The two men giggle.
jake
I'd never!
orderly 2
That's what they all say -- until they start wearing diapers.
int. director's office - later
Jake, who is still in a wheelchair, is sitting across from the DIRECTOR, a middle-aged woman with a beehive hairdo. The director's desk is covered with stacks of paper.
director
Welcome aboard.
jake
Can I get out of this thing?
director
Don't you find it comfy?
Jake stands up and shoves the chair against the wall.
director (cont'd)
Mr. Stein, we don't appreciate violence here.
jake
I'll make a note of it.
director
Please do.
She looks down and opens a manila folder. She reads from it and looks surprised.
director (cont'd)
Oh, aren't you a lucky boy.
jake
Could you please speak to me like an adult.
director
It appears we have an old friend of yours staying here.
jake
Who?
director
You wouldn't want me to spoil the surprise, would you?
jake
You just did.
int. director's office - later
The director follows the two orderlies as they wheel Jake out.
director
If you need anything, Mr. Stein, don't hesitate to see me. My door is always open.
The orderlies and Jake exit. The director closes her door.
int. room - later
An emaciated, elderly man lies in a darkened room. Someone knocks on the door.
elderly man
(weakly)
Come in.
Jake enters.
elderly man (cont'd)
Turn on the light.
Jake turns on the light, illuminating a small rundown room. He looks at the elderly man, trying to recognize him. The elderly man does the same.
The elderly man smiles.
elderly man (cont'd)
Jake, is that you?
jake
I'm sorry . . .
elderly man
Don't you recognize your old friend Knickerbocker?
Jake rushes to Knickerbocker's side.
jake
Reverend!
Knickerbocker laughs, which turns into a cough.
knickerbocker
No one's called me that in years. . . . Well?
jake
What?
knickerbocker
Isn't it just wonderful here?
jake
Wonderful?
knickerbocker
Didn't I tell you the Beast would always take care of us. Look at the magnificent place He's provided for our golden years.
jake
You really like it?
knickerbocker
What's not to like? They feed us, give us fresh air and sunshine. They take care of our every need.
Knickerbocker points to his night-stand, where a tray sits, containing dozens of little plastic cups filled with pills.
jake
What's that?
knickerbocker
My medication. It keeps me alive. I don't even know what half of them do. Isn't it just glorious?
jake
No.
knickerbocker
Just you wait. You'll get a set just like it; and with any luck, you'll live as long as I have, enjoying every moment.
jake
No.
knickerbocker
Did I mention the large-screen TV in the recreation room? Nothing like the ones in the sports bar, I'm afraid -- but there's always plenty of golf on.
Knickerbocker gently grabs Jake's hand.
knickerbocker (cont'd)
And they're always organizing little trips for us -- like to the local strip mall. Nothing too strenuous, of course -- at our age, we have to avoid excitement.
jake
No.
Knickerbocker removes his hand.
knickerbocker
Why do you keep saying "no"? You're too old to be rebellious.
jake
No.
knickerbocker
Don't worry -- you'll get used to it, all right. Just like you got used to the Beast.
jake
No.
knickerbocker
Life is wonderful here!
Jake violently knocks over the tray of pills. Knickerbocker raises his hands in fear.
jake
This is death! Worse than death!
Jake turns around, walks a few paces, and stops. He turns back to Knickerbocker.
jake (cont'd)
I won't take it! I won't sit here and wait to die -- having my chin and ass wiped!
Jake picks up one of the pill containers off the floor.
jake (cont'd)
And I won't live off these filthy chemicals! I won't!
The two orderlies rush in. Jake throws the pills against the wall. The men subdue Jake.
int. jake's room - later
The room is the size of a prison cell, with barely enough room to fit its meager furnishings. It has four whitewashed walls, an old single bed, a table with a Bible on top, a few chairs, and a window overlooking a dank swamp.
The orderlies wheel Jake inside.
orderly 1
We don't appreciate violence here, Mr. Stein.
jake
So I've heard. What you gonna do -- put me in a rubber room?
orderly 2
No need for that -- not at your age.
jake
I'm not old!
orderly 2
Sure thing, Mr. Stein.
orderly 1
Things'll go much better for you once you accept your fate.
jake
Never!
Orderly 1 chuckles and looks at Orderly 2.
orderly 1
Looks like we got ourselves a real Che Guevara here.
jake
Shut up!
int. jake's room - later
Jake takes a wooden chair and sits in front of the window. He stares blankly.
int. jake's room - night
Jake continues to stare.
int. jake's room - day
Jake stares at the falling rain.
int. jake's room - morning
Jake stares at the rising sun. A middle-aged nurse enters carrying a tray of pills. She sees that the old tray hasn't been touched. Jake's eyes never leave the window during the scene.
nurse
You must take your medication, Mr. Stein.
jake
Why?
nurse
So that you'll be healthy.
jake
I don't want to be healthy.
nurse
Someone's grumpy today.
jake
I'm grumpy every day.
nurse
Because you don't take your meds.
jake
Dope up someone else, sister.
nurse
It's not dope. It's medicine.
Jake's expression turns curious as he watches someone wheeled into the building.
nurse (cont'd)
There's pills to regulate your heart rate, to regulate your blood. There's pills for your digestion, for your bladder . . .
jake
It can't be.
int. nursing home entrance - later
Jake walks up to an old woman, who is sitting by herself in a wheelchair, facing the opposite direction. Hearing Jake's footsteps, she turns toward him. It's Sarah. She's aged considerably and horrifically. Jake looks at her uneasily.
She brushes her hair back with her hand.
sarah
I was hoping to prepare myself before I saw you.
jake
You knew I was here?
sarah
I asked for this place.
jake
Why?
sarah
I needed a friend.
jake
Where's Timmy?
Sarah turns away in anger.
sarah
Don't mention that man. He left me -- for some young harpy -- a little, good-for-nothing beancounter.
(lowers her head)
It wasn't my fault I got sick.
jake
Sick?
sarah
It's scary how disease can age you so quickly. I wish . . .
She turns back to Jake.
sarah (cont'd)
I wish I had a chance to prepare myself before seeing you.
She slowly and gently touches his hand.
sarah (cont'd)
You . . . you wouldn't have treated me like that. No, sir. You always loved me.
She places his hand to her cheek.
sarah (cont'd)
I'm so sorry, Jake. So sorry.
Jake looks at her with sympathy in his eyes.
He abruptly breaks her embrace, turns, and hurriedly walks away.
sarah (cont'd)
Where are you going?
jake
I have to feed my pets.
sarah
Will you see me later? . . . Or perhaps I could stop by.
ext. nursing home - later
Jake bursts through the front door. He doubles over, out of breath.
He resolutely continues on.
EXT. SWAMP - later
Jake struggles through the tall vegetation to the clearing.
jake (v.o.)
I won't try to illicit sympathy in these last moments when I feel none for myself. Anna Karenina I'm most certainly not.
(beat)
My act of sacrifice takes no courage. It is cowardly and selfish, just like my entire existence.
He takes off his shoes and socks and sits down, his feet wading in the water.
jake (v.o.) (cont'd)
I chose mediocrity. I chose the Beast.
(beat)
I was only swallowed because I let Him swallow me. I could've resisted -- I could've escaped.
(beat)
But I held onto Him. I held on and became parasitic.
He sees a group of alligators heading toward him.
jake (v.o.) (cont'd)
My little friends are awake.
(beat)
I can see now my life will finally have meaning. Millions of organisms will benefit from my entrails.
(beat)
A new generation will spawn.
The jaw of an alligator opens wide.
Jake's fearful eyes fill the screen.
jake (v.o.) (cont'd)
I should've jumped.
FADE OUT:
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